惠寰 李用休의 還我的 實心美學

韓敬愛 한국서예비평학회 2011 서예비평 Vol.- No.9

원내 외래 투약시간 단축을 위한 업무 프로그램 개선

한경애 한국의료QA학회 2008 가을학술대회 Vol.2008 No.3

황토를 이용한 문화 상품 개발 연구

한경애 한국공예학회 2001 조형디자인연구 Vol.4 No.1

The industrial craft of Korea is not only changing from a field of knowledge industry that has been expanding its territory to a professional field that is playing a key role in developing cultural goods but also playing an important role on the stage of the international market in the 21st century. The purpose of this study is, therefore, to examine detailed, broad plan for the development of cultural goods specific to each region. First, the properties and distribution areas of loess were examined, and the effects of loess on human body and its advantages were determined. Then, an attempt was made to develop nature-friedly and the most Korean-style cultural goods by applying the effects and advantages to utility goods. clothes, and accessories through dyeing. Dyeing experiments were carried out several times with yellow soil taken from specific regions(Jinju, Hadong and Gyeongju) until the most mastic and natural color were obtained. Various changes in dyeing techniques were also attempted through compound dyeing based on loess and flower plants. A variety of yellow soil dyeing were performed through compound dyeing by adding mordants, such as glutinous rice paste, alum, bean juice pine resin extract with aroma added, and acetic acid, at dyeing of the yellow soil. Adhesive power were reingorced by adding glue solution as a means for preventing decoloration when washing loess- dyed goods. In addition, the name of the brand 'Ggotda-zi' was made. and was printed on each work. to promote full-scale marketing activities and to create a professional design brand.

판별분석 기법을 이용한 농촌지역 산모의 분만장소 및 분만 개조자 선정에 관한 연구

한경애 한국간호과학회 1986 Journal of Korean Academy of Nursing Vol.36 No.8

Maternal and child health(MCH) status is considered as an important indicator of the level of health and civilization of a community and a country. MCH services for the rural population in the remote ar deserves priority by the government, since more than half(52.9%) of the delivery was occured at home and almost half (45.5%) of the delivery was assited by family members or neighbors. The purpose of the study was to analyse the health fare behavior related to pregnancy and delivery, which can be contributed maternal health care policy mating for the rural people. Specifically, it was intended to analyze the variables which affect the health care behavior in selecting birth places and birth attendants. This study utilized the data which had been already collected for an experimental study on primary health program model in Korean rural communities, funded by the USAID. 184 sample households with women who had delivered a baby during March 1982 to February 1983 were selected. Discriminant Analysis was employed for statistical analysis by utilizing SPSS computer package program. Birth places and birth attendants were considered as dependent variables. Among 12 independent variables in 5 groups considered, 7 independent variables were found statistically significant to affect the selection of birth place. Significant variables by the order of importance are mother's age, order of baby, number of prenatal care, accessibility of emergency medical care, coverage of medical insurance, mother's membership in community organization and husband's educational level. The degree of correct classification of the grouped cases by employing a discriminant . analysis was significantly improved to 78.2% in comparison to Cmax(56%) and Cpro(51%). Policy implications for each significant variable were discussed to improve the maternal and child health. in Korean ruralarea.

가톨릭敎 典禮服의 製作에 있어서 形態, 紋樣 및 그 技法에 關한 硏究

韓慶愛 효성여자대학교 산업미술연구소 1991 산업미술 Vol.3 No.-

The purpose of this study is to examine the characteristics of each formation by studying the design pattern style and technique of the textile art concerning the ceremony costume for catholic church and by investigating its manufacturing procedures, and to particularly find out both utilizating and possibility of the technique. This study was carried out by comparatively investigating the present ceremony costume on the basis of severally available literatures, focusing on the fact that there is now insufficient the understanding of the religious chasuble, In addition this study is to achieve the formation between the religion and art by applying the design pattern and style of the chasuble to the textile art or general dresses. The result of this study is summarized as follows. Firstly the general style of the chasuble was based on the manteau style of the parabola type which has an effect on the modern costume. The neck line of the chasuble consists of the round and square neck, while the collar mainly consists of the round collar. Secondly, the design pattern of the chasuble is mainly composed of the cross pattern, moving the simple pattern to the design pattern. Also it accomplishes a variety of changes. Moreover, this design pattern includes factors such as the plants, animals, geometrical drawings, human body subject materials relating to the natural universe and letter patterns. It also achieves the change from the single pattern to the complicated pattern while showing the change to the design pattern having an abstract and formative art sense. Thirdly, the technique used for the textile art is mainly divided into the knitting, applique, dying, weaving, collage knot and attached decoration, of which the knitting and attaching techniques with the textile tapes are used frequently. Fourthly, the shape in making the ceremony costume requires several techniques and artistic senses for the knitting procedures and inseam treatment of tip although its simple design makes the cutting more convenient. It is apparent that these result of this study should greatly contribute to the textile art, art costumes and utilization for all design, in addition, it is also required for the artist to actively participate in the religious art.

現代 商品廣告가 家庭管理에 미치는 影響

한경애 成均館大學校 家政大學 家庭管理學科 1976 家庭管理硏究 Vol.3 No.-

觀我齋 趙榮祏의 書畵美學思想 硏究

한경애 한국서예학회 2014 서예학연구 Vol.24 No.-

Cho Young Seok (Gwan-A-Jae, 1686–1761) is an important figure in the History of Korean Paintings as one of the literati painters who represent the late Chosun period. He has played a leading role in creating a new style about self-awareness and characteristic of Chosun in the history of Korean paintings in the late Chosun period. In the paintings by Cho Young Seok, both traditional methods and progressive perspective could be observed. Such characteristics are large deviations from the perceptional framework of paintings up to middle age Chosun, marking a transition from educational and didactic function to practical and pragmatic function. Also, it also may be interpreted as an attempt to understand the subject in objective attitude, breaking away from Wanmulsangji (玩物喪志) from Confucian framwork of reasoning. Aesthetical signification of Cho Young Seok’s artistic world is the embodiment of human nature and the harmony of formality and unconventionality. Through expressing traditionally restricted subjected into his creative work, Cho Young Seok broadly expressed the human nature and practical values, as well as the universal reasoning of humans. Therefore, the fact that Cho Young Seok’s paintings aims for elegant strictness while also carrying conventional freedom is noteworthy. Such double-sided character is displayed as the aesthetics of formality and unconventionality, which is also interpreted as a dual structure of harmony between the tradition and the reality. Cho Young Seok may be the true nobility of the late Chosun period who adhered to his status and gallantly carried out his wills against the rapidly changing tides of the times. Such spirit has influenced many artists in the generations that follow and inspired new trends. 趙榮祏(觀我齋, 1686–1761)은 조선 후기를 대표하는 士人화가로 한국 회화사에서 매우 중요한 인물이며, 조선 후기 회화사에 있어 주체적 자각과 조선적인 것에 대한 새로운 기풍을 조성하는 데 선구적인 역할을 하였다. 조영석의 회화에서는 전통적인 방식과 진보적인 시각의 경향을 동시에 확인할 수 있다. 이러한 특징은 조선 중기까지의 회화의 인식의 틀에서 크게 벗어난 것으로서, 회화의 교화적 기능과 감계적 기능에서 실리적이고 효용론적인 기능으로의 전환을 의미하는 것이다. 또한 유가적 사유의 틀에서 본다면 玩物喪志로부터 벗어나 객관적 태도로 대상을 파악하려고 했다는 의미로서 해석할 수 있다. 조영석 예술세계의 미학적 의미는 인간본성의 체현과 정형과 파격의 조화라고 할 수 있다. 조영석은 전통적으로 제한된 소재를 창작활동으로 표출함으로써 인간의 본성과 현실적 가치들을 폭넓게 표현했으며, 인간이 갖추고 있는 보편적 理를 파악하여 표출했다. 따라서 조영석의 회화에 있어 주목할 것은 雅趣 있는 엄격함을 지향하는 반면 親人性을 강조하는 통속적인 자유로움도 갖추고 있다는 것이다. 이러한 양면성은 정형과 파격의 미로 표출되는바, 이는 전통과 현실의 조화라는 이중적 구조로 해석할 수 있다. 조영석은 조선 후기의 급변하는 시대적 조류 속에서 사대부로서 자신의 위상을 견지하고 자신의 의지를 당당하게 펼친 진정한 사대부라고 할 수 있다. 이러한 신유가적 정신은 후대의 예술가들에게도 많은 영향을 주었으며, 새로운 유행을 촉발시켰다는 점에서 의의를 찾을 수 있다.

朝鮮(조선) 後期(후기) 文人(문인)들의 中國繪畵(중국회화) 認識(인식)에 관한 연구 -董其昌(동기창)의 美意識(미의식)을 중심으로-

한경애 한국동양예술학회 2013 동양예술 Vol.22 No.-

朝鮮後期畵壇已脫離了從中國傳播過來的繪畵形式,在繪畵的主題與形式上已進入朝鮮特有的繪畵時期。즉使在此種朝鮮繪畵逐漸發展的格局下,也全盤接受了中國南宗文人畵,中國繪畵對其影響也未中斷過,這也是朝鮮後期畵壇的主要特點。 朝鮮後期董其昌畵風的擴散以及中國最具代表性的畵派之壹-吳派畵風的引入也與朝鮮後期文人畵風也有直接聯系。進이通過此時期的作品中吳派畵風作品,不僅有利於理解和認識董其昌,이且可看出朝鮮後期文人畵家積極接受了吳派的影響。竝且接收和認識以吳派爲代表的中國繪畵也與朝鮮文人增加了對中國書籍文化的知識有關。進이形成了以更爲專業知識爲背景的鑒賞之學領域,對書畵古董的興趣以及鍵評活動的擴散也影響了朝鮮後期文人文化的成熟及發展。朝鮮後期文人通過多種渠道鑒賞了董其昌的書畵資料,朝鮮後期畵壇已將董其昌的影響作爲基礎化,或作畵題或倣作,由此對董其昌的認識已逐步擴散。 董其昌的繪畵美學思想特別註重上海歲傳神與士氣。董其昌强調後天性氣韻生動的境界,이朝鮮後期李夏坤以自然取材繪畵認知,조出對象的內面眞實,追求達到傳神境界,由此看出董其昌與李夏坤的山水傳神的審美意識非常類似。竝且董其昌非常重視山水丘壑的情趣之士氣,이南宮轍也提及到與中國畵論相關的士氣,由此可以推論董其昌所所主張的上南貶北論也影響了朝鮮後期畵壇。 士氣是朝鮮後期南宗文人畵的截面和審美意識的基礎。

玄齋 沈師正 회화의 融化天成的 審美意識 考察

한경애 단국대학교 동양학연구원 2019 東洋學 Vol.0 No.76

Hyeonjae(玄齋) Sim Sa-jeong(沈師正)(1707~1769) was a leading literary painter of the late Joseon period along with Gyeomjae. He enriched his idiosyncratic and original style based on the preceding Southern Chinese literati style, and went on to pioneer the indigenization of the Southern Chinese literati painting. Despite being a typical literary painter, Sim Sa-jeong did not write a single book on his works, making it hard to directly comprehend the ideology of his painting. However, thankfully, perceptions of his paintings and the painter’s aesthetic consciousness can be understood through the critiques, postscripts, and epitaphs of such top-notch critics of the era as Kang Se-hwang, Nam Tae-eung, and Sim Ik-un. The aesthetic consciousness that forms the basis of Sim Sa-jeong’s painting world can be summarized as the beauty of “cheong-gi”(淸奇:extraordinarily eccentric atmosphere) and the natural beauty of “yung-hwa-cheon-seong”(融化天成). These virtues are the foundations of his creation and art world. In his work, he condensed the beauty of “cheong-gi,” a fresh and clean energy from which all worldly desires were removed, and clearly manifested his aesthetic consciousness “yung-hwa-cheon-seong” derived from nature, where things become harmonized effortlessly. Even though Sim Sa-jeong failed to harmonize with the real world and was not free from worldly prejudices, he still achieved the natural beauty of “yung-hwa-cheon-seong” attuned to his aesthetic demand to become one with nature, as well as the freedom of life, which we may well consider to be true beauty. In sum, Sim Sa-jeong’s own aesthetic consciousness of “yung-hwacheon- seong,” truly unique to him, should alone lead to a reassessment of his standing because it represents his artistic goal of respecting the meaning of life and an honest expression of his sensibilities and true beauty. 玄齋 沈師正(1707~1769)은 겸재 정선과 더불어 조선후기를 대표하는 대표적인 문인화가이다. 그는 중국남종화법의 선행 양식을 토대로 자신의 개성적이고 독창적인 양식을 심화시켜 나갔으며, 남종화의 토착화에선구적인 역할을 했다. 심사정은 전형적인 문인화가였음에도 불구하고 문집을 남기지 않아 직접적으로 그의 회화사상을 간파하기는 쉽지 않다. 그러나 다행히 당대 제일의 비평가였던 姜世晃·南泰膺·沈翼雲의 畵評과 跋文, 그리고 묘지명등을 통해 그의 회화에 대한 인식과 심미의식을 이해할 수 있다. 심사정은 세상과 소통하는 유일한 창구이자 세상에 뜻을 전하고 자신의 존재를 드러내기 위해 스스로 눈으로 읽고 마음으로 터득한 주체적 자각으로 전통적 화법과 새롭고 참신한 새로운 화풍을 융합해 자신만의 독자적인 화풍을 이루었다. 심사정 회화 세계의 기저를 이루는 미의식은 ‘淸奇’의 미와 ‘融化天成적 자연의 미’라고 할 수 있는데, 이는그의 창작과 예술세계에 근원이 되고 있다. 그의 작품 세계에는 세속적 욕망을 모두 덜어낸 담담하고 맑은 ‘청기’의 미가 응축되어 있으며, 애써 이루려 하지 않아도 저절로 조화를 이루는 융화천성적 자연의 심미의식을극명하게 보여준다. 심사정은 비록 현실과의 융화를 이루지 못하고 세상의 편견에서 자유롭지 않았지만, 자연과 합치되고자 했던 그의 심미적 요구에 부합되는 융화천성적 자연의 미와 참된 아름다움이라고 할 수 있는 생명의 자유로움을획득했다. 요컨대 심사정만의 독자적인 특징인 융화천성적 심미의식은 生意를 존중하는 예술적 지향이자 진솔하게 자신의 감성과 진실미를 표출했다는 점에서 그의 위상을 새롭게 평가할 필요가 있다.

조선조 심학미학의 전래와 18~19세기 회화의 심학적 미의식 고찰

한경애 한양대학교 동아시아문화연구소 2022 동아시아 문화연구 Vol.88 No.-

After Yangming Study was introduced to Joseon, scholars of the Yangming Study expressed the essence of nature while holding the true academic attitude. In the literary field, it has led to various artistic orientations based on ‘practical mind’ and ‘practical interests’ that penetrate their studies. In addition, the transition of the aesthetic consciousness led to the creation of an art theory with the individual self as the core, and such a change is also in line with the Yangming pratical ethics that aims for a unique world according to the genuine of the individual’s subjective feelings. In response to this practical ethics process and the artistic orientation, unique and subjective activities were also carried out for the painting in the late Joseon Dynasty unlike in previous times. If we could describe the achievements of the painting in the late Joseon Dynasty in one word, it could be said to be Joseon style and uniqueness. Such a status was due to various factors of change as the late Joseon Dynasty was a period of ideological and social change, but it can be said that as a result of the aesthetic operation of Yangming practical ethics, its scope was expanded according to changes in consciousness of reality and the view of art. In particular, it can be said that it is one of the big characteristics that the change in status of the painters and the will to art showed the resistance to society and were toward the modern times as a whole. A representative painter who expressed the will to create in order to overcome social constraints at that time was Choi Buk, and there were also traces in which Cho Young-seok, Shim Sa-jeong, etc. tried to confirm their social statuses. It was an opportunity to renew the status in that they recognized reality and presented a new direction with an intuitive and unconventional creative attitude, thereby fully demonstrating their creative capabilities and providing a motive for a modern-oriented aesthetic consciousness. 조선에 양명학이 소개된 이후 양명학자들은 참된 학문의 자세를 견지하면서 心性의 본질을 표현했다. 문예방면에서는 이들의 학문을 관통하고 있는 ‘실심’과 ‘실리’를 기반으로 하는 다양한 예술적 지향으로 이어졌다. 아울러 심미의식의 전환으로 개성적 자아를 핵심으로 하는 예술이론을 창출하게 되었는데, 이러한 변화는 개인의 주체적 心情의 眞에 따라 개성세계를 지향하는 양명 심학과도 맞닿아있다. 조선조 심학화 과정과 예술적 지향에 조응해 조선후기 회화 역시 이전 시대와 달리 개성적이고 주체적인 활동이 전개되었다. 조선후기 회화의 업적을 요약해 말한다면 조선풍․독자성이라고 할 수 있다. 이와 같은 위상은 조선후기가 사상적으로나 사회적으로도 변동기였던 만큼 다양한 변화의 요인이 있겠으나, 양명 심학의 미학적 운용의 결과 현실의식과 예술관의 변모에 따라 그 외연을 넓힌 것이라고 할 수 있다. 특히 화가들의 위상변화와 예술의지는 사회에 대한 저항을 드러내며 전체적으로는 근대를 지향하고 있던 것도 큰 특징 중의 하나라고 할 수 있다. 당시 사회적 제약을 극복하고자 창작의 의지를 표출한 대표적인 화가는 최북이며, 그 이외에도 조영석․심사정 등은 사회적 위상을 확인하려 애쓴 흔적이 역력하다. 이들은 현실을 인식하고 직관적이며 파격적인 창작태도로 새로운 방향을 제시하여 창조적 역량을 마음껏 발휘하면서 근대지향적 미의식의 단초를 제공했다는 점에서 조선 후기 회화의 위상을 새롭게 하는 계기가 되었다.