吳冠中산수화연구

서지정보

ㆍ발행기관 : 동아시아문화학회 ㆍ수록지정보 : 동아시아문화와예술
ㆍ저자명 : 장정란

목차

I. 서론
II. 중국전통산수화의 내용과 형식
III. 오관중산수화에 보이는 전통형식
IV. 오관중산수화의 추상형식
Ⅴ. 결론

한국어 초록

Wu Guanzhong(吳冠中 1919-) is one of the persons who groped
for the way of new Chinese modern painting with the mixing
of East-West painting in Chinese modern painting circles. In
addition, Wu Guanzhong is a ringleader who returned to Chinese
ink(水墨)to be Chinese traditional material while trying making
oil painting into Chinese painting after studying in France like
Sue bai hong(徐悲鴻) and Lin peng mian(林風眠) who converted
to Chinese painting while drawing oil painting after studying in
France.
That Wu Guanzhong is noticed in Chinese modern painting
circles is that he achieved new abstract landscape of Chinese
style with his own abstract method about the landscape to be the
tradition subject of Chinese painting.
Landscape of Wu Guanzhong aroused wide interest in Europe
as well as Chinese modern painting circles. The reason is because
he created the landscape of new style which is comprehensible
in all the painting circles of the East and the West with Western
modeling form to be abstraction, while sticking to landscape to be
the traditional subject of China.
Efforts that Chinese modern painting circles tried to create the
Chinese painting of new period by borrowing Western modeling
method has been treid by Lin peng mian(1990-1991) who was a
teacher of Wu, Guanzhong.
Walking of Wu Guanzhong is not irrelevant to the influence
of Lin peng mian. But, it is different that the landscape of Lim
peng mian investigated landscape form with whole mass sense to
be surface, whereas the lanscape of Wu Guanzhong has interest
about more linear spirit.
Traditional painting of China came to realize reform since it
recognized the existence of Western painting flowed in Chinese
modern painting circles. After this, there was dispute between
traditional school and reform school in Chinese modern painting
circles, and all the two groups moved the recognition to have
to draw new drawing to be suitable for period. But, about the
newness, traditional school tried to change by finding from old
thing, and reform school tried to create newness by grafting
science and color of Western painting to Chinese painting.
As for reform school, Sue bai hong(1895-1953) who insisted
on the improvement movement of Chinese painting and Lin
peng mian who insisted on East-West fine art harmony may be
representatives. Lin peng mian educated the reform of Chinese
painting with new catchpraise to be East-West fine art harmony,
when he was as a principal of Seoho National Art Institute. Wu
Guanzhong met Lin peng mian as a student of this school and
came to walk as a reform school after that.
In this study, Wu Guanzhong did new formal experiment
by paling the issue of contents that Chinese traditional painting
aimed at in secondary order while creating new drawing style
with East-West fine art harmony and insisting that form decides
contents. But, this researcher tried to search for the traditional
issue of Chinese painting to be involved in modern landscape of
Wu Guanzhong under the recognition that the landscape of Wu
Guanzhong could not get out of the vein of eternal tradition of
Chinese painting.
That abstract landscape of Wu Guanzhong is extracting plastic
beauty from nature(landscape) has character to be different from
Western abstract painting of Mondrian kind which didn’t have
relation with natural material. Then, drawing which was the basic
starting point of Chinese painting from this abstract idea is same
as the speculation to be the world of pictorial penetration for
the image of nature and all things. In addition, most methods
of picture composition of abstract landscape of Wu Guanzhong
centering around form that he stood as newness are adopting
the style of great masters of Chinese traditional landscape. And,
he emphasized that brush and Chinese ink is not what must be
learned but the expression technique of brush and Chinese ink
must be learned, but it can be said that animation nature that he
thought importantly in drawing is that cell division is made from
atmosphere animation of traditional painting.
However, that landscape of Wu Guanzhong is significant
is that he drew the landscape in life. It is that he drew the
modern landscape of new sight nature with the abstract method
which doesn’t describe visible landscape in life concretely about
traditional landscape which tried to reveal the invisible image
of nature with concrete form. But, it will be fair to regard the
abstract landscape of Wu Guanzhong as reinterpretation of
tradition in that this conception was possible as there was entity to
be traditional landscape.

영어 초록

Wu Guanzhong(吳冠中 1919-) is one of the persons who gropedfor the way of new Chinese modern painting with the mixingof East-West painting in Chinese modern painting circles. Inaddition, Wu Guanzhong is a ringleader who returned to Chineseink(水墨)to be Chinese traditional material while trying makingoil painting into Chinese painting after studying in France likeSue bai hong(徐悲鴻) and Lin peng mian(林風眠) who convertedto Chinese painting while drawing oil painting after studying inFrance.That Wu Guanzhong is noticed in Chinese modern paintingcircles is that he achieved new abstract landscape of Chinesestyle with his own abstract method about the landscape to be thetradition subject of Chinese painting.Landscape of Wu Guanzhong aroused wide interest in Europeas well as Chinese modern painting circles. The reason is becausehe created the landscape of new style which is comprehensiblein all the painting circles of the East and the West with Westernmodeling form to be abstraction, while sticking to landscape to bethe traditional subject of China.Efforts that Chinese modern painting circles tried to create theChinese painting of new period by borrowing Western modelingmethod has been treid by Lin peng mian(1990-1991) who was ateacher of Wu, Guanzhong.Walking of Wu Guanzhong is not irrelevant to the influenceof Lin peng mian. But, it is different that the landscape of Limpeng mian investigated landscape form with whole mass sense tobe surface, whereas the lanscape of Wu Guanzhong has interestabout more linear spirit.Traditional painting of China came to realize reform since itrecognized the existence of Western painting flowed in Chinesemodern painting circles. After this, there was dispute betweentraditional school and reform school in Chinese modern paintingcircles, and all the two groups moved the recognition to haveto draw new drawing to be suitable for period. But, about thenewness, traditional school tried to change by finding from oldthing, and reform school tried to create newness by graftingscience and color of Western painting to Chinese painting.As for reform school, Sue bai hong(1895-1953) who insistedon the improvement movement of Chinese painting and Linpeng mian who insisted on East-West fine art harmony may berepresentatives. Lin peng mian educated the reform of Chinesepainting with new catchpraise to be East-West fine art harmony,when he was as a principal of Seoho National Art Institute. WuGuanzhong met Lin peng mian as a student of this school andcame to walk as a reform school after that.In this study, Wu Guanzhong did new formal experimentby paling the issue of contents that Chinese traditional paintingaimed at in secondary order while creating new drawing stylewith East-West fine art harmony and insisting that form decidescontents. But, this researcher tried to search for the traditionalissue of Chinese painting to be involved in modern landscape ofWu Guanzhong under the recognition that the landscape of WuGuanzhong could not get out of the vein of eternal tradition ofChinese painting.That abstract landscape of Wu Guanzhong is extracting plasticbeauty from nature(landscape) has character to be different fromWestern abstract painting of Mondrian kind which didn’t haverelation with natural material. Then, drawing which was the basicstarting point of Chinese painting from this abstract idea is sameas the speculation to be the world of pictorial penetration forthe image of nature and all things. In addition, most methodsof picture composition of abstract landscape of Wu Guanzhongcentering around form that he stood as newness are adoptingthe style of great masters of Chinese traditional landscape. And,he emphasized that brush and Chinese ink is not what must belearned but the expression technique of brush and Chinese inkmust be learned, but it can be said that animation nature that hethought importantly in drawing is that cell division is made fromatmosphere animation of traditional painting.However, that landscape of Wu Guanzhong is significantis that he drew the landscape in life. It is that he drew themodern landscape of new sight nature with the abstract methodwhich doesn’t describe visible landscape in life concretely abouttraditional landscape which tried to reveal the invisible imageof nature with concrete form. But, it will be fair to regard theabstract landscape of Wu Guanzhong as reinterpretation oftradition in that this conception was possible as there was entity tobe traditional landscape.

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