현대 일상 사물의 표현에 관한 연구 : 본인 作品의 잊혀짐, 흐릿한 표현을 中心으로

모유진 동국대학교 2016 국내석사

다원주의에 기초한 다문화 미술교육에 대한 연구 방안

안효진 동국대학교 2012 국내석사

다문화 교육이란 다양한 문화, 민족, 성, 사회적 계층의 배경을 가진 아동들이 공평한 교육적 기회를 가질 수 있도록 교육과정의 변화를 시도하는 총체적인 노력이며, 또한 인종, 윤리, 언어, 종교, 정치, 고용, 사회계층, 경험, 정신적, 육체적 능력, 성, 기호, 연령 등에 의해 다르게 나타나는 인간 행동에 대한 이해라고 할 수 있다. 따라서 서로 다른 문화로 인한 행동의 차이나 사고방식의 차이를 수용하고 이해할 것을 강조 하고 있는 교육이라고 할 수 있다. 오늘날 시장 경제 및 노동력 확보 등 자유로운 활동으로 점차 하나의 공동체로 변화하고 있다. 이로 인하여 여러 나라 사람들이 우리나라로 옮겨오는 것이 보편적이다. 이러한 사회의 급변하는 상황과 변화의 흐름은 우리 사회 내에 다문화교육에 대한 관심과 논의를 증가시키고 있으며, 다문화 사회가 형성됨에 따라 다문화 교육과 관련된 연구 등 학문적 노력이 점차 증가하고 있다. 다양한 나라, 다양한 문화, 다양한 인종이 함께 어울려 살게 됨으로써 많은 충돌이 일어나고 있다. 이러한 문제점들을 해소하려는 것이 다문화 미술교육의 목적이다. 이를 위하여 제2장에서는 다문화가정에 대한 개념을 정리하고, 한국사회 내에서의 다문화가정의 현황과 생활 특성에 대해서 기술하였다. 또한 이러한 특성들을 바탕으로 제3장에서는 한국사회 내에서 다문화교육과 다문화 미술교육이 다문화사회로의 진입에 어떠한 역할을 할 수 있는지에 대한 필요성에 대해 고찰하였다. 또한 다문화 미술교육의 배경이 되는 다문화 정책 및 교육에 대한 연구를 선행하고자 하였다. 따라서 본 연구의 구체적인 목표는 다원주의에 기초한 문화적 감수성 함향으로 설정하였다. 또한 서로의 이색 문화의 가치와 특징을 이해하며, 나아가 자기 문화에 대한 이해의 폭을 넓혀 새로운 미술문화를 꽃피우는 것이 목적이다. Multi-cultural education is the effort to change the educational processes for all children in diverse cultures, nationalities, genders, and social class backgrounds to have the education opportunity equally. It is also the understanding of the various human behaviors generated by different races, ethics, languages, religions, politics, jobs, social classes, experiences, mental, physical competencies, genders, preferences, and ages. Therefore, it is the education that emphasizes to accept and understand the diverse behaviors and ideas from different cultures. These days, the world becomes one community as the freedom on the market economy and labor secure expands wider. It became very common for people from various countries start to move to Korea. Followed by these rapid changes and trends, the interests and debates on the multi-cultural education in our society, and the effort on the multi-cultural related researches is increasing steadily. There are also many conflicts cause by the living between various countries, cultures and races, and the main purpose of the multi-cultural art education is to solve these issues. For this, the definition and the current living status of the multi-cultural family are stated on the chapter 2. In the chapter 3, the roles and necessity of the multi-cultural education and art education in Korean society are discussed based on these characteristics as the country enters into the multi-cultural society. Also, the preceded researches on the multi-cultural policies and education which are the backgrounds of the multi-cultural art education was raised. In short, the specific goal of this research is to cultivate the cultural sensitivity based on pluralism. Also, the other goal is to understand the values and features of different cultures, and blossom the beauty of brand new art culture by expanding the understand of own culture.

한국 단청문양의 회화적 변용 연구

홍보라 동국대학교 2012 국내석사

Art is created in our daily life and we have sought beauty within our life. Patterns are one of them. They started with the creation of the culture of the humanity and have undergone the creation and changes within the human history. Thus, patterns strongly reflect the beauty of the time and show the formative arts of people. Dancheong (Korean-style decorative coloring) is one of the traditional Korean patterns. People in this time are not familiar with Dancheong but it can be easily found in our daily life. Geommoon is a widely known and is used in wall papers, bags, or clothing in a simple form, such as Soseulgeum or Gorigeum. However, we still feel apart from Dancheong. That is largely because we do not try to find Dancheong but think that it is just a pattern of the past. While seeking to a way to help people be familiar with Dancheong, I applied it to my work. I applied Dancheong patterns to the portraits that I have painted because portraits are familiar with people and can be utilized in various ways. Moreover, I think that using Dancheong patterns will add a decorative feature and formative change and will be helpful to express the subject. The subject of my works is figures and I use Dancheong patterns as a background of the portrait to express the subject in an effective manner. I control the emotion by expressing anonymous people in their daily life, so audiences can look back their own experience and emotion through the work. While, in portraits, painters generally reveal the internal expression of the subject through a background, I have left the background untouched. I think that the background is not just the empty space of the screen, so I intend to extend the scope of thinking by leaving the background untouched. However, in the works of this article, I put Dancheong patterns without shape. The form is different but the context is the same as my previous works. Dancheong patterns are painted as a small universe in the background, so I intend to express the background as an infinite space, not an empty space with nothing in it. This has the same meaning as the beauty of empty space. The portraits are painted in paper screens by applying light coloring. One work expresses Dancheong patterns by using natural colors in a paper screen. The colors of Dancheong patterns are light-colored mostly with the same color, maintaining the decorative feature of Dancheong in order not to damage the expression of figures. In this study, I re-organize the subject of my works and seek a new way to express by applying Dancheong patterns to portraits. In the future, I will consider other ways to utilize Dancheong patterns in portraits and endeavor to find various materials and techniques in various ways.

반복적 선에 의한 공간연구 : 본인의 작품을 중심으로

이희은 동국대학교 2013 국내석사

Artistic activities express unique consciousness of an artist in various ways. At the same time, they present the expression of human beings that pursue aesthetic values. Especially, despite various development and changes of art, lines, the basic component of painting, are the most important expressing method. My work focuses on shaping the space by repeating and overlapping lines. I tried to identify special concepts in a formative art and to study the principles of perception, the basic meaning of lines and the expanded meaning of lines in the East and the West. Based on this, I am going to set the guidelines for my future work. With the start of the 20th century, artistic styles are determined by complex factors, like spirits of their own times and social structures. In other words, artists are dominated by their contemporary history where they are directly connected and determine the scope of their works, accordingly. I selected lines that are the most basic component among formative components as a way to express my autonomous will. I mainly used lines showing speed and rhythm as a method to express the state of mind on a canvas. I tried to take out formative images through repeated and overlapped lines. The free expression of lines leads me to express my personality in a creative manner. I also tried to pursue pleasure through repeated acts using lines. This study deals with the concept of various lines with the history of art and the theoretic background of lines as an expressing method of painting, which represent the effect and possibility beyond the lines themselves. Against this background, I analyze my works and the change of the space through repeating and overlapping lines. On the basis of such experience and study, I review my own point of view with respect to painting and deeply study the aspects of images using lines. I believe this study will be helpful to establish the world of my own work for the future.

소셜 네트워크 서비스를 활용한 자화상사진 수업 연구

고여원 동국대학교 2013 국내석사

디지털 문화 시대에 기술과 매체의 발달로 인하여 우리의 생활모습은 급속도로 변화하고 있다. 주입식교육 패러다임이 아닌 학생과 교사와의 상호 의사소통 과정을 통하여 학습을 촉진해 왔다. 청소년들은 스마트 기기의 활용과 S.N.S.(Social Network Service)를 통해 커뮤니케이션을 하는 것이 일상화 되어가고 있으므로 촬영과정을 하면서 일일이 교사에게 검사를 받는 것이 아니라 거리가 멀리 떨어져 있어도 S.N.S.를 통해 서로 커뮤니케이션을 하여 작품을 보완해 가고, 이 전 과정은 기록이 되어 발표시에도 유용하다는 장점이 있다. 이러한 스마트러닝이 21세기 지식정보화시대에 적절한 교수-학습이라고 볼 수 있다. 최근 미술의 영역에서 작품 창작의 방법으로 인터넷과 다양한 디지털 매체를 직접 도입하여 도구적으로 활용하는 사례를 접할 수 있다. 이러한 사회문화적 흐름 속에서 발견되는 다양한 예술들을 학습자들은 올바르게 이해하고 활용하는 능력을 필요로 한다. 이에 따라 시각예술을 다루는 영역인 미술교과에서도 디지털 매체인 스마트기기를 통해 예술에 대한 이해와 교육에 대한 중요성이 강조되어야 함은 오늘날 교육변화의 자연스런 패러다임이다. 본 논문은 변화하는 시기와 적합하고 청소년기에 자기 표현능력 발달을 위한 연구로서 S.N.S.를 활용한 자화상 수업 연구를 하였다. 청소년기에 사진을 통한 자화상 수업은 셀프 카메라 찍기로 주로 하는 청소년들에게 친숙함과 흥미를 유발 시키며, 실시간 커뮤니케이션이 가능한 S.N.S.를 활용함으로서 실시간 토론과 함께 비평능력도 같이 효과를 거둘 수 있는 교육적 의의가 있다. 하지만 교과서 부분에서 보면 사진 분야 자화상 분야가 적은 분야를 차지하고 있으며 토론하는데 있어서는 효과적인 방법을 제시하는 하는 예는 수록이 되어 있지 않다. 따라서 사진·자화상·S.N.S.를 융합한 수업을 하여 이러한 문제점을 해결하고자 하였다. 그 결과로 S.N.S.와 사진의 특징을 활용하여 주도적 참여, 창의적 제작, 새로운 매체와 색다른 표현, 미술현상을 올바르게 이해하고 의미 있게 활용, 비판적 수용했다는 점에서 시각적 문해력을 향상시켰다 할 수 있고, S.N.S.와 자화상의 특징을 활용하였기에 개인이나 집단의 소속감 타인과 다른 고유의 소속감 모두를 부합시키는 수업으로 S.N.S.를 통한 자기인물사진수업은 시각적 문해력과 자아정체감을 확립시킬 수 있다. Our lives are rapidly changing by the development of technologies and mediums in the era of digital culture. Learning has been promoted through mutual communication between students and teachers and not just teaching by rote. The use of smart devices and communication through S.N.S. (Social Network Service) are becoming normal for teenagers thus pieces are complemented through mutual communication through S.N.S., and the whole process is recorded and can be used in presentation as well even though they are apart and shooting procedures are not inspected in full by teachers. Smart learning can be regarded as an adequate teaching-learning in the era of knowledge and information of 21st Century. Recently, there are many cases of using internet and various digital mediums as tools as a means of creativity in the field of fine arts. Students are required to have an ability to correctly understand and utilize various forms of arts discovered in this social-cultural flow. It is a natural paradigm of today's educational change to emphasize the importance of understanding and education on fine arts through smart devices in fine arts educations that deals with visual arts. This study examined lessons on self-portrait pictures using S.N.S. as a study to develop self-expression for teenagers appropriate for changing time. Lessons on self-portrait through pictures for teenagers increase familiarity and interests for teenagers who enjoy taking self-portraits and it has educational application for achieving real-time discussion as well as criticism by using S.N.S. enabling real-time communication. However, the field of self-portrait pictures takes only a small portion of textbook area and there is no case for presenting effective methods of discussion. Therefore, the study intended to solve those problems by conducting classes integrating pictures·self-portrait·S.N.S.. As a result, the study is believed to have improved visual interpretation ability in a regard that it led voluntary participation, creativity, new mediums and expressions, and correctly understood and meaningfully used, and critically accepted artistic phenomenon using characteristics of pictures and S.N.S.. Lessons on self-portrait picture using S.N.S. can also establish visual interpretation ability and self-identity as lessons satisfying both the sense of belonging as an individual or a group and other unique sense of belonging since the lessons used characteristics of S.N.S. and self-portrait.

전통의복 문양과 장신구를 활용한 인물표현 : 본인의 작품을 중심으로

양서윤 동국대학교 2013 국내석사

한국미술에 나타난 해학성의 이해와 작품표현 : 본인의 작품을 중심으로

원영란 동국대학교 2013 국내석사

Creation is a method of helping us to see and feel the thought and feeling of an artist. It also expresses a feeling in daily lives and contains the emotion of ancestors. Painting has changed and developed throughout the long history. A rich vein of humors runs through Korean people, revealing our emotions and feelings. I have expressed the emotions in my work and have used humorous expressions in subjects and materials. For human beings, humors are ultimate goals of a life. I chose humors as a way to pursue pleasure. Painting with humorous expressions has been inherited from the past. Before studying the humorous expressions in my work, I reviewed humors in various paintings and studied the work of art with humorous expressions in the traditional and contemporary arts. Humors are well expressed in genre painting which expresses unique customs connected to daily lives in a realistic manner. For example, painting has recorded lives of people. Before reviewing genre painting in the late Choseon Dynasty, we can find humorous expressions even in petroglyphs of prehistoric ages. From the petroglyphs to genre painting in the Choseon Dynasty, living emotion and aesthetic value as well as humors are well represented. Sarcastic humor also exists in genre painting but most of humors are related to daily lives and provide a positive smile. Thus, a sense of humor in the traditional Korean art is elegant and graceful and is connected to the lives and culture. A vein of humor also runs through the modern painting. A sense of humor in the traditional art is a realistic description, but that of the modern art is simple and provides an innocent smile. The modern art affects people’s sensitivity. From the traditional art to the modern art, painting is full of wonderful humor and a sense of humor has been around us along with the long history and provides a smile to people. This study deals with the nature of painting with respect to humors, which are one of the most important emotions in artistic activities. I tried to reveal a sense of humor through my work by using humorous expressions in the traditional art and the modern art. Pictorialization has a goal to find innocence, pleasure and a healthy smile in human emotions by emphasizing positive messages and innocence like children in a society. In the art, activities of an artist and his/her expression of emotions is important. Like this, I focus on a livelihood in my painting work and shows daily humors. I want to form consensus for finding a sense of humor in a daily life, not for dividing the art from a society.

내러티브에 나타난 오브제의 표현

박숙진 동국대학교 2013 국내석사

Artist in many express their own experience and emotional memory by various creative activity. They find their material of work and create an art work throughout the their subjective view. like this, in the work, artist's distinctive form and technique are shown by the own inner side with experience. In this research, I mould my shape that made by the emotion and episode from an absence of father. to sum up, In the first part, in my expression of work, I would like to use an objet to extend what I want to say and limited range of material. I looked into the notion of art history of objet for helping to understand formal side of it. In the second part, like this an investigator, I researched artists who made works by their narrative with individuality and then I arranged the content with comparing and analysing. In the third part, I described narrative element of my work and work process. And I suggested some picture of mine to explain based on content with 1 part and 2 part.

프로타주 기법을 통한 수묵표현 연구 : 본인 작품을 중심으로

김현주 동국대학교 2013 국내석사

Nature has been expressed with several methods according to a human being's formative intention and aesthetic consciousness, became object with the greatest interest of art, and was formed a new expressive method and the recreation of nature through observation and imitation. In this way, a human being aimed to show and express ideal world through experiences and emotions within nature by receiving influence of nature. A human being is having nature as a ground of life, confirms existence and vitality of ego through nature, and can be said to be existence that cannot be fundamentally separated from nature as a living thing of being created and extinguished amidst the order of nature. As nature is what can be given to anybody, a human being's research on nature has been continued along with a change in consciousness from ancient times up to modern times. I also aimed to express it with India ink of the technique dubbed frottage in expressing this by having an interest in trees and plants with this concern in nature. This study aimed to examine about my expressive technique for expressing image of nature as the contents on a materials of nature(tree․plant), which have infinite formative characteristic in artistic expression. The aim was to figure out similarity and difference through comparative analysis by connecting my work with the expressive technique of India ink in traditional ink painting and with works by Jeong Seon and Kim Hong-do who used its technique. Also, the aim was to show emotion on nature about which I feel, and an image on it while examining what the frottage technique is in surrealism, which becomes the background of expressive technique of nature that I expressed. The aim was to figure out the above contents focusing on my own work, which is the output of expressing India ink, which was shown with the frottage technique. The aim is to have this as an opportunity of being conducive to understanding my work and to being born more progressively. 자연은 인간의 조형의지와 미의식에 따라 여러 가지 방법으로 표현되어져 왔으며 예술의 가장 많은 관심의 대상이었고 관찰과 모방을 통해 새로운 표현방식과 자연의 재창조가 이루어졌다. 이처럼 인간은 자연의 영향을 받아 자연 안에서 경험과 감정들을 통해 이상세계를 나타내고 표현하고자 하였다. 인간은 자연을 삶의 터전으로 삼고 있으며 자연을 통해 자아의 존재와 생명력을 확인하고 자연의 질서 속에서 생성되고 소멸되는 생명체로써 근본적으로 자연과 분리 될 수 없는 존재라 할 수 있다. 자연은 누구에게나 부여할 수 있는 것으로 인간의 자연에 대한 연구는 고대로부터 현대에 이르기까지 의식의 변천과 계속되었다. 본인은 역시 이러한 자연의 관심으로 수목(樹木)과 식물에 관심을 두고 이를 표현하는데 있어서 심상으로부터 나타난 이미지를 표현할 수 있도록 프로타주라는 기법을 가지고 수묵으로 표현하고자 하였다. 본고에서는 예술 표현에 있어서 무한한 조형성을 지닌 자연(수목․식물)에 대한 내용으로 자연의 이미지를 표현하기 위해 본인의 표현기법에 대해서 알아보고자 전통수묵화에서 수목의 표현기법과 그 기법을 이용한 정선과 김홍도의 작품을 본인의 작품과 연계하여 비교․분석을 통하여 유사성과 차이점을 알아보고자 하였다. 또한 본인이 표현한 자연의 표현기법의 배경이 되는 초현실주의의 프로타주 기법이 무엇인지 살펴보면서 본인이 느끼는 자연에 대한 감정과 그에 대한 심상을 나타내려고 하였다. 이상의 내용을 프로타주 기법을 통해 나타낸 수묵의 표현 결과물인 본인 작품을 중심으로 살펴보고자 하였으며, 이를 통해 본인의 작업의 이해를 돕고 보다 발전적으로 거듭나게 하는 계기로 삼고자 한다.

水墨人物畵의 表現 硏究 : 本人 作品을 中心으로

배형민 동국대학교 2013 국내석사

예술은 인간의 감정을 소통시키는 수단으로 삶의 다양한 형태를 반영한다. 예술에 의한 인간형상의 표현은 단지 외형만의 표현이 아니라 그 시대적 상황에 의해 형성된 인간의 내면적, 정신적인 것이어야 한다. 따라서 현대 회화에서는 사회 현실의 새로운 조건하에서 이루진 소외된 세계에서의 주제와 인물들이 그 소외를 통하여 표현되어야 한다. 에른스트 피셔, 『예술의 새로운 시각』 지양사, 1982, p15 이러한 인물을 주제로 표현된 작품은 동,서를 막론하고 회화사에 오늘날까지 다양하게 이루어져 왔으며 인간이 자신의 내면세계를 표현하는 방법 중에는 여러 가지 표현방법으로 나타 낼 수 있다. 예술은 단순히 가시적인 세계를 표현하는 것만은 아니고, 눈에 보이지 않은 내면의 세계까지 탐구하여야 하는 데에 그 본질적인 역할이 있다고 볼 수 있다. 특히 동양회화는 사물의 형상을 보이는 그대로 그리기 보다는 시각적 형상을 가능하게 하는 존재의 원리를 살펴보고 연구하는 데에 큰 의미를 두고 볼 수 있다. 본인은 수묵의 인물표현을 통해 본인의 감정의식을 표출하고자 하였다. 수묵을 통해 인물에 나타난 적상표현이 본인이 추구하는 작업의 핵심을 이루고 있기 때문이며 작품의 주된 표현방법은 수묵의 특성을 이용한 인물표현이다. 인물의 형상에만 나타난 표현방법이 아닌 그 대상의 내면세계까지 표현하는 방법으로 먹이 지닌 깊은 정신성을 빌어서 작품 내면의 주관적인 사고와 심리를 상징적으로 가시화하면서 작품을 통하여 표현하고자 하며 본인은 인물을 소재로 하여 내적인 감정을 상징적으로 나타낸 것이다. 수묵이 지니는 충동적이고 자율적인 표현특성에 자신의 의식적인 구성을 곁들여 작품을 중점을 두며 인물표현 양식을 부분적으로 수용하여 현대적 표현에 맞는 새로운 조형적 표현방법으로 볼 수 있다. 수묵을 택한 이유는 표현과 재료의 일치감이 본인이 표현하고자 하는 의도에 가장 효과적이라고 생각하였고 화면 속에서 펼쳐지는 인물의 느낌을 먹의 조화를 통해 표현을 단순화시켜 그 본질의 형태만 표현하려는 의도에 가장 적합하며 먹의 특성을 살려 회화에 있어 새로운 조형적 공간을 활용해 보고자 하였다. 이러한 작업과의 연관성을 파악하여 본인의 작품을 수묵을 통한 인물의 적상표현으로 정립시킬 수 있는지를 연구하며 심상의 표현을 통해 앞으로 새로운 창작을 위한 작업 방향을 모색해 보고자 한다. Art reflects various forms of life as a means of communicating human emotions. An artistic representation of the human should not be made only by the expression of appearance, but by that of internal and spiritual part of the human which is formed by situations of the times. Thus, subjects and figures in the alienated world achieved under new conditions of social reality have to be expressed through the alienation in contemporary paintings. Ernst Fischer, a new vision of art, 1982, p15 Until today, the works that represents the theme with these figures have made in both the East and West in the history of fine arts, and various kinds of representations can be implemented to express the inner world of humans. It is the essential role of the art not only to express simply visible world, but to explore the inner world that is invisible to the eye. In particular, oriental paintings place great implications on investigating the principles of existence that enables visual representations, rather than on drawing things as they really appear. I attempted to express emotional awareness through the representation of figures using Indian ink. Since the expression shown in figures constitutes the core of the work I pursue, the representation of figures using the characteristics of Indian ink is key towards expressing the work. In addition, I tried to express subjective thoughts and psychology inside the work, while visualizing them symbolically through the work with deep spirituality of a black ink-spot by means of representing inner world of the subject, not just expressing the shape of the figure, thereby conveying inner feelings symbolically with figures as targets. Further emphasis was placed on the work with addition of conscious configuration to impulsive and autonomous expression characteristics that Indian ink have, and new figurative representation to meet modern expression was adopted through partial acceptance of a mode to represent figures. The reason for selecting Indian ink is because I thought that coincidence of expression with materials is very effective for intentions to express, and simplification of the expression obtained from feelings of figures shown in a picture through the combination of a black ink-spot is most suitable for intentions to express the shape of the essence. In this regard, I tried utilizing new formative space in drawings by taking advantage of the characteristics of a black ink-spot. This paper is designed to investigate if my work of art is established as an expression of a figure through Indian ink by figuring out the relevance with this operation and attempts to seek operational directions for new creations in the future.