박생광 회화의 시기구분과 대표적 경향연구

Abstract

Park Saeng-Kwang may be evaluated as an artist who left a world view and marks of artwork suitable for his title, ‘A Great Master of Korean Modern Art. In particular, he must also be an important painter to review the Korean identity as a counterproposal which Korean Art should proceed in time of internationalisation. This thesis tries to focus on the study of ‘the chronological divisions and their characteristics of Park’s works’, which is the basics for the study of the artist. The analysis of a chronological tendency and its study of Park Saeng- Kwang can start to divide into the five stages from his days studying in Japan. However, his masterpieces were produced intensively in a very short time from 1982 to his death in 1985 via the period of diverse experiments between 1977 and 1982. Moreover, his final days, the fifth stage, were characterised by an awareness of the national spirit in his art world of representative paintings which had always been hidden constantly from his days living in Jinju, and by strong impressions engraved during the trip to India. It is explored that these awareness and impressions have caused to form his attitude of ‘a strict historia’ about Korean history, and a cry and indictment against its distortion. In practice, he introduced magical senses felt while watching mediums’ spectacles directly into his works. By doing this, he enhanced recognition of the ethnic formative elements in colours used in his Buddhist paintings, red and blue colourings, murals and shaman paintings until he died of the larynx cancer in 1985. Paintings of Park Saeng-Kwang reached the climax of ‘Gue-Dae-Ro painting style’ with his masterpieces such as ‘Jeon Bong Joon’ and ‘the Empress Myung Sung’. They suggested another solid code for genuine methodology of Korean Modern Art in the age of globalisation. Thus he may be evaluated as a Great Artist of Korean Modern Fine Arts.