The background of <BEYOND> comes from Tibet in western China, a region 3,650 meters above sea level. It shows the lives, environment and natural scenery of a people who, due to geographical concerns, have been cut off from the world, in an environment which is the highest living altitude of human beings. Explorations into the Tibetan people focusing on the history, culture, people and religion of Tibet have served as a major visual inspiration for many artists who have come to visit Tibet over the years. While many photographers capture the same visual subject, composition of the subject and richness of imagination come out differently in the resulting pictures, and the identity of the visual subjects are represented differently. Tibet is captured through artists’ individual will and through their own unique photography styles. The purpose of this thesis is to examine the materiality and spirituality of Tibet in images of <BEYOND> photography exhibition. In Tibet, the idea that the four elements –earth, water, air and fire- made up all matter in Buddhist philosophy has been the cornerstone of everyday life, and human awareness beyond these standards have come to be understood through spirits. The terms ‘materiality’ and ‘spirituality’ described within this thesis are not technical terms, but rather the terms of comprehensive and general concepts. The concept of ‘materiality’ is applied as the primary unit of all creations, and the method in which human ideas and consciousness are connected in all of their complexities to make or reveal a new meaning is called ‘spirituality’. To reveal what is not seen through photography in the <BEYOND> exhibition is an attempt to combine materiality and spirituality to make a new meaning. Thus, the researcher connotes that not only the physical appearance of the works but also the spirit beyond it should be examined in the title <BEYOND>. The researcher believes that hidden spirit is grasped if the original forms of materials beyond actual images come to be understood. To analyze represented photography is to read something which is commonly educated and promised within a society’s relation net. The researcher chooses ‘narrative, symbolization, and undertone’ for the method of reading something beyond images. ‘Narrative’ is like communication which allows an incident or phenomenon to be related in a unified connectivity, and included as a part of the representing process. Through representation, images reflect intentional meanings and approaches while conveying more significant meanings through the exhaustive social system of representation, where viewers always anticipate an image to hold a meaning. ‘Symbols’ permeate the human condition with all of their universal meanings, and the world of symbols is a culture which appeals to those interested in the collective unconsciousness. The spirit of a matter or object is a visualized form, and the result of awareness, educated by experiences. When imagination is added in a symbolic object, the expandability of meaning in which imagination is applied is infinitely widened. ‘Undertone’ is about a certain meaning which is connoted in a physically perceived mode such as writing, image, photography and sign. Undertones exist not only to a certain person or object, but also to all creations on the earth. The undertone of <BEYOND> is a spiritual meaning beyond physical senses of imagery. Tibet can be filmed as a documentary, where the region offers a new and unfamiliar scenery with the unique characteristics of its nature and cultures. However, <BEYOND> is not a documentary film. The biggest task for the researcher is to think how the attributes of original materials and traces of spirits beyond images can be represented in photography. Photography is such a subjective medium, so that it is interpreted differently depending on a viewer, and the range of contemplation dramatically changes- depending on the viewer’s abilities and scope of imagination. The works of <BEYOND> are appropriated by the researcher’s interpretation in this thesis. This is because the researcher hopes that represented images go beyond the meaning of record, and the understanding and ranges of photographic representation will be broadened. ，韩语论文，韩语论文范文 |
