추상미술의 미학적 원리: 개념과 장르적 특성을 중심으로
Aesthetic Fundamentals of Abstract Art
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Abstract art can be called most abstract in the sense of secession from the material objectiveness. However, it can be prominently concrete in the sense of the existential character of the work of art itself. Both abstract painting and abstract sculpture should pass over the geometrical figure or the solid geometrical construction which doesn't have human soul. But this fact does not necessarily require to represent the concrete real object such as human figure in sensible form. A complex of line and color is animated by the spouting passion and the spiritual strain, and is generated with the inner motion. By the way, there is a standpoint in which both representational art and abstract art can assert their legitimate existential right with equal qualification. If that is the case, we should reform the traditional idea that the painting is a kind of art to depict the objective things, and sublate to a new concept of painting. Accordingly, the orientation of painting in the system of art is required to be changed. The construction of painting is consisted of a figuration and at the same time an auto-figuration. It has a virtual form and a practical form. It has a semantic function to represent outer object and a formal organization which is inherent in themselves. There are two direction in abstract art. The one is the dominance of construction of artistic form over representation to figure the objects which are outside work of art, and the other one is the dominance expression of inner state over representation to draw the outer objects confronting with human being. Abstract art has developed in two directions, namely the geometrical constructive tendency which is cold abstraction and the non-geometrical expressive tendency which is hot abstraction. Furthermore, the abstract painting in constructive tendency step forward to architecture, and the one in expressive tendency becomes familiar with music. The imitative value of a work of art consists not merely in the representation of appearance of the outer object, but also in the representation of the real essence of the existence. Abstract art movement is a scene in the long history of rise and decline of artistic style. As it has happened as a reaction to the trend of past realism, it arouse a reaction to new concreteness. Recently, the restoration of objectivity is attracting attention on the other side.
Abstract
Abstract art can be called most abstract in the sense of secession from the material objectiveness. However, it can be prominently concrete in the sense of the existential character of the work of art itself. Both abstract painting and abstract sculpture should pass over the geometrical figure or the solid geometrical construction which doesn't have human soul. But this fact does not necessarily require to represent the concrete real object such as human figure in sensible form. A complex of line and color is animated by the spouting passion and the spiritual strain, and is generated with the inner motion. By the way, there is a standpoint in which both representational art and abstract art can assert their legitimate existential right with equal qualification. If that is the case, we should reform the traditional idea that the painting is a kind of art to depict the objective things, and sublate to a new concept of painting. Accordingly, the orientation of painting in the system of art is required to be changed. The construction of painting is consisted of a figuration and at the same time an auto-figuration. It has a virtual form and a practical form. It has a semantic function to represent outer object and a formal organization which is inherent in themselves. There are two direction in abstract art. The one is the dominance of construction of artistic form over representation to figure the objects which are outside work of art, and the other one is the dominance expression of inner state over representation to draw the outer objects confronting with human being. Abstract art has developed in two directions, namely the geometrical constructive tendency which is cold abstraction and the non-geometrical expressive tendency which is hot abstraction. Furthermore, the abstract painting in constructive tendency step forward to architecture, and the one in expressive tendency becomes familiar with music. The imitative value of a work of art consists not merely in the representation of appearance of the outer object, but also in the representation of the real essence of the existence. Abstract art movement is a scene in the long history of rise and decline of artistic style. As it has happened as a reaction to the trend of past realism, it arouse a reaction to new concreteness. Recently, the restoration of objectivity is attracting attention on the other side.
참고문헌 (18)
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- J. K. Feibleman, "Concreteness in Painting: Abstract Expressionism and After", The Personalist, 43, pp.70~83 (1962)
- Wassily Kandinsky, "Über das Geistige in der Kunst, mit einer Einführung von Max Bill" (1952), Benteli
- Marsha Morton, "Malerei und Zeichnung : The History and Context of Max Klinger's Guide to the Arts, in Zeitschrift für Kunstgeschichte", pp.542~569 (1995), Deutscher Kunstverlag GmbH Munchen Berlin
- Georg Schmidt, "Kleine Geschichte der Modernen Malerei von Daumier bis Chagall" (2002), Basel
- Meyer Schapiro, "Modern Art, in 19th & 20th Centuries, in 현대미술사론" (1989), 까치
- 二見史朗, "抽象芸術の誕生" (1980), 紀伊国屋書店
- 竹內敏雄, "現代藝術の美學" (1967), 東京大學出版會
- 안나 모진스카, "20세기 추상미술의 역사" (1998), 시공사
