옹기장인의 옹기제작기술과 전통지식

김재호 국립문화재연구원 2015 헤리티지:역사와 과학 Vol.48 No.2

이 연구는 옹기장인들의 옹기제작기술을 전통지식이라는 관점에서 접근한 것으로 구체적인 옹기제작기술 속에 전통지식들이 어 떻게 내재되어 있는지를 살핀 것이다. 특히 옹기제작 관련 전통지식들이 어떤 범주들로 구성되어 있으며 제작기술과의 관계에서 어떤 양상을 띠는가 하는 점들에 주목한다. 옹기제작 과정은 크게 재료의 준비, 기물의 성형, 소성 단계로 나누어지는데, 매 단계마다 고유한 전통지식들이 존재한다. 먼저 재 료준비 단계에서는 각종 흙에 대한 지식들이 주를 이룬다. 흙의 색깔과 성질, 좋은 옹기흙의 지역 분포에 대한 정보, 옹기 제작에 적합 한 것으로 흙을 재조정하는 기술 등이다. 그리고 두 번째의 기물 성형단계에서는 물레의 구조와 형태, 흙을 쌓아올리는 데 필요한 기 술, 각종 도구를 사용하는 방법, 완성된 형태의 옹기를 건조하는 기술 등이 주를 이룬다. 마지막으로 소성 단계에서는 가마에 대한 지 식과 가마 제작 기술, 가마 내 옹기를 쟁이는 기술, 화목에 대한 지식과 불 때는 기술, 불의 종류 등이 주를 이룬다. 이들 지식들은 각각 별개로 존재하지 않고 상호 밀접한 관련을 맺고 있다. 이는 어느 한 과정이 잘못되어도 완전한 옹기의 생산이 어려워지기 때문이다. 지식의 내용을 중심으로 볼 때 이들은 재질ㆍ색상ㆍ형태ㆍ분포양상ㆍ용융점ㆍ강도ㆍ물리적 성질 등과 같은 과학적 범주에 속하 는 것들이 많다. 하지만 이들 지식들은 공식적 제도교육과정을 통해 얻은 것들이라기보다는 비공식적인 도제교육을 통한 오랜 경험 속에서 터득한 것들이 대부분이다. 그리고 지식의 체계는 쉽게 드러나지 않는데, 주로 민속과학(ethnoscience)적 분류와 범주 속에 서 이해될 수 있는 것들이 대부분이다. 이들 지식들은 유네스코 세계무형문화유산의 개념으로 보면 ‘자연 및 우주에 관한 지식’범주에 속한다. 이와는 달리 신체와 사용 도구, 그리고 제작하고자 하는 기물을 일체화시켜 내는 것으로 ‘신체기술(body techniques)’이라 부를 수 있는 것들도 있다. 이에 대해서는 옹기장인들 스스로도 설명하는 데 어려움을 가지며, 그들이 굳이 설명을 하더라도 해당분야 에 대한 경험과 식견이 없는 한 이해가 쉽지 않다. 이러한 지식들은 습득 및 전승방식에 따라 구분해보면,‘옹기 장인의 일반적 지식’과 ‘특정 옹기 장인만이 갖춘 고유한 지식’들로 구분할 수 있다. 그리고 지식이 갖는 축적된 시간의 깊이에 따라 ‘역사가 긴 지식’과 ‘최근에 만들어진 지식’등이 있을 수 있다. 옹기제작과정에서 드러난 옹기 장인들의 기술과 전통지식은 재료의 준비과정에서부터 최종 완성품이 만들어지기까지의 전 과정 에서 수많은 범주와 층위의 기술들이 긴밀하게 연계되어 있다. 이러한 양상은 ‘기술의 사슬(techniques chain)’이라고 할 만하다. 이 때의 기술은 반드시 자연과학적 범주의 기술(techniques)만을 의미하는 것은 아니며, 솜씨(skill)를 비롯하여 장인들 스스로도 의식 하기 어려운 습관적 행위들까지를 포함하는 다양한 층위의 기술과 지식들이라고 할 수 있다. This study examines how traditional knowledge functions in the specific techniques to make pottery in terms of the traditional knowledge on the pottery techniques of Onggi potters. It focuses on how traditional pottery manufacturing skills are categorized and what aspects are observed with regard to the techniques. The pottery manufacturing process is divided into the preparation step of raw material, the molding step of pottery, and the final plasticity step. Each step involves unique traditional knowledge. The preparation step mainly comprises the knowledge on different kinds of mud. The knowledge is about the colors and properties of mud, the information on the regional distribution of quality mud, and the techniques to optimize mud for pottery manufacturing. The molding step mainly involves the structure and shape of spinning wheels, the techniques to accumulate mud, ways to use different kinds of tools, the techniques to dry processed pottery. The plasticity step involves the knowledge on kilns and the scheme to build kilns, the skills to stack pottery inside of the kilns, the knowledge on firewood and efficient ways of wood burning, the discrimination of different kinds of fire and the techniques to stoke the kilns. These different kinds of knowledge may be roughly divided into three categories : the preparation of raw material, molding, and plasticity. They are closely connected with one another, which is because it becomes difficult to manufacture quality pottery even with only one incorrect factor. The contents of knowledge involved in the manufacturing process of pottery focused are mainly about raw material, color, shape, distribution aspect, fusion point, durability, physical property, etc, which are all about science. They are rather obtained through the experimental learning process of apprenticeship, not through the official education. It is not easy to categorize the knowledge involved. Most of the knowledge can be understood in the category of ethnoscience. In terms of the UNESCO world heritage of intangible cultural assets, the knowledge is mainly about ‘the knowledge on nature and universe’. Unique knowledge and skills are, however, identified in the molding step. They can be referred to ‘body techniques’, which unify the physical stance of potters, tools they employ, and the conceived pottery. Potters themselves find it difficult to articulate the knowledge. In case stated, it cannot be easily understood without the experience and knowledge on the field. From the preparation of raw material to the complete products, the techniques and traditional knowledge involved in the process of manufacturing pottery are closely connected, employing numerous categories and levels. Such an aspect can be referred to as a ‘techniques chain’. Here the techniques mean not only the scientific techniques but also, in addition to the skills, the knowledge of various techniques and levels including habitual, unconscious behaviors of potters.

Process Techniques of Modern Biotechnology System Perceived by Biotechnology Experts

김선희,류창열 한국기술교육학회 2009 한국기술교육학회지 Vol.9 No.2

The purpose of this study was to extract the process techniques of modern biotechnology system that biotechnology experts have perceived and validate the extracted process techniques. To achieve this purpose, the adopted research methods were literature reviews and questionnaire surveys. The process techniques of modern biotechnology system were extracted through a procedure of performing literature reviews and the validity of the process techniques were established through a questionnaire survey. The results of this study are summarized below. First, modern biotechnology which contains the meanings of the propagation among process techniques of the biotechnology system is considered as cell fusion and genetic manipulation. Also, process techniques of growing and maintaining indicate culturing, while process techniques of harvesting, treating, and converting indicate bioreactors. Second, the modern biotechnology for improving organism functions which is one of the characteristics of modern biotechnology is genetic manipulation and cell fusion, for a means of mass production, culturing and bioreactors. Third, propagating among process techniques of modern biotechnology system means the improvement of organism functions in modern biotechnology, while the process techniques such as growing, maintaining, treating, converting, and harvesting, mean mass production. Fourth, in terms of the procedure of biotechnology system process techniques, from the viewpoint of modern biotechnology, we find that a procedure of propagating, growing, maintaining, harvesting, adapting, treating, and converting changes to a modified procedure of propagating, growing, maintaining, treating, converting, harvesting and adapting. Fifth, the procedure of modern biotechnology system process techniques is genetic manipulation or cell fusion, culturing, and bioreactors. The purpose of this study was to extract the process techniques of modern biotechnology system that biotechnology experts have perceived and validate the extracted process techniques. To achieve this purpose, the adopted research methods were literature reviews and questionnaire surveys. The process techniques of modern biotechnology system were extracted through a procedure of performing literature reviews and the validity of the process techniques were established through a questionnaire survey. The results of this study are summarized below. First, modern biotechnology which contains the meanings of the propagation among process techniques of the biotechnology system is considered as cell fusion and genetic manipulation. Also, process techniques of growing and maintaining indicate culturing, while process techniques of harvesting, treating, and converting indicate bioreactors. Second, the modern biotechnology for improving organism functions which is one of the characteristics of modern biotechnology is genetic manipulation and cell fusion, for a means of mass production, culturing and bioreactors. Third, propagating among process techniques of modern biotechnology system means the improvement of organism functions in modern biotechnology, while the process techniques such as growing, maintaining, treating, converting, and harvesting, mean mass production. Fourth, in terms of the procedure of biotechnology system process techniques, from the viewpoint of modern biotechnology, we find that a procedure of propagating, growing, maintaining, harvesting, adapting, treating, and converting changes to a modified procedure of propagating, growing, maintaining, treating, converting, harvesting and adapting. Fifth, the procedure of modern biotechnology system process techniques is genetic manipulation or cell fusion, culturing, and bioreactors.

네일아트 디자인을 위한 분청사기제작 기법에 관한 연구

편수명 한국네일미용학회 2018 한국네일미용학회지 Vol.6 No.1

Nail art procedure on the basis of the elements which make up Color Gel Polish etc, depending on the type of procedure being repeated is the development of methods. However, by default, polish nail art techniques using simple techniques to paint over the nail and gel nail color on the color by rubbing the lamp burning techniques and how reality is that there are limits. The overall development of the study of various treatment methods nail art business development and give customers the option of a variety of procedures to increase customer satisfaction, so the effect can be made​​. In this study, by adopting Korea's traditional pottery techniques applied to the nail art techniques and nail art techniques in the traditional way is you want to make. The purpose of this study ceramics by combining techniques and nail art techniques by creating a mechanism to commercialize Korea traditional nail art techniques that will develop. Based on the characteristics of Buncheongsagi seven kinds of production techniques ( Inlay․ Prints․ Strip․ Engrave․ Iron paint ․ Gwiyal․ Soak ) Buncheongsagi related research papers and books on the basis of production methods and techniques nail art studied how you can combine. Pottery production techniques appear as an important factor in making the order of priority and nail art techniques combined, scraping techniques and baking techniques that are part of the human body given in the basic techniques of nail art was directed by imitating. In other words transform was produced from pottery techniques in the representation of nail art techniques. In conclusion, Buncheongsagi focuses on seven kinds of nail art techniques by combining the work was completed. Most closely to the each traditional technique, and the careful work was completed. However Buncheongsagi in the oven baking because the chemical and physical changes of the glaze nail art techniques used in the lamp and the dryer to create the effect that the work has disadvantages. Thus, a variety of color choice Nail Art through the application of traditional techniques may seek to combine. Nail art techniques in the field of the study of a variety of traditional continuing Traditionality ․ Aesthetics ․ Characteristic of Korea Nail art can be developed in the succeeding I think.

An Analysis of the Utilization of Offensive and Defensive Techniques According to the JUDO Athlete s Career

Chiyoung Lee,Bongjun Choi,Sunggu Jo J-INSTITUTE 2021 Kinesiology Vol.6 No.3

Purpose: For a study related the utilization of various techniques for Judo athletes of middle schools, high schools, and colleges and universities in their process of growth, this study seeks to explore changes in the utiliza-tion of Judo techniques according to the winning careers of the Judo athletes of middle schools, high schools, and colleges and universities and their experience of being selected to represent their schools and organizations. Method: To achieve the purpose of this study, the frequency analysis was performed to examine and under-stand the general characteristics of the research subjects, and the Cronbach s α coefficient was calculated to vali-date the reliability of the survey questionnaire. Furthermore, the one-way ANOVA was conducted to examine the differences between the offensive techniques and defensive techniques according to the athletes’ career. Results: As a result of the study, it turned out that there were significant differences across hand techniques, waist techniques, foot techniques, offensive techniques, and defensive techniques. Examining the techniques, it turned out that there were significant differences in offensive techniques among the hand techniques, pull and throw, throw or destroy with shoulder, and grab a single color and throw, and all techniques among the defensive techniques had significant differences. Conclusion: As a result of this study, it turned out that the greater the career, the higher the utilization of hand techniques and foot techniques among the offensive techniques, and the less the experiences, the higher the utili-zation of waist techniques. As for the defensive techniques, the greater the career, the utilization of hand tech-niques, waist techniques, and foot techniques all turned out to be high. However, among the waist techniques, hold belt, lift and throw over with waist and counter attack using opponent s techniques turned out to be high, the less the career.

새김기법을 활용한 도자 표현 사례 연구

조새영,최병건 한국도자학회 2023 한국도자학연구 Vol.20 No.1

This thesis examines examples of expression using engraving techniques on ceramics. It explores the types and characteristics of engraving techniques found in traditional ceramics and reviews previous studies. First, the meaning and origin of engraving techniques were examined, and various types and characteristics of engraving techniques as found in Goryeo celadon and through previous studies were discussed. Based on this work the scope of engraving techniques was described and categorized, labeling the techniques as engraving techniques with Incised, In relief, Openwork, and Compound engraving techniques. In the next stage examples of contemporary ceramic expression were selected from the work of contemporary ceramics to examine their differences and thematic characteristics. For the analysis based on their techniques the types and characteristics of engraving techniques used in each work and their utility were analyzed. In the analysis based on themes the forms, patterns, and stylistic characteristics of traditional and contemporary ceramics were compared and analyzed. The results showed that while the engraving techniques in traditional and contemporary ceramics are similar, the patterns and forms of the pottery, the tools used, the production process, and the results are different. Traditional ceramics exhibits the elegant aesthetics and robust practicality that reflect the cultural characteristics of the time - such as the culture of the nobility with profoundly delicate engraving techniques. On the other hand, contemporary cermics was characterized by creative work reflecting an artist's individuality. In addition the diversity of engraving tools has increased in the completion of the work and has surpassed the limits of the materials. Based on this the thesis suggests developmental directions for ceramics expression using engraving techniques. 본 연구에서는 새김기법을 활용한 도자 표현 사례를 살펴보고자 전통 도자와 선행연구에 나타난 새김기법의 종류와 특징을 고찰해 보았다. 먼저 새김기법의 의미와 기원을 살펴보고 고려청자의 새김기법과 선행 논문에 나타난 새김기법의 다양한 종류와 특징을 고찰하였다. 이를 바탕으로 새김기법의 범위를 정하고 음각, 양각, 투각, 양음각(복합)기법으로 구분하여 각 기법에 따라 특징을 기술하였다. 그리고 현대 도자 표현 사례 연구를 위해 현대 도자 작가의 작품을 선정하여 현대 도자에 나타난 새김기법의 차이와 주제별 특징을 고찰하였다. 기법에 따른 분석을 위해 각 작품에 나타난 새김기법의 종류와 특징, 새김기법의 활용도를 분석하였으며 주제에 따른 분석을 위해 현대 도자와 전통 도자에 나타난 기물의 형태와 문양 및 조형적 특징을 비교 분석하였다. 그 결과 전통 도자와 현대 도자의 새김기법은 유사하지만 기물의 문양과 형태, 사용한 도구, 제작 과정, 결과물은 다르게 나타났다. 그리고 전통 도자는 귀족 문화와 같이 시대적인 특징을 살린 섬세한 새김기법이 돋보이는 우아한 조형미와 견고한 실용성이 나타났다. 그러나 현대 도자는 작가의 개성을 살린 창의적인 작품이 주류를 이루고 있으며 새김기술의 도구가 다양화되어 작품의 완성도를 높이고 재료의 한계를 극복할 수 있었다. 이를 바탕으로 새김기법을 활용한 도자 표현 연구를 위한 발전적인 방향성을 제시하였다.

경북지역 옹기 제작기술의 문화지도 작성을 위한 모색

배영동 영남대학교 민족문화연구소 2008 민족문화논총 Vol.39 No.-

Ethno-Cartography is the study and practice of making representations on a map to show the differences that geographical boundaries make in the cultural phenomena of regions. Thus the basic purpose of making an ethno-cartography is to grasp the regional differences of culture. So far, the objects which a cartography represents on the map have been tangible cultural materials. To take a step forward, this study is a methodological plan and an operational assumption to make a cartography of pottery-making techniques in the Gyeongbuk area based on the premise that a cartography of technology may be possible. The ultimate goal of making an ethno-cartography is to understand the diversity of cultures. If so, an ethno-cartography has to show the regional and periodical differences of cultures, and also reasonable clues for such differences. Making pottery is done according to the proper procedures. Therefore, a two-step working process is needed for making a cartography of pottery-making techniques. First, the pottery-making techniques should be subdivided and classified according to the manufacturing process. Regional differences in the techniques should be researched and represented on the map. Next, in order to see whether changes in pottery making techniques are regionally different, detailed techniques of making pottery according to manufacturing process should regionally and periodically be investigated, and the results should be represented on the map. By following the above mentioned, it can be found out what are the regionally and periodically common and different features in pottery-making techniques in the Gyeongbuk area. Some clues can be prepared to explain why and how such differences came about. Thus, an ethno-cartography of pottery-making techniques is not the end but the means to understanding them. Ethno-Cartography is the study and practice of making representations on a map to show the differences that geographical boundaries make in the cultural phenomena of regions. Thus the basic purpose of making an ethno-cartography is to grasp the regional differences of culture. So far, the objects which a cartography represents on the map have been tangible cultural materials. To take a step forward, this study is a methodological plan and an operational assumption to make a cartography of pottery-making techniques in the Gyeongbuk area based on the premise that a cartography of technology may be possible. The ultimate goal of making an ethno-cartography is to understand the diversity of cultures. If so, an ethno-cartography has to show the regional and periodical differences of cultures, and also reasonable clues for such differences. Making pottery is done according to the proper procedures. Therefore, a two-step working process is needed for making a cartography of pottery-making techniques. First, the pottery-making techniques should be subdivided and classified according to the manufacturing process. Regional differences in the techniques should be researched and represented on the map. Next, in order to see whether changes in pottery making techniques are regionally different, detailed techniques of making pottery according to manufacturing process should regionally and periodically be investigated, and the results should be represented on the map. By following the above mentioned, it can be found out what are the regionally and periodically common and different features in pottery-making techniques in the Gyeongbuk area. Some clues can be prepared to explain why and how such differences came about. Thus, an ethno-cartography of pottery-making techniques is not the end but the means to understanding them.

韓·中 象嵌技法의 種類와 技術的 差異

나상철(Na, Sang-chul) 호서사학회 2020 역사와 담론 Vol.0 No.93

이 연구의 목적은 고려청자의 대표적 장식기법인 상감기법의 종류를 살펴보고 중국 상감기법과 비교하여 그 차이점을 명확히 하는 것이다. 중국 상감기법은 사용 시기에 따라 네 시기로 나눌 수 있다. Ⅰ기는 9세기 중반부터 10세기 초까지이며 黑釉刻花塡白彩기법이 발생, 소멸하는 시기이다. Ⅱ기는 五代에서 北宋 초기로 河南省에서 白釉劃花塡黑彩와 珍珠地劃花가 사용된 시기이다. Ⅲ기는 1기와 2기로 나누어지며. 제1기는 北宋 초에서 12세기 중반까지로 白釉劃花塡白彩가 사용된 시기이다. 제2기는 11세기 후반에서 金代로 黑剔花刻塡과 白釉剔花塡彩기법을 사용한 시기이다. Ⅳ기는 金代 말에서 元代까지로 劃花塡彩기법을 사용한 시기이다. 상감기법의 요소는 사라지고 배경에 黑彩를 하여 白釉剔花塡彩와 유사한 시각적 효과를 보인다. 한국 상감기법은 역시 네 시기로 나눌 수 있다. 태동기는 10세기 중반에서 11세기 초이다. 靑磁塡彩象嵌기법를 사용하였으며 붓으로 그리거나 중국과 같이 액체성의 顔料를 바른 후 닦아내는 방법으로 상감한 것으로 추정된다. 성립기는 11세기에서 12세기 중후반이다. 靑磁剝地白彩象嵌기법과 鐵釉白象嵌기법을 사용한 시기이다. 이 시기 상감기법은 바탕이 대부분 검은색 혹은 갈색이며 문양은 백상감을 이용하여 표현한다. 발전기는 흑백 상감 기법이 탄생한 12세기부터 14세기까지다. 소멸기는 15세기에서 16세기 중반으로 고려의 상감기술 위에서 백색화장토를 사용하는 粉靑沙器 특유의 상감기법이 사용되었다. 한국과 중국 상감기법을 비교한 결과, 한국과 중국의 상감기법은 일부 기술적 유사점만을 가지고 있을 뿐 시간의 궤를 함께하지 않고 발전해 왔음을 알 수 있었다. 이것은 한국과 중국 모두 감입이라는 원초적인 상감기술을 사용하며 각기 다르게 발전해 왔음을 의미한다. 그러므로 한국 상감기법은 박지기법과 같은 중국 제자기술의 일부 수용은 이야기할 수 있으나 한국 장인들의 노력으로 변화, 발전되었다고 여겨진다. Sanggam technique is a typical decorative technique of Goryeo celadon. The purpose of this study is to find out about the kinds and technical differences of Korean and Chinese sanggam techniques. The phase of the transformation of China’s sanggam techniques is divided into four period. The first phase is from the mid-9th century to the early 10th century, when black glaze Carved white draw technology developed and disappeared. The second phase is from the Five Dynasties to the Northern Song Dynasty. It is the time when White glaze Carved black draw techniques and Pearl Carved techniques are used. The third phase is divided into two parts. The first part was the period when White glaze Carved white draw techniques were used from the beginning of the North Song Dynasty to the 12th half. The second part was the period when Black sgraffito fillup techniques and White glaze sgraffito fill up draw techniques were used from the late 11th to the Jin Dynasty. The fourth phase is from the latter of Jin Dynasty to Yuan Dynasty. This is the time when Carved fill up draw technique was used. The phase of the transformation of Korea’s sanggam techniques is divided into four period. The first phase is from mid-10th to early 11th century, when celadon fillup draw sanggam technique was used. The second phase is from the 11th to the early 12th century. when celadon sgraffito black draw technique and celadon sgraffito white draw technique was used. The third phase is from the 12th to 14th century, when black and white sanggam techniques were born. The fourth phase is from around the 15th century to the mid 15th century. It is the period when Buncheong Ware with sanggam, Buncheong Ware with sgraffito black draw and White porcelain with sanggam were produced. According to a comparison of the Korean and Chinese sanggam techniques, there are some similarities between the two, but the exact same technique does not exist and the time of use is also very different. Thus, the Korea"s sanggam techniques was changed and developed by Korean potters" efforts to improve self-quality, improve artistic quality, and some of the Chinese sgraffito techniques were accepted.

Analysis of Korean Judo Athletes’ Use of Offensive and Defensive Techniques: Discussion on Scientific Training and Artificial Intelligence Judgment Support

Sunggu Jo(Sunggu Jo) J-INSTITUTE 2024 International Journal of Martial Arts Vol.9 No.-

Purpose: Modern Judo has developed with traditional techniques, changes in game rules, and increased international exchange. Recently, the rules have changed to a more aggressive direction, and coaches are studying new techniques inspired by Russian Sambo and Brazilian Jiu-Jitsu (BJJ). Accordingly, Judo training must become more scientific and systematic through data and video analysis. Therefore, this study was conducted to analyze the use of techniques by Korean middle and high school and university judo players to maintain international competitiveness in line with these changes. Method: First, the frequency analysis was performed to examine and understand the general characteristics by using the SPSS/PC+23.0 program. Second, to validate the reliability of the survey questionnaire, the Cronbach's α coefficient was calculated. Third, exploratory factor analysis was conducted to find out the structure of the use of attack and defense techniques by judo players. Fourth, correlation analysis was conducted to find out the relationship between the use of attack and defense techniques by judo players. Fifth, regression analysis was conducted to find out the effect of the use of attack techniques by judo players on the use of defense techniques. Results: The results of the correlation analysis of the use of attack and defense techniques by judo players showed a statistically significant correlation of r=0.470, p=0.000, and a simple linear regression analysis was conducted to determine whether the use of attack techniques affects the use of defense techniques. The results showed F=55.000(p<.001), indicating an explanatory power of 22.1%. The use of various techniques by judo players can be explained by strategic diversity in their performance, complementary techniques, responding to various situations, strengthening body parts, improving endurance during the game, and weakening the response ability of opposing players. Conclusion: In judo, the attack and defense techniques are Kuzushi (breaking the balance) - Tsukuri (taking the body position) - Kake (throwing), and each step has a direct and very important effect on the performance. However, in the recent era of artificial intelligence, artificial intelligence is being applied to all sports, and Korean judo must develop judo by combining traditional technology with a scientific approach as an IT powerhouse. To this end, it is necessary to utilize artificial intelligence image data analysis, virtual and augmented reality simulation training, motion capture technology, and AIbased customized training programs to provide appropriate feedback to athletes. In addition, in order to resolve the issue of controversy over match judgment, it is also an important task to introduce artificial intelligence referee judgment through international exchange programs to increase the objectivity of judo judgment. It is hoped that this study will lead the future international judo infrastructure and properly develop sports in the 4th industrial revolution.

전통회화기법을 활용한 옻칠교육의 효과 -초등학교 고학년을 대상으로-

김미옥 동방문화대학원대학교 문화와예술연구 2014 문화와예술연구 Vol.4 No.-

본 논문은 초등학교 고학년을 대상으로 전통회화기법을 활용 한 옻칠교육을 통해 전통의 올바른 계승과 창의적 사고력 및 표현력 향상을 위하여 전통회화 교육에 대한 현황을 분석하고, 옻칠교육의 효과를 검증하고자 하였다. 첫째, 전통회화 교육에 대한 현황 분석을 위하여 교육과정 분 석과 학생을 대상으로 실시한 설문 결과에서 나타난 전통회화 교육의 문제점은 전통표현의 답습과 감상에 치우진 소극적인 수업 형태, 실제 수업에서 전통회화 영역의 낮은 비중 및 학생 들의 전통회화에 대한 인식의 변화가 시급하였다. 둘째, 전통회화기법을 활용한 옻칠교육은 전통회화의 특징을 해치지 않으면서 창의적 표현이 가능한 기법을 응용하여 초등 학생을 대상으로 적용하였다. 이는 새로운 표현기법과 전통 표 현기법의 장르별 통합 형태이며 연구한 기법 및 재료를 바탕으 로 실제 수업에 적용하여 수업자료를 제작하였다. 전통회화 기법을 활용한 옻칠교육의 교육적 효과는 다음과 같 다. 첫째, 다양한 기법과 재료를 통해 창의적인 사고력과 표현력이 향상되었다. 자유로운 기법과 재료의 활용은 창의적 사고력 향 상을 돕고 새로운 표현기법과 전통 표현기법의 통합적인 응용 을 통해 자신의 의도를 보다 효과적으로 표현 할 수 있는 표현력이 향상되었다. 둘째, 표현력 향상은 미술의 타 영역 표현에서도 전통회화의 재료와 기법을 응용 할 수 있을 것으로 기대된다. 또한 학생들 이 즐겁게 수업에 참여할 수 있는 흥미 유발에도 도움이 되었 다. 셋째, 전통회화기법을 활용한 옻칠교육은 초등학생들이 옻칠화 에 대한 관심과 흥미가 높아졌다. This study analyzes the current situation of the traditional painting education in order to improve the correct succession and creative thinking skills and expressiveness of traditional education through the ottchil using a traditional painting techniques to target the elementary school, and was to verify the effect of the ottchil education. First, we conducted a survey in which we targeted the curriculum and students. Through the survey we were able to analyze the current state of traditional painting education. There were a few problems revealed by the survey. Among these are the imitations of traditional expression, inactive classes which focus on feelings, little emphasis on traditional methods, and the students’ unawareness of traditional painting. These problems need to be addressed urgently. Next is effect of a ottchil education with traditional painting techniques. This education aims to not mar the features of traditional painting while applying possible creative techniques. This is a new technique of expression mixed with the traditional technique. We applied real ottchil, and produced class materials based on the techniques. Educational effects of the ottchil education using traditional painting techniques are as below. Firstly, it helped improve students’ ability to think creatively and express themselves through various techniques and materials. Free styles and usage of new materials help improve students’ ability to think creatively. Integrated use of new techniques of expression and traditional techniques allowed students to express their feelings more effectively than intended. Secondly, expressiveness is expected to impact the materials and techniques of traditional painting used in other areas of art. It also helped motivate students to participate in their classes as they found it enjoyable. Thirdly, effect of ottchil education utilizing traditional painting techniques which uses traditional painting techniques made elementary students increase their interest in ottchiling.

동양화의 근대적 모색 : 한국적 기법과 일본적 기법의 경계

강민기(Kang Mingi),권행가 한국미술사교육학회 2010 美術史學 Vol.- No.24

한국의 근대화단은 외래문화, 특히 서양화와 일본화, 그리고 다양한 서구의 예술사조가 유입됨으로써 전통적 서화관이 와해되고 작품의 감상방식이 변하는 전환의 시대였다. 이 시기에 화가들은 새로운 회화 기법을 본격적으로 모색하면서, 전람회와 대중매체(신문, 잡지 등)를 통해 일반 관람객을 마주함으로써 비로소 문인적 교양으로서의 여기적(餘技的) 서화관을 벗어나 전문적인 직업화가로서의 면모를 보이기 시작했다. 이들이 시도한 새로운 창작 기법은, 첫째, 변화한 감상계층의 요구에 부응하여 사의적(寫意的) 수묵산수화풍에서 벗어나기 위해 고안된 것이고 둘째는 감각적이고 장식적인 채색화가 유행하면서 이를 보다 시각적으로 잘 드러내기 위해서 고안된 것이다. 그런데 이처럼 고안된 새로운 창작 기법은 안타깝게도 당대에는 물론 오늘날까지 일본화풍의 논의에 휩싸였고, 대부분 일본적 기법으로 특징지어져 왔다. 이 연구는 일본화풍이나 일본적 기법에 관한 논의가 그 시대는 물론이고 오늘날까지도 모호함과 많은 오해를 불러 일으켜 온 것에 대한 문제점과 이러한 논의가 지나치게 작가적 입장을 무시하고 부정적인 사각으로만 일관되게 보아온 것을 되짚어 보기 위한 것이다. 일부 화가들이 그 시대가 요구하는 시대의식을 갖고 근대적 모색을 시도했음에도 불구하고, 그 노력의 가치가 쉽게 부정되어 왔던 것이 사실이다. 여기에 ‘한국적 기법과 일본적 기법의 경계’라는 부제를 단 것은 한국적 기법의 모색이 반드시 해방 후에 식민잔재의 청산이란 문제와 함께 대두되었던 것은 아니며, 동양화의 근대적 모색기에 이러한 문제의식은 이미 내포되어 있었다고 생각하기 때문이다. 그렇지만 한국적 기법은 때로 일본적 기법으로 평가되었고, 더욱이 일본적 기법이라는 것 자체에 대해서도 역시 모호함이 있었기 때문에 그 기법적 경계가 실은 모호할 수밖에 없음을 지적하고자 했다. 이 연구는 동양화의 근대적 모색을 ‘1.필선과 수묵, 채색 기법의 변화, 2.동ㆍ서양화 기법의 융합, 3.선지와 안료 같은 재료의 모색’이라는 세 가지 창작 기법적 측면에서 살펴본 것이다. 첫 번째 주제는 가장 중요한 문제인데 근대 동양화에서 필선의 기능이 점차 최소화되거나 아예 사라져 버리는 현상을 말하며, 수묵과 채색의 표현기법도 면(面)처럼 장식적이고 단순화되어 가는 경향을 지적했다. 이것은 곧 일본화풍 유입의 결과라고 할 수 있지만, 또한 당시 변화하는 신흥화단의 회화적 요구와도 관계가 있었다. 둘째는 서양화가에서 동양화가로 전향한 화가들이나 동양화ㆍ서양화를 모두 그린 화가들의 경우를 통해 동ㆍ서양화 기법의 융합을 시도한 예를 살펴보았다. 이러한 시도들은 대체적으로 비평가들로부터 부정적인 평가를 받았지만 두 기법의 장점을 취해 사실적인 자연주의적 회화관을 보여주는 작품들이 있었음을 지적할 수 있다. 셋째는 회화의 재료에 관한 것인데 미술기법 못지않게 근대화단에서 영향을 미치고 있다. 안료와 종이는 주로 수입에 의존해 왔기 때문에 수급상황, 질적 향상 등이 창작에 직접적인 영향을 미친다고 할 수 있다. 한국의 근대화단은 항상 새로운 창작 기법을 모색하는 시작과 끝에 일본이 가로놓여 있어서 이를 벗어나서는 어떠한 시도도 현실적으로는 어려웠다. 화가의 등용문 역할을 하며 일제 강점기 화단을 지배했던 조선미술전람회는 전적으로 일본인 화가들에 의해 심사가 이루어져 일본화풍을 벗어날 수 없었으며, 이 시기에 처음 미술에 입문했던 화가들은 일본인 선생이나 일본에서 공부한 한국인 선생에게 기초를 배웠다. 일본에서 실행해 오던 미술교육방식이 그대로 시행되었고, 교재도 대개 일본 것에 기초하여 만들어진 것이었다. 미술재료와 참고자료도 모두 일본에서 가져왔고, 그 외에 우리가 접할 수 있는 것은 너무나 제한되어 있었다. 전람회 제도가 정착하면서 작품이 일반 관람객들을 마주하게 되었을 때, 그들은(관람객) 신학문을 배운 신흥 부유층들이 대부분이었으므로 미술에 대한 취향 역시 감각적이고 대중적이었다. 한편 일본인들은 가장 중요한 고객이기도 했다. 전문적인 직업화가로서 더 이상 문인적 교양이 아니라 Modem Korean painting was an era of transition where traditional views on painting collapsed and appreciative methods changed due to the influx of foreign culture, especially Western and Japanese paintings and diverse western trends of arts. During this period, painters, by searching for new painting techniques and interacting with the audience through exhibitions and mass media, became professional painters. The new painting styles they tried were designed to both satisfy the needs of the viewer by 寫意的 and make decorative and sensual colored paintings. Unfortunately, however, these painting styles have been claimed to be Japanese painting styles and most have been characterized as Japanese techniques. This study looks back at discussions of Japanese painting styles and Japanese painting techniques that caused much misunderstanding and were overly negative of the painter. The value of their efforts made by all painters who did modem seeking by trying to obtain the time-spirit of their age and firming their standings in the painting groups. The reason why the subtitle is "the distinction between Korean painting techniques and Japanese painting techniques" is because the search for Korean techniques was not caused by the clearing of the vestiges of Japanese imperialism alone and that these critical ideas were already included in the seeking of the modern Oriental paintings This study examines the modem seeking of oriental paintings in three ways; the change of line (筆線), ink and color techniques, the blending of Western painting techniques, and the search for paper (宣紙) and color (顔料). The first topic is the most important topic and refers to the phenomenon in which the function of the lines is gradually reduced in modern Oriental paintings and also points out the trend of ink and color paintings becoming more decorative and simple. This could be the result of the influx of Japanese painting style, but the transition of new painter group's tastes is also related. The second topic examines the examples of merging Eastern and Western paintings by looking at Western painters who changed to Oriental painters and painters who painted both Oriental and Western paintings. These attempts mostly received negative responses from critics, but it is notable that the usage of the two techniques' advantages shows naturalistic view of painting. The third is about painting materials and they affect modem painting styles as much as painting techniques. Color, due to the necessity of importing them, affected painting directly with its circulation in the market and its qualitative improvement. Modern Korean painters, always having to face Japan both in the beginning and the end of the search for new painting techniques, found any new attempts without Japanese influence impractical. The Joseon Art Exhibition (Joseon misul jeollamhoe, Joseon meaning Korea), the debut stage for painters and the controller of the Colonial Period's painting styles, were solely judged by Japanese painters and made it impossible to escape Japanese painting styles. New painters in this period learned the basics through Japanese painters or Korean painters who studied in Japan. Japanese art education was used and the textbooks were mostly based on the Japanese books. Art materials and reference materials were all from Japan and what else the Korean painters could experience were extremely limited. As the exhibition system settled, the painters found the general audience, who learned the Western culture and recently became rich, had sensual and popular tastes. Japanese were the most important customers. Professional painters could no longer ignore the current conditions of the changing painter groups and follow aristocratic hobbies. Therefore, the assessment that the technique and the content were not united and powerful warnings did not affect the painters significantly. As professionals, in front of practical desires, the boundary between Korean and Japanese