김환기 회화에 나타난 도가(道家)의 자연성 연구

마승재 ( Ma Seung-jae ) 한국철학사연구회 2021 한국 철학논집 Vol.0 No.71

자연(自然)은 도가(道家)의 가장 핵심적인 사유이며, 도가미학에서 예술은 자연의 조화와 원리를 체득한 후에 대상의 형상 너머의 경지로서의 본질적 이미지를 표현하는 것을 지향한다. 이러한 경지에 도달하기 위해 선행되어야 하는 것은 자연(自然)을 인식하고 체득하는 것이다. 자연을 인식하는 것이란 단순히 자연을 바라보는 것이 아니라 대상의 자연성을 이해하고, 있는 그대로의 자연스러움을 내재화(內在化)하는 것이다. 본고는 이러한 이해를 근거로 김환기 회화에 나타난 도가의 자연성을 고찰하고자 한다. 자연은 김환기 회화의 일관된 기조로 회화에는 산, 강, 구름, 달, 새, 나무 등의 자연의 풍경이 반복적으로 등장하고 있다. 회화는 소재적 측면에서 자연을 출발점으로 삼고 있을 뿐만 아니라, 표현방식에 있어서도 대상(자연)의 외형과 그에 대한 주관적인 해석을 구분하지 않는 주객일치의 관점에서 접근하여 후기에는 전면점화(全面點畵)의 방식으로 자연성을 드러내고 있다. 이와 같이 김환기 회화는 자연에서 출발하여 자연을 담고, 자연의 본질을 내재화하여 추상적 화면으로 표현했다는 점에서 도가의 자연과 상관성을 갖는다. 본고에서는 도가의 자연성을 밝히고, 자연의 개념이 김환기 회화에서 어떻게 구현되고 있는지 확인하였다. 철학적 개념을 통하여 회화를 분석하는 과정은 철학과 예술의 통합적 사고를 통해 폭넓은 미학적 연구로 이어지는데 일조할 수 있다고 본다. 동시에 이는 김환기의 예술 세계를 바라보는 관점에 있어 심층적인 시야를 확보할 수 있을 것이다. Nature is the most important reason for Taoist, and in Taoist aesthetics, art aims to learn the harmony and principles of nature and express its essential image as a state beyond the shape of the object. What must be preceded to reach this level is to recognize and acquire nature. Recognizing nature is not just looking at nature, but understanding the nature of the object and internalizing it as is. Based on this understanding, this paper attempts to examine Taoist naturalness in Kim Whanki’s paintings. Nature is the consistent basis of Kim Whanki’s paintings, where natural landscapes such as mountains, rivers, clouds, moons, birds, and trees repeatedly appear. His paintings not only take nature as a starting point in terms of material, but also approaches it from the perspective of uniting the subject (nature) and not separating its subjective interpretation in terms of expression. Thus, Kim Whanki’s later paintings reveal naturalness in the all-over dot painting method. Kim Whanki’s paintings have a correlation with the Taoist nature in that it starts from nature, contains nature, internalizes its essence, and expresses it on an abstract screen. This paper revealed the Taoist nature and how the concept of nature is demonstrated in Kim Whanki’s paintings. The process of analyzing paintings through philosophical concepts can help lead to a wide range of aesthetic studies by integrating philosophy and art. At the same time, this will secure an in-depth perspective on Kim Whanki’s view of the art world.

보호재가 일체화된 자착식 방수시트의 성능평가 연구

마승재(Ma, Seung-Jae),원의재(Won, Eui-Jae),이정훈(Lee, Jung Hun),송제영(Song, Je Young),오상근(Oh, Sang Keun) 대한건축학회 2015 대한건축학회 학술발표대회 논문집 Vol.2015 No.-

장욱진 회화에 나타난 도가적 도상에 관한 연구 - 허정(虛靜)을 중심으로

마승재 ( Ma Seung Jae ) 한국동양예술학회 2021 동양예술 Vol.51 No.-

Icon is a symbolic element in formative art, and through Icon, viewers can gain insights into various elements, ideas, and backgrounds in the work and grasp its intrinsic and aesthetic meaning. Thus, reading the icon in a painting is significant in that viewers can analyze the meaning expressed in the work broadly and identify its correct meaning. With this understanding, this paper intends to examine the icons appearing repeatedly in Chang Ucchin’s paintings based on Taoist’s concept of Xu-Jing. Taoist icons repeatedly reproduced in Chang Ucchin’s paintings include wòyóu (lying wandering) and the figure of ascetic, and the characters expressed in the work are taking the position of jījù (sitting down with legs wide apart) or qǐnwò (lying down comfortably). What they have in common are the expression of a free spirit from external restriction and interference and are the state of “Xu-Jing” in “Laozi” and “Zhuangzi.” The state of Xu-Jing in Taoism is a state of meditative contemplation and composure that is free from any restrictions or interference. In other words, wòyóu, jījù, and qǐnwò that appear repeatedly in Chang Ucchin’s paintings are seen as a motif that is in common with Xu-Jing. Jījù and qǐnwò, which release the mind and body to a free state, enable the expansion of the mind into an infinite world with a body free from manners or statutes, regardless of constraints in time and place. This is correlated with Taoist’s Xu-Jing in that it is a free state as it is, which removes the restraint and keeps the tranquility of the mind. In artistic creation, aesthetics and creation are achieved through free imagination and association, and an artist can demonstrate his or her creativity by reaching a free aesthetic boundary beyond reality. This paper reviewed the philosophical and aesthetic discussions of Xu-Jing and confirmed how the concept of Xu-Jing was embodied in Chang Ucchin’s paintings. Likewise, examining a painting through philosophical contemplation can provide the possibility of interpreting meanings and expressions in various ways.

대교약졸(大巧若拙)의 도가미학적 연구

마승재 ( Ma Seung-jae ) 충남대학교 유학연구소 2019 儒學硏究 Vol.46 No.-

동양 예술은 도(道)의 표현을 이상적인 것으로 여기며 사유의 기저에는 자연미를 중시하는 도가적 사유가 깊이 담겨 있다. 이런 사유는 노자가 『노자(老子)』 45장에서 말한 ‘큰 기교는 마치 서툰 것처럼 보인다[大巧若拙]’는 철학, 미학과 밀접한 관련이 있다. 예술가는 도를 깨닫고 자연을 체득해야 비로소 높은 경지에 오른 예술작품을 창작할 수 있으며, 이는 노자와 장자의 도를 통해 미적인 형상을 추구하는 의식과 밀접한 관련이 있다. 대교약졸(大巧若拙)이란 인위적 기교가 아닌 자연을 본받아 이루어지는 최고의 단계에 해당한다. 그것은 자연을 본받는 기교이나 그것을 하고자 하는 의식마저 소멸되어 자연스럽게 나타나는 기교이다. 또한 자신의 기법을 충분히 익히고 나면 다시 생경함으로 돌아가는 상태로 창작자의 예술적 개성이 발현된 것임을 알 수 있다. 이러한 의미에서 대교약졸은 서투른 듯하나 그 의미가 깊어 그윽하고, 질박하고 자연스러운 미학 사조를 설명하는데 한 범주를 제공 할 수 있을 것이다. 본 논문은 이러한 대교약졸의 미의식이 시대사조를 뛰어넘어 보편적으로 통용될 수 있는 예술론임을 제시하며, 하나의 미학적 키워드라는 점에서 대교약졸의 철학적·미학적 의미를 검토하고자 한다. 본문에서는 대교약졸의 의미를 노자와 장자의 사유에 초점을 맞추어 노자의 도법자연(道法自然) 사상과 대교약졸과의 관계성을 분석하고, 대교(大巧)의 속성을 무위자연성(無爲自然性)에 비추어 설명하였다. 또 대교약졸에서의 구조와 그 단계를 살피고 졸(拙)의 의미를 유희재(劉熙載)가 말한 유인복천(由人復天)적 사유를 통해 논하고자 한다. 노자와 장자가 말한 아름다움은 도의 본질로서 저절로 나타나는 자연 그대로의 모습이며, 대교약졸이라는 용어에서 말하는 큰 기교는 도를 체득하여 그 형상이 서투른 듯하나 자연스럽게 발휘된 형태이다. 대교약졸이 노자와 장자가 언급한 아름다움의 전부를 표현할 수는 없을 것이나 예술 창작의 기교적 측면을 설명하기에 충분한 용어임을 제시하였다. Eastern Art regards the expression of Tao as an ideal act deeply based on the thought that Taoist puts emphasis on the beauty of nature. This thought is closely related to the philosophy and aesthetics Laozi said in Chapter 45: “Great Technique Seems to Be Clumsy’. Artists can finally create lofty artworks by realizing Tao and directly experiencing nature, which is closely relevant to Laozi and Zhuangzi’s pursuit of aesthetic forms through Tao. The phrase ‘Great Technique Seems to Be Clumsy’ implies the highest state realized by emulating nature rather than following artificial techniques. It is the technique of emulating nature, but it appears naturally when the consciousness to carry it out disappears. In addition, a creator’s artistic talent is revealed when the creator returns to unfamiliarity after mastering his techniques. ‘Great Technique Seems to Be Clumsy’ will be able to provide a category in explaining an aesthetic thought that seems clumsy but is profound, simple, and natural with a deep meaning in this sense. This study suggests that such aesthetic sense of ‘Great Technique Seems to Be Clumsy’ is a theory of art that can be used widely beyond the ideas and thoughts of the times and seeks to review the philosophical and aesthetic meanings of ‘Great Technique Seems to Be Clumsy’ as an aesthetic keyword. By analyzing the meanings of ‘Great Technique Seems to Be Clumsy’ with a focus on the thought of Laozi and Zhuangzi, this paper analyzed the relationship between Laozi’s Nature of Taoist Principles and the phrase, and explained the attributes of ‘Great Technique’ in light of ‘Naturalness of Inaction’. Also, this paper sought to examine the structure and stages of ‘Great Technique Seems to Be Clumsy’ and discuss the meaning of ‘Clumsiness’ through Liu Xizai’s reasoning of ‘You ren fu tian’. The beauty by Laozi and Zhuangzi is nature as it is that appears naturally as the essence of Tao,and ‘Great Technique’ in ‘Great Technique Seems to Be Clumsy’ are forms revealed naturally but with a clumsy shape by directly experiencing Tao.Although ‘Great Technique Seems to Be Clumsy’ will not be able to express the entire beauty said by Laozi and Zhuangzi, this paper suggested that it is a sufficient phrase to explain the technical aspect of artistic creation.

에어캡시트를 이용한 단열 보완형 방수공법의 단열성 평가

마승재 ( Seung Jae Ma ),이종용 ( Jong Yong Lee ),최성민 ( Sung Min Choi ),오상근 ( Sang Keun Oh ) 한국건축시공학회 2015 한국건축시공학회 학술발표대회 논문집 Vol.15 No.1

Insulation in buildings are one of the crucial factors for energy reduction, and depending on the application areas and properties of the insulation requirements, various different types of insulation materials are being developed, produced, and used. Amongst these is the aircaps often used as packing materials. Because of their porous nature, they are highly efficient in preventing heat and are consequently used overseas often as insulation materials and as part of cold water concrete insulation curing method. This paper studies the recently developed usage of aircaps in waterproofing materials and evaluated their performance as supplementary insulation materials.

장자 사상을 통해 본 장욱진 회화 연구 - 안명론(安命論)과 소요유(逍遙遊)를 중심으로

마승재 ( Ma Seung Jae ) 한국동양예술학회 2020 동양예술 Vol.48 No.-

Chang Ucchin is regarded as a representative artist who embodies Korean sentiment, along with Lee Jungseop and Park Sookeun, in Korean modern and contemporary art history. He pursued the pure essence of art, and his simple and concise formative world reflects his saying “I am simple” as he said during his lifetime. His paintings based on free and original expression are composed of thoughts and materials to follow nature. This paper examined how Anminglun and Xiaoyaoyou spirits of Zhuangzi are shown in Chang Ucchin’s paintings. Zhuangzi says that life and death, reality and phenomenon, and world and nirvana are one being, and that such death and joy and sadness are fate as a result of great nature. The thorough self-awareness and conformity to Ming are that ultimate freedom can be obtained from the state of immortality, free from the restraint of the externals. Chang Ucchin said that he was not limited in the subject matter of artworks and that he would draw as much as there was without. In addition, he emphasized living in accordance with reason in his lifestyle. That he transcended and contemplated in his attitude toward life and death and he expressed such thoughts through paintings can draw a similarity with Zhuangzi's thinking toward Ming, in which he conformed to the given fate without distinguishing between life and death. The Xiaoyaoyou spirit of “Zhuangzi”, emphasizing self-sufficiency, freedom, and materialization, is consistent with the art spirit of Chang Ucchin’s paintings. The transcendence in “Zhuangzi” is the highest level of spirit, which is to extinguish the conflict between self and objects. This is the ‘recognition of the subject and object―change of the way of experiencing’ such as the well-known “Zhuangzi Who Became a Butterfly” and the “Pleasure of Fish”, that is, ‘Mulayangmang.’ ‘Xiaoyaoyou’, which consists of Zhuangzi's unique allegoric tales, shares commonality with Chang Ucchin’s paintings that are filled with the feelings of freedom and liberation transcending time, space and reality. Also, Magpie and Tree, the main subject matters of Chang Ucchin’s paintings, represents the artist himself; in which the connection to Zhuangzi’s state of wuhua(materialization) can be found as the artist brought the subject’s psychology into the object by projecting himself into nature. This paper examined the thoughts and creative attitude of Chang Ucchin and the paintings expressed accordingly through Zhuangzi's thinking. As Zhuangzi’s state of Anminglun and Xiaoyaoyou emphasize following the law of nature, it can be confirmed that such reason is in line with the utopia and artistic spirit that Chang Ucchin sought to express.

상수도시설 콘크리트 수조구조물에서의 염화이온 침투저항 특성분석

곽규성,마승재,최성민,오상근,Kwak, Kyu-Sung,Ma, Seung-Jae,Choi, Sung-Min,Oh, Sang-Keun 한국건설순환자원학회 2015 한국건설순환자원학회 논문집 Vol.3 No.2

The purpose of this study is to understand the necessity for waterproofing and corrosion-resistant technique application on concrete water tank used in water supply. Relevant research materials and regulation were collected, reviewing for the case studies of sample structures aged over 20 years, and experimental studies on chloride conduction for the high performance concrete and penetration properties of water repellency of liquid type materials. The result is that the concrete water tank in the water supply is needed for waterproofing and corrosion-resistant material coating to maintain long term durability due to the constant environmentally induced degradation deterioration often caused by chloride attack. 본 논문에서는 국내 외 관련 문헌 자료 및 규정에 대한 고찰과, 20년 이상 된 수조 구조물 현장의 사례 조사를 통해 수밀 콘크리트와 침투방지재의 염소이온 투과에 대한 실험적 평가 등을 통하여 결론을 도출하고. 방수층 및 부식저항기술을 음용수조 구조물(상수조 등)의 각 시설물별 방수 방식에 대한 성능을 동시에 만족하여야 할 필요성을 정립하는 것이다. 이는 수조 구조물들이 방수 및 침투방지재가 확실히 필요하다는 사실을 확언 할 수 있고, 또한 여러 가지의 콘크리트 침식을 발생시키는 요소와 원인들에서부터 장기적인 내구성을 화보할 수 있다.

강섬유제조 및 형상변화에 대한 하중전달 특성 비교연구

한윤정(Han, Yoon Jung),마승재(Ma, Seung Jae),오규환(Oh, Kyu Hwan),오상근(Oh, Sang Keun),김병일(Kim, Byoung Il) 한국콘크리트학회 2016 한국콘크리트학회 학술대회 논문집 Vol.28 No.1

적외선열화상카메라를 이용한 건식벽체에 부착된 타일에 대한 시공상태 점검기준

한윤정 ( Yoon Jung Han ),마승재 ( Seung Jae Ma ),최성민 ( Sung Min Choi ),오상근 ( Sang Keun Oh ) 한국건축시공학회 2015 한국건축시공학회 학술발표대회 논문집 Vol.15 No.1

In this study, it is contemporaneously understood that tile attachment on CRC board do not have a regulated standard on quality control and construction. Furthermore, there is also a definite lack of standardization on nondestructive inspection of tiles. This thesis investigates a diagnosis method of spot bonding tile attachment using infrared thermal camera as a way to propose a systematic nondestructive inspection method after tile construction.

대형수조구조물 아크릴 패널의 유지관리를 고려한 실링재의 줄눈 폭과 깊이 설계 계산식 제안

김명지 ( Kim Meong Ji ),한윤정 ( Han Yoon Jung ),마승재 ( Ma Seung Jae ),최성민 ( Choi Sung Min ),오상근 ( Oh Sang Keun ) 한국구조물진단유지관리공학회 2015 한국구조물진단유지관리공학회 학술발표대회 논문집 Vol.19 No.1