논문(論文) : 전국진한시대(戰國秦漢時代) 회화(繪畵) 표현법(表現法)의 분화(分化)와 경제(經濟) 및 교역(交易) 문제(問題)

( Byoung Mo Kim ) 중국사학회 2013 中國史硏究 Vol.86 No.-

Chinese painting already accumulated considerable expressive techniques by Neolithic Age, and following the ShangZhou(商周) period, they were preparing new perception and understanding of the painting expression way by bringing most of the future painting expression way into existence in Ancient China(B.C. 403-A.D. 219). However, previous studies on the painting expression way of Ancient China(B.C. 403-A.D. 219) stoped at briefly verifying the facts of few expression way appearances and technical characteristics, and there are still no detailed studies on the basic concept or shape of the expression way or the cause and background of the differentiation. For this reason, considerable logical leap is exposed in terms of interpreting the implicit meaning of the expression way. This study is intended to concentrate on such limitations of previous studies, to review the elementary type of painting expression way and differentiation aspect during Ancient China(B.C. 403-A.D. 219), and moreover, to review the cause and background of the differentiation in relation to the problems of the paint supply and trade. As a result, the basic direction of painting expression way of Ancient China(B.C. 403-A.D. 219) pursued to use much more types and amount of paint, to use much more fancy and elaborate expression, and seeked for much more articulate and definitized expression. Also, as a basic shape of expression way that realized the basic direction of such expression, management of exquisite ancestors, thick and detailed color are the most predominant features, and expression using other colors, comparison of various expression techniques, ancestors of various colors not limited to black, harmony of colors that accords with background color, and expression of ancestors by leaving space between colored sections are considered as other used expression techniques. Differentiation of the expression technique came into being in various expression medias around the mural painting, and the differentiation type, and the form of differentiation puts the croquis drawing, colors of light concentration, and inaccurate and simplified touched colors as its basic direction. As for the cause of differentiation, the problems of securing pigments, meaning the problems of pigments supply is considered as the major cause. In other words, when enough paint was secured, they were faithful to the basic concept and form of the expression way of the time, and if not, it seems as though they progressed the differentiation into the croquis oriented expression way. For the cause if constraint factor, the economic power of users and the problems of trade such as supply condition are considered to have made the greatest influence. In other words, as it was apparent from the Neolithic Age, the paint use was made relatively enough only when steady economic power was established, and even when the economic power was considerable due to the paint supply problem which relied upon the long distance trade, it was not easy to secure enough pigments. Awareness on the pigments as the long distance trade product was materialized through a review on the base of pigments between the production place of pigments and the review of pigments foundation between regions. In other words, it was identified that the paint production place that is identified to be distributed concentrating in the southwestern China and the Huabei(華北) region that is far from the production place have relatively weaker pigments foundation compare to the Huanam(華南) region. The above review is intended to prepare the grounds of interpreting implicit meaning of the paint expression way based on more concrete basis, and at the same time, this study will provide a theoretical basis to approach the differentiation of painting expression way from social economy aspect, such as economy and trade, than an ideological point of view as the Shanzong(禪宗) and Lao-Zhuang(老莊) ect. Moreover, this study prepared the grounds for painting to be used as one of the text in local history research related to the economy and trade in the future by newly recognizing the painting as the text that reads economy and trade.

동한시대(東漢時代) 회화 표현법의 分化에 관한 연구-묘실(墓室) 벽화(壁畵) 분석(分析)을 중심(中心)으로-

김병모 ( Byoung Mo Kim ) 한서대학교 동양고전연구소 2015 東方學 Vol.33 No.-

본 논문은 東漢時代 회화에 나타난 彩色 및 線描 표현법의 分化가 어떠한 양상으로 전개되는지를 검토함으로서 6法論 출현 직전에 형성된 표현법 경계를 분명하게 인식하고자 한 것이다. 동한시대는 西漢時代에 비해 벽화 면적 및 주제가 크게 확대되고 더불어 표현법 분화도 훨씬 다양하고 심화된 양상으로 전개된다. 특히 지방을 중심으로 분화 양상이 두드러지며, 분화 원인으로는 주로 안료 수급 문제가 가장 밀접하게 연관된 것으로 나타난다. 新莽時代에는 채색 위주 표현법이 중심적 지위를 차지하지만 선묘 위주 표현법의 지속적 기반 확대와 더불어 沒骨式 표현법의 초보적 형태가 이미 출현한 것으로 확인된다. 동한 전기에는 선묘 위주 표현법과 몰골식 표현법이 자유자재한 경지로 進化하면서 주요 표현법의 하나로 자리매김 되고, 특히 안료 부족이라는 상황을 인식, 혹은 예상하면서 분화를 진행시키고 있어 분화된 표현법의 조형적 의미를 분명하게 인식한 것으로 파악된다. 동한 후기에는 서예 필법의 회화 필법으로의 도입과 더불어 미구분의 단계로까지 진전되고, 이러한 선묘 위주 표현법의 변화 및 발전 속에서 터취식 채색법을 출현시키고 있다. 몰골법 역시 보다 넓은 표현 영역으로 확장되고 볼륨이 크게 강조된 선묘 형태의 몰골법까지 출현시키면서 표현법의 개념과 영역을 새로운 지점으로 진입시키고 있다. 나아가 안료 수급이 충분치 않은 상황에 부응하여 묵법을 출현시키고 있어 묵법의 기원과 출현 배경에 대한 인식을 새롭게 하고 있다. About 200 years of Eastern Han dynasty was the period that showed meaningful changes and development enough to present 6 principles of painting during Wei-jin Period. Focusing on this, this study intended to appreciate the border of expression way formed before the advent of 6 principles of painting in a new and apparent way by reviewing how differentiation of the coloring and the line drawing expression ways developed, and what point of expression way``s range this differentiation led to. The result showed that in Eastern Han dynasty, the differentiation of expression way was intensified as mural areas were expanded to local districts, and the size of mural areas with reality themes were also enlarged compared to those in Western Han dynasty. The enlargement of mural size was correlated with differentiation of expression way, and the differentiation was more intensified in the local districts. The backgrounds of the differentiation were closely related to economic power of the owners and the supply of the pigment that was relied on long distance trade. In Xin(新) dynasty, the differentiation of the line drawing expression way continued from the coloring expression way of Western Han dynasty, and then the establishment was expanded. Furthermore, ``Molgol`` way, the way of drawing with ink or paints without contour, which seemed to have differentiated from the line drawing expression way, already appeared even in the elementary form. In early Eastern Han dynasty, the line drawing expression way and ``Molgol`` way were developed into completely free forms, and stabilized as a main expression way even though the importance did not reach the coloring expression way. Especially, the differentiation was developed with awareness or prediction of pigment deficiency, so formative meanings of these differentiated expression ways appeared to be clearly recognized. In late Eastern Han dynasty, as the establishment of the line drawing expression way was broadly expanded, the technique of calligraphy appeared to be developed into application of the painting writing style or the stage of unclear boundary. As ``Molgol`` way was also developed into the form of filling the large space, ``Touch`` style molgol way appeared, and then it was developed into Molgol with the line expression way, in which volume was highly emphasized, Therefore, along with the expression way of the technique of calligraphy, the boundary of the concept of expression way was entered into the new range or stage. Moreover, to cope with the situation of insufficient supply of the pigment, India ink expression way, in which paints were replaced by water ink, was applied, so the era provides the chance of new recognition of origin and background of India ink expression way. The prior studies did not pay attention to the development and changes of the above differentiation of expression way in addition to the background of expression way differentiation and the advent of India ink expression way, but if division and application of expression way in many figures are considered, it can be assumed that old Chinese people``s attitude towards the painting expression way already entered into new boundary. Especially, in Wei-jin Period, Because Western painting expression ways were flowing into Chinese inland called the countries to the west of China, and mutual fusion and transformation were done, specific reviews about development of expression ways and enlargement of recognition formed in Eastern Han dynasty should be highly considered in order to analyze and track the acceptance and the trace of transformation.

구술 생애담에서 ‘결핍’의 기억과 서사구연방식

한서희 남도민속학회 2022 남도민속연구 Vol.44 No.-

본고는 구술 생애담에서 결핍의 기억이 구술자의 서사구연방식에 미치는 영향에 대해 살펴본 글이다. 이를 위해 먼저 생애담 속 결핍의 구체적 양상과 그것을 통해 형성된 생애담의 서사구조에 대해 알아보았다. 1928년에 전북 고창의 죽도라는 작은 섬에서 삼대독자로 태어난 안성만은 병역을 기피하게 되면서 굴곡진 삶을 살게 되었다. 그의 생애담을 통해 확인할 수 있는 결핍은 크게 세 가지로 정리할 수 있는데, ‘학교교육의 부재’와 ‘군 기피자’로서의 삶, 그리고 그로 인해 겪어야했던 ‘가난’이 그것이다. 그리고 이 세 가지의 결핍을 통해 이루어진 안성만의 생애담은 ‘고난–고난의 극복’이라는 서사구조를 지니고 있고, 이 서사구조는 선학들의 연구를 통해 밝혀진 구술 생애담의 일반적 서사구조를 따르고 있음도 확인할 수 있었다. 이야기꾼의 경험이 그의 이야기 목록에 영향을 미치듯이, 생애담 구연자의 지난 삶의 경험은 생애담의 서사구연방식에 영향을 미치게 된다. 안성만의 생애담에서 특징적인 서사구연방식으로는 먼저 고난의 상황에 대한 구체적 묘사를 들 수 있다. 특히 군 기피자로 숨어 살다가 군경에게 잡히던 순간의 구연은 상당히 구체적으로 묘사함으로써 듣는 이로 하여금 긴박감과 현장감을 함께 느끼게 해주고 있다. 또한 그렇게 살아야만 했던 자신의 심경에 대한 묘사 역시 ‘풍상에 노그라진 어머니의 마포치마’에 비유하는 등 문학적 형상화에 노력하고 있는 모습도 서사구연방식을 통해 확인할 수 있었다. 안성만 생애담의 두 번째 서사구연방식의 특징은 반복적 구연을 통해 아쉬움의 정서를 표출하고 있다는 것이다. 이 두 번째 특징은 군 기피자라는 결핍이 만들어낸 서사에서 더욱 두드러지게 나타나고 있는데, “내 호가 나이롱 기피자여.”라는 표현을 반복적으로 구연함으로써 군 기피자라는 자신의 부끄러운 과거와 그것을 자신의 의지가 아닌 외부의 힘에 의해 해결해야만 했던 아쉬움의 정서를 표출하고 있음을 알 수 있다. 안성만 생애담을 통해 드러난 세 번째 서사구연방식의 특징은 자신에 대한 긍정적 인식을 통한 자기애의 표출이라고 할 수 있다. 안성만은 하나의 주제에 대한 이야기가 끝날 쯤에는 늘 자기 자신에 대한 인정과 신뢰를 드러내는 구연방식을 취하고 있는데, 이는 결핍으로 인한 고난의 상황을 자기의 노력과 의지로 극복한 이가 가질 수 있는 여유일 것이며, 이러한 구연방식을 통해 안성만이 자기 삶을 긍정적으로 인식하고 있음을 알 수 있게 해준다. 생애담의 서사구연방식에서 보이는 특징은 구연자의 지난 삶의 지문과 같다. 따라서 생애담의 서사구연방식을 통해 드러나는 삶에 대한 인식과 스스로에 대한 판단 등은 적어도 그 자신에게 있어서는 진실일 수밖에 없다. 생애담의 서사구연방식은 연습을 통해 만들어지는 것이 아닌 무의식의 발현이라고 할 수 있기에, 앞으로도 생애담을 통한 인간이해의 심화를 위해서도 서사구연방식에 대한 연구가 더욱 활발히 이루어질 필요가 있다. This study examines the effect of the memory of deficiency on the narrative’s way of expression in The Oral Life Story. To this end, we first investigated the pattern of deficiency in the life story and the narrative structure. His deficiency in his life story can be divided into three categories. These are the ‘absence of school education’, life as a ‘military evasion’, and the ‘poverty’ they had to endure. And it can be confirmed that Ahn Seong-man's life story, which was made through these three deficiencies, has a narrative structure of ‘hardship - overcoming hardship’, and that this narrative structure follows the general narrative structure of oral life stories. The narrator's past life experiences affect the narrative's way of expression of life stories. The first characteristic of the narrative's way of expression is the detailed description of the difficult situation. In particular, the moment when he was caught by the police while hiding as a ‘military evasion’ is described very specifically, giving the listener a sense of urgency and presence. In addition, it can be seen that he is forming a literary figure by describing in detail his feelings about his life, which he had to live like that. The second characteristic of the narrative's way expression is that it expresses the emotion of regret through repeated narratives. This characteristic is more prominent in the narrative created by the deficiency of a ‘military avoider’, and by repeating the expression ‘My nickname is a false-military evasion’, he expresses the emotion of regret for his shameful past. The third characteristic of the narrative's way expression is the expression of self-love through positive expressions. At the end of a story about a topic, Ahn Seong-man always takes a narrative style that reveals his acceptance and trust in himself, which is an opportunity that can be afforded to those who have overcome hardship due to lack through their own efforts. The characteristics of the narrative's way expression of the life story are the same as the fingerprints of the speaker's past life. Therefore, the perception of life and judgment about oneself, which are revealed through the narrative's way expression of the life story, must be true, at least for himself.

신망(新莽)시대 깐쑤(甘肅)지역의 회화 표현법과 안료 수급-쭈옌(居延)지역과 우웨이(武威)지역 출토 자료의 분석을 중심으로-

김병모 ( Kim Byeong Mo ) 영산대학교 동양문화연구원 2016 동양문화연구 Vol.24 No.-

20세기에 이르러 깐쑤셩(甘肅省)과 리아오닝셩(遼寧省) 등 변방지역에서 위진시대에 해당하는 묘실 벽화가 다수 발견되어 그간 공백으로 남아있던 이 시기 회화사를 이해하는데 귀중한 자료를 제공해주고 있다. 하지만 위진시대 깐쑤지역 회화 표현법에 관한 연구는 그다지 구체적이고 심도 있게 진행되지는 못하고 있다. 본 연구는 이러한 기존 연구의 한계에 주목하고 위진시대 깐쑤지역 회화 표현법의 다양한 분화 양상을 파악하기 위한 하나의 토대로서 신망시대 깐쑤지역에 형성된 회화 표현법의 발전 양상과 안료 수급에 관하여 연구를 진행한 것이다. 검토 결과, 신망시대 깐쑤지역은 서한시대에 수용한 중원지역의 선묘 및 채색 표현법을 보다 체계화된 형태로 발전시키면서 표현법에 대한 인식을 새로운 단계로 진입시킨 것으로 확인된다. 뿐만 아니라 벽화와 같은 표현 매체를 출현시키면서 회화 표현 매체의 기반도 확장해가고 있다. 특히 작은 널판 위에 단순화된 하나의 장면을 배치하는 표현법을 보다 선명한 모습으로 자리매김하고 있다. 사용된 안료의 종류에서도 서한시대와 적지 않은 차이를 보인다. 흑, 백, 홍 3색에 한정된 서한시대와 달리 흑, 백, 홍, 황, 주, 청, 보라 등 다양한 안료의 수급을 보여주며 특히 墨(C), 石膏(CaSO₄ 2H₂O), 주사(HgS), 연단(Pb3O4) 등의 경우 안료의 종류를 구체적으로 확인시켜준다. 하지만 흑, 백, 홍 3색 위주의 사용 양상은 크게 벗어나지 못하고 있어 여전히 취약한 안료 수급기반을 드러낸다. 나아가 안료 수급의 문제가 표현법 및 채색은 물론 표현 매체 출현에도 일정한 영향을 미치고 있음을 간과할 수 없게 한다. In the twentieth century, because the tomb murals of Wei and Zheng Dynasties of the South and North have been found in the frontier areas of Gansu and Liaoning, they provide valuable data that can fill the painting history of this period which still in blank space. But the study on painting expressions of Gansu area in Wei and Zheng Dynasties of the South and the North has not been progressed in so much depth and detail so far. This study pays attention to the limitations of existing studies and it has been proceeded with investigating the development aspects of painting expressions formed in Gansu area, and the supply and demand of the pigment during Xin-Mang Dynasty as a base to identify the various differentiated aspects of painting expression of Gansu area formed in Wei and Zheng Dynasties. As the results of this study, it was confirmed that the painting expression of Gansu area formed in Xin-Mang Dynasty had developed it shown in Central Districts in the era of Han Dynasty into a more structured form and had put the awareness of the expressions to a new level. In other words, the expression of drawing in lines driven by the writing brush and the expression-oriented concept focusing on coloring were revealed with a more definite form. In addition, the painting expression of Gansu area formed in Xin-Mang Dynasty expanded even the base of painting expression media, accepting and bringing the expression media like the tomb murals into existence. In particular, the painting expression emerging during Western Han Dynasty, that is to place a simplified arrangement of a scene on the small boards, were revealed more vividly. Also, the type of pigment used in Xin-Mang Dynasty was much different from that of Western Han Dynasty. Unlike Western Han Dynasty which limited only three colors such as black, white and red, the supply of various pigments such as black, white, red, yellow, orange, blue and purple were shown in Xin-Mang Dynasty. However, the vulnerable base of pigment supply was revealed due to the limitation of the use aspect focusing on three colors such as black, white and red.

신망(新莽)시대 깐쑤(甘肅)지역의 회화 표현법과 안료 수급 — 쭈옌(居延)지역과 우웨이(武威)지역 출토 자료의 분석을 중심으로 —

김병모 영산대학교 동양문화연구원 2016 동양문화연구 Vol.24 No.-

In the twentieth century, because the tomb murals of Wei and Zheng Dynasties of the South and North have been found in the frontier areas of Gansu and Liaoning, they provide valuable data that can fill the painting history of this period which still in blank space. But the study on painting expressions of Gansu area in Wei and Zheng Dynasties of the South and the North has not been progressed in so much depth and detail so far. This study pays attention to the limitations of existing studies and it has been proceeded with investigating the development aspects of painting expressions formed in Gansu area, and the supply and demand of the pigment during Xin-Mang Dynasty as a base to identify the various differentiated aspects of painting expression of Gansu area formed in Wei and Zheng Dynasties. As the results of this study, it was confirmed that the painting expression of Gansu area formed in Xin-Mang Dynasty had developed it shown in Central Districts in the era of Han Dynasty into a more structured form and had put the awareness of the expressions to a new level. In other words, the expression of drawing in lines driven by the writing brush and the expression-oriented concept focusing on coloring were revealed with a more definite form. In addition, the painting expression of Gansu area formed in Xin-Mang Dynasty expanded even the base of painting expression media, accepting and bringing the expression media like the tomb murals into existence. In particular, the painting expression emerging during Western Han Dynasty, that is to place a simplified arrangement of a scene on the small boards, were revealed more vividly. Also, the type of pigment used in Xin-Mang Dynasty was much different from that of Western Han Dynasty. Unlike Western Han Dynasty which limited only three colors such as black, white and red, the supply of various pigments such as black, white, red, yellow, orange, blue and purple were shown in Xin-Mang Dynasty. However, the vulnerable base of pigment supply was revealed due to the limitation of the use aspect focusing on three colors such as black, white and red 20세기에 이르러 깐쑤셩(甘肅省)과 리아오닝셩(遼寧省) 등 변방지역에서 위진시대에 해당하는 묘실 벽화가 다수 발견되어 그간 공백으로 남아있던 이 시기 회화사를 이해하는데 귀중한 자료를 제공해주고 있다. 하지만 위진시대 깐쑤지역 회화 표현법에 관한 연구는 그다지 구체적이고 심도 있게 진행되지는 못하고 있다. 본 연구는 이러한 기존 연구의 한계에 주목하고 위진시대 깐쑤지역 회화 표현법의 다양한 분화 양상을 파악하기 위한 하나의 토대로서 신망시대 깐쑤지역에 형성된 회화 표현법의 발전 양상과 안료 수급에 관하여 연구를 진행한 것이다. 검토 결과, 신망시대 깐쑤지역은 서한시대에 수용한 중원지역의 선묘 및 채색 표현법을 보다 체계화된 형태로 발전시키면서 표현법에 대한 인식을 새로운 단계로 진입시킨 것으로 확인된다. 뿐만 아니라 벽화와 같은 표현 매체를 출현시키면서 회화 표현 매체의 기반도 확장해가고 있다. 특히 작은 널판 위에 단순화된 하나의 장면을 배치하는 표현법을 보다 선명한 모습으로 자리매김하고 있다. 사용된 안료의 종류에서도 서한시대와 적지 않은 차이를 보인다. 흑, 백, 홍 3색에 한정된 서한시대와 달리 흑, 백, 홍, 황, 주, 청, 보라 등 다양한 안료의 수급을 보여주며 특히 墨(C), 石膏(CaSO4 2H2O), 주사(HgS), 연단(Pb3O4) 등의 경우 안료의 종류를 구체적으로 확인시켜준다. 하지만 흑, 백, 홍 3색 위주의 사용 양상은 크게 벗어나지 못하고 있어 여전히 취약한 안료 수급기반을 드러낸다. 나아가 안료 수급의 문제가 표현법 및 채색은 물론 표현 매체 출현에도 일정한 영향을 미치고 있음을 간과할 수 없게 한다.

동한시대(東漢時代) 무위지역(武威地域)에 형성(形成)된 회화(繪畵) 표현법(表現法)과 안료(顔料) 수급(需給) -마저자지역(磨咀子地域) 출토(出土) 유물(遺物)의 분석(分析)을 중심(中心)으로-

김병모 ( Kim Byoung Mo ) 중국사학회 2016 中國史硏究 Vol.103 No.-

This research paid attention to the comprehension of transformation and development of expression way which formed during East Han dynasty based on the ground of painting expression way that was formed in GanSu region during Western Han dynasty and XinMang dynasty. Also, proceeded review on the base of pigment supply and demand that appears to be closely related to diversification and change of expression way. As the result of review, paintings on the boards that continuously appeared during the West Han was developed and established in more fluent and expert form with Central Districts’ line drawing style while settling down as one of the original painting expression medium in GanSu Province. In case of painting on the silk that was produced mainly as the funeral banner of coffin, Sun pattern and Moon pattern related to Taoist hermit idea was added on the upper part of funeral banner wording, and the point of expressing by simplifying the painting image, etc. displayed a peculiar figure, based on such expression background, supply and demand of pigment stands out. A tomb mural also, which does not show the active creation for a long time since XinMang period, is expected to have the problem of supply and demand of material as one of the major factors of delay, and difficulty of pigment supply and demand also appears in the situation of reducing mural space by putting the painting image aside of the wall, having almost no expression of the theme related to the life in reality. However, a tomb mural shows very interesting change, e.g. the wall was decorated with wall papers as geometric patterns, expressing very different forms also in subjects, drawing expression way, and coloring, etc. Supply and demand of pigment shows more advanced state compared to the previous period, however mainly black, white, and red three colors were basically used, and red color was not actively used despite the big desire for use. In case of coloring, pre-dyeing method to distinctly express volume appears, which provides significant materials for Chinese coloring method history.

중국 신석기시대 도기의 채색 표현법과 안료 수급의 관계

金炳模(Kim, Byoung-Mo) 고조선단군학회 2011 고조선단군학 Vol.24 No.-

This study reviewed the relationship between the supply of the pigment and the coloring focusing on the colored pottery of the relics of Dawenkou in Shandong and Liuwan in Qinghai. That is, it reviewed the economic power and the pigment foundation as the factor confining the use of the pigment and studied about what effect it made to the coloring space and the expression way. The study result shows that the use of the pigment relied absolutely on the economic power of the grave's owner. That is, the colored pottery was found mainly in the large size grave and the quantity of the colored pottery is so various in proportion to the size of the grave. Furthemore the thickness of the pigment’s layer put in the grave as one of the funeral ceremonies shows the deviation according to the economic power of the grave's owner. Between Dawenkou sites and Machang type(馬廠類型) of Liuwan sites, the pigment foundation of Liuwan sites is shown to have been much better. In the ease of the large size grave of Liuwan sites, among 70 to 30 potteries the colored pottery amounts Lo 95 percent, which satisfied well enough the desire to own the colored pottery. But as for the large size grave of Dawcnkou sites, the colored pottery is only a few among Lens of potteries, that shows the use of the pigment was confined considerably. The limitation of the use of the pigment appears in that the possession of the colored pottery could not be made in the case of quite a number of the large size graves and that the economic power of the grave owner couldn't make any deviation of the quantity of the colored pottery and that though the pottery and other items of the grave increased with the Lime, the number of the colored pottery was confined to a few pieces. Besides the pigment foundation, the coloring space varies considerably. Though as for the colored pottery of Machang type of Liuwan sites, the coloring was usually put on from the entering to the middle part of the bowl, the colored pottery of Dawenkou sites has the coloring only on the upper part and the size of the pottery shows a big difference between two relics so that the deviation is getting larger. In the way of the expression, the big difference appears. Machang type of Liuwan sites uses the expression way mainly with the coloring and the space Liuwan sites uses the patterns in detail whereat; Dawcnkou sites uses the expression way with the line drawing to express the patterns simply. That is, Machang type of Liuwan sites uses the expression way that spends a considerable amount of pigment whereas Dawenkou sites uses the expression way that doesn't spend lob of pigment. The differences shown in the coloring decoration of the pottery of the Neolithic era couldn't be said to have been made only from the deviation of the pigment foundation. Rut when it came to Qijia culture(齊家文化) to period in which the pigment foundation shrank greatly, the pottery of Liuwan sites had the coloring move up to the upper part and had the expression way with the line drawing around so that the way reviewing the various types of coloring with the supply of the pigment may not be excluded.

유아교사에게 스트레스를 주는 부모의 언어표현과 대처 방식

이윤경 ( Yun Kyeong Lee ) 대한아동복지학회 2007 아동복지연구 Vol.5 No.1

본 연구는 유아교사들이 부모의 언어표현으로부터 받는 스트레스는 무엇이며, 이러한 스트레스를 받았을 때 어떻게 대처하는지를 알아보고자 하는데 그 목적이 있다. 또한, 이러한 대처방식을 알아봄으로써 스트레스를 받은 교사가 부모와의 상호작용에 있어서 더욱 바람직하게 대처하기 위한 방법을 찾아 현장에 적용하도록 하는 것에 이 연구의 목적이 있다. 본 연구자가 유아교사에게 스트레스를 주는 부모의 언어표현은 무엇인지 탐색하기 위하여 유아교사와의 개별면담을 실시한 결과 교사에게 스트레스를 주는 부모의 언어는 4가지로 분류되었다. 이 4가지를 살펴보면, 1) 기관에서 발생하는 안전사고와 책임소재의 문제, 2) 기관의 교육과정에 대한 부모의 간섭문제, 3) 기관 내 유아행동에 대한 교사와 부모의 의견차이 문제, 4) 교사에 대한 부모의 예의 없는 언행문제 등으로 분류할 수 있었다. 연구결과 유아교사는 부모의 언어표현에 의해 많은 스트레스를 받고 있으며 교사 나름대로의 대처 방식을 가지고 있는 것으로 나타났다. 본 연구는 유아교사를 대상으로 교사가 부모의 언어표현으로부터 받는 스트레스를 파악하고, 보다 전문적으로 부모가 교사에게 미치는 여러 가지 영향에 대해 연구할 수 있는 기틀을 마련했다는데 의의가 있다. 또한 스트레스에 대한 교사의 대처 방식을 직접 교사로부터 들음으로써 부모가 주는 스트레스에 대해 어떻게 하면 바람직하게 대처할 수 있을지를 연구하는데 기초 자료를 제시하였다는데 그 의의를 찾을 수 있다. The purpose of this study was to examine the stress of kindergarten and nursing room teachers from the verbal expressions of the parents, and the reacting ways for such stress. In addition, it was to examine and explore the reacting methods for more desirable measures in interactions between stressed out teachers and parents, and to adopt appropriate methods to the actual education site. The results of the individual interviews with the teachers to explore the verbal expressions of parents causing stress were classified into four issues as follows: first, safety issue occurring in the institutions and responsibilities thereof, second, interference issue by the parents against the curriculum of the institutions, third, differences in opinions between teachers and parents on the behaviors of the children within the institutions, and fourth, impolite verbal and behavioral conducts of the parents against the teachers. As a result of this study, kindergarten and nursing room teachers had enormous stress from the verbal expressions of the parents, and had reacting ways of their own. This study was significant, for it inspected the stress caused by the verbal expressions of the parents on the kindergarten and nursing room teachers and it provided the frame for future research on various influences of the parents against the teachers, in a more specialized way. Furthermore, the reacting ways against the stress were directly heard from the teachers themselves, hence enabling the basic material presentation for the desirable measures against the stress from the parents.

‘상리(常理)’의 현대적 회화표현 연구

박명선 한국일러스아트학회 2012 조형미디어학 Vol.15 No.2

From the fundamental perspective of visual arts, The Proper Way is an important principle that should be included in any art works. The Proper Way also requires the understanding of principles and meanings which involves in concrete shapes of people, flowers, fruits and nature things when they are expressed in artistic forms. In addition, it is also applied to the expression of a fog, a cloud or a wave, which all have their own intrinsic discipline even though they seem to have no clear forms. From this, a good art work should show well the very Proper Way, the essential part of nature things. The general trends of modern painting, influenced by Western painting, are following the concrete expressions of that Proper Way rather than emphasizing similar forms from objets and this is because the attitude to find and express intrinsic meaning from nature things is highly regarded. To cope with this trend, this paper deals with the Proper Way, one of some concepts explaining Oriental painting from the viewpoint of modernity. For this, the concept and development of Proper Way shown on paintings of Su Shi, a Chinese writer and poet, is first studied and then it is also analyzed how discipline inherent in nature things has been revealed over time and their artistic meanings. And they are compared with art works of Piet Mondrian, who is considered to have the similar thinking of Proper Way. Through this study, are suggested the analysis of concept of necessary thinking and how to express when we try to search intrinsic meanings which nature things have in themselves in the modern paintings. 常理는 시각예술의 본질적 측면에서 작품에 꼭 내재되어야 할 중요한 원리이다. 常理는 인물이나 꽃, 과일, 기물 등과 같이 자연 사물의 형상이 분명하게 드러나는 사물의 표현에 있어서도 사물에 내재된 의미와 원리를 이해하여야 한다. 또한 안개, 구름, 물결 등과 같이 常形은 없어도 이러한 자연 사물에는 內在的 規律이 있기 때문이다. 따라서 예술 작품으로 표현할 때에는 본질적으로 자연사물에 내재된 일정한 원리인 常理가 잘 드러나야 훌륭한 작품이라 할 수 있다. 현대의 회화의 경향을 살펴보면 근․현대 서양예술의 유입과 더불어 形似的인 작품보다는 상리의 구현을 구체화하는 寫意的인 표현이 더 요구되는 회화작품이 많이 나타난다. 과거의 사물에 대한 재현적 접근에서 의미론적 사의적 접근이 더 중요하기 때문이다. 이러한 시대의 변화에 따라 본 논문에서는 동양화론의 한 개념인 常理를 현대적 개념으로 접근하고자 한다. 이를 위하여 소식의 회화작품과 작품에 내재된 상리의 개념이 어떻게 전개하였는지를 밝힌 후, 시대의 변천에 따라 자연사물에 내재된 규율을 어떻게 드러내었으며 그 드러낸 작품들은 어떠한 예술적 의미를 지니게 되었는지를 연구하여 서양 회화에서도 그와 유사한 생각의 근원을 지녔다고 볼 수 있는 소위 차가운 추상의 몬드리안 작품을 비교분석하였다. 이러한 연구를 통해 현대 회화작품표현에서 사물이 지닌 본질적 의미를 찾아감에 어떠한 사유가 필요한지에 대한 개념 분석과 작품제작의 표현방법을 제시하고자 한다.

西漢時代 甘肅지역의 회화와 안료

金炳模(Kim, Byoung-Mo) 동서미술문화학회 2016 미술문화연구 Vol.8 No.8

20세기에 이르러 감숙성과 요녕성 등 변방지역에서 위진시대에 해당하는 묘실 벽화가 다수 발견되어 그간 공백으로 남아있던 이 시기 회화사의 공백을 메울 수 있는 귀중한 자료를 제공해주고 있다. 하지만 위진시대 감숙지역 회화 표현법에 관한 연구는 그다지 구체적이고 심도 있게 진행되지는 못하고 있다. 본 연구는 이러한 기존 연구의 한계에 주목하고 위진시대 감숙지역 회화 표현법의 다양한 분화 양상을 파악하기 위한 하나의 토대로서 서한시대 감숙지역에 형성된 회화 표현법의 개념 및 발전 양상, 즉 감숙지역에 어떠한 회화 표현법이 형성되어 있는지, 특히 중원지역 회화 표현법과 개념이 유입되어 있었는지, 유입되어 있었다면 어느 정도의 수준과 기반으로 수용, 정착시켜 가고 있었는지 등을 파악하는데 관심을 두고 연구를 진행한 것이다. 연구 결과, 서한시대 감숙지역은 이미 중원의 회화 주제는 물론이고 회화 표현법을 상당한 수준에서 수용, 정착시킨 것으로 확인된다. 뿐만 아니라 한대 중원지역에서 보여준 바와 같이 채색을 위주로 하는 표현 개념, 즉 채색 지향적 표현 개념도 이미 반영하기 시작한 것으로 파악된다. 하지만 안료의 사용은 흑, 백, 홍 3색에 한정되고, 그나마 홍색의 경우 적극적 사용을 보여주지 못하고 있어 안료 수급 기반은 그다지 양호하지 못한 것으로 나타난다. In the twentieth century, because the tomb murals of Wei and Jin Dynasties have been found in the frontier areas of Gansu and Liaoning, they provide valuable data that can fill the painting history of this period which still in blank space. But research on painting expression way of Gansu area in Wei and Jin Dynasties has not been progressed in so much depth and detail so far. This study pays attention to the limitations of existing studies and in order to identify the various differentiated aspects of painting expression way of Gansu area formed in Wei and Jin Dynasties, it has been proceeded with investigating the concept and development of painting expression way of GanSu(甘肅) area formed in Western Han Dynasty. Thus, research questions such as what kinds of painting expressions had been formed in GanSu area, in particular, the concept and painting expressions of Central Districts had been introduced and how the painting expressions of Central Districts had been accepted and settled in GanSu area if they were introduced to painting expressions of GanSu area were investigated. As the results of this study, it was confirmed that Gansu area in Western Han Dynasty had already accepted and settled not only painting themes but also the painting expression ways. Furthermore, as shown in Central Districts in the era of Han Dynasty, the painting expressions focusing on the expression-oriented concept of coloring had been intended. However, in the use of pigment, three colors such as black, white and red were used mainly. Also, it was estimated that the supply of pigment was insufficient because especially, red color was not used actively.