Earticle

초록

영어

This study proceeded with its investigation targeting Chinese Experimental Art as a research subject, which has strengthened its position in the its fie1d of China since the 1980’s. The study looked into especially issues in relation to metaphorical historiography, the most clearly-recognized basic way to express. In particular, as focusing on those very much obvious differences in the aspects of Chinese Experimental Art of the 1980’s and the 1990’s, respectively, before and after the Tiananmen Square Massacre in 1989, the study did research on how either particular historical facts or scenes would be described in various art forms of new contexts through icons in pieces of work. After the investigation, the study learned that the expressive sty1e of Chinese Experimental Art, which are considered both extremely concentrative and collective as well, could be understood as some practical act of an individual artist to introspect or survive this “historical trauma" caused by any oppressed history, such as the Tiananmen Square Massacre and the Great Cultural Revolution. Those oppressed histαical events, there were what this individual artist has experienced oneself. Not only that, the study confirmed that in terms of a phenomenon that the histαical icons wou1d be repeated endlessly but a1so obsessive1y, it goes even beyond simp1y claiming to characteristics of the styles or the pattems but p1ays a ro1e as the most significant factor in what or how these artists' psychological mechanisms do to design works. In conclusion, the study recognized that as these methods, which the artists had chosen to express the metaphorical historiography under the political, social situations of censorship and suppression, had been no 10nger regarded merely as one of those art styles but secured this sense of authenticity of its own new meanings, those methods were able to take the value of Chinese Experimental Art to even a higher level. Furthermore, the study a1so found out that Chinese Experimental Art is something more than being shared simply as a creative work but that it has a new possibility to be interpreted as either historical sources or media of historiography in a form that has been expanded based on the individual memories.

목차

I. 서론
 II. 중국실험미술과 천안문사태
  제1장. 중국실험미술의 개념
  제2장. 천안문사태 이전의 중국실험미술
  제3장. 천안문사태 이후의 중국실험미술
 III. 역사적 트라우마의 성찰과 극복
  제1장. 검열과 억압
  제2장. 기억, 트라우마 그리고 역사의 상관성
  제3장. 미술작품의 역사기술 가능성
 IV. 중국실험미술의 은유적 역사기술
  제1장. 마오쩌둥
  제3장. 천안문
 V. 결론
 참고문헌
 논문초록

키워드

저자

• 김문정 [ Kim, Moon-Jung | 인하대학교 예술체육학부 미술과 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  동북아 문화연구 [Journal of North-east Asian Cultures]

• 간기

  계간

• pISSN

  1598-3692

• 수록기간

  2001~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 910 DDC 950