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    請使用永久網址來引用或連結此文件: http://ir.lib.ncu.edu.tw/handle/987654321/78021


    題名: 尋找世界和自我的藝術路徑——韓國藝術家徐世鈺和徐道濩的作品研究;In Search for the World and the Subjectivities: Study of the Works of the Korean Artists Se-ok Suh and Do-ho Suh
    作者: 曾筱如;Tseng, Hsiao-Ru
    貢獻者: 藝術學研究所
    關鍵詞: 徐世鈺;徐道濩;《人們》;《家》系列作品;韓國抽象水墨畫;裝置藝術;Suh Se-ok;Suh Do-ho;People;Home series;Korean abstract ink painting;Installation art
    日期: 2018-08-23
    上傳時間: 2018-08-31 15:08:51 (UTC+8)
    出版者: 國立中央大學
    摘要: 韓國父子藝術家徐世鈺(1929-)和徐道濩(1962-)的藝術追求,分別是透過抽象水墨畫來追尋韓國繪畫的現代性,以及從裝置作品開啟對於不同文化的認同問題。以往韓國藝術史的研究方式大多針對同一世代和同一創作媒材來探討,本論文試圖採取跨世代和跨媒材的宏觀視角,探討徐氏父子所專精的藝術領域,兩人作品之間的對話,以及他們所面對的國際化和韓國主體性之課題。因此,徐世鈺和徐道濩的探索途徑可以說是從韓國現代藝術對於國際化的追求,回歸到韓國傳統和自我的走向。

    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.
    顯示於類別:[藝術學研究所 ] 博碩士論文

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