매화도를 통한 자아의 상징에 관한 연구

Abstract

A Study on the Symbol of Self through Plum Painting - With focus on the researcher's works -

song dae-sung Graduate School of Chosun University art department Professor Kim Jong-kyung This paper studies the variety of formative art created by human beings based on the different emotions perceived when presented with the same object of a particular shape. In particular, it looks at plum blossom paintings created based on the symbolic meanings of each color, and with a variety of different ingredients and forms. Plum blossoms are ever-present. They silently endure the harsh winds and cold chills of winter. As a flower, plum blossoms symbolize spring and are found in various paintings, in religious texts, and in handicrafts. They are even consumed as tea. Given the fact that they always persevere through the hardships of winter, and thanks to its clear and tranquil scent, plum blossoms are often called “Gunja” (a virtuous person). This symbolic significance of plum blossoms made them a favorite motif in traditional paintings. They began appearing in paintings since the Goryeo Dynasty. Renowned painters such as Eo Mong-ryong, Oh Dal-je, Cho Chiwoon, Gang Se-hwang, and Kim Hong-do often featured plum blossoms in their paintings. When using the painting technique known as “Ilpilhwa” (painting with a single, uninterrupted brush stroke), the brush and the painter's spirit are connected to one, creating an unbroken chain of energy. The painting captures the painter’s intent and spirit when complete. Overall, it is an expression of powerful energy. Although some modern Korean paintings are painted with traditional ink, most use modern paint rather than traditional ink. This is because artists and the public are often exposed to a variety of colors in the media, through light fixtures, and in videos our ancestors did not have access to. Also, with people moving out of Hanok-style houses and into apartments, vivid colors have naturally become the expected norm in people’s daily lives. Perhaps influenced by these changes, today, there are a large contingent of artists who seek to replicate a sense of form using colors. In contrast, this researcher used colors to convey the meaning and concepts they each symbolize. In other words, red was used to represent danger, speed, and passion, whereas blue was used to convey tranquility, calmness, and solitude. Similarly, yellow was used to reflect brightness, warning, satisfaction, and creativity, white was used to illustrate goodness, purity, and the truth, while black was used to depict dignity, death, and conservative tendencies. In other words, colors were used as symbolic tools for their inherent meanings rather than their beauty in an aesthetic sense. In Oriental paintings, five colors - blue, red, yellow, white, and black - form the foundation of the “Yin-Yang and the Five Elements Theory.” Here, yellow is the central color, and serves as a symbol of land. Red means fire, warmth, and prosperity of all things in our world. Blue means tree or the season of spring that represents creation, life, immortality, and hope. Meanwhile, white is a symbol for gold or autumn, and it means life, daytime, innocence, truth, and purity. Finally, black is linked to water or the winter season. It also represents the north, darkness, and death. By depicting the symbolic significance of plum blossoms using a variety of ingredients, including white clay and calcite powder, with a strong and direct brushstroke, this researcher attempted to create a texture that is not typically found in ink paintings of plum blossoms. Paintings created by this researcher such as “Permeating - Through the Rapids,” “Permeating - From Time,” and “Permeating - Cold Frost” express the spirit of our virtuous ancestors through the aforementioned ingredients and painting technique. Meanwhile, the “Dancing River-Flow 3," "Dancing River-Shimmer," "Dancing River-Tamjingang River" reflect the viewer’s mindset or perception towards plum blossoms. Through the use of colors, with focus on their symbolic meanings, these paintings remind the viewer that there can be several different interpretations of plum blossoms that diverge from the traditional meaning of plum blossoms. Traditionally, plum blossoms were believed to represent several different things. As such, this wide variance of meanings plum blossoms and its colors can play a great role internally in the expansion of human perception, something that today’s modern viewers can highly sympathize with. This study attempts to reinterpret the diversity of human emotions through the psychological and spiritual aspects of plum blossom paintings, and create a new style of aesthetics. Moving forward, this researcher hopes to approach aesthetics with several different studies and experiments on modern forms.| A Study on the Symbol of Self through Plum Painting - With focus on the researcher's works -

song dae-sung Graduate School of Chosun University art department Professor Kim Jong-kyung This paper studies the variety of formative art created by human beings based on the different emotions perceived when presented with the same object of a particular shape. In particular, it looks at plum blossom paintings created based on the symbolic meanings of each color, and with a variety of different ingredients and forms. Plum blossoms are ever-present. They silently endure the harsh winds and cold chills of winter. As a flower, plum blossoms symbolize spring and are found in various paintings, in religious texts, and in handicrafts. They are even consumed as tea. Given the fact that they always persevere through the hardships of winter, and thanks to its clear and tranquil scent, plum blossoms are often called “Gunja” (a virtuous person). This symbolic significance of plum blossoms made them a favorite motif in traditional paintings. They began appearing in paintings since the Goryeo Dynasty. Renowned painters such as Eo Mong-ryong, Oh Dal-je, Cho Chiwoon, Gang Se-hwang, and Kim Hong-do often featured plum blossoms in their paintings. When using the painting technique known as “Ilpilhwa” (painting with a single, uninterrupted brush stroke), the brush and the painter's spirit are connected to one, creating an unbroken chain of energy. The painting captures the painter’s intent and spirit when complete. Overall, it is an expression of powerful energy. Although some modern Korean paintings are painted with traditional ink, most use modern paint rather than traditional ink. This is because artists and the public are often exposed to a variety of colors in the media, through light fixtures, and in videos our ancestors did not have access to. Also, with people moving out of Hanok-style houses and into apartments, vivid colors have naturally become the expected norm in people’s daily lives. Perhaps influenced by these changes, today, there are a large contingent of artists who seek to replicate a sense of form using colors. In contrast, this researcher used colors to convey the meaning and concepts they each symbolize. In other words, red was used to represent danger, speed, and passion, whereas blue was used to convey tranquility, calmness, and solitude. Similarly, yellow was used to reflect brightness, warning, satisfaction, and creativity, white was used to illustrate goodness, purity, and the truth, while black was used to depict dignity, death, and conservative tendencies. In other words, colors were used as symbolic tools for their inherent meanings rather than their beauty in an aesthetic sense. In Oriental paintings, five colors - blue, red, yellow, white, and black - form the foundation of the “Yin-Yang and the Five Elements Theory.” Here, yellow is the central color, and serves as a symbol of land. Red means fire, warmth, and prosperity of all things in our world. Blue means tree or the season of spring that represents creation, life, immortality, and hope. Meanwhile, white is a symbol for gold or autumn, and it means life, daytime, innocence, truth, and purity. Finally, black is linked to water or the winter season. It also represents the north, darkness, and death. By depicting the symbolic significance of plum blossoms using a variety of ingredients, including white clay and calcite powder, with a strong and direct brushstroke, this researcher attempted to create a texture that is not typically found in ink paintings of plum blossoms. Paintings created by this researcher such as “Permeating - Through the Rapids,” “Permeating - From Time,” and “Permeating - Cold Frost” express the spirit of our virtuous ancestors through the aforementioned ingredients and painting technique. Meanwhile, the “Dancing River-Flow 3," "Dancing River-Shimmer," "Dancing River-Tamjingang River" reflect the viewer’s mindset or perception towards plum blossoms. Through the use of colors, with focus on their symbolic meanings, these paintings remind the viewer that there can be several different interpretations of plum blossoms that diverge from the traditional meaning of plum blossoms. Traditionally, plum blossoms were believed to represent several different things. As such, this wide variance of meanings plum blossoms and its colors can play a great role internally in the expansion of human perception, something that today’s modern viewers can highly sympathize with. This study attempts to reinterpret the diversity of human emotions through the psychological and spiritual aspects of plum blossom paintings, and create a new style of aesthetics. Moving forward, this researcher hopes to approach aesthetics with several different studies and experiments on modern forms.