The purpose of this thesis is to study the Obang colors in Korean abstract paintings. Both in the traditional and modern paintings, Obang colors have been the characteristic and essential colors to show Korean's sense of beauty. 'Obang' means five directions (north, south, east, wast, and the center...
The purpose of this thesis is to study the Obang colors in Korean abstract paintings. Both in the traditional and modern paintings, Obang colors have been the characteristic and essential colors to show Korean's sense of beauty. 'Obang' means five directions (north, south, east, wast, and the center of these cardinal points) and each direction has its own color: red, blue, yellow, black, and white. The conception derives from Chinese philosophy: principles of Yin and Yang and of the five elements. From the ancient Goguryo dynasty, Korean painters had used Obang colors in their paintings. I believe that Obang colors have been the main color for Korean traditional paintings. In Chapter II, traditional Korean paintings in which the Obang colors had been used are traced from Goguryo dynasty to Joseon dynasty. Obang colors have been used also in modern Korean paintings and in Chapter III the paintings of three modern Korean painters—Park Saeng Gwang, Jeon Hyuk Rim and Lee Doo Shik—are examined to find the role of Obang colors in their abstract works. In Chapter IV, my Obang color works are examined. I believe that Obang colors are the proper media to represent Korean mind, which tries to balance between human and nature. In my works, these pure and unblended colors represent not only strong vitality but also impressive images. I used Korean traditional papers by employing techniques of decoupage and collage. These stereoscopic techniques help represent vivid and dynamic vitality of nature and the artist. In my works I tried to show self-realization by illustrating the beauty and power of nature. My subjects are natural things like flowers and butterflies, but they are transformed into abstract patterns by employing Obang colors, each of which has its own symbolic meaning. Apparently my subjects may seem weak and fragile, but in my works they have enormous power of energy and will. The symbolic meanings of Obang colors are deeply rooted in Korean sense of beauty and so Obang colors are proper means of color for abstract and symbolic paintings. By reconsidering the value of Obang colors, Obang colors can help not only to establish the identity of Korean painting but also to contribute to the globalization of Korean paintings.
The purpose of this thesis is to study the Obang colors in Korean abstract paintings. Both in the traditional and modern paintings, Obang colors have been the characteristic and essential colors to show Korean's sense of beauty. 'Obang' means five directions (north, south, east, wast, and the center of these cardinal points) and each direction has its own color: red, blue, yellow, black, and white. The conception derives from Chinese philosophy: principles of Yin and Yang and of the five elements. From the ancient Goguryo dynasty, Korean painters had used Obang colors in their paintings. I believe that Obang colors have been the main color for Korean traditional paintings. In Chapter II, traditional Korean paintings in which the Obang colors had been used are traced from Goguryo dynasty to Joseon dynasty. Obang colors have been used also in modern Korean paintings and in Chapter III the paintings of three modern Korean painters—Park Saeng Gwang, Jeon Hyuk Rim and Lee Doo Shik—are examined to find the role of Obang colors in their abstract works. In Chapter IV, my Obang color works are examined. I believe that Obang colors are the proper media to represent Korean mind, which tries to balance between human and nature. In my works, these pure and unblended colors represent not only strong vitality but also impressive images. I used Korean traditional papers by employing techniques of decoupage and collage. These stereoscopic techniques help represent vivid and dynamic vitality of nature and the artist. In my works I tried to show self-realization by illustrating the beauty and power of nature. My subjects are natural things like flowers and butterflies, but they are transformed into abstract patterns by employing Obang colors, each of which has its own symbolic meaning. Apparently my subjects may seem weak and fragile, but in my works they have enormous power of energy and will. The symbolic meanings of Obang colors are deeply rooted in Korean sense of beauty and so Obang colors are proper means of color for abstract and symbolic paintings. By reconsidering the value of Obang colors, Obang colors can help not only to establish the identity of Korean painting but also to contribute to the globalization of Korean paintings.
주제어
#Obang colors abstract paintings Korean traditional papers Saeng-gwang Park Hyuk-lim Jeon Doo-shik Lee Seung-yun Oh
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