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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2011.12
- 수록면
- 137 - 154 (18page)
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초록· 키워드
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Lee Sook-ja(1942- ) is one of representative painter in Korean Coloured painting. She also had written many articles and books on Korean Modern Painting. So far, study of Lee Sook-ja is based on written datas such as documentary records, criticism and press report by writers and critics.
This writing is showing that oral history can offer different point of views on existing study of painters against written datas.
Lee Sook-ja found out “legitimacy of Korean coloured painting” and realized the concept of “Hankookhwa” at this time on her thesis about the research of modern oriental painting for Hong-ik graduate school. Thru her oral statement about the thesis, we can understand the process that the concept of “Hankookhwa” in early 1970’s is understood by a certain artist’s subjective judgement and imprinted on her inner world.
In 1973, Lee Sook-ja came into conflict with masters since she was given the term “ Hankookhwa” to her paintings in her first exhibition. The term of “Hankookhwa” in 1970’s is related with the fight for hegemony of The National Art Exhibition. It is shown thru the conflict with between masters Chang Woo-sung, Cheon Keong-ja who object using the term and Lee Sook-ja. Rising painters named their paintongs as “ Hankookhwa” against painters of middle standing who kept academic style.
Therefore, the term of “Hankookhwa” is not a clearly defined. Rising painters are using this term with various meanings. In 1970, it had multi-layered meanings according to Sookja.Lee’s oral history about the conflict against the term. It was possible thru her voice records with turbulent emotions and criticism, which can not be found in historical written records.
Lee Sook-ja is remembering that she has devoted her entire career to research on Hankookhwa since the first exhibition. Mostly plain texts described her works as “Hankookhwa”. Her memory about previous works affected the most of critics. On the contrary, oral history analyze the memory of painters. According to above, it is given various possibilities on painter studies viewed in this historical making the term “ Hankookhwa”.
This writing is showing that oral history can offer different point of views on existing study of painters against written datas.
Lee Sook-ja found out “legitimacy of Korean coloured painting” and realized the concept of “Hankookhwa” at this time on her thesis about the research of modern oriental painting for Hong-ik graduate school. Thru her oral statement about the thesis, we can understand the process that the concept of “Hankookhwa” in early 1970’s is understood by a certain artist’s subjective judgement and imprinted on her inner world.
In 1973, Lee Sook-ja came into conflict with masters since she was given the term “ Hankookhwa” to her paintings in her first exhibition. The term of “Hankookhwa” in 1970’s is related with the fight for hegemony of The National Art Exhibition. It is shown thru the conflict with between masters Chang Woo-sung, Cheon Keong-ja who object using the term and Lee Sook-ja. Rising painters named their paintongs as “ Hankookhwa” against painters of middle standing who kept academic style.
Therefore, the term of “Hankookhwa” is not a clearly defined. Rising painters are using this term with various meanings. In 1970, it had multi-layered meanings according to Sookja.Lee’s oral history about the conflict against the term. It was possible thru her voice records with turbulent emotions and criticism, which can not be found in historical written records.
Lee Sook-ja is remembering that she has devoted her entire career to research on Hankookhwa since the first exhibition. Mostly plain texts described her works as “Hankookhwa”. Her memory about previous works affected the most of critics. On the contrary, oral history analyze the memory of painters. According to above, it is given various possibilities on painter studies viewed in this historical making the term “ Hankookhwa”.
목차
I. 머리말
II. 이숙자 구술에서 나타나는 한국화 개념의 형성 과정
III. 1970년대 전반 ‘한국화’ 개념의 중층성
IV. 〈보리밭〉 시리즈 : 한국화에 대한 작가의 기억과 작품 비평
V. 맺음말
참고문헌
Abstract
참고문헌 (1)
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UCI(KEPA) : I410-ECN-0101-2014-600-000639317