| The basic objective of the present study is to analyze the configuration of the mural paintings inside Pusan Subway Line No. 1. Through study, the first idea is to reconfirm the social cultural value of the mural paintings in the subways as public fine arts; secondly, evaluating if the mural paintings in Pusan Subway Line No. 1 could realize their value, and giving further prominence to the problems disclosed by the mural paintings in the subways in Korea, thirdly, in order to effectively utilizing the mural paintings in the subways, future studies will be focused on the developing aspect of the mural paintings in the subways of Pusan based on the following points: the effective utility of underground space, the selecting process of the artists, the contents, fashions, materials and management of the paintings.For these purposes, within 2 months between Feb. to April 2003. the author had conducted investigation on the basis of 27 mural paintings at 15 of the 34 subway stations of Pusan Subway Line No. 1.The conclusion of this study shows that the mural paintings of Pusan Subway Line No. 1 exert great social functions in the field of beaux-arts, public media, social consensus, celebrations, city environment, tourism propaganda and education. No matter their qualities, mural paintings provide precious experiences for the new cultural environment. However, most of them contain certain shortcomings and negative factors in general.In the 27 mural paintings at 15 of the 34 subway stations of Pusan Subway Line No. 1, all of them except 2 are on the wall. Hereby I think there are problems with the effective using of space. And I also think that the basic way of filling up the walls with mural paintings on the remaining space after design should be shaken off, instead, the artist should join in the designing process. Let them arrange the mounting space of the mural paintings to avoid shattering of the space by using the decorating mural paintings to dominate or reforming the space. Further, the mounting space shouldn't be limited to walls, they should be applied on to the whole space such as pillars, floors and ceilings, and a procedure of scheduled replacement of the arts should be established (in stead of fixed mural paintings), so as to exhibit the public environmental cultural objects to the passengers.The negative factors of the mural paintings of Pusan Subway Line No. 1 also relate the selection of artists. 17 people participated in the working of the 27 mural paintings at 15 of the 34 subway stations of Pusan Subway Line No. 1, including 1 mural paintings specialist, 5 designers, 3 paintings specialists, 7 craftwork specialists and 1 sculptor. 47% of the materials are ceramic tiles. This should be blamed for the phenomenon that designing and craftwork workers forming up 70% (total 12) of the whole group. This shows that bias of routinism existed in the selection of artists, as well as the flimsiness of the actual facturing conditions. Therefore, I think the participating artists and the mural painting- related personnel should change their concepts. Besides, public places for townsfolk to join in the facturing of mural paintings should be created, without limiting to professional artists, so as to draw mural paintings as public beaux-arts zealously closer to the passengers in the field of social consensus.Besides, regarding the facturing purpose and the spatial nature, most mural paintings arebased on visual environment instead of the cultural environment; the contents and representations of the mural paintings are limited to taking advantage of non-original creations, mainly the unintelligible, unique, enlightening and memorial metope decorations that binging visual splashes to the passengers, especially the regional features, the of vision and pattern of materials are unable to enrich Pusan as an ocean city and international metropolitan, as well as the integer of Pusan's mural paintings in the subways. As to the educational function, the mural paintings in the subways are limited to env... |
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