원근법(Perspective)의 신학적 함의: 중세부터 바로크까지

김지인(Jean Kim) 연세대학교 신과대학(연합신학대학원) 2018 신학논단 Vol.92 No.-

This paper looks into the ‘Perspective’ and its theological implications in the context of European Christianity. Since Medieval Ages, Perspective was developed in close relationship with geometry, optics and catoptrics. During the Medieval Ages, Perspective had optic implications in principle and was developed theoretically under the influence of the Greek and Arabic geometry and optics. Many Medieval preachers developed the ‘spiritual geometry’ which connected geometry, optics and God’s and Creatures’ attributes. During the Renaissance Ages, Perspective was applied to the art and Linear-perspective appeared in this context. During this period in which many people experienced hardships, people wanted to see the concrete and touchable God rather than abstract God. This demand was strengthened by the appearance of Copernicus’s heliocentric theory. Linear-perspective was devised by Brunelleschi and established as an art theory by Alberti. Alberti started to separate between perspective and theological implications. During the Baroque Ages, under the influence of the Galileo’s heliocentric theory, another new world-view was appeared. In this period, there appeared tendency to connect Perspective with theological implication on the one part and separated two dimensions on the other part. Galileo’s new invention of telescope and new discovery of the Moon was influential on these tendencies. Since the Aristoteles’ world-view which believed heavenly body’s perfection and constancy was changed into adopting its imperfection and volatility. This paper which approached Perspective historically shows the theological endeavor to understand general revelation by clarifying how people made efforts to understand God and Creature in a rational way and put this understanding into art. This paper looks into the ‘Perspective’ and its theological implications in the context of European Christianity. Since Medieval Ages, Perspective was developed in close relationship with geometry, optics and catoptrics. During the Medieval Ages, Perspective had optic implications in principle and was developed theoretically under the influence of the Greek and Arabic geometry and optics. Many Medieval preachers developed the ‘spiritual geometry’ which connected geometry, optics and God’s and Creatures’ attributes. During the Renaissance Ages, Perspective was applied to the art and Linear-perspective appeared in this context. During this period in which many people experienced hardships, people wanted to see the concrete and touchable God rather than abstract God. This demand was strengthened by the appearance of Copernicus’s heliocentric theory. Linear-perspective was devised by Brunelleschi and established as an art theory by Alberti. Alberti started to separate between perspective and theological implications. During the Baroque Ages, under the influence of the Galileo’s heliocentric theory, another new world-view was appeared. In this period, there appeared tendency to connect Perspective with theological implication on the one part and separated two dimensions on the other part. Galileo’s new invention of telescope and new discovery of the Moon was influential on these tendencies. Since the Aristoteles’ world-view which believed heavenly body’s perfection and constancy was changed into adopting its imperfection and volatility. This paper which approached Perspective historically shows the theological endeavor to understand general revelation by clarifying how people made efforts to understand God and Creature in a rational way and put this understanding into art.

예수회 원근법 교육의 신학적 함의 - 안드레아 포초(Andrea Pozzo)의 작품을 중심으로

김지인(Jean Kim) 한국기독교학회 2021 한국기독교신학논총 Vol.120 No.-

본 연구는 17세기 예수회 화가였던 안드레아 포초의 예술작품을 예수회 원근법 교육의 신학적 연관성 속에서 고찰하였다. 첫째, 포초 시대의 자연과학과 예술적 콘텍스트를 살펴보고 포초의 예술작품과 저서의 내용과 형식을 분석했다. 포초는 지구 중심설의 대두와 같은 천문학적 변화와 당시 키르허의 광학적 실험과 당대 왜상화법의 영향을 받았다. 둘째, 예수회가 신앙적, 교훈적 내용을 극적으로 전달하고 교육하기 위해 극적 무대장치를 제작하게 하고 원근법을 교육하고 장려했던 상황 속에서 포초가 작품을 제작했음을 살펴보았다. 셋째, 포초의 예술작품이 지닌 예수회 신학적 관점을 분석했다. 본 연구는 국내에서는 처음으로 안드레아 포초의 예술작품과 저서를, 원근법을 교육했던 예수회 예술 신학적 관점에서 소개했다. 오늘날 개신교회의 예배 가운데서 예술이 차지하는 역할이 증가하는 가운데서 개신교의 이미지에 대한 기존의 신학을 재고찰해볼 필요가 있다. This paper sees artworks of Andrea Pozzo(1642-1709) in relation with the Jesuits’ ‘perspective’ education and its theological implications. First, this paper looks into the natural science and artistic context of the contemporary era of Pozzo and analyzes the content and format of his artworks and books. Pozzo was influenced by the astronomical changes, such as the appearance of the geocentrism, and also by Kircher’s optical experiments and contemporary art of anamorphosis. Second, this paper sees the Jesuits’ context of Pozzo’s anamorphic artworks, in which the Jesuits tried to educate their students on the perspective through producing dramatic stages as a means of rhetorical religious education. Third, the Jesuit’s theological views in Pozzo’s artworks are analyzed in this paper. This research is the first one in Korea to introduce the art works and books of Pozzo, from the perspective of the Jesuit art theology that highlighted the perspective in their education. This paper suggests that reconsideration of the existing art theology on the image of Protestantism is necessary amid the role of art in the worship of Protestant churches are increasing nowadays.

예수회 선교사를 통해 중국과 일본으로 전래된 서양화법(西洋畵法) : 동서미술교류사의 선교학적 연구를 위한 제안

김상근(Kim Sang-Keun),김지인(Kim Jean) 연세대학교 신과대학(연합신학대학원) 2009 신학논단 Vol.57 No.-

??This is to give a historical description on roles and activities of Jesuit missionaries who introduced western painting style into Japan and China. Studies on this field traditionally have been made by art historians and scholars in the society of Jesus respectively. In this essay, we have tried using missiological perspectives to interpret cultural influences. It is missiological perspective that makes this article different from theirs.<br/> ??When Japanese and Chinese encountered new images from European culture, They had to face both European image system and European 'religion'. that is, a 'window' through which they were obliged to see the world. We focused on tensions and interdependence between those to systems when Japanese and Chinese were getting used to see the world differently.<br/> ??Though the periods dealt with aren't the same in each country, the basic concern which connects them is similar. The decisions of Trent Council on religious art the missionaries used as a method to do missionary work. The historical background has been described. And we have traced each missionary's activities and reactions to a new culture on the side of, what we call, 'receiver' in the process of introducing western painting style. Further sophisticated studies should be made on situations and motives of an artist and missionary being sent to Asia and the whole process in terms of missiological perspectives in detail. More importantly, Asians understanding and reactions to new images and a foreign way of seeing the world on their own situations which we haven't dealt with fully. ??This is to give a historical description on roles and activities of Jesuit missionaries who introduced western painting style into Japan and China. Studies on this field traditionally have been made by art historians and scholars in the society of Jesus respectively. In this essay, we have tried using missiological perspectives to interpret cultural influences. It is missiological perspective that makes this article different from theirs.<br/> ??When Japanese and Chinese encountered new images from European culture, They had to face both European image system and European 'religion'. that is, a 'window' through which they were obliged to see the world. We focused on tensions and interdependence between those to systems when Japanese and Chinese were getting used to see the world differently.<br/> ??Though the periods dealt with aren't the same in each country, the basic concern which connects them is similar. The decisions of Trent Council on religious art the missionaries used as a method to do missionary work. The historical background has been described. And we have traced each missionary's activities and reactions to a new culture on the side of, what we call, 'receiver' in the process of introducing western painting style. Further sophisticated studies should be made on situations and motives of an artist and missionary being sent to Asia and the whole process in terms of missiological perspectives in detail. More importantly, Asians understanding and reactions to new images and a foreign way of seeing the world on their own situations which we haven't dealt with fully.

그림과 찬으로 화폭 위에 남긴 朝ㆍ日 인사들의 교유

허경진(Hur Kyoung-jin),김지인(Kim Jean) 가천대학교 아시아문화연구소 2009 아시아문화연구 Vol.17 No.-

Throughout Sinographic cultural sphere in wich people used, it was natural that a painting have a panegyric for it. Panegyrics mean certain words which are inspired by the paintings' theme, and are supposed to be combined with paintings on the canvas. So the panegyric explains and extends the meaning of the painting. A piece of work should be understanded as a combined structure of layered meanings- not just as a painting neither just as a phrase. When members of Joseon Tongshinsa and Japanese of Edo era met, they exchanged many paintings and panegyrics. when they make a piece of work together by attaching some panegyrics to each others paintings, they had to consider others taste, because although they shared Sinographic culture, their taste for art were significantly different. For example, in Edo era Japan was a country of Samurais and merchants, while Joseon was a country of Confucian scholars and bureaucrats. People from Joseon thought being interested in material things are shallow, while Japanese of Edo era didn't think so. Painters and writers from each country knew they had different point of view, so tried to deal with this problem. And this study's first goal is to figure out how they considered each other's taste for art. Throughout Joseon Tongshinsa's 12 visits to Japan, many paintings with panegyrics had been exchanged between Joseon And Japan, and they have been studied well by previous studies done by Korean and Japanese researchers. But in previous studies, any attempt to analyze those pieces of works in balance between literary and pictorial aspect hasn't made. A piece of work was only studied as a painting, without considering literary aspect of the pieces. This study aims to analyze the literary aspect of works by studying panegyrics and how those works were made, and so to understand the pieces of work as a full text. And futhumore, how people with very different taste for art made pieces of work together.

Deep Interest Network를 활용한 옥외광고 매체 추천 서비스의 설계 및 구현

조승규(Seung-Kyu Jo),김원섭(Won-Seob Kim),박효진(Hyo-Jin Part),이규상(Gyu-Sang Lee),유상기(Sang-gi Ryu),조수필(Su-phil Cho),노민영(Min- Young Noh),김지인(Jean Kim),손종수(Jong-Soo Sohn) 한국IT서비스학회 2021 한국IT서비스학회 학술대회 논문집 Vol.2021 No.-

최근 옥외광고 미디어의 디지털화 추세에 힘입어 시장 규모가 급성장하고 있다. 이에 따라 효과적인 광고집행을 위해 옥외광고 매체의 공급 인프라 구축 또한 매우 중요해졌다. 하지만 온라인으로의 디지털전환의 더딘 속도와 체계화 되어있지 않은 매체 공급자의 생태계로인해, 정량적 데이터에 대한 신뢰부족 문제가 발생하고 있다. 이러한 문제를 극복하기 위해 본 논문에서는 딥러닝 기반의 추천 서비스 설계와 구현을 보인다. 딥러닝 모델은 Click-Through Rate Prediction 기반의 Deep Interest Network 모델을 활용한다. 제안하는 서비스를 통해 광고주는 정량적인 데이터에 대한 신뢰도를 향상시킬 수 있으며, 매체 공급자는 최적의 비용으로 옥외광고 매체 제공에대한 디지털 전환을 가능하게 할 것으로 기대한다.