운임(雲林) 예찬(倪瓚)의 사상(思想)과 그의 문인화(文人畵) 경계(境界)

권윤희,Kwon, Yun Hee 국제문화기술진흥원 2020 문화기술의 융합 Vol.6 No.4

예찬은 중국 원말 사대가의 한 사람이다. 그는 이민족의 지배를 받은 시대적인 환경하(環境下)에서 자신의 독특헌 예술세계룰 구축하였다. 그의 화론인 흉중일기(胸中逸氣)는 동양 전통사상인 유(儒), 불(佛), 선의(禪) 영향으로 이루어진 정신적인 산물이다. 일기사상(逸氣思想)은 도가적(道家的)인 청담(淸淡)이나 허무(虛無), 무위사상(無爲思想)의 영향으로 문인(文人) 사대부(士大夫) 사이에 일어난 자연에 대한 새로운 자각이다. 이는 세속을 초월하여 일어났으며 남종 문인화(文人畵)의 이론적인 토대가 되었다. 예찬(倪瓚)의 일필(逸筆)은 흉중(胸中)의 일기(逸氣)를 그리는 방법이다. 이는 그가 오랫동안 노력하고 실천한 가운데 얻어진 문인화 경계이다. 예찬(倪瓚)은 생활의 체험 속에서 깨달은 선의(禪) 오경(悟境)으로 시서일체(詩書一體), 시선일치(詩禪一致)의 높은 경지를 실현하였다. 그의 예술정신은 흉중일기로 대변되는 탈속원진(脫俗遠塵), 일소부주의 고답(高踏), 시서일체(詩書一體)의 높은 경지를 표출하였다. 이를 통하여 그는 원말(元末) 명초(明初)의 화단에 독창적인 문인화(文人畵) 세계를 구축하였다.

원예요법이 병동형 호스피스환자의 우울과 스트레스에 미치는 효과

권윤희(Kwon, Yun-Hee),송미옥(Song, Mi-Ok),김정남(Kim, Chung-Nam) 한국산학기술학회 2011 한국산학기술학회논문지 Vol.12 No.10

본 연구는 원예요법이 병동형 호스피스환자의 우울과 스트레스에 미치는 효과를 검증하기 위한 것이다. 본 연구의 자료는 2009년 4월 29일부터 7월 26일까지 D시의 D병원에 입원된 호스피스 환자를 대상으로 실험군 30명, 대 조군 30명을 각각 선정하여 수집하였다. 본 연구에서 실험처치인 원예요법 프로그램은 실내․외 원예활동으로 구성되 었으며, 주 6회 3주간 매일 30분씩 제공하였다. 연구결과는 우울과 혈청 코티졸 검사를 통한 스트레스를 측정하였다. 원예요법 프로그램 실시 후 실험군과 대조군의 우울 변화에서 유의한 차이가 있는 것으로 나타났다. 또한 원예요법 프로그램 실시 후 실험군과 대조군의 스트레스 차이를 검증하기 위해 혈청 코티졸에서 유의한 차이가 있는 것으로 나타났다. 결론적으로, 원예요법은 호스피스환자의 우울과 스트레스에 긍정적 효과가 있는 완화적 중재로 사료된다. The study was done to examine the effects of horticulture therapy on depression and stress in patient of hospice unit. The subjects of this study were hospice patient in D hospital in D city, thirty hospice patient were assigned to experimental group, thirty hospice patient were assigned to control group. Data were collected from April 29, 2009 to July 26, 2009. Horticulture therapy program consisted of indoor and outdoor horticultural activities. The horticulture therapy was conducted 30 minutes, 6 times a week for 3 weeks (a total 18 times). Measures were depression, and stress by serum cortisol count. Data were analyzed using descriptive statistics, chi-square test and t-test with SPSS/WIN 17.0 version. The results of this study was patients in the experimental group receiving Horticulture therapy had a significant difference in changes of depression between the experimental group and control group. The study results indicate that horticulture therapy is an effective, palliative intervention program to improve the depression and stress of hospice patients.

MBTI(Myers-Briggs Type Indicator)활용 소집단 협력 학습 프로그램이 간호대학생의 대인관계와 진로정체감에 미치는 효과

권윤희(Kwon, Yun-Hee),곽오계(Kwag, Oh-Gye) 한국산학기술학회 2010 한국산학기술학회논문지 Vol.11 No.11

본 연구는 MBTI활용 소집단 협력 학습 프로그램이 간호대학생의 대인관계와 진로정체감에 미치는 효과를 파악하고자 시도되었다. 학습 프로그램과 연구 참여에 동의한 T대학 간호과 2학년을 대상으로 실험군 30명, 대조군 30명으로 단순무선 배치를 하였으며, 실험군에게는 15주 30시간 MBTI활용 소집단 협력 학습 프로그램을 적용하였 다. 연구도구는 MBTI 검사, 대인관계, 진로정체감 측정도구를 이용하였으며, 자료분석은 SPSS Win 17.0 프로그램 을 이용하여 chi-square test, t-test로 검증하였다. 연구 결과 MBTI활용 소집단 협력 학습 프로그램에 참여한 간호대 학생은 참여하지 않은 간호대학생보다 대인관계와 진로정체감이 긍정적으로 변화하였다. The purpose of this study was to investigate the effect of small group collaboration learning program through MBTI on interpersonal relationship and career identity of nursing college students. 30 experimental group and 30 control group, nursing students were randomly assigned 2nd grade nursing students were selected from nursing program of T university in Daegu, Korea. The 30 experimental group students received small group collaboration learning program through MBTI for 30 hours(2 times in a week for 15 weeks). Measures were MBTI test, interpersonal relationships and career identity scale. The data were analyzed with SPSS Win 17.0 program, chi-square test, t-test. The experimental group which received small group collaboration learning program through MBTI will have a higher level of interpersonal relationships and career identity change score than the control group.

Emamectin benzoate와 Pyridaben의 잔효성에 따른 담배가루이의 섭식행동 변화

권윤희(Yun-Hee Kwon),양정오(Jeong-Oh Yang),오정훈(Jeong-Hoon Oh),노두진(Doo-Jin Noh),윤창만(Changmann Yoon),김길하(Gil-Hah Kim) 한국농약과학회 2008 농약과학회지 Vol.12 No.4

동양예술(東洋藝術)에서 화(化) 경계(境界)에 대한 심미적접근(審美的接近) -추사와 강암의 부작난도(不作蘭圖)를 중심(中心)으로-

권윤희 ( Yun Hee Kwon ) 한국동양예술학회 2014 동양예술 Vol.24 No.-

Eastern art has been mostly based on Confucianism, Buddhism and Taoism. It is elementally different from western art because eastern art is based on the nature. And it is characteristic that the eastern art becomes more riped through imitating and hard working. Especially, caligraphy, the essence of eastern art, is that case. Depending on the art’s individuality and taste, it is expressed with being unskillful, purity, passion, or deviation. So an artist can experience self-amusement when he creates his own artistic world. Usually an art help a man to experience a beauty of things and all kind of thoughts in everyday life. A man experiences various beauty, is observed in the beauty, and accumulates sense of beauty. In that process a man can have his own eye for the beautiful. Every art pursues unseen metaphysical finality and attempts pleasure. But it is hard to be seen the final destination. This study considered the borderline of ‘wha’ that is the final destination of metaphysical aesthetics based on Chusa’s and Gangam’s “Busaknando” However it is impossible that the borderline of ‘wha’ is realized. So we only try to reach its borderline. But some artist can be said that he is in the borderline of “wha”, because he sticks to his own art all his lifetime. However to be in the borderline, he should be riped with imitating and hard working, This paper studied the borderline of ‘wha’ in eastern art with the“bujaknando” of Chusa Kim, jung-hee(1786∼1856,) and Gangam Song, sung-yong(1913∼1999). The ability of judging beauty is premised on the subjectivity of aesthetic appreciation. If you trace their artistic life, you can realize that the “bujaknando” reached being riped by imitating and hard working. And not only the paintings but also the philosophical elements in the poetic expression of the painting show that they built the borderlin of ‘wha’. First, there are some philosophical elements of fusion both of confucianism and buddhist, 性中天and 不二禪. In other words, coexistence and fusion of both confucian aesthetics and buddhistic aesthetics can be ‘wha’ that the eastern art pursues. second, 閉門覓覓and 偶然寫出are the components of artistic activity, being riped. Therefore the poetic expression of “busaknando” has basic components of artistic philosophy that forms artistic activity. And the two “busaknado” are quite different in the sense of aesthetics although the poetic expression of the paintings is the same. This means the various ways of judging the beautiful because they have different characteristics respectively. Chusa’s “busaknando” shows scholastic unskillfulness, while Gangam’s represents passionate aesthetic scene that breaks harmony. All of them could be possible by hardworking and being riped. So you can realize that these senses pursue ‘wha’ and show the characteristics of the eastern art. The borderline of ‘wha’ is the longing of eastern art that it pursues basically. Chusa and Gangam showed their own characteristics and truth with “busaknando” in that they developed scholastic unskillfulness and passionate aesthetic scene that breaks harmony. This can be an aesthetic sense of caligraphy beyond times.

동양화론(東洋畵論)에서 ‘사(似)’개념의 자의성(恣意性) 고찰

권윤희(Kwon, Yun-hee) 한국학중앙연구원 2019 한국학 Vol.42 No.1

간호학생의 임상수행능력 경로모형 분석

권윤희(Kwon, Yun-Hee),곽오계(Kwag, Oh-Gye) 한국산학기술학회 2012 한국산학기술학회논문지 Vol.13 No.10

본 연구는 간호학생의 비판적사고성향, 진로정체감, 간호전문직 자아개념, 임상실습만족 및 임상수행능력 의 관계에 대한 경로모형을 검증하고자 시도되었다. 간호학생 581명을 대상으로 자가보고형 설문지를 이용하여 자 료수집 하였다. 자료는 SPSS 및 AMOS 프로그램을 이용하여 분석하였다. 연구결과, 간호학생의 임상수행능력에 대해 비판적사고성향, 진로정체감, 간호전문직 자아개념 및 임상실습만족이 직접효과가 있었다. 그리고 비판적사고 성향과 진로정체감이 간접효과가 있었다. 간호학생의 간호전문직 자아개념과 임상실습만족에 대해 비판적사고성향 과 진로정체감이 직접효과가 있었다. 이러한 결과에서 간호학생의 임상수행능력에 영향을 미치는 요인을 고려하 고, 적절하고 효율적인 교육과정 및 교수학습 프로그램을 개발해야 한다. This study examined the fitness of a path model on the relationship among critical thinking, career identity, nursing professional self-concept, satisfaction of clinical practice, and clinical practice competency for nursing students. The subjects consisted of 581 nursing students and data was collected through self-report questionnaires. The data was analyzed by the SPSS and AMOS programs. Critical thinking, career identity, nursing professional self-concept, and satisfaction of clinical practice showed a direct effect on clinical practice competency for nursing students. Critical thinking and career identity showed an indirect effect on clinical practice competency for nursing students. Critical thinking and career identity showed a direct effect on nursing professional self-concept and satisfaction of clinical practice for nursing students. We consider the cause which affects the clinical practice competency of student nurses and study on the reasonable and effective curriculum and teaching and learning program.

고람(古藍) 매화초옥도(梅花草屋圖)의 심미적(審美的) 이상경계(理想境界) -유(儒), 도가(道家) 미학(美學) 공존(共存)의 이상향(理想鄕) 구현(具顯)-

권윤희 ( Yun Hee Kwon ) 한국동양예술학회 2014 동양예술 Vol.25 No.-

Oriental arts are mainly composed with confucianism arts and taoism arts. Confucianism & taoism are unfolded mainly focused on human being and the nature. <Drawing1> of Koram``s ‘mawhaseokdo’(梅花書屋圖, a drawing of a house filled with books covered with plum flowers) coexists confucianism & taoism``s aesthetics appreciatively. There are the elements of appreciationaesthetic``s of confucianism & taoism``s aesthetics. If looked into philosophically and aesthetically, we can come to the fact. In other words, at the philosophical aspect, the ``stare``(凝視) through the pleasure and the ``transcendence``(超脫) through the ``play``(遊) displays the philosophical elements of confucianism & taoism. Originally, confucianism & taoism are counteract and complementary relationship each other. they realize the ideal through the self cultivation and body conservation. And at the aesthetic``s aspect, there are the``pleasure``(樂) and ``deviation``(일탈) for confucianism and & the ``stroll``(逍 遙) and ``self-satisfaction``(自適) for taoism. The pleasure of man of virture``s three happiness through the friend``s visting and the ``deviation`` of visiting the friend with music instrumentcalled gemungo(거문고) is the element of appreciation aesthetic for confucianism. And the ``stroll``(逍遙) searching for the friend situated in house filled with books and ``self-satisfaction``(自適) of friend in house filled with books is the element of appreciation aesthetic for taoism. Like this, <drawing1> of Koram``s ‘mawhaseokdo’(梅花書屋圖, a drawing of a house filled with books covered with plum flowers) coexists the aesthetic``s elements for confucianism & taoism. these show us that they realize the idal land(called ``utopia``) of human-being on aesthetic``s aspect.

한국적(韓國的) 진경체현(眞境體現)으로서 강암(剛菴) 송성용(宋成鏞)의 풍죽미학(風竹美學) 연구(硏究)

권윤희 ( Yun Hee Kwon ) 한국동양예술학회 2011 동양예술 Vol.17 No.-

Bamboo was a personified literati-scholars and the symbol of figuring virtue with things of Confucian society. Therefore many literati and calligraphers tried to build up their character while they drew bamboo as a material of the study of things and nature. especially, windy bamboo painting added metaphysical aesthetics was a personified literati-scholar that symbolize the overcoming the pain, hardship, and integrity. For a long time literati and calligraphers have been drawing bamboo to build up their character. However there has been a few painters who completed high aesthetic world with his windy bamboo. Gamg-am’s windy bamboo paintings have embodied various aesthetic feelings. His windy bamboo paintings based on the beauty of strongness to express the spirit of literati-scholar. He formed his own aesthetic world that calligraphy and painting harmonize with each other by how to use Chinese ink to express being dark and light, harmony and spreading. Therefore his windy bamboo paintings are the whole bamboo painting based on the windy bamboo painting that Tan-eun, Jeong Lee has established in Josun dynasty. This embodied a new style of windy bamboo painting aesthetics based on the beauty of strongness. His windy bamboo painting embodied the aesthetics of Confucian society and symbolize the personified spirit of literati. He formed his own unique aesthetic world that emphasize the human’s mind and beauty of strongness in the whole bamboo in the windy bamboo painting history. His aesthetics was enlarged to the thought of passion and being strange. This stemmed from the beauty of clearness based on Sung Confucianism (Juja) and the beauty of passion based on philosophy of Wang Yangming and embodied as harmony between being neatly in appearance and being comfortable inside. So Gang-am``s windy bamboo painting has embodied the unique Korean style of literati-scholar``s painting.

풍죽(風竹) 문인화(文人畵)의 심미지향(審美指向)

권윤희 ( Kwon Yun Hee ) 전남대학교 호남학연구원 2016 감성연구 Vol.0 No.13

풍죽 문인화는 대나무와 바람이 결합되어 이루어진 문인의 그림이다. 풍(風)은 보이지 않은 가운데 감화 ·교화를 시켜주는 형이상의 심미요소가 있으며, 竹은 유가미학의 상징으로 절개·지조·선비 등을 상징하는 심미요소가 있다. 따라서 풍죽 문인화는 竹이라는 자연물로 된 유가미학의 상징과 풍(風)이라는 형이상적인 심미요소가 결합되어 심미이상을 구현한다. 풍죽 문인화는 일반적으로 상리(常理)의 추구가 담겨 있으며, 중신사(重神似)의 원칙으로 청풍고절(淸風高節)의 정신미(精神美)가 드러나게 된다. 풍죽 문인화에 대한 심미는 다양한 관점과 기준에서 이루어질 수 있다. 본고는 기세(氣勢)와 신채(神采)를 가장 중요한 심미기준으로 본다. 왜냐하면 기세에는 동양예술의 기본원리인 숙(熟)이 담겨있고, 신채에는 풍죽 문인화의 품격을 격상시켜 주는 격조가 함께 있기 때문이다. 즉, 기세는 극공의 숙에 의한 개성이며 천착된 필력이 있어야 가능하다. 기세가 외적인 형태로 드러난다면 신채는 내적인 정신이 드러남이다. 풍죽 문인화의 심미기준으로 신채는 품격을 보여주는 심미요소이다. 신채는 속됨을 없애고 맑음의 드러남을 추구하게 됨으로 가능하게 된다. 풍죽 문인화 미학의 심미이상은 비덕을 통한 유가미학의 구현에 있다. 이는 자연물에 군자와 선비를 의인화하여 가능하게 한다. 또한 풍죽 문인화 미학의 심미이상은 선비정신의 가시화(可視化) 하여 줌에 있다. 이는 청풍고절의 의상(意象)과 문향청기의 의상(意象)을 통하여 가능하게 한다. 이와 같이 풍죽의 문인화가 지향하는 심미지향은 비덕에 의한 유가미학의 구현을 통하여 선비정신을 드러내는 바에 있다. Windy bamboo is literati painting combined with bamboo and wind. The wind can`t be seen but has a metaphysical aesthetic element for influence and enlightenment. The bamboo also has a metaphysical aesthetic element for symbol of fidelity, unworldliness, and literati. Therefore, it is combined with the aesthetic element of bamboo which is a natural object and a symbol of Confucian aesthetics and wind which is the aesthetic element of metaphysics to realize the ideal of aesthetics. It generally has the pursuit of the matter of course(常理) and spiritual beauty of the clear wind and high fidelity(淸風高節) is revealed by the principle of the focused on mentally copied(重神似). The aesthetic about the windy bamboo can be reached at many different viewpoints and standards. I believe gi-se(strong force) and sin-chae (noble & mystic state) are the most important. It is because being mature, the basic principle of eastern art, is in the gise and the sin-chae consists of dignity which improves the level of the windy bamboo. In other words, the gise is individuality by studying hard and deeply and it will be available if there were the excavated power of a brush stroke. So, the gise expresses its personality outward, then the sinchae is its inner mind. They are the aesthetic elements of windy bamboo which show grace. This is available through pursuing revelation of clear and erasing earthliness. The ideal of aesthetics in windy bamboo is to embody confucian aesthetics through metaphor. It is possible by personification of wise man and scholar to natural object. And the aesthetic orientation is in the realization of confucian literati`s visualization. It is feasible through the image of the clear wind and high fidelity(淸風高節) and the image of literati`s fragrance and clear vigor (文香淸氣). Like this, the aim of aesthetics expresses the realization of confucian literati by metaphor through confucian aesthetics.