고암 이응노 회화에 나타난 공간 운동론

Abstract

This paper aims to comprehend Lee Eung-no's paintings and his art world truly by looking at them in detail from the viewpoint of comparative aesthetics. It implies a step towards further understanding of his works by a philosophical analysis of formative space appearing in them having been estimated as a creative artist beyond the boundary of two art worlds between modern and contemporary, East and West. For to understand an artwork exactly does not mean to mention from an art-historical or anthropological context. During the Japanese colonial era, it was inevitable that modernized Western Art foundations were introduced and rooted into our Art society as a new turning point passively. Furthermore the more new factors come in our zone, the less spots available for origins; faded away of the clearness of border line between Eastern and Western Art fields. The appearance of Lee Eung-no's work has been regarded as representatives of this colonial era, especially described as vivid comparative aesthetics research made of his own view points of space. His personal development and achievements which could fit on either side of Arts, Eastern or Western, play a very important role for this modern time. He viewed the world of art as one decent area combined with two eastern and western colors. For researching was supressed by government, researchers have been running their Lee Eung No projects with very unidealistic and unfairly prepared conditions. In public, either his works or his life as an artist were uncovered as though he walked on hard life, under the shadow of twisted unfortunate lifelong. From others' hands overwhelmingly simplified all about him were by formula analysis broadly or forced to be evaluated within dramatically limited either eastern or western views. In the whole process of learning the proper attitde toward artists' work are unnecessary to look at personal yards. It can never be enough for decent comprehension of art from artists by listing all historical records following the fame of artists. The well of artists' pre-experience consciousness explores the cause of the subject and this is depending on the way of causing subject not on the contexts of it. In other words, what we need here is the difference in terms of the causing subject formula. To get over partly tilted limitation of the researching consequences we face currently that a person, Lee Eung No, has been judged by only private space or simplified modeling spacious formations. Within the work should be accessed philosophically, filtering the truthful elements that will be the most reasonable solutions to get the readers stretch out nearby the artist.