The purpose of this study is to explore the color world of modern Korean paintings expressed in the works of Kim, Whan-ki(1913-1974), Yoo, Young-kuk(1916-2002), Kim, Ki-chang(1913-2001), and Park, Saeng-kwang (1904-1985) from the perspective of the Korean traditional five cardinal colors based on the Eastern art ideology and the theory of Yin-Yang and five elements. The Eastern culture is based on the naturalism theory and the theory of Yin-Yang and five elements. In other words, unlike the West, which has been in confrontation with nature and has considered nature as an object to be conquered, the view of nature in the Eastern culture has been to regard the relation between humans and nature as an organic relationship in which humans and nature are inseparable. It is a harmonious relationship in which human beings coexist in nature and nature harmonizes in human beings. These ideas go back to ancient times, and they originated in the thought of unification of heaven and human beings in harmony(天人合一) and mulailche(物我一體) ideology (the thought of self forming one body with nature). With respect to the relationship between the oriental art ideology and the five cardinal colors, Confucius considered it a political goal to achieve the right society with the concepts of benevolence(仁) and propriety(禮) of Confucian thought. He argued that the spirit of art can be achieved only when the precondition of the character with moral innocence is satisfied, and that a person should possess moral integrity and purity of mind before creating art. These points of view of Confucius can be condensed into two words, 'munjilbinbin(文質彬彬)(a good appearance achieved through the harmony of the form decorating a writing and the essence as the content of a writing)' and 'hoesahuso(繪事後素)(the literal meaning of this expression is that painting should be done after the white for painting is prepared, and the implication is that the development of a person’s moral character is a precondition for proper painting)'. The most important thought in the Taoism painting ideology of Lao-tzu and Chuang-tzu is 'muwijayeon(無爲自然)(nature itself remained intact)' ideology just as the 'huso spirit' is the most important thought in the Confucian painting ideology. However, in its fundamental true meaning, 'muwi(無爲)(leaving nature as it is)' has the same meaning as the 'huso' of Confucian thought. In order to explain the origin of 'saek(色)(form)' in Buddhism, it is necessary to first explain the concept of the material world. The material world is largely divided into three categories: the world of greed(欲界), the world of lust(色界), and the formless realm(無色界). However, the literal meaning of the formless realm is the colorless world, so it can be thought of as the world of emptiness and nothing that transcends all the colors. In Korea, Buddhism naturally combined with folk beliefs and began to become esoteric Buddhism because of the strong influence of primitive religions such as seeking blessings for the nation through shamanism. Combined with folk beliefs in this way, Buddhism in Korea emphasizes the traditional five colors of white, red. yellow, blue and black. The theory of Yin-Yang and five elements was originally divided into the theory of Yin-Yang(negative and positive) duality and the theory of five elements of wood, fire, earth, metal, and water, and each theory explained the principles of the creation and extinction of all things in the universe. Yin-Yang is an organization composed of two entities, Yin and Yang, which are joined together and are inseparable from each other, and they form a whole combining with each other, helping each other, relying on each other, and communicating with each other. Yin-Yang and five elements acted as important concepts in interpreting nature. The five cardinal colors that are distinguished on the basis of the theory of Yin-Yang and five elements have been used deeply in our lives and have had symbolic and shamanistic meanings. In addition, the Korean nation regarded the five cardinal colors as sacred ones and attached importance to their symbolic meanings, and since the life and culture of the Korean nation developed on the basis of the theory of Yin-Yang and five elements, they were careful about the way the colors were used and banned unsacred uses of them. The five cardinal colors were further embodied as Koreans' traditional colors through Goguryeo(Koguryo) tomb murals, Goryeo Buddhist paintings, and Joseon folk paintings. In the paintings of Goguryeo tomb murals, colors were used as the means of giving the symbols and meanings to the contents rather than for the beauty of the colors themselves. The coloring of Goguryeo paintings was developed in the paintings of the early period of Goguryeo, became more distinctive in the paintings of the middle period of Goguryeo, and the tendency became more evident and coloring became more brilliant in the late period paintings of four guardians(four guardian deities). In the Goryeo period, Goryeo Buddhist paintings expressed the contents of Buddhist scriptures and represented dignified Buddhist contents as symbolic images. Most of the paintings were painted by painters, literary noblemen, or monks through the donation of the nobles who relied on Buddha, wishing for their prosperity and the well-being of their families and hoping that their prosperity in this life would continue in the afterlife. Folk paintings played a role of connecting the emotions that the common people felt in their life to their common world view. The common people expressed their feelings in their life intensely using primary colors produced with deep-color pigments. The primary colors used at this time are the five cardinal colors that reflect the unique color culture of the Korean nation. For the cardinal five colors, more importance is placed on the symbolic meanings of the color than on the beauty of the colors themselves, and the symbolic meaning of each color is maintained and expressed in folk paintings. The artists representing the five cardinal colors expressed through Korean modern paintings are Kim, Whan-ki, Yoo, Young-kuk, Kim, Ki-chang, and Park, Saeng-kwang. Kim Whan-ki generally used blue as the dominant color in his works but until 1972, he also used a variety of colors such as colorful dots of blue, red, green, and yellow, and overall dots of red and yellow. For him, blue is a distinctive hue of Korea symbolized by blue sky, and it is also the dominant color reflecting his inner side. In the 1930s, Kim Whan-ki basically manifested progressive modernism based on the depiction of nature, using simplified forms of planes and bright and splendid primary colors. He did not view nature with an attitude of contemplating it outside, but regarded it as a being that lived a life with himself within himself. In that sense, for him, 'to follow nature' means not to simply capture nature but to respond to the order of creation of nature, and it also expresses the 'longing for infinity' that transcends time and space. Yoo Young-kuk's yellow symbolizes the color of the earth and represents the center among the five directions. The center contains the middle path that does not lean in any direction. Yoo Young-kuk did not lean toward any side among the domestic or overseas trends in art, and developed his style of work in his own way. In respect of Yoo Young-kuk's use of color, he represented the image of nature using subjective colors rather than the colors of the objects. The spirit of moderation in his mind was expressed through yellow. This yellow color plays a role in harmonizing colors in his work. Through the color, all the ideational elements that make all things of the universe represent the characteristics of space in accordance with the surrounding environment by motion, light, and movement. Therefore, Yoo, Young-kuk's sense of color can be characterized by the use of five cardinal colors, especially yellow, based on the naturalism of the East. In the 1930s, Kim Ki-chang's paintings pursued his own formative methods based on light-colored ink wash paintings using sophisticated brush strokes and ink brush techniques. In the 1950s and 1960s, cubist elements were introduced, and semi-abstract and abstract forms were represented concisely in black and white ink and wash paintings. He expressed his nature and desire more abundantly in white and black, which are colors representing a lack of greed, in his paintings such as <Slender brushed portrait>, <Blue and green colored landscape painting>, and <Dot and line series>. Kim Ki-chang's black and white colors express the original nature in the colors themselves. His predominant white and black colors are prominent in his paintings based on ink wash paintings. Kim Ki-chang's "Pure, simple and childlike paintings" show the distinctive aesthetic consciousness of Koreans whose life is based on the spirit of non-technicality and 'shigim spirit'(this concept means that our lives, souls, and spirits, which have been passed down consistently regardless of the change of time through the unlimited flow of time, continue to melt into and weave themselves into human minds, making up the inner sides of humans). The black color, which absorbs all light and colors, appears splendid and heavy, while the white color keeps away and reflects the greed with brilliant and seductive colors that infinitely occurs in the inner side of man. The color red, which appears in Park, Saeng-kwang's paintings, is a typical color that signifies exorcism and is the color used in talismans. Red is a color representing dynamicity, and has magical and shamanistic meanings. It expresses the autonomy of the color and symbolizes the power of faith with the vitality coming from the inherent nature of the color. Thus, Park, Saeng-kwang's works using it have both traditionality and modernistic features. Through the color red, Park, Saeng-kwang expressed Koreans' unique artistry with aesthetic sense that everyone can feel. Looking at his works, it is important to note that his works represent the unique view of life and death and of the afterlife proper to Koreans. Therefore, Kim, Whan-ki, Yoo, Young-kuk, Kim Ki-chang and Park, Saeng-kwang constructed the color world of Korean modern paintings by using the five cardinal colors as their dominant colors. The pursuit of harmony between nature and human beings has been established in the traditional aesthetic sense of our nation. Therefore, the traditional sentiment that recognized nature as part of life has become more concrete through the color world of Korean modern paintings. The five cardinal colors continue to be used by contemporary artists influenced by these artists. ，韩语论文网站，韩语论文网站 |
