선적線的 사유 ―동양회화 예술언어로써의 선에 대한 의미 고찰The Thinking of Line ―Focus on Lines in Traditional Asian Paintings
- Authors
- 김백균
- Issue Date
- 2009
- Publisher
- 현대미술학회
- Keywords
- Huihua(繪畵); Line(線); Hua(畵); Goule(鉤勒); Shufa(書法)
- Citation
- 현대미술학 논문집, v.13, pp 187 - 208
- Pages
- 22
- Journal Title
- 현대미술학 논문집
- Volume
- 13
- Start Page
- 187
- End Page
- 208
- URI
- https://scholarworks.bwise.kr/cau/handle/2019.sw.cau/33445
- ISSN
- 1738-8295
- 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.
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