Page 231 - 亚洲二十世纪及当代艺术

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ΐۃܝʹટٙືᓃ d݅ፄිə ˜ᓃ™ʩ९ٙҖ࿒ e ˜ೌࠢ™ٙ฿ׂ d͵ீ deliver the infinite
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ί ੽ᓃ‘ʕ d 70 ϋ˾Ъۜ༁Җً஝዆ eરΐ୕ɓٙ෥ᓃʊ್೯͛əሯٙ in the contemporar y
global art world, Lee
ࠃʷ d˸ І͟቗રٙန ᄴᔝ੹ d੭̈ ϔɛːָٙഅ ැڌତ d͍ࣦႥ ഹ᙮׵ g l o b a l a r t w o r l d , L e e
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അʕҬ Ցᜳช dઞరഹ อٙפ൥ڌ༺ ̙ٙঐ fཀ೻ ʕᖵஔ࢕܈ंኑ ग़ d˸ t the world, including the
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بတዢडཋᔝٙ೥അ d׵̸ɪ˙ໝɨ௰މཱིတϾ؈ᓙٙɓ༸ dяତνʆࢤ National Museum of
بတዢडཋᔝٙ೥അd׵̸ɪ˙ໝɨ௰މཱིတϾ؈ᓙٙɓ༸dяତνʆࢤ
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ছ ٙ അ ැ f ᎇ ܝ d ೥ അ ܵ ᚃ ί ೥ ̺ ٙ ̬ ˙ ʹ ಁ ᓉ ͛ d א ɪ ౤ ν ౮ ৎ ʘ ୵ M o d e r n A r t i n S e o u l i n
Modern Art in Seoul in
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Guggenheim Museum in
ၾછՓխі™ٙ *** ˙όf׵ҽ߃๰ϾԊd༶അٙਗЪ͉Ԓу݊ஹટഹ
ၾછՓխі™ٙ *** ˙ό f׵ҽ߃๰ϾԊ d༶അٙਗЪ͉Ԓу݊ஹટഹ N e w Y o r k i n 2 0 1 1 , t h e P a l a c e o f V e r s a i ll e s i n F r a n c e
New York in 2011, the Palace of Versailles in France
௴Ъ٫ٙːܛৎͿd߉ॎཀֻᘌᔫᄲฐٙໝᓃdϤՍνࣣجছჀޮݴਗٙ
௴Ъ٫ٙːܛৎͿ d߉ॎཀֻᘌᔫᄲฐٙໝᓃ dϤՍνࣣجছჀޮݴਗٙ in 2014, the Hyogo Prefecture Museum of Art in 2023
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and other solo exhibitions. His works have been
അ dکν ɓϣΟࢹٙᄃ ό dਗ਼ɓഅЪ މɓృᐑ dϓމ ࣛගٙଢ଼ጐၾ ͛նٙ i included in the collections of many well-known art
അdکνɓϣΟࢹٙᄃόdਗ਼ɓഅЪމɓృᐑdϓމࣛගٙଢ଼ጐၾ͛նٙ
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া፽f͟ଉЇ૵eࠠ͟ᔷჀdٜЇ஼နʷɝൈೌdਬቱ୐ɿছٙᔝ੹သɝ
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೥̺ٙ७ଣʕdҖϓ˜ᓃ™ίฆᝈɪٙɦɓସ౻f New York, the Guggenheim Museum, the Pompidou
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position in both domestic and overseas contemporary
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дഺΪᔝ੹d௴ி̈ə͂ஷൖᙂၾҖ൥ٙɓࡈІ͟೿ɹfϾΝᅵൖᔝሜމ a r t c ir c le .
дഺΪᔝ੹
art circle.
௴Ъ˴Ѝٙҽ߃๰dۆ፯՟һމଉᔺeྐྵ᎑ϾబϞᐥจٙཋᔝd͟І್ʘ
௴Ъ˴ Ѝٙҽ߃๰ dۆ ፯՟һމଉᔺ e ྐྵ᎑ϾబϞ ᐥจٙཋᔝ d͟ І್ʘ
As an active painter, sculptor and philosopher in
ᑌซd༨ɝၚग़ٙࡔܠfߐ੽ᓃ‘ɪd؇˙ෂ୕ʕ୿ࠠ຾Պٙᔝၾͣd
ᑌซ d༨ɝၚग़ٙࡔܠ fί ੽ᓃ‘ɪ d؇˙ෂ୕ʕ୿ࠠ຾Պٙᔝၾͣ d A s a n a c t i v e p a i n t e r , s c u l p t o r a n d p h i l o s o p h e r i n
Korea, Japan and Europe, Lee has extensive cross-
͍ඩᘆʹි dνΝಃᒻˮಃڡڀͣନছ dίฆΈᆦͣʕீ̈ᓃᓃᔝ੹ٙਗ K u o r l t e u a r , J l a p n a d n a n t d E di u s r o p e l , L a e r e h a x s e e x r t i e n s i e v . e c a r o v s in s g -
͍ඩᘆʹිdνΝಃᒻˮಃڡڀͣନছdίฆΈᆦͣʕீ̈ᓃᓃᔝ੹ٙਗ
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calligraphy, painting and philosophy, Lee resolutely
ၾʘ૿Υd˿ᕙࣘίڭव˂್त׌ٙΝࣛd͵ڏᒔ̈೥̺ࡡ͉ٙЄଣձਿ
ၾʘ૿Υ d˿ᕙࣘίڭव˂್त׌ٙΝࣛ d͵ڏᒔ̈೥̺ࡡ͉ٙЄଣձਿ transferred to a Japanese University to major in
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ሜ f˜ ᔝЍ݊˂٤d ݊˥d ݊٤ंd ݊ଉܓձೌࠢd ݊І͟ձ͛նd ᔝЍ݊ p h i l o s o p h y b e c a us e h e r e c o g n i z e d i t s i m p o r t a n c e
philosophy because he recognized its importance
ρ֞௰͉ሯٙᕙЍ f dᝈ଺ίவഅ೥ٙৎႀග d when he studied oil painting and got inspirations from
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җֽ޶Ցࠬٙ஺ܓe˥ٙЄଣeΈٙෂ჈dཫͪഹ݋ئٙೌ۩dԨ୞ϾΫ the Japanese modern art at the School of Art of Seoul
dԨ୞ϾΫ
National University in South Korea in 1958.
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ҢٙЪۜ˸ྡ྅͂කஷֻೌࠢٙஷ༸
ீཀᓃʘяତ
dνΝਗ਼εࡈᐛගίΝɓ
dҽ߃๰ԐΣٙ݊ρ֞ٙଉᄿೌࠢ
ீཀᓃʘяତdҽ߃๰ԐΣٙ݊ρ֞ٙଉᄿೌࠢdνΝਗ਼εࡈᐛගίΝɓ His rich knowledge over the years makes himself a
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̻ࠦʫұᛌdϾ຅ʕٙӊɓ pio n e e r i n b r e a k i n g t h e W e s t e r n s t a n da r d o f a b s t r a c t
̻ࠦʫұᛌ
dϾ຅ʕٙӊɓ
pioneer in breaking the Western standard of abstract
അeӊɓᓃdѩί٤ගၾࣛ
അ eӊɓᓃ dѩί٤ගၾࣛ creation and integrating minimalist aesthetics and
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ගɪdІϞՉࠠࠅʘจf Eastern philosophy into his creation. Since the 1970s,
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L e e h a s b e e n r e c o g n i z e d a s a l e a d i n g p r o p o n e n t o f
Lee has been recognized as a leading proponent of
˜ ρ֞֐׵ɓᓃ d͵୞׵ɓ M o n o - h a , t h e J a p a n e s e “ t h i n g m o v e m e n t ” o f t h e
˜ρ֞֐׵ɓᓃd͵୞׵ɓ
Mono-ha, the Japanese “thing movement” of the
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ᓃ ᓃ™fίவ˙ʂٙ৻տʕd๕ 1 9 7 0 s , a n d D a n s a e k h w a , t h e K o r e a n “ m o n o c h r o m a t ic
1970s, and Dansaekhwa, the Korean “monochromatic
d͍ீ
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׵˜ᓃ™ٙيሯɢඎd͍ீ p a i n t i n g m o v e m e n t ” f r o m t h e 1 9 6 0 s t o 1 9 8 0 s . D u r i n g
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painting movement” from the 1960s to 1980s. During
ཀɓഅɦɓഅ eၡಫᚔਗٙ h i s E u r o p e a n t o u r i n 1 9 7 1 , L e e m e t t h e w o r k s o f L u c io
ཀɓഅɦɓഅeၡಫᚔਗٙ
his European tour in 1971, Lee met the works of Lucio
ᔝЍΙা d࿎ᜑഹࠠνइʆ F o t a n a , f o u n d e r o f s p a t i a l i s m , a n d t h o s e o f Y v e s K l e i n ,
ᔝЍΙাd࿎ᜑഹࠠνइʆ
Fotana, founder of spatialism, and those of Yves Klein,
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ٙ͛ն͉ሯ fϾ͟ҽ߃๰௴ l leader of neo-realism. This encounter deepened his
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artistic goal of “creating ingenious forms through the
ிٙᓃdɰ୞ਗ਼ίᝈ٫ٙܠ
ҽ߃๰ᗫڷධ{{ܹژ‘׵ٜࢥҽ߃๰ߕஔ᎜d࢝ͪҽ
ҽ߃ ๰  ᗫڷ ධ {{ ܹ ژ ‘ ׵ ٜࢥ ҽ߃ ๰ ߕ ஔ ᎜ d ࢝ ͪ ҽ ிٙᓃ dɰ୞ਗ਼ίᝈ٫ٙܠ a r t i s t i c g o a l o f “ c r e a t i n g i n g en iou s f o rm s t h r ou g h t h e
connection between the external world and the self”.
߃๰л͜يࣘʔ̋ࡌུٙࡡॆҖ࿒dஷཀ٤ගٙб౻dя
߃๰ л ͜ ي ࣘ ʔ ̋ ࡌ ུ ٙ ࡡॆ Җ ࿒ d ஷ ཀ ٤ග ٙ б ౻ d я ϽʕdᔷʷމอٙҖ࿒f c on n e c t i on b e t w e e n t h e ex t e r n a l w or l d a n d t h e s e l f ”.
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