Human beings living on nature as their grounds for life expose their creative thinking and acts on modeling through a main material obtained from nature and discovery of nature's nomolgical property. Thus, human's aesthetic consciousness or artistic m...
Human beings living on nature as their grounds for life expose their creative thinking and acts on modeling through a main material obtained from nature and discovery of nature's nomolgical property. Thus, human's aesthetic consciousness or artistic modeling acts might be called another processed nature. In all artistic activities, the motive obtained from nature becomes a creative basic factor in art expression derived from the sensibility of an artist who has an in-depth look at nature. This should be a thing giving a refined meaning going beyond a self-feeling. In this context, art activities on the basis of motif of nature are an act of giving meanings and life force to art subject.
Fish, a part of nature, were used as a coat of arms by ancient men after the Neolithic age, and this custom was very prevalent in East & West cultures. The birthplace of ancient civilization formed centering on big rivers, where ancient men attempted to lengthen their life span and preservation of tribes with ease through the collection of plenty of fishes. The act of implementing a coat of arms by choosing a type of fishes In abundant nature, which they were in contact with, was a supplication of a big catch of fish, and fish gradually came to be used as a medium of inspiration for art, subject of expression, and conceptual sculpture.
The oldest insignia in Asia could be the one using fish portrayed on chromatic pottery of Susa. Chromatic pottery is an earthenware which was made and used by the primitive farming people during the Neolithic & Chalcolithic ages; its origin is Southwest Asia and it is being excavated centering on Mesopotamia and Egypt, the Mediterranean to the west, and West India and Central Asia to the east. There existed a fish insignia among the chromatic pottery in this period, but it isn't known in what sense such a fish insignia was implemented; besides, the shape of fish is hard to interpret as specific fish, but simple fish drawn in the shape of direct line well portrayed fish's characteristic.
Through the collection and arrangement of such fish insignias, this research is aimed at grasping the meaning and format transition, looking for an origin of fish insignias for the understanding of it, and finding out Korean pattern insignias & characteristics of fish insignia. The symbolic meaning fish have in a traditional culture was perceived as the value of human life in general; in addition, this research could discover that fish in our culture have occult meanings praying for abundance and auspicious sign meanings symbolic of fecundity, a success in life, riches and honors as well as good luck.
This research is also aimed at retracing pottery culture related to fish in the past which was applied to pottery by re-examining the image of fish through its related literature. In the pottery portrayed by the shape of fish, this researcher could discover that it represented the joy and peaceful & free atmosphere intrinsic in fish as composure of life and pleasure by applying the shape of fish together with the re-interpretation of a mystique fish have using a researcher's mental thinking; the image of fish appearing in such a historical background includes not only the meanings given by ecological characteristics of nature but also the meanings arising from the traditional life culture.
And also, this research could find out the fact that such multiple meanings of fish could be a humble, authentic language in expressing an "ego" through the medium of clay and also find out the value by narrating the reality plentifully and diversely with the use of expressions ranging from the concrete to abstract and also with organic consciousness.
In addition, this researcher considered the symbolic meanings of fish insignia pattern in terms of an Oriental traditional culture and the meaning at a level of religion. As for formative clay, this researcher looked into the symbolism and figurative characteristics centering on a Goryeo celadon, Joseon white porcelain, a grayish-blue-powdered celadon, wooden fish, iron rod, and folk drawings. In addition, this research classified and analyzed the modeling research of fish insignia represented in modern ceramic art centering on the expression method of modeling, analysis of patterns, and expression techniques.
In research of works, this study expressed direct feelings about the intrinsic factor of the object, not the object as it is, in which this research tried making aesthetic consciousness that can feel and be aware of beauty while human beings come into contact with and observe nature
This research is aimed at serving to the possibility that the fish insignia containing natural emotion could form an aesthetic life space by applying our traditional elements just like our art work of our ancestors who drew fish-subject matter in nature-into daily life art by looking into the influence of integration between a broad property of matter soil includes and the configuration of fish on ceramic culture art ; thus, such research results are represented in the work of this researcher who pursues re-assessment of ceramics applied by the stuff on fish and formative inquiries.
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