안상철의 탈동양화 실험 : 1950~70년대 평면작품을 중심으로

This thesis examines the experiment of Deorientalization in flat works by Ahn Sangchul, who constructed his unique oeuvre by using various materials and techniques to escape from traditional Oriental paintings. Beginning in the mid-1950s, several criticisms of the standardized artistic trend in the National Exhibition was raised by the artists who were excluded from the National Exhibition. In the 1940-50s, European Art Informel and American Abstract Expressionist techniques were introduced, which was also called as ‘Informel in the Korean-Painting circles. Around this time period, the atmosphere of modernization and Deorientalization was developed in the Korean Oriental painting circles, and abstract paintings appeared in the field of flat ink painting. Moreover, diverse Abstract experiments were committed beyond the formal and content limitations of traditional Oriental paintings. Ahn Sangchul also joined the stream of Deorientalization to overcome the limits of traditional Oriental painting. Ahn Sangchul was awarded consistently in the 1950’s National Exhibition for presenting new styles of landscape paintings, constructed in a modern sense which moved away from the material and perspective of traditional landscape paintings. His awarded artworks in the 1950s National Exhibition likewise explored his way of Deorientalization through new composition and constructive forms. From the 1960s, he continued experiments on Deorientalization through semi-abstract and abstract works in the form of Sumukhwa(Oriental Ink Painting). In the 1970s, he developed Deorientalization in his works by using new materials and creating flat works, made of a mixture of flour and glue on kraft paper instead of Hwaseonji(Korean traditional paper). Ahn Sangchul continued his experiments throughout his life, which has itself raised a question about the identity of Oriental painting in Korean-painting circles. KCI Citation Count: 0