우뇌로 그림그리기를 활용한 드로잉 기초교육 연구

박경희 한국일러스아트학회 2017 조형미디어학 Vol.20 No.3

Drawing is an fundamental course in the basic curriculum of art and design department, and it is a method of creative art plastic training. Drawing is based on perceptual experience through the visual perception system. This perceptual experience enables visual thinking that is closely related to creativity and imagination. From ancient times, mankind has developed a variety of drawing education methods. What we are dealing with in drawing education is a realistic drawing. People have been trying to figure out how to reproduce objects on a two dimensional like they see in a three dimensional. Betty Edwards is an art educator who asserts that any realistic description is possible. Edwards presented an influential way of drawing education through a book called Drawing on the Right Side of the Brain. This is to utilize the right side of the brain that understands the functions of brain hemisphere and visually recognizes the information. Drawing on the Right Side of the Brain suggests a perceptual skill that can bypass the left side of the brain interference and allow the right side of the brain to dominate. Based on these theories of Edwards, I established a basic curriculum for drawing and instructed students. It uses five visual perceptual skills: perception of edge, perception of space, perception of relationship, perception of light and shadow, perception of the gestalt. I analyzed the progress of students' drawing skills through 4 hours and 6 days of instruction each day. I evaluated the effect of the basic education through change of drawing before and after drawing course and the students' review. These results show that it is effective to develop visual perceptual skills by the right side of the brain in basic drawing education. 드로잉은 미술 및 디자인 관련 전공학과의 기초과정에 개설되어 있는 필수 과목으로 창조적 조형훈련의 한 방법이다. 드로잉은 시각체계를 통한 지각적 경험에 기초를 두고 있다. 이 지각적 경험은 창의력, 상상력과 밀접한 관련을 갖는 시각적 사고를 가능하게 한다. 고대로 부터 인류는 다양한 드로잉 교육방법을 발전시켜 왔다. 드로잉 교육에서 기본적으로 다루고 있는 것은 사실적 묘사이다. 사람들은 2차원 평면위에 사물을 3차원의 느낌이 나도록 어떻게 재현할 것인가 즉 어떻게 닮게 그릴까를 고심해 왔다. 사실적 묘사는 누구나 가능하다고 주장한 미술교육 학자가 베티 에드워즈인데 에드워즈는 우뇌로 그림그리기라는 책을 통해 드로잉 교육에 대한 획기적인 방법을 제시하였다. 이는 우리 뇌 반구의 기능을 이해하고 정보를 시각적으로 인식하는 우뇌를 활용하는 것이다. 우뇌로 그림그리기는 좌 뇌의 간섭을 최대한 배제시키고 우뇌가 지배적으로 활동 할 수 있는 지각기술을 제안하고 있다. 이와 같은 에드워즈의 이론을 기반으로 드로잉 기초교육 과정을 수립하여 학생들을 지도하였다. 경계의 지각, 공간의 지각, 관계의 지각, 빛과 그림자의 지각, 전체 또는 형태의 지각이라는 5가지 시각적 지각 기술을 활용하는 것이다. 일일 4시간 6일 과정의 교육을 통해 학생들의 드로잉 실력이 발전하는 과정을 분석해 보았다. 교육 전과 교육 후 드로잉의 변화와 학생들의 후기를 통해 기초교육 과정의 적절성을 평가 하였다. 연구 결과를 통해 드로잉 기초교육에서 우뇌의 지각기술을 개발하는 것이 효과적임을 확인 할 수 있었다.

발상적 전환을 통한 현대미술의 드로잉 역할

김재원 ( Kim Jae Won ) 한국디자인트렌드학회 2010 한국디자인포럼 Vol.29 No.-

Drawing is the most basic project which brings forth the thoughts and logic of the artist through keen observations of objects for the purpose of expressing their characteristics. It is also a laboratory where new ideas and techniques are developed and new materials and methods invented, greatly reflecting the first moments of inspiration rather than the overall completed form of the work. In the 20th century, the externality and sensibility of drawing gradually became distorted, and it emerged as a medium of expression for an expanded spiritual world of intellectual and rational thought. Coming to conceptual art, this conceptual shift in the idea of drawing meant internal necessity, ideas, and its processes were accorded greater meaning than as a completed work achieved through a certain process. In this way, drawing began as a concept of an additional stage in achieving completion meaning representation of man, and later, in contemporary art today, its meaning expanded to become an art of the thing itself. In observing the artistic characteristics, new positions and roles of contemporary drawing through the conceptual shift that has taken place in contemporary drawing, this research seeks to show that the contemporary concept of drawing expanded and its forms multipled, escaping from the confines of painting to become gradually homogenized. Therefore, it is viewed that contemporary drawing calls for a fundamental investigation of drawing itself, for to observe its meaning and function is to perceive the contemporary aesthetic and mode of thought, which can also lead to more accurate critical thought about contemporary drawing as well as a broadened view of it. The mode of thought of contemporary art is not completion or conclusion of the conceptualization of objects, but rather a new beginning, a cognitive attitude as shift. While it is a fundamental investigation of the act of drawing. it is also an aesthetic of contemporary drawing that can explain the difficulties of contemporary art.

Bridge Drawing검사에 나타난 진로결정 자기효능감에 관한 연구 - 대학신입생을 중심으로 -

박윤미 한국미술치료학회 2017 미술치료연구 Vol.24 No.1

This thesis attempts to examine if the bridge drawing technique is useful for assessing career decision-making self-efficacy in first-year university students. The subjects were 415 first-year students at a university in Gyeonggi Province. As measuring instruments, we used bridge drawing technique and the career decision-making self-efficacy scale. The collected data was processed using frequency analysis, T-test, chi-square analysis, and one-way ANOVA, and the Scheeffe's test was performed as post-hoc test. The results are as follows. First, Male students showed a higher level of career decision-making self-efficacy in problem-solving than female students. Second, regarding difference in response characteristics in the Bridge Drawing technique of first-year university students according to gender, differences were found according to gender in the position of the person on the bridge, the places drawn on either side of the bridge, the solidness of the bridge connection, depiction of the person, viewer’s vantage point, or the level of risk presented in the drawing. Third, regarding the difference in career decision-making self-efficacy according to response characteristics, differences were found according to gender in the position of the person on the bridge, object drawn under the bridge, and congruence of the drawing. In addition, female students in the directionality, depiction of the person, view’s vantage point, and paper orientation. 본 연구는 대학신입생의 진로결정 자기효능감과 Bridge Drawing검사의 반응특성을 분석하여, 진로결정 자기효능감을 나타내는 진단도구로서 Bridge Drawing검사의 활용가능성을 탐색하는데 연구의 목적이 있다. 연구대상은 경기도에 소재한 대학신입생 415명으로, 측정도구는 Bridge Drawing검사와 진로결정 자기효능감 단축형척도를 사용하였다. 수집된 자료처리는 빈도분석, T-test, 교차분석, 일원변량분석을 실시하였으며, 일원변량분석에 대한 사후검증으로 Scheeffe's test를 실시하였다. 연구의 결과는 첫째, 성별에 따른 대학신입생의 진로결정효능감의 차이를 살펴본 결과, 남학생이 여학생보다 진로결정 자기효능감과 문제해결 하위변인에서 진로결정 자기효능감이 높게 나타났다. 둘째, 성별에 따른 대학신입생의 Bridge Drawing검사 반응 특성을 살펴본 결과, 피검자의 위치, 다리 양끝의 장소, 다리의 연결강도, 사람의 모습, 시점의 위치, 그림상황 위험정도에서 유의미한 차이를 보였다. 셋째, Bridge Drawing검사의 반응 특성에 따른 진로결정 자기효능감의 차이를 살펴본결과, 남녀 모두 피검자의 위치, 다리 밑의 사물, 그림의 통합성에서 유의미한 차이가 나타났고, 여학생은 진행방향, 사람의 모습, 시점의 위치, 종이축에서도 유의미한 차이가 나타났다. 이상의 결과를 통해 Bridge Drawing검사가 대학신입생 남녀의 진로결정 자기효능감을 파악하는데 활용가능성이 있음을 제시하였다.

텍스트로서의 조경드로잉 - 읽기의 틀과 실제 -

이광빈,조정송 한국조경학회 1999 韓國造景學會誌 Vol.27 No.1

The Landscape drawing is used as main media in landscape design process like the language in daily life for human. Designers input many intentions and meaningful words in design process through landscape drawing. The common purpose of landscape drawing is to represent reality effectively, even though it has variable visual forms and materiality. The representation in landscape drawing in metaphorical as well as visual and functional. But current tendency is inclined to use landscape drawing in a functional aspect for visual representation and the landscape drawing is utilized straight-forwardly rather than metaphorically for clear communication. Such recognition on landscape drawing results from the difficulty to accept the symbolic aspect of the drawing. The difficulty makes the utilization and the interpretation of landscape drawing stay at conventional level in following visible factors. For the sake of solving the difficulty this study considers landscape drawing as the text that contains readable objects and symbolic words. This study presents layer-methods for reading a landscape drawing as a text; situational and contextural reading, iconological reading and reading the subject of drawing.

경관 핸드드로잉(Hand Drawing)의 시대별 유형분석에 관한 연구 -르네상스시대부터 근대까지를 중심으로-

이현우 ( Hyun Woo Lee ),김재식 ( Jae Sik Kim ),김정문 ( Jeong Moon Kim ) 한국전통조경학회 2008 한국전통조경학회지 Vol.26 No.1

The objectives of the study are to look into the figures of Landscape Architecture from the Renaissance Period to the Modern Ages and its rapid changing, to watch valuable masterpieces from landscape architects of the century and to understand the characteristics through the each age focusing the change on ``Landscape Hand Drawing``. I researched what differences have been generated to ``Landscape Hand Drawing`` methods over the years. In brief, it`s like this as follows. First, after the initial landscape architectural drawing for the design of Italian Ligorio`s landscape architecture in the 16th century, a perspective drawing was appeared the two century ahead of the East, and the age of modern design drawing was opened up from the 17th century. Second, landscape type drawings like a landscape painting were used in the 18th century, while a drawing was symbolical reappearance giving meaning to space among the drawings. Third, the characteristic of drawings in the 19th century is delivering the accuracy of construction. In conclusion, I arranged relevant works or specific techniques of artists which were an important turning point in the history of hand drawings among the characteristics of the each age which were analyzed by comprehensive study. Sometimes landscape architectural hand drawing has artistic value in itself, finds new possibilities rather than realizable possibility, and might be a form developing new concepts. Recent 「Landscape Architectural Hand Drawing」 are exhibited in galleries or works with paper-work characteristic are shown in those meaning. We are not going to mystify conceptual drawing excessively which does not care about the realization. However the landscape drawing of new drawing type would raise the abundant imagination to landscape architecture along with existing conventional drawings, and is absolutely helpful to the development of conceptual thought. As long as landscape architecture field keeps alive, the true value of hand drawings gradually being kept away from us will be with us as always. A short sentence from a memo of the 15th century`s Leonardo da Vinci makes us give an exclamation. The power of drawing is to realize a novel idea which is nearly an idle fancy expressing an agreed symbolic system as a visible reality.

사진과 드로잉: 드로잉을 위한 사진으로부터 사진을 위한 드로잉으로

이필 ( Phil Lee ) 한국미학예술학회 2014 미학예술학연구 Vol.41 No.-

Photography had long been used for an aid of drawing and had gradually acquired its status as an artistic medium. Since the late twentieth century, many photographers have been using drawing to create their photographic works. This recent phenomenon shows a shifted relationship between photography and drawing, what I call “from photography for drawing to drawing for photography.”This essay aims to illuminate ambiguous boundaries between photography and drawing in contemporary art photography by examining the long dynamic relationships between the two media. I explore how artists used early forms of photography such as camera obscura and camera lucida to achieve likeness of the object. These two devices required the use of artists` hands to draw images reflected on or seen through them. However, the invention of the “photogenic drawing”, and daguerreotype in the nineteenth-century, made human hands unnecessary in acquiring likeness. Photography has since then interacted with major art movements of the twentieth-century in various ways. Recently contemporary photographers such as Jungjin Lee, Ku Sungsoo, and Jason Evans appropriate drawing techniques to make their photographs. I discuss these artists` use of drawing in the context of the post-medium condition and further observe that the development of digital and printing technologies has called for the aesthetic of drawing for photography. My art historical analysis of the hybrid condition of photography and drawing provides a theoretical insight into a recent perspective for considering drawing as a meta-medium.

작업기억(Working Memory) 확장을 위한 유아 복합 드로잉 교육 프로그램 개발 연구

장지현,이신동 한국전시산업융합연구원 2019 한국과학예술융합학회 Vol.37 No.5

Based on the educational potential of infant drawing, this study was conducted with the aim of developing an infant drawing education program using infant working memory, along with a theoretical explanation of the relationship between infant drawing activities and working memory. To this end, the concept of working memory and the structure of the schema were summarized and the concept of M-capacity and the structure of the working memory was presented, and the drawing program of the visual infant drawing based on the drawing map system was evaluated through the secondary system. The result shows that the drawing of classes through teaching methods that stimulate working memory is significantly more complicated and sophisticated than previous drawing. Through this process, it can be assessed that the drawing process through WM has a positive effect on the overall working memory of infants as well as on the drawing results of infants. This study clarifies the working process of working memory in theoretical terms and applies it through practical training programs. The results of drawing can be expected to improve through the expansion of the size of M-capacity, which is affected by the maintenance, expansion, integration of working memory, the process of observation, perception, coding and the transition of mental resources to long-term memory, and can be attempted through the process of suppression, modification and supplementation of executive functions. Ultimately, the expansion of the size of the M-capacity can be achieved through active activity of the working function along with the expansion of the number of utilized schemas, where infant drawing can be an effective activity. 본 연구는 유아 드로잉(drawing)의 인지과정 기반 으로 유아 드로잉 활동과 작업기억의 관계에 대한 이 론적 규명 및 유아 작업기억을 활용한 유아 드로잉 교육 프로그램의 개발을 목적으로 실시된 연구이다. 작업기억의 개념과 작업기억의 작용에 있어 M-용량 과 스키마의 구조성에 대하여 개념을 정리한다. 드로 잉 지도체제에 대한 24차시 작업기억 역할을 바탕으 로한 유아 드로잉 프로그램을 구성하고 교수방법을 제시하였다. 2차시 프로그램을 통해 작업기억역할을 활용한 유아 드로잉 효과를 평가하여 보았다. 그 결과 작업기억을 자극하는 교수 방법 드로잉수 업은 사전 드로잉활동에 작품의 결과가 복잡해지고 정교화된 것을 알 수 있다. 작업기억을 활용한 드로 잉 수업은 유아의 드로잉표현의 향상 및 유아 작업 기억 전반에 긍정적 영향을 미치고 있다는 평가할 수 있다. 본 연구는 유아 드로잉인지과정에서 작업기억의 작 용 과정을 명확히 하고 이를 실제 교육 프로그램을 통해 적용해 보는 것이다. 드로잉의 결과는 M-용량의 크기의 확장을 통해 향상을 기대할 수 있으며 이는 작업기억의 유지, 조작, 통합을 위해 관찰, 지각, 부호 화의 과정과 정신자원의 장기기억으로의 전환 등에 의해 영향을 받는다. 작업기억의 집행기능의 억제, 수 정, 보완의 과정을 통해 향상을 시도할 수 있다. 유아 드로잉 인지 과정에서 스키마 수의 최대치를 동시에 활성화 하면서 작업기억의 M-용량의 크기를 확장시 킨다. 유아 드로잉은 작업기억의 용량을 확장 시키는 효과적인 활동이 될 수 있을 것이다.

일상성과 스토리텔링에 기반 한 드로잉 수업 사례연구

최명숙 한국초등미술교육학회 2016 미술교육연구논총 Vol.47 No.-

This study aimed to find the implications for the drawing education and the art of the post-modernism era in the drawing class with pre-primary teachers. To this end, this study attempted to extend drawing lessons from the existing observation drawing to the dailiness and storytelling based drawing. The results reveal some implications for the art and the drawing education that (1) students extend meanings of the observation as a drawing through reflexive observation. This is a significant aesthetic activity in which students see the true essence of the object as an empathized subjective observer. (2) A process of drawing everyday life of storytelling is a process of understanding the human beings. In other words, students understand themselves while making meaning through storytelling. They also understand others and objects as a feeling of sympathetic and caring. (3) In art education, the drawing should be interpreted in a new perspective. In order to ensure diversity of drawing education and evolve to fit the post-modernism era, the existing definition and boundaries of drawings should be cut off and extended. Thus, the drawing art education is no longer expect students to copy a subject 'as it is'. We should encourage students to draw pictures what their heart allows to do. 본 연구의 목적은 초등 예비교사들과의 드로잉 수업에서 포스트모더니즘 시대의 미술과 드로잉 교육을 위한 시사점을 찾아보는 것이다. 이를 위해 일상성과 스토리텔링에 기반 한 드로잉 수업으로 기존의 관찰 드로잉을 보다 새롭게 확장해보려는 시도를 하였다. 그 결과 미술과 드로잉 교육을 위한 몇 가지 시사점을 찾아내었는데 첫째, 학생들은 성찰적 관찰을 통해 드로잉으로 관찰한다는 것의 의미를 확장시킨다. 이는 감정이 이입된 주관적 관찰로서 대상의 본질과 진실을 보려는 유의미한 심미적 활동이다. 둘째, 학생들이 일상적 삶의 스토리텔링으로 드로잉을 하는 과정은 인간에 대한 이해의 과정이다. 즉 스토리텔링으로 의미를 만들면서 나를 이해하고, 타인과 대상을 공감과 배려로서 이해하게 된다. 셋째, 미술과 교육과정에서 드로잉에 대한 새로운 해석을 시도해야 한다. 포스트모더니즘 시대에 맞게 드로잉 교육이 다양성을 확보하고 진화하기 위해 기존 드로잉의 정의와 경계를 깨뜨리거나 확장하는 것이다. 그리하여 미술과 드로잉 교육은 더 이상 학생들로 하여금 대상을 ‘있는 그대로’ 나타내기만을 원하지 않게 된다. 다만 학생들의 마음 안에서 허락하는 있을 수 있는 모습의 드로잉을 격려하게 되는 것이다.

서비홍(徐悲鴻)의 드로잉이 중국 미술 교육에 미친 영향 연구

공신펑,김승호 한국기초조형학회 2024 기초조형학연구 Vol.25 No.6

본 연구의 핵심인물인 서비홍(徐悲鴻,1895-1953)은 서구의 사실주의와 중국의 전통을 예술을 통합한 인물이다. 그는 드로잉이 모든 조형 예술의 기초이자 서구의 사실주의 양식을 수용하는데 있어서 드로잉이 중요한 토대가 된다고 강조하였다. 이와 같은 드로잉에 대한 서비홍의 관점이 중국의 미술 교육에 상당한 영향을 미쳤음에도 불구하고 그에 관한 연구는 단지 그의 예술적 교육관에 집중되어 있는 실정이다. 따라서 그의 드로잉에 관환 이론적 체계와 미술 교육에 미친 영향은 미흡한 상태이다. 본 논문은 뵐플린(Heinrich Wolfflin)의 형식 분석법을 통해 서비홍의 중국화와 드로잉 작품을 분석하고, 드로잉과 회화 작품 간의 관계를 탐구하였다. 아울러 서비홍의 드로잉 관점을 심도 있게 연구하여 드로잉이 미술 교육에서 갖는 중요성을 밝혀내고자 하였다. 이를 통해 서비홍이 중국의 미술 교육에 기여한 바를 이해하고, 그의 드로잉관이 미술 교육 과정에 미친 영향을 도출하는데 중점을 두었다. 본 연구는 크게 세 단계로 이루어진다. 먼저 본 논문에서는 서비홍의 대표적인 중국화 작품과 그와 관련된 드로잉을 분석함으로써 그의 드로잉관을 살펴보았다. 이를 토대로 서비홍의 드로잉관 중 중국 전통 예술과 서양 사실주의 기법의 복합적인 영향을 받아 형성된 구체적인 내용을 이해하고자 하였다. 또한 서비홍의 드로잉관이 대학 미술 교육 과정에 적용된 구체적인 사례를 연구하여 이러한 교육법이 예술 창작 스타일에 미치는 영향과 현대 고등 교육에 대한 지속적인 영향을 탐구하였다. 이를 통해 드로잉관이 실제 미술 커리큘럼에 어떻게 적용되는지와 예술 창작과 교육에 얼마나 지대한 영향을 미치는지를 잘 드러내줄 것으로 생각된다. 마지막으로는 서비홍이 중고등학교 미술 교육 과정에 미치는 영향을 분석하여 기초 미술 교육 분야에서 그의 위상과 현재 중고등학교 교육에 미치는 영향을 풀어내고자 하였다. 연구를 통해 서비홍이 내재적 의미를 강조하는 중국 전통 예술과 사실주의를 중시하는 서양의 드로잉관을 결합하여 미술 교육에 새로운 시각을 제공했다는 것을 알 수 있었다. 이는 미술 교육의 혁신을 촉진했을 뿐만 아니라 전통 예술과 현대 예술의 융합을 촉진하였다. 그뿐만 아니라 예술가들에게 사실주의적 방법론을 제공함으로써 중국 미술 교육의 방향성을 바꾸었으며 그 영향력은 지금까지 이어지고 있다. The key figure of this study, Xu Beihong (1895-1953), is a person who integrated Western realism with traditional Chinese art. He emphasized that drawing is the foundation of all visual arts and that it plays a crucial role in adopting Western realist styles. Despite the significant impact of his views on drawing in Chinese art education, research on Xu has largely focused on his educational philosophy, leaving the theoretical framework on his views of drawing and its influence on art education insufficiently explored. This paper analyzes Xu’s Chinese paintings and drawing works using Heinrich Wolfflin’s formal analysis method, exploring the relationship between drawing and painting. Furthermore, it delves deeply into Xu’s views on drawing, aiming to highlight its importance in art education. Through this, the paper seeks to understand Xu’s contributions to Chinese art education and to draw out the impact his views on drawing have had on the art education curriculum. The study is structured in three main stages. First, the paper analyzes Xu’s representative Chinese paintings and related drawings to explore his views on drawing. Based on this, it aims to understand the specific content formed by the complex influence of Chinese traditional art and Western realist techniques on Xu’s drawing views. Additionally, the study examines specific cases where Xu’s drawing philosophy has been applied in university art education curricula, exploring how these educational methods influence artistic creation styles and continue to impact modern higher education. Through this, the paper will demonstrate how drawing views are applied in actual art curricula and their profound influence on artistic creation and education. Finally, the study analyzes Xu’s impact on secondary and high school art education, examining his status in the field of basic art education and the ongoing influence on contemporary secondary education. The research shows that Xu combined the emphasis on inherent meaning in Chinese traditional art with the Western drawing perspective that values realism, offering a new perspective on art education. This not only promoted innovation in art education but also facilitated the fusion of traditional and modern art. Moreover, by providing artists with a realist methodology, he reshaped the direction of Chinese art education, and his influence continues to this day.

선묘불화의 제작인식과 특징

김형곤(Kim Hyung-gon) 동국대학교 박물관 2014 佛敎美術 Vol.25 No.-

A study on the concept of Buddhist painting in line drawing and its purpose of production is an important starting point of understanding its meanings. A line drawing means a drawing consists of lines, and the Buddhist painting is a drawing based on the religious characteristics of Buddhism. Therefore, the buddhist painting in line drawing is a painting produced by the line drawing skills to describe Buddhism. In terms of visual expression, Buddhist painting in line drawing is different from colored buddhist painting which uses various colors. It is an important characteristics to distinguish the lines and colours to understand Buddhist painting in line drawing. When looking at the existing samples, Buddhist painting in line drawing seems to had been continuously produced from Koryo Dynasty to Joseon Dynasty. The 16th century in Joseon Dynasty was the period the concept of Buddhist painting in line drawing was defined and produced a lot. It is found in Hwagi(畵記) and other literature materials that a Buddhist painting in line drawing produced at that time was focusing on introducing the purpose of production with new words 'Gold Lined-drawing painting', indicating Buddhist painting in line drawing with gold. <Amitabha Triad Painting> owned by a private temple in Japan in 1359, Goryo Dynasty, is the most important sample to understand the trends and the producing period of Buddhist painting in line drawing. Until the <Amitabha Triad Painting> was found, Buddhist painting in line drawing was studied based on its relationship with the small Frontispiece Painting, but now there are more grounds to decide the purpose of producing the paintings. Moreover, thanks to the <Amitabha Triad Painting>, the difference between Buddhist painting in line drawing and colored painting became clearer. The painting is rated to be important for understanding the characteristics of Buddhist painting in line drawing. After that, in 1532, <Amitabha with the Eight Great Bohisattvas Painting> in Enracuchi(延曆寺), Japan, is a pioneering painting of Buddhist painting in line drawing in 16th century in Joseon Dynasty. It has enough representative characteristics to be regarded as an example of Buddhist painting in line drawing at that time. Amitabha with the Eight Great Bohisattvas Painting is receiving attention as an important painting that contributed to the continuous production until the late 16th century, inheriting the Goryo traditions. The various painting techniques in the late Joseon Dynasty not only accepted the previous styles but also tried changes continuously. <Vairocana Sermon Painting> in Bogyeong Temple(寶鏡寺) in Pohang in 1742 and <Amitabha Sermon Painting> in Donguk University Museum in 1759 represent the tendency to fill space with lines rather than colors as a succession of previous Buddhist painting in line drawing. Around that time, more and more Buddhist painting in line drawing was produced focusing on the contour lines. Instead of lines, more and more painting used color in some motives, broadening its range as a new painting technique such as <Amitabha Sermon Painting> in Yonghwa Temple(龍華寺) which used colors in one whole figure. In addition, the figures of Buddhist painting in line drawing was focusing on Sukkayeorae and Amitabha, some are suggesting that small-sized Avalokitesvara Bodhisattva paintings were produced to be a type of 'Wonbul(願佛)' in late Joseon Dynasty showing the various purposes of producing Buddhist painting in line drawing.