本論文從徐氏父子兩人的代表性系列作品為出發點，在探究他們藝術理念的同時，也探查韓國解放後到當代的藝術走向。第一章先爬梳韓國解放後至90年代的藝術潮流，並著眼在徐世鈺嘗試轉換藝術表現形式之際所領導的「墨林會」水墨團體，以及考察徐世鈺創作四十年的《人們》系列作品。第二章著重評述90年代到當代的全球化藝文發展景象，並將重點放在此時期具有遊牧經驗的藝術家身上，觀看他們如何以「韓國性」來識別韓國文化，接著再從徐道濩三件《家》系列作品來探查他的自我和文化認同。第三章環扣在徐氏父子間的親情羈絆和創作聯繫，聚焦於海外合作展覽和作品之間的相似元素，並探尋徐世鈺將水墨轉換為裝置的契機，以及徐道濩如何進一步從《家》系列作品深化對於家人和韓國文化的認識。;The Korean artists Se-ok Suh (1929-) and Do-ho Suh (1962-), who are father and son, pursue the modernity of Korean painting by respective means. The former adopted the abstract ink painting, and the latter explored the identification with different cultures by installation art. Most studies of Korean art history have focused on the same generation of artists and the same medium of art works. This thesis attempts to take a wider perspective across different generations and mediums, discussing the artistic expertise of Se-ok Suh and Do-ho Suh, the dialogue between them, and the issues of the internationalization and Korean subjectivity raised by their works. Hence, the artistic trajectories of Se-ok Suh and Do-ho Suh, could be understood as a path from the pursuit of internationalization to the return to the Korean tradition and subjectivity.
This thesis starts from the Suhs’ best-known series of works, investigating their concepts and goals of art and tracing the trends of Korean art from the era of liberation to the contemporary period. The first chapter outlines the artistic currents from the era of Korean liberation to the 1990s, focusing on the ink painting group “Mumgnim-hoe” lead by Se-ok Suh that changes his artistic expressions at the time. I will study Se-ok Suh’s series “People” which has continued over forty years. The second chapter introduces the development of globalization of art from the 1990s to the present, and focuses on the artists with nomadic experiences in this period, to see how they recognize Korean culture with “Koreanness.” I discuss Do-ho Suh’s three series of “Home” as inquiry into his self and cultural identity. The third chapter delves into the family relationship and the stylistic connection between the art works of the Suhs, focusing on their cooperation on exhibitions overseas and the similar elements between their works. I explore Se-ok Suh’s turning point from ink painting to installation and how Do-ho Suh further deepens his understanding of family and Korean culture after the works of “Home” series.
