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북한미술 현황 연구
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  • 북한미술 현황 연구
  • A Study on Present Condition of North Korean Art
저자명
전영우
간행물명
조형교육KCI
권/호정보
2002년|20권 (통권20호)|pp.413-432 (20 pages)
발행정보
한국조형교육학회|한국
파일정보
정기간행물|KOR| 이미지(8.92MB)
주제분야
교육학
서지반출

영문초록

Art form of North Korea has been developed from their own individual style which has a different aspect than the one in south Korea that started from pure art movements. From this coherence it is very important for us to study extensively about substantial definition of North Korea art which has a different development aspect than Korea art, after the 1945 liberation as an internationalized language from the active interchange with western ideas. It shows a significant view point of perfect inquiry of half sided Korea Art, also could be an entity affirmation. Art Policy of North Korea based on the instruction of Ilsung Kim as it has been stated "Nationalistic form, Socialistic Contents" so called nationalistic form has been described as inherence modality which include "Chosunpainting" Socialistic Contents mean emphasizing or stimulating socialistic revolution and ideology which has been reflected in Chosunpainting shows differentiation according to the periods. since 1954 the instruction of Ilsung Kim, developing style of Chosunpainting has been discussed. After that Chosunpainting has largely produced and became a main stream genre of North Korea Art. Special feature and the manner shown in North Korea Art can summarized as below. Painting has to express bright and clear color according to the original color of the feature based on realistic attitude, using blank space and aiming tender unity excluding rough, contrasty elements. North korea kept this principle that Chosunpainting has to be based on nationalized with distinctive procedure with the rule of North Korea Art indicated above. Therefore so called nationalized form of North Korea art is determined by color and figure with using the blank space and bright background. In addition, perspective from western, realistic representation of the appearance, various painterly technic and all these effects materialized Chosunpainting as one of the main genre. However passing over the intensive rigidity that stereotyped individual idolization, revolutionary ideas and argument weather the coloring painting is our traditional style or not, also fundamental verification of general idea about art, understanding Chosunpainting as a independent main stream could be one positive approach.

목차

Ⅰ. 들어가며
Ⅱ. 북한의‘미술’개념과‘미술가’
Ⅲ. 북한미술의 창작원리: 주체미술론
Ⅳ.‘조선화’의 시기별 전개과정
Ⅴ. 나오며
【참고문헌】
ABSTRACT

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