선적線的 사유 ―동양회화 예술언어로써의 선에 대한 의미 고찰
DC Field | Value | Language |
---|---|---|
dc.contributor.author | 김백균 | - |
dc.date.available | 2019-08-14T02:55:33Z | - |
dc.date.issued | 2009 | - |
dc.identifier.issn | 1738-8295 | - |
dc.identifier.uri | https://scholarworks.bwise.kr/cau/handle/2019.sw.cau/33445 | - |
dc.description.abstract | Asian paintings are usually called as the art of line. The line became the most important element in painting through Weijin period. After middle Tang period, painters began to make pure line-drawing, and the line became the most important element to express the painters mental world. In Asia painting has a deep relation with the activity of drawing not with colouring. Jinghao who had lived from later Tang to Wudai, in his work [Bifaji], said that "Painting is drawing." Shitao who had lived from later Ming to early Qing dynasty, insisted 'One Stroke' as the theoretical base for his own painting. In Asian paintings, what was the philosophical background for the line? how it became the most important element? There have been a lot of thesis about the line in Asian paintings, but few of them have systematically studied its original meaning and its developing process. The existing studies are mostly in two fields; one is the historical study of style about the difference between line and 'chun', another is the aesthetic study of the tendency in line. This thesis studied the process of birth of line, the form of line and its meaning. The lines in Asian painting not only draw the figure of objects, but also contain their substance. This thesis want to show how it was possible, which way of thinking made it possible. Through this study, I want show the sensitivity and meaning of Asian paintings in the angle of linear character. | - |
dc.format.extent | 22 | - |
dc.publisher | 현대미술학회 | - |
dc.title | 선적線的 사유 ―동양회화 예술언어로써의 선에 대한 의미 고찰 | - |
dc.title.alternative | The Thinking of Line ―Focus on Lines in Traditional Asian Paintings | - |
dc.type | Article | - |
dc.identifier.bibliographicCitation | 현대미술학 논문집, v.13, pp 187 - 208 | - |
dc.identifier.kciid | ART001406429 | - |
dc.description.isOpenAccess | N | - |
dc.citation.endPage | 208 | - |
dc.citation.startPage | 187 | - |
dc.citation.title | 현대미술학 논문집 | - |
dc.citation.volume | 13 | - |
dc.publisher.location | 대한민국 | - |
dc.subject.keywordAuthor | Huihua(繪畵) | - |
dc.subject.keywordAuthor | Line(線) | - |
dc.subject.keywordAuthor | Hua(畵) | - |
dc.subject.keywordAuthor | Goule(鉤勒) | - |
dc.subject.keywordAuthor | Shufa(書法) | - |
dc.description.journalRegisteredClass | kciCandi | - |
Items in ScholarWorks are protected by copyright, with all rights reserved, unless otherwise indicated.
84, Heukseok-ro, Dongjak-gu, Seoul, Republic of Korea (06974)02-820-6194
COPYRIGHT 2019 Chung-Ang University All Rights Reserved.
Certain data included herein are derived from the © Web of Science of Clarivate Analytics. All rights reserved.
You may not copy or re-distribute this material in whole or in part without the prior written consent of Clarivate Analytics.