Korean painting (original) (raw)
Die Koreanische Landschaftsmalerei hatte ihren Ursprung in der als Namjongwha (남종화) bezeichneten chinesischen Südschul-Malerei und fand in Korea während der Goryeo-Periode (913–1392) Einzug.
| Property | Value |
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| dbo:abstract | Die Koreanische Landschaftsmalerei hatte ihren Ursprung in der als Namjongwha (남종화) bezeichneten chinesischen Südschul-Malerei und fand in Korea während der Goryeo-Periode (913–1392) Einzug. (de) La denominación Pintura coreana se aplica a las obras pictóricas realizadas por artistas coreanos en Corea o en el extranjero sobre cualquier superficie. Comprende desde manifestaciones artísticas tan antiguas como los petroglifos hasta el arte conceptual post-moderno que utiliza la luz para crear formas transitorias. (es) Korean painting includes paintings made in Korea or by overseas Koreans on all surfaces. The earliest surviving Korean paintings are murals in the Goguryeo tombs, of which considerable numbers survive, the oldest from some 2,000 years ago (mostly now in North Korea), with varied scenes including dancers, hunting and spirits. It has been hypothesized the Takamatsuzuka Tomb in Japan, from the 7th-century end of the Goguryeo period, has paintings with Goguryeo influence, either done by Goguryeo artists, or Japanese one trained by Goguryeo people. Since a lot of influences came into the Korean peninsula from China during the Three Kingdoms period. Until the Joseon dynasty the primary influence was Chinese painting though done with Korean landscapes, facial features, Buddhist topics, and an emphasis on celestial observation in keeping with the rapid development of Korean astronomy. Painting in the Goryeo period (918–1392) was dominated by Buddhist scroll paintings, adapting Chinese styles; about 160 survive from the period. In this period the royal artist's school or academy, the Dohwaseo was established, with examinations for artists and run by bureaucrats of the court. Around the start of the Joseon period (1392–1897), the largely monochrome ink-wash painting tradition already long-established in China was introduced, and has remained an important strand in Korean and Japanese painting, with the local version of the shan shui style of mountain landscape painting as important as in China. Thereafter Korean painting including different traditions, of monochromatic works of black brushwork, sometimes by amateurs, professional works with colour, including many genre scenes, and animal and bird-and-flower painting, and colourful folk art called minhwa, as well as a continuing tradition of Buddhist devotional scrolls called taenghwa, ritual arts, tomb paintings, and festival arts which had extensive use of colour. This distinction was often class-based: scholars, particularly in Confucian art felt that one could see colour in monochromatic paintings within the gradations and felt that the actual use of colour coarsened the paintings, and restricted the imagination. Korean folk art, and painting of architectural frames was seen as brightening certain outside wood frames, and again within the tradition of Chinese architecture, and the early Buddhist influences of profuse rich halos and primary colours inspired by Indian art. Korean painters in the post-1945 period have assimilated some of the approaches of the west. Certain European artists with thick impasto technique and foregrounded brushstrokes captured the Korean interest first. Such artists as Gauguin, Monticelli, Van Gogh, Cézanne, Pissarro, and Braque have been highly influential as they have been the most taught in art schools, with books both readily available and translated into Korean early. And from these have been drawn the tonal palettes of modern Korean artists: yellow ochre, cadmium yellow, Naples yellow, red earth, and sienna. All thickly painted, roughly stroked, and often showing heavily textured canvases or thick pebbled handmade papers. (en) La peinture, en Corée, une forme de l'art coréen particulièrement remarquable, se manifeste sous les formes les plus diverses, depuis les antiques peintures murales, préservées dans les tombes du royaume de Koguryo, les bannières bouddhiques aux couleurs intenses, les peintures de lettrés à l'encre, les paravents décoratifs, jusqu'à la peinture telle qu'elle est pratiquée dans l'art contemporain. La peinture moderne coréenne intègre, par ailleurs, les œuvres des artistes coréens, sur tout le territoire de la Corée, Corée du Nord et Corée du Sud et au sein de la diaspora coréenne dispersée dans le monde. Les diverses formes du dessin, au pinceau et à l'encre sont légitimement des formes de la peinture en Extrême Orient. La peinture de lettré étant un art de calligraphe, qui travaille au trait et introduit plus ou moins l'eau dans sa peinture. Cette peinture au trait, traditionnelle, sert à réaliser les gravures sur bois, pour l'impression d'ouvrages illustrés, qui sont, ici, parmi les plus anciens au monde. Par contre le dessin gravé sur pierre au cours de la Préhistoire, comme dans le cas des pétroglyphes de Bangudae, relèvent, plus généralement, de l'art coréen. (fr) Lukisan Korea adalah jenis lukisan tradisional yang dilukis dengan gaya lukis Korea. Lukisan tradisional Korea dapat dikategorikan dari 20 sampai 30 jenis berdasarkan teknik atau gaya melukisnya. Aliran yang utama adalah aliran formal dan minhwa, gaya lukisan rakyat. Lukisan pemandangan adalah salah satu tema yang paling umum selain tema hewan, bunga-bunga, kehidupan sehari-hari dan religius (Buddhisme, Konfusianisme, Taoisme, Shamanisme.) (in) 韓国画（かんこくが）とは、近代以降に朝鮮の伝統的な技法や様式で描かれた絵画を西洋画と区別するために大韓民国で用いられる用語である。朝鮮民主主義人民共和国では朝鮮画と呼ぶ。 もともと朝鮮では、伝統的絵画を他と区別して呼ぶ用語はなかった。1922年に朝鮮総督府主催の第1回朝鮮美術展覧会で、西洋画と区別して東洋画と呼び始め、以後はこの用語が使われた。大韓民国の独立以後も東洋画と呼ばれていたが、1970年代になって、画家の金永基（김영기、1911.11.30～2003.5.1）らが、日本には日本画という用語があるのに、韓国で東洋画というのは、日本が朝鮮民族の主体性をなくすために押し付けたものであり、東洋画ではなく韓国画と言わなくてはならない、と主張し始めた。1982年から韓国文化芸術振興院主催の大韓民国美術大展（ko:대한민국미술대전）で東洋画に代わって韓国画という用語を使い始め、1983年から美術教科書でも韓国画という名称が使われるようになった。 第二次大戦後、彩色画＝日本画と短絡的に認識され、彩色画は日本の残滓と見なされた。そのため、韓国画は彩色画を排撃し、文人画、水墨画が中心となった。。 (ja) ( 한국회화는 여기로 연결됩니다. 단체에 대해서는 한국회화 (단체) 문서를 참고하십시오.) 한국화(韓國畵)는 근대 이후에 한국의 전통적인 기법과 양식으로 그려진 그림을 서양화와 구별하기 위해 부르는, 대한민국에서 사용되는 용어이다. 대한민국에서 보통 동양화(東洋畵)라고 하면 한국화를 의미한다. 조선민주주의인민공화국에서는 조선화(朝鮮畫)라고 부른다. 빛의 변화를 사용하는 근대 컨셉 미술처럼 오래된 미술을 포함한다. 붓으로 작업하는 캘리그라피는 유화에서 종종 나타나기도 한다. (ko) Корейская живопись — один из корейских видов искусств, характеризующийся разнообразием жанров и стилей. (ru) 朝鲜绘画，又称朝鲜画、韩国画，是朝鲜半岛传统文化、艺术的一部分。朝鲜半岛最原始的绘画开始于远古时期的岩刻画。三国时期，绘画已经发展成为一种专门的艺术形式，出现了以绘画为职业的画匠。这一时期的朝鲜绘画借鉴中国绘画形成自己的风格，同时也影响着日本绘画的发展。新罗统一三国后，佛教画随着佛教的兴起而成为朝鲜绘画的主流。高丽王朝时期，朝鲜绘画在统一新罗的基础上得到进一步的发展，题材与风格更加丰富。朝鲜王朝时期，朝鲜绘画进入其发展的鼎盛期，并形成了自己独具特色的风格。 (zh) |
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| rdfs:comment | Die Koreanische Landschaftsmalerei hatte ihren Ursprung in der als Namjongwha (남종화) bezeichneten chinesischen Südschul-Malerei und fand in Korea während der Goryeo-Periode (913–1392) Einzug. (de) La denominación Pintura coreana se aplica a las obras pictóricas realizadas por artistas coreanos en Corea o en el extranjero sobre cualquier superficie. Comprende desde manifestaciones artísticas tan antiguas como los petroglifos hasta el arte conceptual post-moderno que utiliza la luz para crear formas transitorias. (es) Lukisan Korea adalah jenis lukisan tradisional yang dilukis dengan gaya lukis Korea. Lukisan tradisional Korea dapat dikategorikan dari 20 sampai 30 jenis berdasarkan teknik atau gaya melukisnya. Aliran yang utama adalah aliran formal dan minhwa, gaya lukisan rakyat. Lukisan pemandangan adalah salah satu tema yang paling umum selain tema hewan, bunga-bunga, kehidupan sehari-hari dan religius (Buddhisme, Konfusianisme, Taoisme, Shamanisme.) (in) 韓国画（かんこくが）とは、近代以降に朝鮮の伝統的な技法や様式で描かれた絵画を西洋画と区別するために大韓民国で用いられる用語である。朝鮮民主主義人民共和国では朝鮮画と呼ぶ。 もともと朝鮮では、伝統的絵画を他と区別して呼ぶ用語はなかった。1922年に朝鮮総督府主催の第1回朝鮮美術展覧会で、西洋画と区別して東洋画と呼び始め、以後はこの用語が使われた。大韓民国の独立以後も東洋画と呼ばれていたが、1970年代になって、画家の金永基（김영기、1911.11.30～2003.5.1）らが、日本には日本画という用語があるのに、韓国で東洋画というのは、日本が朝鮮民族の主体性をなくすために押し付けたものであり、東洋画ではなく韓国画と言わなくてはならない、と主張し始めた。1982年から韓国文化芸術振興院主催の大韓民国美術大展（ko:대한민국미술대전）で東洋画に代わって韓国画という用語を使い始め、1983年から美術教科書でも韓国画という名称が使われるようになった。 第二次大戦後、彩色画＝日本画と短絡的に認識され、彩色画は日本の残滓と見なされた。そのため、韓国画は彩色画を排撃し、文人画、水墨画が中心となった。。 (ja) ( 한국회화는 여기로 연결됩니다. 단체에 대해서는 한국회화 (단체) 문서를 참고하십시오.) 한국화(韓國畵)는 근대 이후에 한국의 전통적인 기법과 양식으로 그려진 그림을 서양화와 구별하기 위해 부르는, 대한민국에서 사용되는 용어이다. 대한민국에서 보통 동양화(東洋畵)라고 하면 한국화를 의미한다. 조선민주주의인민공화국에서는 조선화(朝鮮畫)라고 부른다. 빛의 변화를 사용하는 근대 컨셉 미술처럼 오래된 미술을 포함한다. 붓으로 작업하는 캘리그라피는 유화에서 종종 나타나기도 한다. (ko) Корейская живопись — один из корейских видов искусств, характеризующийся разнообразием жанров и стилей. (ru) 朝鲜绘画，又称朝鲜画、韩国画，是朝鲜半岛传统文化、艺术的一部分。朝鲜半岛最原始的绘画开始于远古时期的岩刻画。三国时期，绘画已经发展成为一种专门的艺术形式，出现了以绘画为职业的画匠。这一时期的朝鲜绘画借鉴中国绘画形成自己的风格，同时也影响着日本绘画的发展。新罗统一三国后，佛教画随着佛教的兴起而成为朝鲜绘画的主流。高丽王朝时期，朝鲜绘画在统一新罗的基础上得到进一步的发展，题材与风格更加丰富。朝鲜王朝时期，朝鲜绘画进入其发展的鼎盛期，并形成了自己独具特色的风格。 (zh) Korean painting includes paintings made in Korea or by overseas Koreans on all surfaces. The earliest surviving Korean paintings are murals in the Goguryeo tombs, of which considerable numbers survive, the oldest from some 2,000 years ago (mostly now in North Korea), with varied scenes including dancers, hunting and spirits. It has been hypothesized the Takamatsuzuka Tomb in Japan, from the 7th-century end of the Goguryeo period, has paintings with Goguryeo influence, either done by Goguryeo artists, or Japanese one trained by Goguryeo people. Since a lot of influences came into the Korean peninsula from China during the Three Kingdoms period. Until the Joseon dynasty the primary influence was Chinese painting though done with Korean landscapes, facial features, Buddhist topics, and an emp (en) La peinture, en Corée, une forme de l'art coréen particulièrement remarquable, se manifeste sous les formes les plus diverses, depuis les antiques peintures murales, préservées dans les tombes du royaume de Koguryo, les bannières bouddhiques aux couleurs intenses, les peintures de lettrés à l'encre, les paravents décoratifs, jusqu'à la peinture telle qu'elle est pratiquée dans l'art contemporain. La peinture moderne coréenne intègre, par ailleurs, les œuvres des artistes coréens, sur tout le territoire de la Corée, Corée du Nord et Corée du Sud et au sein de la diaspora coréenne dispersée dans le monde. (fr) |
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