| 000 | nam | |
| 001 | 2210080025201 | |
| 005 | 20140627111013 | |
| 008 | 960116s1977 bnk FB 000a kor | |
| 040 | ▼a221008 | |
| 100 | ▼a이옥이 | |
| 245 | 00 | ▼a小亭卞寬植論 /▼d李玉伊 著. |
| 260 | ▼a부산 :▼b東亞大學校,▼c1977. | |
| 300 | ▼a129p. ;▼c26cm. | |
| 502 | ▼a학위논문(석사) :▼b東亞大學校 敎育大學院 :▼c美術敎育專攻,▼d`77년. | |
| 520 | ▼b영문초록 : We think that we have been stuck conventionally to the changing process of history of the tradition, but intended to cast off from the traditional and high-blow rule in the formative arts, which have brougt about a dangerous fact to make a new attempt recklessly. occasionally, we have respected a tradition and stuck to it ; and, consequently, the factors which have been detrimental to an important fact of the development have been given rise. In the paintings a new attempt requires a up-to-date and attentive attitude of painters to form in the midst of a purely artistic ideology and traditional consciousness of order. As painters, taking advantages of elements deterring the subjecthood of our national fine arts, had lost their self-consciousness, they grouped in the world of artists. Painter, Byung Gwan Shik, pursued, in a form of the formative style, his own artistic ideology for the spiritual subjecthood, on the basis of the natural. Resistance mentality on the vortex of the languid artistic circles. and the world of his painting indicated a great deal of mental lessons to the painters in the future to succeed in the modern generation upon a modern. So-jeong, Byung Gwan Shik was born in the end of Lee Dynasty when it was in the initial stage of a modern fine art in korea, and was brought up in the social trends full of variety. However, instead of being contaminated in the eventful morbidity and epigone of the painters' circles, he evolved his own arts in a pursuit of Korean nature, as he placed a pure mentality of the painters in the national demension. He chose a Korean nature as an objective of expressing his own spiritual world, and it was an eternal object in seeking his own creative world with a higher demensional consideration of contemplating the nature by Sojeong, himself and also his artistic desire could not be sought outside the nature. He selected a great nature in Korea for his subject and also selected the contemplating form as a means of seeking its essentials with an external phanomena existing in a spirit of the koreans choosing for composite factors. The internal pursuit of Sojeong's arts was the deepening process evolving in our national trend ; and, fucthermore, its values became important. All human civilization was changed rapidly in its feature. Korean modern fine arts together with a current of our age, also, lost its subjecthood ; and, in such a reality, wag seeking the consciousness of a beauty in his creative behaviour sublimating a pure nature in arts and creative method, and formulating the Korean typical style, was symbolized as an indicator in the Korean artistic world with a feeling of artistic direction losing. | |
| 650 | ▼a변관식 | |
| 856 | ▼adonga.dcollection.net▼uhttp://donga.dcollection.net/jsp/common/DcLoOrgPer.jsp?sItemId=000002145706 | |
| 950 | ▼aFB | |
| 950 | ▼a비매품▼b￦0▼c(추정가) |
小亭卞寬植論
종류
학위논문 동서
서명
小亭卞寬植論
저자명
발행사항
부산 : 東亞大學校 1977.
형태사항
129p ; 26cm.
학위논문주기
학위논문(석사) : 東亞大學校 敎育大學院 : 美術敎育專攻, `77년.
주기사항
영문초록 : We think that we have been stuck conventionally to the changing process of history of the tradition, but intended to cast off from the traditional and high-blow rule in the formative arts, which have brougt about a dangerous fact to make a new attempt recklessly. occasionally, we have respected a tradition and stuck to it ; and, consequently, the factors which have been detrimental to an important fact of the development have been given rise. In the paintings a new attempt requires a up-to-date and attentive attitude of painters to form in the midst of a purely artistic ideology and traditional consciousness of order. As painters, taking advantages of elements deterring the subjecthood of our national fine arts, had lost their self-consciousness, they grouped in the world of artists. Painter, Byung Gwan Shik, pursued, in a form of the formative style, his own artistic ideology for the spiritual subjecthood, on the basis of the natural. Resistance mentality on the vortex of the languid artistic circles. and the world of his painting indicated a great deal of mental lessons to the painters in the future to succeed in the modern generation upon a modern. So-jeong, Byung Gwan Shik was born in the end of Lee Dynasty when it was in the initial stage of a modern fine art in korea, and was brought up in the social trends full of variety. However, instead of being contaminated in the eventful morbidity and epigone of the painters' circles, he evolved his own arts in a pursuit of Korean nature, as he placed a pure mentality of the painters in the national demension. He chose a Korean nature as an objective of expressing his own spiritual world, and it was an eternal object in seeking his own creative world with a higher demensional consideration of contemplating the nature by Sojeong, himself and also his artistic desire could not be sought outside the nature. He selected a great nature in Korea for his subject and also selected the contemplating form as a means of seeking its essentials with an external phanomena existing in a spirit of the koreans choosing for composite factors. The internal pursuit of Sojeong's arts was the deepening process evolving in our national trend ; and, fucthermore, its values became important. All human civilization was changed rapidly in its feature. Korean modern fine arts together with a current of our age, also, lost its subjecthood ; and, in such a reality, wag seeking the consciousness of a beauty in his creative behaviour sublimating a pure nature in arts and creative method, and formulating the Korean typical style, was symbolized as an indicator in the Korean artistic world with a feeling of artistic direction losing.
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