우관중(吳冠中)의 수묵 추상화에 관한 연구 - ‘중서융합(中西融合)’ 회화관을 중심으로 (A Study on the Abstract Ink Painting of Wu Guanzhong : Focusing on his Perspective on the Synthesis of Chinese and Western Artistic Traditions)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 35호 / 119 ~ 146페이지
· 저자명 : 이희정

초록

Wu Guanzhong(吳冠中, 2010) is one of the most significant and influential Chinese artists who made a major contribution to the modernization of Chinese ink painting. His art work has received huge attention not only from China but also from the West. Wu published a number of articles on his thoughts on art and applied them in his painting. This paper focuses on his artistic perspective of integrating European modernism with traditional Chinese ink painting and explores the way in which such a vision was established and embodied in his art.
While being educated at the National Academy of Art in Hangzhou from 1936 to 1942, Wu encountered the idea of synthesis of Eastern and Western artistic traditions that was promoted by the prominent Chinese painter and educator Lin Fengmian(1900-1991). This was followed by the three major events that played an important role in Wu’s individual artistic pursuit as well as the evolution of his ideas and art: first, the period he spent studying in France (1947-1950); second, the Cultural Revolution(1966-1976); and third, the Open-Door Policy of Deng Xiaoping(1904-1997). During his three years as a student at the École National Supérieure des Beaux-Arts in Paris, Wu learnt Western painting traditions and methodologies, especially Western formalism, and established his artistic ideas on the synthesis of Chinese and Western painting. Despite the adversity of the Cultural Revolution, Wu did not yield to it and preserved his artistic thoughts and ideas. It was not until after Deng Xiaoping’s Open-Door Policy that was declared in 1979 that Wu’s artistic vision was able to be reflected in earnest in his art works.
This paper examines how Wu applied his approach to integrating European modernism with traditional Chinese ink painting in his art works by focusing on the following three themes: harmonizing tradition with modernity, exploring new subjects, and experimenting with abstract ink painting. Wu sought to harmonize tradition with modernity by applying Western ‘formal beauty(形式美)’ to the depiction of Chinese traditional subjects. He emphasized the built environment - ‘architecture’ - as a new subject in Chinese ink painting. In addition, through his experimentation with abstract ink painting, he represented his emotions and concepts, pushing the boundary of Chinese ink painting to a new level.
Wu has contributed to the exploration of a new innovative territory within the Chinese ink and brush tradition. He offered later generations of Chinese painters the extended possibilities of ink painting techniques by applying Western ‘abstraction’ to the Chinese ink painting tradition. The experimental spirit and constant efforts of Chinese painters such as Wu Guanzhong have enabled Chinese contemporary ink painting to reach new heights and draw attention on today’s international art scene.

영어초록

Wu Guanzhong(吳冠中, 2010) is one of the most significant and influential Chinese artists who made a major contribution to the modernization of Chinese ink painting. His art work has received huge attention not only from China but also from the West. Wu published a number of articles on his thoughts on art and applied them in his painting. This paper focuses on his artistic perspective of integrating European modernism with traditional Chinese ink painting and explores the way in which such a vision was established and embodied in his art.
While being educated at the National Academy of Art in Hangzhou from 1936 to 1942, Wu encountered the idea of synthesis of Eastern and Western artistic traditions that was promoted by the prominent Chinese painter and educator Lin Fengmian(1900-1991). This was followed by the three major events that played an important role in Wu’s individual artistic pursuit as well as the evolution of his ideas and art: first, the period he spent studying in France (1947-1950); second, the Cultural Revolution(1966-1976); and third, the Open-Door Policy of Deng Xiaoping(1904-1997). During his three years as a student at the École National Supérieure des Beaux-Arts in Paris, Wu learnt Western painting traditions and methodologies, especially Western formalism, and established his artistic ideas on the synthesis of Chinese and Western painting. Despite the adversity of the Cultural Revolution, Wu did not yield to it and preserved his artistic thoughts and ideas. It was not until after Deng Xiaoping’s Open-Door Policy that was declared in 1979 that Wu’s artistic vision was able to be reflected in earnest in his art works.
This paper examines how Wu applied his approach to integrating European modernism with traditional Chinese ink painting in his art works by focusing on the following three themes: harmonizing tradition with modernity, exploring new subjects, and experimenting with abstract ink painting. Wu sought to harmonize tradition with modernity by applying Western ‘formal beauty(形式美)’ to the depiction of Chinese traditional subjects. He emphasized the built environment - ‘architecture’ - as a new subject in Chinese ink painting. In addition, through his experimentation with abstract ink painting, he represented his emotions and concepts, pushing the boundary of Chinese ink painting to a new level.
Wu has contributed to the exploration of a new innovative territory within the Chinese ink and brush tradition. He offered later generations of Chinese painters the extended possibilities of ink painting techniques by applying Western ‘abstraction’ to the Chinese ink painting tradition. The experimental spirit and constant efforts of Chinese painters such as Wu Guanzhong have enabled Chinese contemporary ink painting to reach new heights and draw attention on today’s international art scene.

참고자료

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