본 논문은 비교미학적인 관점에서 고암 이응노(顧菴 李應魯, 1904-1989)의 작품세계를 보다 면밀하게 살펴봄으로써 그의 작품과 예술세계를 바르게 이해하고자 한다. 근대와 현대, 그리고 동양과 서양이라는 양대 미술계를 가로지르며 자신만의 독특한 작품세계를 형성한 것으로 높이 평가받았던 고암 이응노의 작품 속에 나타난 조형적 공간을 철학적으로 분석하여 작품에 대한 이해를 돕고자 한다. 하나의 작품을 올바르게 이해한다는 것은 단순히 미술사적인 혹은 인물사적인 맥락에서 언급하는 것으로만 이해될 수 없다. 일제강점기에 서구미술기법을 받아들이고자 했으나 새로운 변화를 수동적으로 받아들일 수밖에 없었던 우리미술의 근대적 상황을 연구함으로써 고암 이응노의 대표적 작품시기와 작품들을 통해 작가의 조형의식 속에 나타나고 있었던 동서양의 공간 관과 조형세계를 조명하고자 하는 것이다. 고암의 예술인생의 중대 전환점을 이루고 있는 5-60년대와 성숙된 말기 작품으로 보이는 7-80년대 작품 속에 나타난 공간분석을 통한 조형의식의 연구는, 고암 이응노가 동․서양과 근대와 현대를 둘이 아닌 하나로, 서로가 서로를 배척하지 않으면서 새롭게 생성할 수 있었던 사유적 기반을 이해하는 하나의 방법이다. 근대인으로 출발하였지만 현대인으로 현대회화의 극점까지 드러낸 작가, 고암 이응노의 작업은 동서양이 단순하게 융합된 차원이 아닌 동서양의 변증법적 과정을 통한 자신만의 공간관을 형성하고 있었다. 동서양의 공간관을 넘어서 이뤄낸 자신만의 공간관은 새로운 한국화의 지평을 확대한 현대적 회화로서 새로운 길을 내고 있었던 것이다.

This paper aims to comprehend Lee Eung-no's paintings and his art world truly by looking at them in detail from the viewpoint of comparative aesthetics. It implies a step towards further understanding of his works by a philosophical analysis of formative space appearing in them having been estimated as a creative artist beyond the boundary of two art worlds between modern and contemporary, East and West. For to understand an artwork exactly does not mean to mention from an art-historical or anthropological context. During the Japanese colonial era, it was inevitable that modernized Western Art foundations were introduced and rooted into our Art society as a new turning point passively. Furthermore the more new factors come in our zone, the less spots available for origins; faded away of the clearness of border line between Eastern and Western Art fields. The appearance of Lee Eung-no's work has been regarded as representatives of this colonial era, especially described as vivid comparative aesthetics research made of his own view points of space. His personal development and achievements which could fit on either side of Arts, Eastern or Western, play a very important role for this modern time. He viewed the world of art as one decent area combined with two eastern and western colors. For researching was supressed by government, researchers have been running their Lee Eung No projects with very unidealistic and unfairly prepared conditions. In public, either his works or his life as an artist were uncovered as though he walked on hard life, under the shadow of twisted unfortunate lifelong. From others' hands overwhelmingly simplified all about him were by formula analysis broadly or forced to be evaluated within dramatically limited either eastern or western views. In the whole process of learning the proper attitde toward artists' work are unnecessary to look at personal yards. It can never be enough for decent comprehension of art from artists by listing all historical records following the fame of artists. The well of artists' pre-experience consciousness explores the cause of the subject and this is depending on the way of causing subject not on the contexts of it. In other words, what we need here is the difference in terms of the causing subject formula. To get over partly tilted limitation of the researching consequences we face currently that a person, Lee Eung No, has been judged by only private space or simplified modeling spacious formations. Within the work should be accessed philosophically, filtering the truthful elements that will be the most reasonable solutions to get the readers stretch out nearby the artist.

This paper aims to comprehend Lee Eung-no's paintings and his art world truly by looking at them in detail from the viewpoint of comparative aesthetics. It implies a step towards further understanding of his works by a philosophical analysis of formative space appearing in them having been estimated as a creative artist beyond the boundary of two art worlds between modern and contemporary, East and West. For to understand an artwork exactly does not mean to mention from an art-historical or anthropological context. During the Japanese colonial era, it was inevitable that modernized Western Art foundations were introduced and rooted into our Art society as a new turning point passively. Furthermore the more new factors come in our zone, the less spots available for origins; faded away of the clearness of border line between Eastern and Western Art fields. The appearance of Lee Eung-no's work has been regarded as representatives of this colonial era, especially described as vivid comparative aesthetics research made of his own view points of space. His personal development and achievements which could fit on either side of Arts, Eastern or Western, play a very important role for this modern time. He viewed the world of art as one decent area combined with two eastern and western colors. For researching was supressed by government, researchers have been running their Lee Eung No projects with very unidealistic and unfairly prepared conditions. In public, either his works or his life as an artist were uncovered as though he walked on hard life, under the shadow of twisted unfortunate lifelong. From others' hands overwhelmingly simplified all about him were by formula analysis broadly or forced to be evaluated within dramatically limited either eastern or western views. In the whole process of learning the proper attitde toward artists' work are unnecessary to look at personal yards. It can never be enough for decent comprehension of art from artists by listing all historical records following the fame of artists. The well of artists' pre-experience consciousness explores the cause of the subject and this is depending on the way of causing subject not on the contexts of it. In other words, what we need here is the difference in terms of the causing subject formula. To get over partly tilted limitation of the researching consequences we face currently that a person, Lee Eung No, has been judged by only private space or simplified modeling spacious formations. Within the work should be accessed philosophically, filtering the truthful elements that will be the most reasonable solutions to get the readers stretch out nearby the artist.

Space, Formative Space, Space Movement, Lee Eung-no, Comparative Aesthetics