원문정보
초록
영어
This study examines the transformation of Chinese ink art in a contemporary multicultural context through the theoretical framework of “inverse thinking,” derived from Daoist and Chan Buddhist philosophy. It identifies three structural tensions: technological innovation vs. intrinsic language, cultural hegemony vs. subjective expression, and traditional genes vs. contemporary translation. Case analyses of Yuan Wu, Kim Ho-suk, Liu Guosong, and Gu Wenda demonstrate the expansion of ink art into abstraction, installation, and performance while retaining core conceptual elements rooted in Daoist naturalism and Chan Buddhist aesthetics. We argue that the modernization of ink art constitutes a structural reconfiguration that bridges tradition and contemporaneity, aligns Eastern philosophical values with global art discourse, and establishes ink as a medium for critical reflection, interdisciplinary engagement, and creative innovation in 21st-century practice.
목차
1. Introduction
1.1 Research Background and Methodology
1.2 Research Design and Validation
1.3 Scope and Limitations
2. Traditional Artistic Ecology and the Shifts in Ink Painting
2.1 From Closure to Openness
2.2 From Uniformity to Diversity
3. The Spiritual Transformation of Ink in the Contemporary Context
3.1 Figurative Ink and the Expression of Reality
3.2 Abstraction and Experimental Ink
4. Evolution of Ink in the Contemporary Context
4.1 Contemporary Context and Cultural Particularity
4.2 Practices and Growth in the Evolution of Ink
4.3 Cultural Preservation and Modern Innovation: Tensions and Governance
5. Conclusion
References