영화색채의 검정: 권력과 혁신

김종국 한국만화애니메이션학회 2019 만화애니메이션연구 Vol.- No.55

이 글은 물질과 지각의 상호작용이라는 색채의 특성을 토대로 한국 대중영화에 표현된 검정의 의미를 분석한다. 동서양에서 검정을 표기하는 색채어로 black(영어), Schwarz(독어), noir(불어), Niger(라틴어), 黑(중국), hitam(인도네시아) 등이 있다. 검은 커피, 검은 콩, 검은 석유 등이 일상에서의 검정이다. <어메이징 스파이더맨 The Amazing Spider-Man>(2012) 시리즈, <겟 어웨이 Terror Trap>(2015) 등의 할리우드영화에서 검정은 악의 근원이며 공포이다. 철학, 문학, 회화에서의 비유와 달리, 대중영화에서 검정은 가장 보편적인 의미를 표현한다. 삶과 죽음의 경계를 오가는 <신과 함께>(2017, 2018)에서 검정은 저승의 공간과 차사라는 인물을 구성한다. 요괴사냥에 나서는 도사의 소동극 <전우치>(2009)에서는 영화 속 현실과 비현실을 구분하는 기준이다. 필름누아르의 특징적인 시각 양식은 밤 장면에서 두드러진다. 이 장르의 시각적 특성을 표현하는 검정은 강인함, 권력, 전지전능, 진지함, 무거움 등이며, 전통적인 남성성을 강화시키는 시각장치로 기능한다. <명량>(2014) 같은 남성 중심의 사극에서는 갑옷, 거북선, 깃발에 채색되는 검정이 강한 남성성이다. 동서양의 구분 없이 이들 영화에서 남성이 주도하는 영웅서사의 검정이 무채색 계열이며, 여성은 남성 시각의 소모적 대상인 소비되는 이미지로 채색된다. <신과 함께>에서 검정은 나쁜 짓을 하면 지옥에 간다는 표상이다. 필름누아르에서 검정은 남성성과 팜므파탈의 여성성을 대비시킨다. <악녀>(2017)와 <마녀>(2018)에서 팜므파탈의 검정은 전통적인 남성성을 여성성에 투영하여 두려움의 존재로 각인시킨다. 이들 영화에서 검정은 대상으로서의 여성, 팜므파탈로서의 시각적 대상화이다. 소비되는 이미지에서 생산하고 소비하는 주체가 되려는 의지와 욕망의 표현으로, 이들 여성의 검정은 남성성의 대체물이다. 이와 달리, <범죄도시>(2017)와 <악인전>(2019)에서 어둠 속 남성의 근육은 우스꽝스런 우직함이다. <친절한 금자씨>(2005)에서 금자의 검은 복장은 죄악이자 절제이다. <마더>(2009)에서 불타는 집의 검정은 정신분열적 집착이며, <곡성>(2016)에서 어두운 동굴은 종교적 타락이며, <악마를 보았다>(2010)에서는 도덕적이고 사회적인 죄악이고, <박쥐>(2009)에서의 검은 흡혈은 타락이다. 인물들의 사회적 관계를 위계화하는 방식에서는 시대극이나 현대극에 관계없이 검정이 권력이며, 여성, 노인, 어린이 등 사회적 약자에게는 검정이 부여되지 않고 채색된다. 조폭영화에서 법조인, 정치인, 자본가, 관료 등이 검정이다. 시대극 <안시성>(2018)에서는 검은 복장이 인물들의 지위를 결정한다. 한편, 윤리적이고 세련되어 보이는 검은 복장은 무거움 뒤에 감춰진 위선이기도 하다. 이 같은 범주에 해당하는 영화들에서 세련되고, 현대적이고, 도시적이고, 포스트모던한 검정이 흑색선전과 가짜뉴스에 숨겨진 위선이다. 색채의 공감각적 특성과 관련해서 검정의 기본적인 기능은 분위기를 조성한다는 점이다. 빛을 흡수하는 검정의 운동성은 내향적이거나 내적이다. 현실과 환상 공간이 교차하는 <신과 함께>에서 현재와 과거가 유채색과 무채색으로 구분된다. 검정은 과거, 이전의 것, 버려야 할 것, 신파 등으로 표현되고, 차사의 하얀 얼굴과 검은 복장이 대비된다. 죽은 자의 얼굴은 하양이고, 죽음이 검정이다. <역린>(2014) 같이 역사적 사실에 영화적 허구를 더한 시대극에서 ... This article analyzes the meaning of black expressed in Korean popular films based on the color nature interacting between matter and human. In a broader context, color interaction is between color and color, between color and other components and between spectators. In Eastern and Western color term on black there are black(English), Schwarz(German), Noir(French), Niger(Latin), 黑(Chinese) and hitam (Indonesia). Black coffee, black beans and black oil are the usual blacks in everyday life. In Hollywood films such as The Amazing Spider-Man(2012) series and Terror Trap(2015), black is the source of evil and fear. Unlike the parables in philosophy, painting and literature, black is the most universal meaning in popular films. In Along with the Gods(2017, 2018) which travels between this world and otherworld, black constitutes the space and character. This article introduces the interactive meaning of black presented in Korean popular films. In urban backgrounds such as the gangster and the film noir that deal with the revenge of men, black expresses alienation, loneliness and greed. In historical drama such as Roaring Currents(2014) black of armor, turtle ships and flags are the strong masculinity. While male-led heroic narratives are achromatic, women are painted with images consumed by male vision. In the zombie film Train to Busan(2016) a dark black light creates the shadow of death. The opposite principle of light and darkness causes fear and horror. There are horror and thriller genres that use the difference of light in night and at dark indoor scenes. In Along with the Gods black is the slogan of going to hell if you do something bad. Black is a schematized punishment. In film noir, black contrasts the masculinity and femininity of femme fatale. In The Witch(2018) and The Villainess(2017), black of femme fatale is superimposed on traditional masculinity and femininity and is marked by the presence of fear. In After My Death(2017), sin is given to women. Black is a visual objectification as a woman, a femme fatale. As an expression of the will and desire to be the subject of production and consumption in the consumed image, these women’s black is a substitute for masculinity. On the other hand, in The Outlaws(2017) male dark muscles are ridiculous. This usage shows the irony of black. A black dress is a sin in Sympathy For Lady Vengeance(2005). Black of the burning house scene in Mother(2009) is delirious, crazy and obsessive. In The Wailing(2016) dark cave is a religious corruption. In I Saw The Devil(2010) it is moral and social sin, and in Thirst(2009) it is vampire. Also black classifies the social relations of the characters. Regardless of historical or modern drama, black is power. Women, elderly, children and other social underprivileged are not given a black color. In gangster films, gangsters, lawyers, politicians, capitalists and bureaucrats are black. In The Great Battle(2017), black costumes determine the status of the characters. On the other hand, the ethical and sophisticated black plays the hypocrite hidden behind seriousness. Black which seems to be stylish, modern, urban and postmodern is the hypocrisy hidden in black propaganda and fake news. The basic function of black is to create atmosphere. Its characteristics absorb light and its movement is intrinsic and orients to the inside. It is used to be the synesthetic metaphor. On a chronological level, black is the past and white is the future as opposed to black. Gray mixed with black and white is present, and it is also a space of modern city. The present and the past are distinguished into a chromatic color and an achromatic color in Along with the Gods where reality and fantasy space intersect. If black-and-white corresponds to the category of realistic achromatism, color is expressive coloration. The contrast between achromatic and color is realistic or maximizes fear. The black is expressed in the past, the previous ones, the things to be disc...

전자제품에서 검정 색상의 효과: 검정 색상이 제품에 대한 인식과 보상적 추론에 미치는 영향

전은미(Eunmi Jeon),한영지(Youngjee Han),남명우(Myungwoo Nam) 연세대학교 경영연구소 2021 연세경영연구 Vol.58 No.1

본 연구는 제품의 색상, 특히 검정 색상이 제품의 인식에 미치는 영향을 조사하였다. 색상에 관한 기존 연구들은 주로 유채색 간의 차이가 제품의 선호도와 소비자 인식에 미치는 영향을 중심으로 연구하였다. 그러나 본 연구에서는 시장에서 가장 선호되는 색상인 검정이 소비자들의 제품평가에 미치는 영향과 요인에 대해 알아보고자 하였다. 구체적으로 소비자는 외관을 돋보이게 하는 유채색의 전자제품 보다는 눈에 띄지 않는 검정 색상이 쓰인 전자제품에 대해 더 긍정적인 평가를 하는 것으로 나타났다. 이에 따라 본 연구는 제품이 검정 색상일 경우에 제조사가 제품의 외관 보다는 기능성과 같은 내적인 속성에 더 집중했을 것이라는 추론으로 인해 제품의 선호가 달라진다는 가설을 검증하였다. 더불어 고가의 브랜드 제품에 대해서는 검정 색상의 효과가 감소하는 경계조건을 확인하였다. 구체적으로 실험 1A와 1B를 통하여 소비자는 여러 전자제품이 유채색일 때 보다 검정색일때 더 긍정적으로 평가하는 것을 확인하였다. 실험 2에서는 소비자가 검정 색상 제품의 가격을 높게 예상하는 근원적인 원인이 기능성 인식에 대한 추론으로 인한 것인지 검증한 결과, 검정 색상에 대하여 제조사가 기능성에 더 신경을 썼을 것이란 보상적 추론이 매개하는 것으로 나타났다. 실험 3에서는 고가 브랜드의 경우, 제품의 기능성을 높게 예상함으로써 검정 색상의 효과가 나타나지 않은 반면 저가 브랜드의 경우에는 검정색상에 대한 평가가 더 높아졌다. 본 연구는 소비자가 유채색의 전자제품보다 검정 색상의 전자제품을 선호하는 것을 확인하고 그 원인이 제품의 기능성 인식에 대한 추론에 있음을 밝힘으로써 색상이 소비자 행동에 미치는 영향에 대한 이해를 증진시키며 제품의 색상을 주요한 전략 도구로 하고자 하는 마케터에게 실무적 시사점을 제공한다. The current research investigates the effect of black color on product evaluations. Past studies have focused more on the effect of chromatic colors such as red, blue and green. However, the current work explores whether black color can lead to more favorable onsumer responses than chromatic colors. Because consumers infer that the manufacturer cares more about functionality than appearance of product when the color of product is black. In addition, we found the boundary condition for when the brand is high-end (vs. low-end), decreased the effect of black color in the products. Specifically, study 1A and study1B investigated whether people prefer the electronics in black color compared to those in other colors. Consistent with our prediction, finding showed that the products in black color were positively evaluated than the products in chromatic colors. Study 2 was designed to investigate to reveal the underying mechanism of the effect on black color in electronics. The result revealed that the effect of black on product evaluation is mediated by perceived functionality through consumers’ compensatory inferences. Study 3 showed that the evaluation of black color was increased when the brand is low-end, whereas there is no difference between black and chromatic color when the brand is high-end. Black can be more effective in signifying the manufacturer’s dedication to functionality, which will lead to consumers’ favorable attitude especially in highly utilitarian categories such as electronics, machines and devices. Thus, companies should be careful and cautious when determining product colors. Our findings contribute to understanding how black (vs. color) influences consumer’s evaluations.

재현을 통해 본 조선시대 검은색 - 임원경제지(林園經濟志) 염색법 중심으로 -

박봉순(Bong Soon Park),장인우(In Woo Chang) 한국복식학회 2020 服飾(복식) Vol.70 No.2

This study investigates the black colors in the Chosun Dynasty by reproducing them with the dying method described in Yimwongyeongjeji(林園經濟志). Seo Yu-Koo recorded dyes and mordants of 3 kinds of black colors–Poducheongsaek(包頭靑色), Cheongjosaek(靑皁色), and Hyeonsaek (玄色)-in Jeonkongji(展功志) Yimwongyeongjeji,- but he did not described in detail the dyeing conditions such as the amount and mixing ratio of dyes or dyeing temperature and time. We met difficulties in reproducing the colors, so we designed dyeing conditions by varying the amounts of black dyes and mordants suggested in the encyclopedia. We reproduced 35 kinds of Poducheongsaek, 60 kinds of Cheongjosaek, and 75 kinds of Hyeonsaek by adopting various combinations of dyes and mordants. In addition, we tried to examine the color difference range using L*a*b* values of the reproduced black colors in order to understand the black colors in the Chosun Dynasty. By comparing the L*a*b* values, we found that the distribution of the L* values of the reproduced colors lay between 70.75 and 38.45 for Poducheongsaek, between 46.14 and 23.65 for Cheongjosaek, and between 49.47 and 30.02 for Hyeonsaek. Under the dyeing conditions of this study Cheongjosaek was the darkest black among colors. Taking the distribution of the reproduced colors a* and b* values into consideration, Poducheongsaek, located at +a and +b, was black with a mixture of red and yellow, but it was closer to a yellowtone. Cheongjosaek, distributed between +a and –b, was a black color with which red and blue colors were mixed, but it was closer to red. Hyeonsaek using the hardened sediment of indigo(靛), was distributed between –a and –b and, took on a black color with green and blue tones, while Hyeonsaek, using indigo leaves(藍葉), was distributed between +a and –b and, appeared as black with red and blue tones.

명품 패션브랜드에 나타난 블랙컬러의 배색 특징

이재훈(Lee Jaehun), 김민지(Kim Minji), 이유라(Lee Yura), 하유진(Ha Yujin), 김지영(Kim Jiyoung) 충북대학교 생활과학연구소 2020 생활과학연구논총 Vol.24 No.3

This study examines the color black in depth and analyzes accompanying design characteristics in luxury fashion brands. Among the 10 most valuable luxury brands according to Forbes , Dior, Louis Vuitton, Saint Laurent, Chanel, and Prada, all of which use a high proportion of black color in their products, were studied. The analytical data were drawn from the 2015 S/S to 2019 F/W. Clothing items were drawn from a total of 998 photos, with the limitation that only black must be used for the main and subordinate colors. This study indicated that black color coordination was consistently preferred without any variation year-to-year or season-to-season, and Saint Laurent had the highest percentage of black color use. Many similar color schemes were adopted, and images with a straight silhouette, chic quality, and elegance appeared. Dior exhibited many contrasting colors with bright tones, exhibiting many images that featured elegance, and Louis Vuitton had a more modern image, using more than four repeated colors and black on the top and bottom, maximizing sophistication and practicality. Saint Laurent had many all-black styles and created a chic image of the straight line. Chanel had a high rate of uniform coloration and had a high dark tone of low brightness. Prada exhibited more than four colors, with the most colorful effect. The common feature in the black color scheme shown in the five brands is that it maximized the elegance of the luxury brands by utilizing the unique urban and sophisticated sensibility of the color black.

명품 패션브랜드에 나타난 블랙컬러의 배색 특징

이재훈, 김민지, 이유라, 하유진, 김지영 충북대학교 생활과학연구소 2008 생활과학연구논총 Vol.24 No.3

This study examines the color black in depth and analyzes accompanying design characteristics in luxury fashion brands. Among the 10 most valuable luxury brands according to Forbes , Dior, Louis Vuitton, Saint Laurent, Chanel, and Prada, all of which use a high proportion of black color in their products, were studied. The analytical data were drawn from the 2015 S/S to 2019 F/W. Clothing items were drawn from a total of 998 photos, with the limitation that only black must be used for the main and subordinate colors. This study indicated that black color coordination was consistently preferred without any variation year-to-year or season-to-season, and Saint Laurent had the highest percentage of black color use. Many similar color schemes were adopted, and images with a straight silhouette, chic quality, and elegance appeared. Dior exhibited many contrasting colors with bright tones, exhibiting many images that featured elegance, and Louis Vuitton had a more modern image, using more than four repeated colors and black on the top and bottom, maximizing sophistication and practicality. Saint Laurent had many all-black styles and created a chic image of the straight line. Chanel had a high rate of uniform coloration and had a high dark tone of low brightness. Prada exhibited more than four colors, with the most colorful effect. The common feature in the black color scheme shown in the five brands is that it maximized the elegance of the luxury brands by utilizing the unique urban and sophisticated

The Comparison and analysis of the color development on the heavy metal content of the eyeliner products on sale

KeeYoung Lee 한국색채학회 2017 AIC 2017 Jeju Vol.2017 No.10

Colors cosmetics are made up of large amounts of pigments. Among them, the color of the eyeliner includes the largest am ount of the total content among cosmetics from 20% to 25%. This may be higher than the other color cosmetics on the heavy metal content due to the addition of pigment I have been studied w whether the color formation, which is an important part of cosmetics as the pigments of the color cosmetics, is related to the contents of the heavy metals. In this study, we examined that the content of the heavy metal affected the color formation of the black eyeliner by measuring the color formation and the content of the heavy metal of eyeliner, which contains the most pigment. The eyeliner was measured by collecting 10 black gels, which are currently on sale in the domestic market. The pigment of eyeliner contains mainly Red, Yellow,Black Iron Oxide, Carbon Black and Tar Color. As the result, Pb, As in 10 black eyeliners, regulated by the Food and Drug Administration (KFDA), were found within the standard of permission. But the aluminium and manganese, which don’t have the standard of permission, were found to be high. In particular, the largest metal component was significantly higher in aluminum, with a maximum of 19,321 ppm than other heavy metals. Color formation of the eyeliner product was shown at the highest level of L * 26.54, lowest L, and 22.3. Since it is a black product, it is difficult to tell because the color is less than 0.3 with the naked eyes, but in the most products, the color shows red level and blue level, and it is distributed in PBS, P, RP, and R. Among them, the colors have the most amount in PB, so the black color reveals blue. The black level showed no significant difference between the water-proof products with the high contents of the heavy metal and other generic products. Therefore, it was discovered that the metallic content of the eyeliner didn’t affect the color formation of the color by measuring the metallic content and color formation of the eyeliner. Later, I think that it is necessary to research on the relation of usability, and persistence due to heavy metal content of color cosmetic products.

몽골 유목민의 색채 민속과 그 문화적 함의 -흑백 색채를 중심으로-

이안나 비교민속학회 2017 비교민속학 Vol.0 No.64

This study set out to examine the ways that the Mongol nomads, who were oriented toward an ecological life, perceived the black and white colors and the patterns of the two colors being reflected in their narrative literature, spirit and life culture, thus figuring out the cultural implications of black and white. The black and white colors have encompassed very vast areas from the natural phenomena of light and dark through the cycle of day and night and good and evil to the aspect of life faith, forming a symbolic semantic domain throughout culture. First, black and white were usually in the structure of confrontation or contest in narrative literature. While the black heavenly gods were highlighted as the cause of the world's suffering, their white counterparts were praised for defeating them, helping to overcome the disorder and pain of the world, and saving mankind. The heavenly gods were divided into good and evil ones with black heavenly gods being defined and condemned as evil ones because of an approach to the interpretation of evil in the world. It was also because black heavenly gods were considered to resonate with the negative mental process involving the darkness of the underground world, death and fear. Secondly, black and white heavenly gods were not divided into good and evil ones in Gicheung faith, where they were divided according to moderate and ferocious nature. While white shamans worshipping white heavenly gods had enlightening and therapeutic functions, their black counterparts gave a blessing to the common people through their spiritual abilities unique to shamans. Being represented by black, they were subjected to severe persecution according to the flow of the times because they had powerful spiritual abilities. It was also because black heavenly gods had greater nature of shamanism in them. The black and white colors had various applications in life including the life and national ceremonies and language life. White was the dominant color in ceremonies because it symbolized sacredness, happiness, good auspice, abundance, prosperity, and beginning. In language life, white was usually used in a positive sense, whereas black was used in a negative or neutral sense. Overall, white did not have big changes in its meanings and enjoyed considerable cultural and psychological supports. Black was, on the other hand, distorted negatively often according to the situations of the times. It was a dynamic color, though, with more fundamental and powerful strength than white. 본 논문은 생태적 삶을 지향해 온 몽골 유목민들이 흑백 색채를 어떻게 지각해 왔으며, 두 색채가 서사문학과 정신 및 생활문화 속에 어떻게 반영되어 나타나는지 그 양상을 살펴봄으로써 흑백 색채가 갖는 문화적 함의를 고찰하고자 했다. 흑백 색채는 빛과 어둠이라는 자연현상에서 낮과 밤의 순환, 선악, 생활 신앙적 측면에 이르기까지 매우 폭넓은 영역을 아우르며 문화 전반에 상징적 의미 영역을 이루어왔다. 첫째, 서사문학 속의 흑백 색채는 보통 대립 내지 대결의 형태로 나타나는데, 흑천신 측이 세상의 고통의 원인자로 강조되고, 백천신 측이 이를 처단함으로 세상의 무질서와 고통을 극복하고 인류를 구원하는 형태를 띤다. 이들이 선신과 악신으로 이원화되고 흑신이 악신으로 규정되고 매도되는 것은 세상의 악을 해석하는 한 방식에서 비롯되며, 한편 흑신이 지하의 암흑, 죽음, 공포의 부정적 심리작용과 공조되기 때문이라 할 수 있다. 둘째, 기층신앙 속의 흑백천신들은 선악으로 구분되지는 않으며, 온건하고 사나운 두 가지 성질로 나뉜다. 백천신을 모시는 백무당은 교화적이고 치료사적인 기능을 갖는다면, 흑무당은 무당 본연의 영적 능력을 통해 민중의 삶을 가호하는 역할을 한다. 시대적인 흐름에 따라 흑무당에 대한 핍박이 심했던 것은 그들의 강한 영적 능력에 기인하며, 샤머니즘의 본질을 좀 더 많이 내재하고 있었기 때문이라 할 수 있다. 셋째, 생활 속에 흑백 색채는 생활의례 및 국가의례, 언어생활 등에 다양하게 나타나며, 의례에는 흰색이 지배적으로 사용된다. 그것은 흰색이 신성함, 행복, 길상, 풍요, 번성, 시작 등을 상징했기 때문이다. 언어생활에서 흰색은 대개 긍정적인 의미로, 검은색은 부정적이거나 중립적인 의미로 사용된다. 전체적으로 보면 흰색은 그 의미 변화가 크지 않고 문화․심리적으로 상당히 지지를 받아온 색이라면, 검은색은 시대 상황에 따라 부정적으로 왜곡되는 경우가 빈번했지만, 흰색보다 좀 더 근원적이고 강한 힘을 지닌 역동적 색채로 몽골인의 삶과 문화 속에 중요한 지위를 차지해 왔다.

산화철과 카본블랙을 사용한 컬러 모르터르의 색상발현 특성

석화송,홍창우 한국결정성장학회 2020 한국결정성장학회지 Vol.30 No.4

Recently, as there has been growing demand for aesthetic quality in structural materials, the development ofexcellent color cement concrete having good coloration properties has become a requirement. This study is designed toanalyze the basic physical properties of mortar and the properties of keeping the coloration under an ultraviolet rayaccelerated weathering test environment according to changes in the mixing ratio between carbon black and iron oxide usedas colorants. The test results show that the use of carbon black and iron oxide reduces the initial flow by 6.3~17.2 % andthe air content by 3.5~31.5 % but increases the unit volume weight by 3.4~5.5 %, compared to ordinary Portland cement(OPC). In addition, the study shows that the addition of iron oxide increases the self drying shrinkage. So, caution needsto be taken on the workability of the concrete. The brightness value L*represented by black showed the most excellentblack colour when carbon black 3 % and iron oxide 5 % are added. According to UV accelerated weatherproof test, thebrightness value L*was found to increase in all experiment specimens by 4.28~11.97 %, and the color change by UV wasfound to be higher for the case where carbon black colorant was not used. Therefore, in terms of color revelationcharacteristics, the case using carbon black 3 % and iron oxide 5 % was found to show the best black color

묵(墨)과 오채(五彩)론을 통한 수묵표현 연구

이주원 한국조형교육학회 2014 造形敎育 Vol.0 No.49

본 연구는 동양 전통회화의 대표적 조형요소인 묵(墨)과 오채(五彩)를 고찰하고, 그 연관성을 분석하였다. 전통적으로 묵의 색은 모든 색의 상징인 오채를 담고 있다는 조형의식에 기반을 둔다. 이에 본 연구에서는 다양한 색들의 조형적 종합체로써 묵의 형성과정을 전개하였다. 먼저 묵에 대한 고찰을 통하여 묵이 전개된 시대적, 사상적 흐름을 살펴보았다. 그리고 동양 의 조형미학적 사유에서 묵과 오채의 연관성에 대하여 조사하였다. 다음으로는 묵 속에 오채가 반영되어 있다는 것에 기초하여 만물의 색을 의미하는 오채에 관 해 고찰하였다. 이에 오채와 관련된 음양오행사상(陰陽五行思想)을 살펴보았다. 아울러 오행사 상에 대한 의미와 오채로의 시대적 발전과정을 검토하여 문헌에 나타난 오채를 조사하였다. 묵과 오채의 연관성을 알아본 후에, 수묵(水墨)의 해석에 대하여는 주로 육조시대부터 당(唐), 북송(北宋)대까지의 화론들을 중심으로 연구를 진행하였다. 그리하여 다양한 묵의 용법들이 오채의 의미를 잠재하고 있음을 분석하였다. 이러한 연구를 토대로 묵의 색 속에는 만물의 색들이 잠재되어 표현되었던 점을 인식할 수 있다. 이것은 동양의 전통적인 수묵화가 가지고 있는 상징적 조형요소이다. 동양의 전통회화 에서 묵의 색은 한 가지의 검정색이 아닌, 변화하는 자연을 반영하는 색이다. 이에 본 연구는 수묵에 대하여 변화하는 다색조의 조형해석에 관한 교육적 의미를 제시한다. In consideration of the artistic understanding of the Oriental art, I conduct the analysis of the Black Ink and the Five Colors in the understanding of that Black Ink supposed to embrace the Five Colors that symbolize all of the colors. Also I research about the Five Colors that appeared in literature in the meaning of the Five Elements and the development progress into the Five Colors. Based on the understanding of the relations to the Black Ink, I analyze the philosophy and artistic quality of the Orient’s traditional Ink and Wash Painting. Recognizing the genuine start of Ink and Wash Painting in the historical matter, I research through the formation and development of it. From the times when the Black Ink was produced as to represent total colors to the times of Six State Era [229-589], when the Black Ink was used for writing and painting, the recordings are examined from the theories of occidental art. Through the formation of the Black Ink, I look into the time period and philosophical changes when the Black Ink was introduced. In the study of the Five Colors that represent all of the colors in the world, I first study about the Five Direction Colors that derived from Yin-Yan and the Five Elements Theory that existed from the ancient times. In the modern culture where visual images are majored, I tried to study the meaning of Ink and Wash Painting in the use of modernized transformation and suggest the possibilities. This research has the implications for traditional art education in the sense that it broadens the understanding of the Black Ink and the Five Colors by revisiting its aesthetic significances.

스피넬계 흑색 안료를 이용한 흑색 지르코니아 세라믹스의 제조 및 특성분석

이광호,이용석,박주석,이병하,Lee, Kwang-Ho,Lee, Yong-Seok,Park, Joo-Seok,Lee, Byung-Ha 한국세라믹학회 2008 한국세라믹학회지 Vol.45 No.4

The zirconia ceramics are widely used because of their excellent mechanical properties. Recently, many researches to make a colored zirconia was achieved to satisfy the individual aesthetic requirements. In this study, the synthesis of black-color spinel-based inorganic pigments which are stable above $1400^{\circ}C$ and the fabrication of black-colored zirconia using the synthesized pigments are investigated. Inorganic pigments which have spinel structure and near black color were synthesized by a solid state reaction method using a $Fe_2O_3,\;Cr_2O_3$, CoO and NiO powder as a starting materials at $1600^{\circ}C$. Most of synthesized pigments were black colored spinel phases and single spinel phase was successfully synthesized at the composition range of $Cr_2O_3:25{\sim}35%,\;Fe_2O_3:45{\sim}55%$, CoO:20% and NiO:$6{\sim}10%$. The black-colored zirconia was fabricated at $1410^{\circ}C$ with the 5 wt% synthesized pigments and their properties were evaluated. The results showed that the strength value was more than 848 MPa, absorption rate was 0.1%, the brightness of color was $L^*:40{\sim}42$, the tone of color is $a^*:0.2{\sim}0.8$ and $b^*:-1.1{\sim}2.4$. As a result, the black-colored zirconia was suitable for a artificial jewelry or decoration zirconia goods.