관념적 도피처로서의 산수 자연 표현 연구

Abstract

Landscape, vastly used as a subject of art from the traditional landscape painitins to the contemporary art, connotes utopia, refuge and escape in all ages and regions. The objective of this study is to understand the context and aspects od landscape as ideological escape in painting. The research method is looking into the Western and East-Asian perspectives toward nature and their landscape expressions, and studies how Modern and Contemporary Art employs ideological refuge in landscapes. In East Asia, landscape was considered a pursuit of union with nature based on Confucianism, Buddhism, and Taoism, its practice as a path to the absolute liberation and transcendence of onself. They were broadly created and appreciated as ideological landscape. Meanwhile, the landscape painting started later in the West; it was dealt as an independent theme in the 16th century due to the influence of anthropocentrism and religions. in the 18th century, it finally had the meaning as the infinite, ideal, and conceptual nature space by Romanticism. Industrial Revolution and urbanization resulted in desire to reture to nature and oriental influence also contributed to its meaning of solace and escape, and it further established as the symbol of ideological utopian space. Mechanization and drastic changing society and life of 20th century that underwent two world wars intensified escapism. Through the ages of primitivism, expressionism, and surrealism, nature became the space of dream and imagination. The nature as an alternative world for escape continues in the contemporary art. As a conclusions, this determines that psychological escape can be found in any ages and regions, and that the nature expression has developed a firm statues of the ideal imaginary space for escape.