中國畵壇의 혁신논의와 齊白石의 계승과 초월

초록

This paper is intended to identify Qi Bai-Shi. In order to achieve the purpose of the study, this paper examines the theoretical confrontation between the innovators and the traditionalists in the Chinese ancient art circles of the 20th century as the background of the discussion. Compared to the two groups, Qi Bai-Shi has a characteristic that is not wholly classified to either group. Qi's originality is deeply related to his life. He made artistic reforms through 'Five Outs and Five Returns' and 'a meeting with Chen Shi-Zeng'. The process of the artistic reform shows his extraordinariness shaping it into his own, even if he learns the theory of the ancients. Furthermore, he is finally free from the influence of the tradition. In this paper, by putting these analyses together, the identity of Qi Bai-Shi is summarized as follows. First, Qi Bai-Shi is able to build his own uniqueness through the artistic reform, which illustrates his attitude of not settling for a certain format. In literary and artistic activities, the reform is the premise of severing the art world an artist has built up in the past. It is difficult for anyone to practice because it can be achieved by denying its own past. Second, the various experiences is actively reflected in the work of Qi Bai-Shi. In spite of being born into a poor family and grew up working as a carpenter, he didn't consider this a complex. Instead, he paints simple materials and used his own ingredients as an advantage. Third, because he did not define his identity as a man of letters, he was able to distinguish himself from the traditionalist, even though he was born at a time when the status of 'the painting of man-of-letters' was downgraded. Qi's paintings are far from ostentatious. This is still the reason why many people like his paintings.

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