디자인 도서관 실내계획에 관한 연구

조성금 성신여자대학교 산업대학원 미술학과 실내디자인전공 1987 국내석사

요보호아동 그룹홈의 활성화 방안

조성금 명지대학교 사회복지대학원 2003 국내석사

This plan aims to investigate the current situation of children residing group homes, to present their data needed to give direction that develope. The main reason of entering group home is economic situation of their family of origin. Children are unhappy with their family of origin for alcohol, domestic violence, and illness of their parent. The first significance of this thesis is to get rid of social prejudices on the Child Group Home. The image of Group Home has been distorted. We know there are wide spread misunderstanding that the Group Home is the poor place where the human righgts are unlawfully violated. The second is that this study can be used as a basic material for the better service and improvement of the Group Home management by making the better valuation frame for Group Home. However, there are problems prior to valuation of Group Home: the establishment of legal and systematic standing of Group Home. Since the most of Group Home in Korea are officially unnotifield that in this situation it is very hard to achieve valuation purpose. Because without legal ground, valuation activities to assist the improvement of home management are apt to remain powerless advice. We can expect that the lively studies on this valuation system are carried out only when the accomodations-centered existing juvenile protection policy is converted into Group Home service and the Child Welfare Law is improved.

키질石窟 <捨身飼虎本生圖> 硏究

조성금 성신여자대학교 대학원 2003 국내석사

쿠차지역에 위치한 키질석굴은 동투르키스탄 지역에서 규모가 가장 크며 미술사적으로 중요한 벽화들이 많이 남아있다. 20세기 초 서구열강 제국주의 국가들의 서역탐험대에 의해서 널리 알려진 키질석굴은 독일 탐험대에 의해 최초로 키질석굴의 조성연대 및 벽화의 양식분류가 행해졌다. 그 후 1981년 북경대학의 宿白교수에 의해서 방사성탄소 연대 측정이 이루어 졌으나 오차의 간격이 너무나 크고, 또한 중국내 학자들 간의 의견이 서로 일치되고 있지 않다. 키질석굴의 조성에 관한 정확한 문헌기록이 남아있지 않아서 조성연대를 알 수 없는 것이 연구의 어려운 점이다. 본 논문은 키질석굴에 남아있는 벽화들 가운데 인도에서 실크로드를 통해 전래된 佛敎說話畵인 本生圖를 연구의 대상으로 삼아, 실크로드를 통한 동서 문화의 교류 속에서 창조된 쿠차지역 미술의 지역적 특징을 밝히는 것을 목적으로 하였다. 키질석굴에 현존하는 70여 종의 본생도들 중에는 특히 이 지역에서 많이 표현된 '자기희생'의 주제를 가진 본생도들이 다수 있다. 그 가운데 '자기희생'의 주제가 가장 극적으로 묘사된 <捨身飼虎本生圖>는 키질석굴에 여러 장면이 남아있고 河西回廊의 석굴사원에도 벽화나 부조의 형태로 다수가 남아있어 이를 연구의 대상으로 삼았다. 키질석굴 본생도의 특징은 대다수가 중심주굴의 천정 능형문 안에 본생고사의 가장 중요한 한 장면만을 축약하여 표현하고 있다는 점이다. 이러한 형식은 인도 스투파의 기단이나 난간의 장식을 위한 원형이나 방형의 틀 안에 묘사되던 본생고사 부조와 비슷하다. 그러나 중원에 전해져 묘사된 본생도는 시간의 흐름에 따라서 묘사하는 서술적인 방식을 취하고 있다. 회화의 표현방식이나 안료의 사용 등이 중국보다는 인도나 이란·바미얀에 가까운 키질석굴은 실크로드를 통해 전래된 불교미술의 특징 위에 쿠차지역만의 독특한 특성이 융합되어 있다. Ⅱ장에서는 쿠차불교의 성격과 키질석굴의 조성관계에 대해서 논급하였으며, Ⅲ장에서는 인도에서 기원한 본생도가 간다라지방, 서역 그리고 중원지방에 이르기까지 전래되는 과정과 지역적 변용의 여러 모습을 살펴보았다. Ⅳ장에서는 키질석굴 본생도와 가장 밀접한 관련 경전인 『賢愚經』과의 관계를 통해서 쿠차 불교미술의 성격을 밝히고자 했다. 이와 함께 현재까지도 키질석굴 양식분류와 편년연구의 기본이 되는 발트슈미트(E. Waldschmidt)의 양식론에 근거하여 키질석굴 <사신사호본생도>의 양식 분류를 시도하였고, 이를 통한 지역적 특색을 밝히고자 하였다. 大譯經僧 鳩摩羅什이 활동했던 쿠차는 서역북도에서 가장 불교가 번성했던 국가로, 왕실과 관료 그리고 오아시스 중계무역으로 부를 축적한 상인의 후원으로 자연지형을 이용한 많은 불교석굴이 조성되었다. 이 석굴사원 내부에 장엄된 소승계의 벽화들은 인도·이란적 요소들이 쿠차의 지역전통과 합쳐져 새로운 변용을 초래하였으며, 이러한 쿠차지역의 불교미술이 하서회랑의 석굴사원군과 중국의 불교미술에 영향을 미쳐, 전통적인 중국화의 기법과는 또 다른 서역적인 표현법이 정착하게 된 것이다. This study was designed to investigate regional characteristics of the art of Kucha created in east-west cultural exchange along the Silk Road, with special regard to the illustrations of Jatakas, the Buddhist birth-stories, introduced from India along the road among other Kizil mural paintings. Situated at the crossroads where eastern and western cultures meet, the Kucha region could accumulate great wealth with transit trade and contact the Buddhist art from India earlier than Chinese inland. The extreme hot and cold climate of a desert and stony, grassless mountains provided an appropriate natural condition for constructing stone caves. The geographic background had been combined with the support of Kucha royal families and oasis traders to build up many cave temples of the Kucha region, among which Kizil cave is the greatest in East Turkistan. With the absence of literary documents of the period when Buddhism had been introduced, and the construction of the caves had started, it has been difficult to divide the styles and record the chronicles of mural paintings in Kucha, located in the middle of Northern Silk Road. In approaching mural painting style, this study depended mainly on E. Waldschmidt's theory of style, referring to the researches of chinese authors. The illustrations of Jatakas presented on the tunnel-shaped ceiling of a center piller cave and a great statue cave among the Kizil caves are very singular first in the composition and descriptive way of rhomboid. Representing the most essential part of the tales within a rhomboid pattern after condensing them into one or two scenes, the illustrations of Jatakas in Kizil are drawn in a single picture like the Jataka relives of Sanci, Bharhut, Amaravati Stupa in India. But Indian sculptors preferred square and round composition, while Kucha painters adopted square and rhomboid one, led to more dramatic presentations of Buddha's good deeds in his previous life. Similarly, though two regions have in common with how to portray figures, that is, nakeness above the waist and a skirt below it, with Iranian ornaments, the typical shape of Kucha figure with a flat forehead and features closing together demonstrates that the "illustration of Jataka of Maha Bodhisatta" is a result of a mixture of the ethnic property of the Kucha people and the traditional style of India and Iran. Following Waldschmidt's theory of style, the "illustration of Jataka of Maha Bodhisatta" in the Kizil caves belongs to the second style, Indian-Iranian period. Nevertheless, it shows the features of both the first and second style period and the illustrations of Jatakas in the Kilzil caves are all concise and implicit descriptions, thus it is difficult to identify the difference between the illustration and other murals. But in that the "illustration of Jataka of Maha Bodhisatta" of a warm color system(cave 47, 58, 114) highlights the image of the victim rather than that of the tiger, while that of a cold color system(cave 8, 17, 38) portrays two figures equally, making their actions come to the fore, the latter emphasizes on the whole the sense of sacrifice more than the former which antedates it. Generally, the "illustration of Jataka of Maha Bodhisatta" in the Kizil caves is characterized by the absence of clear stylistic difference distinguished periodically. Occupying major part of the Jataka pictures in the Kizil caves, the "illustration of Jataka of Maha Bodhisatta" is about the story with the most strongest sacrificial motif among all the elements of self-sacrifice, as well as is differentiated from that of India or eastern/southern Asia in the light of the content and nature of offering one's blood and flesh. The preferred theme is thought to reflect the Kucha people's way of thinking who have valued life in a desolate desert environment. In the Mogao Grotto in Tun huang(敦煌 莫高窟), the kind of Jataka and Karma tales reaches 53 types, covering 124 pictures, among which the "illustration of Jataka of Maha Bodhisatta" is shown in more than 25 pictures in 21 caves. The one built up in the North Wei Dynasty(北魏) found in 254 cave, expressing unsynchronous time and space in a same picture plane, clearly manifests the sense of abandonment of the body and exhibits the figures very similar to that of the Kizil caves. This fact establishes the assumption that they are considerably affected by those of Kizil. Holding an important place in the Silk Road, the Kizil caves can be considered to be a treasurehouse of painterly materials and contain various influences from foreign cultures. To conclude, the "illustration of Jataka of Maha Bodhisatta" of the Kizil caves is a recreation by harmonizing diverse influences from the West and the regional trait peculiar to Kucha, and its greatest significance can be found in the fact that it spread toward the east, to the stretch of land to the west from Lanzhou to Dunhuang, Gansu province, and China, forming the best known theme in the Illustrations of Jatakas even so far.

天山 위구르王國의 佛敎繪畫 硏究

조성금 동국대학교 2013 국내박사

This study deals with Buddhist art of the Tianshan Uighur Kingdom. The Uighur kingdom had Turfan- an oasis city located along Tianshanbeilu- as its center, and led a successful nomadic life from the mid ninth to the thirteenth century. Turfan is a major transportation point, especially connected to the center of China. This means various cultures and religions meet in this region. The Uighur people, who establishd the Tianshan Uighur kingdom in this region, accepted their tradition, and created and developed Buddhist art in their own way. The Tianshan Uighur kingdom developed, prospered, and declined, with its mutually influential relationship with China from the Tang dynasty, through the Five Dynasties and Ten kingdoms period and the Northern Song dynasty, to the Yuan dynasty. Therefore, Buddhist art of the Tianshan Uighur kingdom must have affected Buddhist art of East Asia between the ninth and the thirteenth century, in which Chinese Buddhist art was established. This study is conducted with the idea that studying Buddhist art of the Tianshan Uighur kingdom would direct us to the origin of the East Asian Buddhist art. Central Asia, which was called 'The countries to the west of China,' became the focus of the world's attention, due to the boom in Central Asia expedition in the late eighteenth and the nineteenth century. In this period, the expeditionary parties from many different countries examined and plundered the property of Central Asia. Accordingly, besides having field studies, the research on art of Central Asia can be made only through the reports written by the expeditionary parties and the art works, which those parties took to the countries throughout the world and which lost their original forms. This study investigates the origin of the Uighurs and how they formed the structure of the nation from being nomadic tribes in the steppe in Outer Mongolia. This paper also describes the history of the Tianshan Uighur kingdom, which was established by some of the Uighurs who moved west in the steppe in the mid ninth century, having an old castle (高昌故城) in Turfan as its royal castle. Additionally, natural environment and history of Turfan are examined to find out its regional and cultural features and to explain how the Buddhist scriptures were translated and various Apocrypha were written in this region. This study also investigates the present condition and wall paintings of cave temples, which have a majority of Buddhist paintings of the Tianshan Uighur kingdom. Wall paintings in caves painted in the Tianshan Uighur kingdom period are found not only in Turfan, but also in adjacent areas throughout Kucha, Karashahr, and Bishbaliq. This paper classifies these caves according to their locations, history, the present condition, the structures of the caves, and the theme of the paintings. In the process, different names of caves used by different researchers and in different papers are compared to give a better understanding. Then, the names of the caves, used in the local place at the present time, are applied and used in this paper for a systematic research with unified terms. The first thing to be done to understand the Buddhist paintings of the Tianshan Uighur kingdom is to grasp and document the present condition of their iconographies. However, no work was done by bringing them together. For this reason, the documentation in this paper is made in its own way; the iconographies of the Tianshan Uighur kingdom's Buddhist paintings examined include pieces of wall paintings and scroll paintings kept in the museums worldwide as well as the wall paintings in cave temples in the region. They are classified into the conographies of the Buddha, a Buddhist saint, a Buddhist nun, a person who makes an offering to Buddha, and transformation paintings of the Buddhist scriptures, and the rest, and then into subcategories of them . Additionally, this study examines paintings which do not exist today, but are only recorded in papers. The definite iconographical sources and the names of the transformation paintings of the Buddhist scriptures, reinterpreted in depth in this paper, have been uncovered. Among those paintings of the five themes, the transformation painting of Foshuo yuxiu shiwang shengqui jing <佛說預修十王生七經變相圖> and that of Xiaochuzainanjing <消除災難經變相圖> have been named wrong due to their missing iconographical sources. This paper identifies their iconographical source and suggests their names. Regarding Bhaisajyavastu transformation painting <毘奈耶藥事變相圖>, which is representative of the Uighur kingdom's Buddhist art, it has been called Pranidhi painting without precise interpretations of its iconography. Examining paintings of this theme and the accompanying inscriptions in Bezeklik Cave 20 suggests that this painting is the Bhaisajyavastu transformation painting. This is because it illustrates the verses in Bhaisajyavastu. For another thing, the transformation painting of Maitreya Sansengkyung <彌勒 上生經變相圖> is what the Uighurs interpreted and illustrated the Apocrypha in their own ways. Regarding the painting of Thousand-armed Avalokitesyara <千手千眼觀世音菩薩圖>, it has been considered vaguely that the iconographical source of Thousand-armed Avalokitesyara is a changed form of Avalokitesyara (the Merciful Goddess) of Esoteric Buddhism. However, the fact that it has Buddhist images in five directions and that it has Vasu, r-mahdev, and the like on both sides of Avalokitesyara demonstrates that its iconographical source is the court of Akasagarbha of Garbhadhtu Mandala, the illustration of the Buddhist scripture Mahavairocanabhisambod-hi-vikrvitadhisthana-vaipulya-sutrendra-ra ja-namadharma-paryaya ??大日經??. These transformation paintings of Buddhist scriptures have something in common. Specifically, they illustrate the Buddhist scriptures with the composition of their own, different from Dunhuang and China. This paper presents the precise iconographical source by interpreting the paintings in accordance with Buddhist scriptures. This paper also considered the fact and possibility that the Tianshan Uighur kingdom shares the same Buddhist scripture and iconography with Dunhuang and the XiXia dynasty. Previous researches have only mentioned the manner of theTianshan Uighur kingdom's Buddhist art briefly. That is, no further research has been conducted. The Tianshan Uighur kingdom's Buddhist art adopted the tradition of Xizhou(西州) of the Tang dynasty and the iconography of Kizil grotto in Kucha and that of Manichaeism in which they believed before Buddhism. Existing Buddhist paintings of the Tianshan Uighur kingdom indicate that the Uighurs adopted and developed iconography and worked out for a new trend, and that no further advancement was made as the kingdom fell. Using this fact in careful investigation, this paper presents a reference point, which would help to estimate the date of the production of Tianshan Uighur kingdom's Buddhist paintings, and describes their manners. Furthermore, the Tianshan Uighur kingdom's Buddhist paintings are compared with the paintings of Dunhuang and other regions in Central Asia to discover their features. Consequently, this paper proposes that the Tianshan Uighur kingdom's Buddhist paintings have the following features: the images of the Uighurs who make an offering to Buddha appear frequently; the transformation paintings of Buddhist scriptures were popular and were portrayed in their own manners; and they adopted various iconographies. Judging from previous work, investigating the Buddhist art of Central Asia would direct us not only to its origin, but also to the origin of Chinese, Korean, and Japanese Buddhit art.

후기 근대한국어 접미파생법 연구

조성금 서울대학교 대학원 2015 국내박사

연구는 필사본 번역소설류 어휘자료에서 접미파생어를 추출하여 대표적인 각 유형별 접미사들의 실현양상을 관찰함으로써 번역필사본의 접미파생법은 물론이려니와 후기 근대한국어의 접미파생법 연구에도 조금이나마 기여하는 바가 있을 것이며, 나아가서는 파생법의 변천 등 통시적 연구에 일조하는 점도 없지 않을 것이다.