The lineage of the ‘traditional Japanese aesthetics’ should be discussed at the symposium.The aesthetic characteristics of naïveté is represented in the painting of Kim Hwan-ki. Inhis〈Where will We see Each Other Again〉（1970, New York）simple repetition of the The expressive trend is found in the〈From Points〉（early 1970s, Tokyo）of Lee Ufan.We can perceive intuitively ‘Korean character’ in his works from 1964to 66, directly■Another painter revealing the traditional ‘simplicity’ is Kim Chang-Ryeol, who is at workin Paris since late 1960s. His famous〈Water drops〉（Paris）also express simple■In a viewpoint applying a aesthetic principle to our modern life, the practical way of―483―play such aesthetic characteristics in the production of contemporary art. Through the concreteⅢ. The domain of Korean aesthetics and art is asked to show a creative principle, what partworks of art the principle will be inductively concluded.subject, which is reminiscent of the repeated stamped patterns on Punch’ ong ware, isexpressed.after his arriving to Japan. Thereafter he functioned as leading member of Japanese‘Monoha’（物派）group, and presented the〈From Points〉series.On this occasion a subject of some interest appears: a work（1965）of ArakawaShusaku, avant-garde painter, is worthy of note, comparing with the Lee Ufan’s work.Because both use the similar representative method. It should be examined whether Leewas influenced by Arakawa.repetition of the subject.‘aesthetic life’ must be paid attention. Design, color, and pattern exposing in architectureand industrial products as living necessities control our modern life.We will examine how the traditional aesthetic categorical values function positively inthese artistic elements.權教授のその研究歴において、ひとつの一貫した研究テーマは韓国美術の美学的特性の何たるかである。今回の発表では、日本における日本美術・日本美学の特性の論究史をたどりながら、それを参考にしつつ韓国美学の伝統と現代的表現のあり方を探ろうとする。日本の美学研究史において、フェノロサ、岡倉天心、そして柳宗悦はそれぞれに日本美の特性を追究したが、柳において工芸品への注目、生活美の再発見を權教授は評価する。そこに、西洋美学とは異なる東洋美学の特性を見ようとするからである。そ
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