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20세기 중국과 대만 예술의 현대성 정황
원어 제목
The Condition of Modernity in 20th Century China and Taiwan Art
주제 분류
자료 유형
학술논문
저자
왕가치 王嘉驥   지음
발행일자
2017.06.30
기본언어/원문언어
한국어/한국어
수록면/분량
101-124쪽 / 총 24쪽
국문초록
외국어초록
Chinese artists in the early and mid 20th century argued that they should correct the problem of ‘xiěyì(寫意, arts freehand brushwork in traditional Chinese painting)’ focusing on ‘xíngsì(形似, likeliness in form)’ by taking the factual spirit of the western painting in order to modernize the Chinese painting. From the early 1920s, a word ‘guóhuà(國畵, Chinese painting)’ became to have a meaning of opposition to the western painting due to a strong chauvinistic idea. In 1930s, many artists turned their interest from oil painting to the study and creation activity of Chinese water and ink painting. It is connected to the ‘New Chinese Painting(新國畵)’ which the mainland Chinese government claimed in 1950s. The Nationalist Party government that retreated to Taiwan after the complete defect at the Chinese Civil War in late 1949 asserted themselves as the authenticity of the Chinese culture and exercised Fascism. Since 1950s, the Taiwanese artistic world, and furthermore art education supported ‘guóhuà’ that revitalized traditionalism and conservatism ideology. But, there were some young Taiwanese artists who sought a new creation. Among them, ‘Fifth Moon Group(五月畫會)’ promoted by Liu Kuo Sung and ‘Dong Fang Group(東方畫會)’ founded bi Li Zhong Sheng accepted western artistic trends, especially the abstract expressionism making a challenge to closed, rigid and conservative artistic system and environment. Nonetheless, in the midst of grim reality of the political conservatism, the development of the modern art of Taiwan was frustrated from 1960s. The avant-garde modernity was not allowed by the political authorities and many founding members of Fifth Moon Group and Dong Fang Group moved to Europe and the USA. The international status of Taiwan was unstable up to 1970s. Even though a new historic phase was open with the mainland China, the controversy regarding the identity of Taiwan still continues.
참고 문헌
賈方舟 編 Jia, Fangzhou ed., 『批評的時代:20世紀末中國批評文萃 Era of Criticism: Selected Works of Chinese Art Critics in the End of 20th Century I』, 廣西美術出版社 Nanning: Guangxi Fine Arts Publishing House, 2003. 李君毅 Lee, Chun-Yi ed., 『劉國松研究文選 Liu Guo Song Anthology』, 國立歷史博物館 Taipei: National Museum of History,1996. 水天中 Shui, Tien-Zhong, 「中國畫論爭50年 contention of Chinese Painting (1900~1950)」, 『20世 紀中國畫:「傳統的延續與演進」, 國制學術大會 論文集 20th Century Chinese Painting』, 浙江人民美術出版社 Zhejiang: Zhejiang People's Fine Arts Publishing House, 1997. 王嘉驥 Wang, Chia Chi, 「關於現代、現代主義、現代性的一些思考Thought on Modern, Modernism, Modernity」, 『台灣現當代女性藝術五部曲, 1930~1983 Women Adventurers: Five Eras of Taiwanese Art, 1930-1983』, 台北市立美術館 Taipei: Taipei Fine Arts Museum, 2013. 王嘉驥 Wang, Chia Chi, 「論劉國松1961年回歸水墨山水之路 A Study on Liu Guosong’s Return of the Year 1961 to Ink Landscape Painting」, 『中國繪畫名家個案研究: 劉國松 下卷 Case Study of Chinese Painting Master: Liu Guosong Volume 2』, 梅墨生 編 Mei, Mosheng ed., 大家 良友書局, Hongkong: Wholly Friendship Bookstore,2013. 蕭瓊瑞 Xiao, Qiongrui, 『五月與東方: Fifth Moon Group and Dong Fang Group』, 東大圖書 Taipei: Dongdatushu,1991. 徐悲鴻 Xu, Beihong, 『徐悲鴻文集 Xu Bei Hong Anthology』上,下卷, 藝術家 Taipei: Artistpublishing, 2006. 周婉窈 Zhou, Wanyou, 『台灣歷史圖說Iconography Taiwan History』, 聯經出版 Taipei: Linking Publishing, 2009. Clark, John, Modernity in Asian Art, Sydney: Wild Peony, 1993. Lefebvre, Henri, Moore, John, trans., The Introduction to Modernity: Twelve Preludes, September 1959~May 1961, London and New York: Verso, 2011.
키워드
중국화의 현대성 modernity in Chinese painting, 대만 현대 예술 modern art in Taiwan, 수묵화 ink wash painting, 國畵 Chinese painting(guóhuà), 오월과 동방 Fifth Moon Group and Dong Fang Group