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The Consciousness of Modern Figurative Art in Korea : In consideration of the analytical-methods of representation through different types of resemblance

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2009, 30(), pp.99-126
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : December 30, 2009

Lee Joo Young 1

1서원대학교

Accredited

ABSTRACT

In this article we are concerned with the classification of the works of Korean figurative artists into several methods of representation through different types of resemblance, and the investigation of the peculiarity of aesthetic consciousness in figurative art. These results led to the conclusion that the methods of representation can be classified, but their boundaries are not clearly divided into distinct types. Furthermore the techniques of an artist often show diverse transfigurations throughout their life time. In such cases it is difficult to classify the artist's entire body of work into a fixed type of representation. The results of this study show that the type of outer resemblance indicates the intentions of the artist, and how they approach the appearance of phenomena and try to grasp the reality of objects. In this case, the subject aspect of the artist looks minimalized, but the subject actually works in the choice of objects and in arrangement of the subject matter as well. Essential resemblance artists show reality grasped from a subjective standpoint, namely reality to themselves. Representing this type of reality, the atmosphere of life and the emotional effects are expressed in a very powerful way. Also, in inventive resemblance we can recognize the reality that the subject conceived and symbolized visually through the base of an object. To grasp such types of visual signs we need experience and learning. The more that resemblance ties from the outer to the inventional, the more that the subject of the artist’s freedom and creativity of construction of objects and expression is intensified. From the aspect of the expressive intentions of the artists, who are trying to get outer resemblance, they attempt to expose calm emotions with a contemplative attitude toward humanity, nature and life. The artists who have the tendency to stick to essential resemblance, make us feel more dynamically about the atmosphere of nature and the emotions of life. Through inventional resemblance, the artist tries to show creatively transformed visual images, and make us interpret objects in a new way. A couple of the most common characteristics of the aesthetic consciousness shown by artists seems to be this. Technically, most Korean artists represent objects with a powerful stroke of the brush displaying vivid images of soul and spirit. They represent more, the sense of unity of the whole rather than technical skills in detail. They are trying to expose invisible contents in visible form. They depict nature representing the vitality of nature, while they depict human bodies, representing their spirit and emotion. In depicting the surroundings with humans, various feelings of life appear. When they represent the life of provinces, an optimistic emotion appears dominant, taking snug the humble circumstance of a life-like home. On the contrary, character sketches in modernized interior scenes reflect the sense of human values to pursue knowledge and art. The methods of representation that depict nature, humanity and life, show an aesthetic consciousness that keeps clear of complicated and sumptuous things, pursuing calmness and the natural. The simplicity, goodness and grace which artists reflect in the appearance of korean people have rapidly changed over turbulent periods. They showed symbolically, the images of taking refuge, in restoration of the disturbance of war, and other painful experiences of life. In these works, most figurative artists question the many problems in their lives, and they offer suggestions through their works, reflecting also, their aesthetic consciousness.

Citation status

* References for papers published after 2022 are currently being built.

This paper was written with support from the National Research Foundation of Korea.