1980-90년대 한국화의 수묵추상 (Korean Abstract Ink Painting from 1980s to 1990s)

서지정보

· 발행기관 : 미술사와 시각문화학회
· 수록지 정보 : 미술사와 시각문화 / 13호 / 150 ~ 171페이지
· 저자명 : 송희경

초록

이 글은 1980-90년대 제작된 한국화의 수묵추상이 전개되는 양상과 한계점 및 이를 극복한 방안에 관한 논의이다. 한국화에서 수묵과 추상의 만남은 1960년에 결성된 묵림회에서 이룩된다. 묵림회의 회원들은 동양의 정신성을 강조하며 비구상과 전위성을 시도했지만, 서구표현주의의 영향이라는 비판에서 자유롭지 못했다. 1980년대 수묵화운동은 동양의 정신성 계승을 주장하면서 구상, 비구상과 상관없이 오로지 먹이 창출하는 시각성에 지나치게 집중했다. 수묵추상이 독자적 위치를 점유한 시기는 1980년대 후반부터이다. 수묵추상의 작가들은 동양전통의 거대담론에 연연하지 않고 자신의 정서를 먹의 운용에 담고자 했다. 그들은 한국화의 수묵추상이 서양 추상의 영향을 받았음을 당당하게 인정했고, 오히려 수묵추상이 서구추상보다 표현 가능성이 더욱 풍부함을 보여주었다.

영어초록

Ink stick was the most important tool for expression in East Asian Paintings to show what intellectuals thought and how their daily lives were at that time, which had been expressed in a unique visual language as time passes by. It was a fixed material for the Real-Scenery Landscape Painting that had kept traditional painting techniques in the modern period. It was also used as a core material for ink painting based on the concept of Literary Painting. The mutual exchange and junction between ink painting and the idea of abstraction were found in Mukrimhoe that was established in the 1960s. The members of Mukrimhoe pursued nonobjective art that focused on Orientalism while they were blamed for being followers of western expressionism. For them, ink painting was just a tool for nonobjective art. They considered ink stick as an item for visualization regardless if it was used for a nonobjective art or not although being insisted that the Ink Painting Movement in 1980s was a succession to the Orientalism. It was during the late 1980s that abstract ink painting had been settled down. Painters engaged in abstract ink painting tried to synchronize their feelings with the use of ink stick and did not cling to the metanarratives of conventional Orientalism. They actively accepted the influential Korean abstract ink painting that came from western abstraction and even tried to show a new possibility beyond it in rich and expressive ways.

참고자료

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