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김진순 한국농촌간호학회 2008 한국농촌간호학회지 Vol.3 No.2
1984년부터 지역주민과 함께 생활하면서 수행한 일차 보건의료 업무 중 전염병 관리 사업을 조직적인 지역사 회의 자체적인 역할로서 환경위생관리, 전염병관리, 보건 교육 및 유관기관과의 연계사업 등에 관하여 이해하기 쉽게 1980년대(초창기)와 2000년대(현재)를 구분하여 살펴보고자 한다.
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김진순 한국미술사학회 2008 美術史學硏究 Vol.258 No.258
본 논문에서는 5세기 고구려 고분벽화에 나타난 불교적 제재들을 검토하고 이들의 연원에 대해서 밝혀 보고자 한다. 고구려 고분벽화의 불교적 모티프는 5세기보다 이전인 4세기 중반부터 고구려 고분벽화에 등장하기 시작한다. 그러나 관련 사례도 적을 뿐만 아니라 무덤의 벽화 내용도 인물 및 생활풍속 위주이기 때문에 이 시기의 변화는 계세적 내세관을 더욱 반영한다고 할 수 있다. 불교가 국가의 공식 종교로 선포되고 왕실의 전폭적인 후원 아래 사회 전체로 확산되어 가는 5세기에 이르러, 대다수의 고분벽화에서는 인물풍속적인 요소가 점차 약화되고 그에 대신하여 불ㆍ보살상, 연화문, 연화화생, 비천, 화염문 및 공양인 행렬도와 같은 새로운 불교적 소재들이 주류를 차지하게 된다. 5세기의 벽화고분 가운데 불교적 내세관을 반영하는 대표적인 예로는 집안일대의 장천 1호분, 산연화층, 귀갑층, 삼실층과 평양일대의 감신층, 덕흥리 벽화고분, 쌍영층, 안악 2호분 등을 꼽을 수 있다. 주목할 만한 점은 이들 고분의 불교적 요소가 감숙지역의 석굴벽화와 긴밀한 연관성을 보여준다는 점이다. 그 가운데 감신층을 시작으로 묘주 초상의 등 뒤에 출현하는 역삼각형의 등받이, 장천 1호분 불상의 화염 광배 뒤에 묘사된 보리수의 표현 등은 4세기 말 5세기 초 감숙지역의 석굴미술에서 매우 유행하였던 양식이다. 이러한 제재들이 중국의 화북지역이나 남방지역을 건너뛰어 고구려에서 먼저 나타난다는 사실은 바로 중원을 경유하지 않은 고구려와 감숙지역 간의 능동적인 문화교류를 암시하는 것으로 해석할 수 있다. 이처럼 5세기의 고구려 고분벽화에 농후하게 표현된 불교적 내세관은 국가주도하에 적극적으로 추진된 불교 진흥 정책과 관련이 깊다. 고구려 왕신은 불교를 공인하였을 뿐만 아니라 이후 대규모의 사찰 영건 사업을 통해 불교문화의 확산과 정착에 적극적인 노력을 기울였다. 특히 당시 불교문화의 발전은 다른 예술 전반에도 영향을 끼쳤을 것이며, 이러한 사회, 문화적 분위기가 5세기의 고구려 고분벽화 미술에도 그대로 반영되어 있는 것이다. 고구려에서 감숙 지역의 불교문화 유입할 수 있었던 데에는 당시 고구려가 처해 있었던 국제 정세와 적극적인 대외정책이 크게 작용하였다. 4세기 후반부터 5세기 전반까지 화북지역은 정채적 혼란에 휩싸여 있었다. 반면 중원의 서북쪽에 위치한 감숙 일대는 상대적인 정치, 경제적 안정을 구가하면서 인접한 실크로드를 통해 서역의 불교문화를 지속적으로 받아들이고 있었다. 고구려는 요동에서 중국 세력을 축출하는 한편 북방민족과 우호적인 관계를 수립하여 중국의 서북지역으로 직접 통하는 교통로를 확보하였고, 나아가 감숙 일대를 통해 실크로드를 경유해 온 새로운 문화적 요소를 받아들일 수 있었다. 여기에 중원의 전란을 피해 감숙과 요동으로 이주한 서역계 상인과 장인의 활약은 빼놓을 수 없는 중요한 요소로 작용하였다. 흥미로운 사실은 5세기 고구려 고분벽화에 농밀하게 보이는 불교적 정취가, 당시 세속적 생활상이나 도교적 신화로 채워진 남조의 고분벽화나 한문화의 전통을 그대로 계승한 북위의 그것에서는 찾아보기 힘든 고구려만의 특징이라는 점이다. 북방민족 선비(鮮卑)에서 기원하여 한때 광활한 화북지방을 통일하였던 북위는 한화정책을 무리하게 추진하여 결국 민족 고유의 정체성을 상실하고 멸망 ... This paper explores Buddhist themes and motifs appearing in mural paintings of 5th century Goguryeo tombs and discusses their possible origins Buddhist motifs made their first appearance in Goguryeo tomb murals toward the middle of the 4th century However until then they were relatively rare and as mural paintings from this period mostly centered on figures and everyday customs were still immersed in the native view of afterlife they could hardly be said to represent a Buddhist worldview which took hold of the imagination of early Koreans only much later Once into the 5th century when Buddhism was declared the national religion and took root in Goguryeo society under the strong support of the royal family the thematic dominance of traditional figures and customs on tomb murals slowly faded in favor of images of Buddhas and Bodhisattvas lotus designs scenes related to the story of miraculous birth from lotus blossoms flying female angels flames and processions of the faithful laden with offerings Among 5th century tomb murals mirroring a Buddhist vision of life after death the most representative are Jangcheon Tomb No 1 Sanyeonhwachong Gwigapchong and Samsilchong in Ji’an and Gamsinchong Deokheung-ri Tomb Ssangyeongchong and Anak Tomb No 2 in Pyeongyang One notable thing about the Buddhist motifs in these Goguryeo tomb murals is their striking similarity to those found in mural paintings from the Buddhist grottoes in the Gansu Province of China The back of the seat shaped like an inverted triangle against which the owner of Gamshinchong is portrayed and the details of the bodhi tree behind the flaming halo of Buddha on the mural of Jangcheon Tomb No 1 are in the cave art style which was popular in the Gansu region between the late 4th century and the early 5th century The fact that this style reached Goguryeo before northern or southern China suggests the existence of a lively cultural exchange between Gansu and Goguryeo which besides may have been easier to access than regions lying beyond the Chinese Central Plain The fact that the vision of life after death expressed on Goguryeo tomb murals took on an increasingly Buddhist undertone has much to do with Goguryeo rulers’ efforts to embrace the religion In addition to proclaiming Buddhism the official religion of Goguryeo its kings sponsored the construction of large temples to spread the new religion across its territories The mural paintings of 5th century tombs therefore reflect this social atmosphere Meanwhile the heavy influence of the Buddhist art of the Gansu region observed on Goguryeo tomb murals from this period is largely explained by the regional political situation of the time and the Korean state’s proactive external policies Between the late 4th century and the early 5th century northern China was mired in political turmoil Gansu on the other hand enjoyed peace and prosperity denied in the rest of region due to its location northwest of the Central Plain safely removed from the center of tumult Buddhist art flourished in this region bordering the Silk Road thanks to the continuous exchange with Central Asia Around this time Goguryeo gained the control of the Liaodong Peninsula eradicating the Chinese presence from this region and secured safe passages to northwestern China by befriending northern tribes This provided Goguryeo with access to new and advanced cultural forms transmitted to the Gansu region via the Silk Road The contributions of Central Asian merchants and artisans who had migrated to the Gansu and Liadong regions fleeing the war in the Central Plain were also essential Yet the most remarkable thing about the Buddhist imagery manifested by 5th century Goguryeo tomb murals is that influenced though it was by the Northern Wei Dynasty it was quite distinct from the latter’s murals which espoused the style of Chinese southern dynasty tomb murals and were replete with mundane scenes of daily existence and Taoist legends unmodified as well as i...
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김진순 한국민요학회 2008 한국민요학 Vol.24 No.-
There are only some folksongs having actual function of work songs that are involved in the beat and rhythm in the field. Korean work songs are strongly emotional because most of them play roles as ‘singing plays’. The function of folksongs is an answer to the question “Why do people song in the present moment?” The factors drawing function have been influenced by various situations of the field in which feasts with songs are being held. This study focuses on the fact that there are much more folksongs playing an emotional role than those function as work songs, even though work songs are categorized as folksongs which occupy most part of the Korean folksongs. I examined the elements of formation of function and the embodiment of the function. The results shows that Korean work songs are based on emotional function, and the essential part of the function is to vent their emotions and get exhilarated. That is, the group work songs are motivated to appease the pressure occurring between the physical factors in work field and internal factors of members. They are also sung as play in order to get over tedious and boring simple labor. The function of play adapted at this time is emotional, so there is a thread connection between the object that they appeases and emotional function. The role of folksongs in the field is to promote the effect of labor by turning the field into feast combined with labor and play, and by making laborer forget the pain of working. Songs basically have amusement role and this is, in particular, remarkable in group working. Folksongs soothe the pain of simple and repetitious labor and further, they help people get over the pain by giving them new energy generated from group exhilaration. That is, the emotional function of folksongs presented in group work songs does not simply relieve the toughness and stress of labor but offers new energy created from group play. It appears that this character of folksongs play an important role in transmission and usage of folksongs in modern society since the emotional function is the main one in Korean working songs, and exhilaration and vent are representative sentiment of our people. There are only some folksongs having actual function of work songs that are involved in the beat and rhythm in the field. Korean work songs are strongly emotional because most of them play roles as ‘singing plays’. The function of folksongs is an answer to the question “Why do people song in the present moment?” The factors drawing function have been influenced by various situations of the field in which feasts with songs are being held. This study focuses on the fact that there are much more folksongs playing an emotional role than those function as work songs, even though work songs are categorized as folksongs which occupy most part of the Korean folksongs. I examined the elements of formation of function and the embodiment of the function. The results shows that Korean work songs are based on emotional function, and the essential part of the function is to vent their emotions and get exhilarated. That is, the group work songs are motivated to appease the pressure occurring between the physical factors in work field and internal factors of members. They are also sung as play in order to get over tedious and boring simple labor. The function of play adapted at this time is emotional, so there is a thread connection between the object that they appeases and emotional function. The role of folksongs in the field is to promote the effect of labor by turning the field into feast combined with labor and play, and by making laborer forget the pain of working. Songs basically have amusement role and this is, in particular, remarkable in group working. Folksongs soothe the pain of simple and repetitious labor and further, they help people get over the pain by giving them new energy generated from group exhilaration. That is, the emotional function of folksongs presented in group work songs does not simply relieve the toughness and stress of labor but offers new energy created from group play. It appears that this character of folksongs play an important role in transmission and usage of folksongs in modern society since the emotional function is the main one in Korean working songs, and exhilaration and vent are representative sentiment of our people.
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USB 플래시 드라이브를 이용한 DSP 펌웨어 업데이트
김진순,최준영 대한임베디드공학회 2023 대한임베디드공학회논문지 Vol.18 No.1
We propose a method to update DSP (Digital Signal Processor) firmware using USB (Universal Serial Bus) flash drives. The DSP automatically detects USB drives based on an interrupt when the USB drive is inserted into the USB port. The new firmware binary file is found in the mounted USB drive, and the destination address of DSP flash memory is identified for the firmware update writing by investigating the firmware file header. After the new firmware is written to the DSP flash memory, the DSP is reset and rebooted with the newly updated firmware. By employing TI's TMS320F28379D control card with USB ports, we conduct experiments and verify the normal operation of the implemented method.
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