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相对而言,东西方历史的演进有着天壤之别,因此.在历史观念的把握和历史时代的划分上,各有各的标准和依据,并无所谓优劣短长。 仅就美术而言,朝鲜美术的历史发展在19世纪末至20世纪初(1910)这段时期才步入自己的近代阶段。倘若从西方的视点来看,这种与西方美术的发展进程并无多少瓜葛的现象,评论起来则势必会遇到相当大的困扰和麻烦。因为1910年正值西方热衷于“现代”的时期,东西方美术发展之间的差异在此已不言自明。在西方,“现代”一词的出现与其历史的演进脉络相吻合,而在韩国,美术发展
Relatively speaking, the evolution of the history of the East and the West is vastly different, so there is no difference between strengths and weaknesses in grasping the historical concept and dividing the historical era. As far as fine arts is concerned, the historical development of North Korean fine art entered into its own modern stage from the late 19th century to the early 20th century (1910). If from the Western point of view, this phenomenon with the development process of Western art has little to do with the comments are bound to encounter considerable trouble and trouble. Because the period of 1910 coincided with the West’s keen interest in “modernity,” the difference between the development of eastern and western art has made no apparent difference here. In the West, the word “modern” coincides with the evolution of its history. In South Korea, however, the development of fine arts