산수시와의 관계에서 본 산수화의 기원-종병(宗炳)의 「화산수서(畵山水序)」 출현을 중심으로-

김백균 동서미술문화학회 2023 미술문화연구 Vol.27 No.27

No change occurs without any reason, at any moment. Evolutionary biology, one of the most foundational branches of modern biology, acknowledges evolution as a phenomenon of gradual process. Evolutionary biology also explains that the discontinuity of species is a result of continuous speciation and extinction rather than sudden leaps from a linear evolutionary process. Therefore, the evolution of species does not necessarily mean its improvement of survival capacity from before or voluntary choice to evolve on its own. In other words, the natural environment has allowed species to survive, not the species itself choosing the evolutionary direction. The emergence and development of ShanShuiHua, which is a product of not only biological phenomena but also cultural systems at that time, as well as the disappearance of ShanShuiHua in the historical changes, are similar to this. 「HuaShanShuiXu(畵山水序)」 by ZongBing, considered to be significant evidence as the origin of ShanShuiHua, did not just appear overnight. However, the research on the origin of ShanShuiHua has primarily been conducted only within the framework of ZongBing’s individual belief system in Buddhism, interpretations of the concept of ‘Shen(神)’ in his writings, and the nature of Buddhism introduced at that time. Although this perspective allows us to understand the unique Buddhist interpretation of ‘Shen(神)’ by ZongBing and his relationship to developing ShanShuiHua, it cannot explain the fundamental cause of how his belief system brought about the appearance of ShanShuiHua. Concerning the origin of ShanShuiHua, this research aims to investigate the characteristics of ShanShuiHua in the Northern and Southern dynasties by examining ShanShuiShi, which emerged around the same time as the ShanShuiHua, and the context of ideological changes in Neo-Taoism(新道家).

장기간 비침습적 양압환기를 사용한 환자에서 발생한 증상 유발 공기 연하증

김백균,김수연,신진홍,김대성,Kim, Baik-Kyun,Kim, Soo-Yeon,Shin, Jin-Hong,Kim, Dae-Seong 대한임상신경생리학회 2015 Annals of Clinical Neurophysiology Vol.17 No.2

‘흥(興)’, 그 우연성과 진성성에 대한 고찰

김백균 중앙대학교 중앙철학연구소 2007 철학탐구 Vol.21 No.-

‘타자’의 눈을 통해 본 자신의 모습 : 양푸동(楊福東)과 아이작 줄리앙(Isaac Julien)의 작업에서 보이는 타자의 시선

김백균 한국미술이론학회 2011 미술이론과 현장 Vol.12 No.-

The technique of using the perspective of the "The Others" has been used continuously after modernity, in order to draw a more in depth image of one self. The other cannot be positioned without positioning the self and our own subjectivity because the self is more well defined through the other. Like the unquestionable 'Cogito' of Decartes, without a foundation of the self, 'other' cannot be established. The unquestionable 'Cogito' of Decartes, and problems of the subjectivity or problems of 'other' in East Asian society have close relations westernization and sharing western ideas of modernity. Image of ourselves after modernity cannot escape from 'orientalism' which divide the world into the occident and the orient. Modernity of the west was a process of developing a paradigm of life different from the medieval period, and also discovering properties of themselves through "otherising" the East. Therefore for the West, modernity becomes a continuous arena for overcoming paradoxes of their own. However for many North East Asian countries, modernity is a rupture. The text examines how different methods of two different backgrounds tackle the issues regarding "The Others"- works of Eastern and Western contemporary artists, Yang Fudong and Isaac Julien.

明末 淸初, '畵'에 대한 새로운 인식-석도와 양주팔괴의 회화사상을 중심으로

김백균 미술사학연구회 2004 美術史學報 Vol.- No.23

한국화, 추상 담론의 가능성 탐색

김백균 미술사학연구회 2010 美術史學報 Vol.- No.35

Korean painting lies within a strangely distorted landscape within modern and contemporary history. This is mainly because the concept of Korean painting came into being amid general historical contradictions, so all activities under this concept are distorted. But if we practice in the name of Korean painting itself, this practice is an attempt to face and solve present pending issues. In Korean-style painting, abstraction is one of such problems. The vague concept and distorted understanding of ‘Korean painting’ today is associated with the problem of modernity. There is much confusion about abstraction, sustaining two confronting attitudes: one avoids abstraction in Korean painting altogether. Those who maintain this position say discourse on abstraction derives from our misunderstanding of the concept and evolvement of modern abstraction. “It is obvious abstract painting offers experience different to the world of modern Korean painting. -- Abstraction in Korean painting refers to embracing an external element, and is a problem of Korean painting as a result of this embracement. Therefore, abstraction is insubstantial in Korean painting.” The second attitude is understanding the tradition of ‘xieyi(寫意)’ - emphasizing meaning of a painting, and expressing the spirit of the painter, rather than accurate representation of form - in Oriental painting, in connection with abstraction. This attitude accepts ‘xieyi’ as stemming from literati painting as the departure point for modernity in art. The first attitude erases all possibility of Korean painting as contemporary art, while the second presents an advanced art style, aligned with Western art, and underlines its own superiority. One embraces the history of clashes among civilization, but the other show an attitude to address historical, structural problems as the matter of analogy. The problem of abstraction in Korean painting is thus complex and subtle. This essay will address possibilities of a new discourse on ‘Korean painting’ and ‘abstraction’ that has been so far discussed in an abnormal manner.

남북종론의 역사적 인식

김백균 미술사학연구회 2003 美術史學報 Vol.- No.19

선적線的 사유 ―동양회화 예술언어로써의 선에 대한 의미 고찰

김백균 현대미술학회 2009 현대미술학 논문집 Vol.1 No.13

Asian paintings are usually called as the art of line. The line became the most important element in painting through Weijin period. After middle Tang period, painters began to make pure line-drawing, and the line became the most important element to express the painters mental world. In Asia painting has a deep relation with the activity of drawing not with colouring. Jinghao who had lived from later Tang to Wudai, in his work [Bifaji], said that "Painting is drawing." Shitao who had lived from later Ming to early Qing dynasty, insisted 'One Stroke' as the theoretical base for his own painting. In Asian paintings, what was the philosophical background for the line? how it became the most important element? There have been a lot of thesis about the line in Asian paintings, but few of them have systematically studied its original meaning and its developing process. The existing studies are mostly in two fields; one is the historical study of style about the difference between line and 'chun', another is the aesthetic study of the tendency in line. This thesis studied the process of birth of line, the form of line and its meaning. The lines in Asian painting not only draw the figure of objects, but also contain their substance. This thesis want to show how it was possible, which way of thinking made it possible. Through this study, I want show the sensitivity and meaning of Asian paintings in the angle of linear character. Asian paintings are usually called as the art of line. The line became the most important element in painting through Weijin period. After middle Tang period, painters began to make pure line-drawing, and the line became the most important element to express the painters mental world. In Asia painting has a deep relation with the activity of drawing not with colouring. Jinghao who had lived from later Tang to Wudai, in his work [Bifaji], said that "Painting is drawing." Shitao who had lived from later Ming to early Qing dynasty, insisted 'One Stroke' as the theoretical base for his own painting. In Asian paintings, what was the philosophical background for the line? how it became the most important element? There have been a lot of thesis about the line in Asian paintings, but few of them have systematically studied its original meaning and its developing process. The existing studies are mostly in two fields; one is the historical study of style about the difference between line and 'chun', another is the aesthetic study of the tendency in line. This thesis studied the process of birth of line, the form of line and its meaning. The lines in Asian painting not only draw the figure of objects, but also contain their substance. This thesis want to show how it was possible, which way of thinking made it possible. Through this study, I want show the sensitivity and meaning of Asian paintings in the angle of linear character.

뇌졸중 환자에 적용한 핫라인 전화상담 프로그램의 효과

김백균,강동완,김도연,박정현,우지석,김영희,김현숙,문민주,이정윤,국형석,김낙훈,최상원,안하규,양성규,김준엽,강지훈,한문구,배희준,김범준 한국보건행정학회 2023 보건행정학회지 Vol.33 No.2

Background: This study focuses on the establishment and operation of a stroke patient hotline program to help patients and theircaregivers determine when acute neurological changes require emergency attention. Method: The stroke hotline was established at the Gyeonggi Regional Cerebrovascular Center, Seoul National University BundangHospital, in June 2016. Patients diagnosed with stroke during admission or in outpatient clinics were registered and provided withstroke education. Consulting nurses managed hotline calls and made decisions about outpatient schedules or emergency roomreferrals, consulting physicians when necessary. The study analyzed consultation records from June 2016 to December 2020,assessing consultation volumes and types. Outcomes and hotline satisfaction were also evaluated. Results: Over this period, 6,851 patients were registered, with 1,173 patients (18%) undergoing 3,356 hotline consultations. Theaverage monthly consultation volume increased from 29.2 cases in 2016 to 92.3 cases in 2020. Common consultation types includedstroke symptoms (22.3%), blood pressure/glucose inquiries (12.8%), and surgery/procedure questions (12.6%). Unexpectedoutpatient visits decreased from 103 cases before the hotline to 81 cases after. Among the 2,244 consultations between January2019 and December 2020, 9.6% were recommended hospital visits, with two cases requiring intra-arterial thrombectomy. Patientsatisfaction ratings of 9–10 points increased from 64% in 2019 to 69% in 2020. Conclusion: The stroke hotline program effectively reduced unexpected outpatient visits and achieved high patient satisfaction. Expanding the program could enhance the management of stroke-related neurological symptoms and minimize unnecessaryhealthcare resource utilization

미술비평 위기론의 위기

김백균 한국미술이론학회 2014 미술이론과 현장 Vol.0 No.18

본 논문은 미술비평계가 2000년대 이후 끊임없이 반성과 성찰을 요구하는 ‘미술비평의 위기’의 실상을 알아보고자 하는 시도이다. 우리 사회 일각에서도 미술비평 무용론이 60년대 이후 간간히 있어왔지만, 미술비평의 위기가 문제의식으로 전면적으로 부각된 것은 2005년 한국미술평론가협회가 『미술평단』에서 비평의 위기를 그 해의 특집으로 다루면서 부터이다. 『미술평단』의 많은 논문들은 미술비평 위기의 원인을 큐레이터의 영역확장에서 찾았다. 본 논문은 『미술평단』의 바로 이러한 문제의식으로부터 출발하여 미술비평이 무엇이며, 미술비평의 위기가 무엇인지 과연 그러한 현상이란 있는 것인지 되물어 보고자 하는 시도이다. 기실 미술비평 위기에 관한 이러한 논의의 대부분은 미술비평 자체의 위기에 관한 것이라기보다는 ‘미술비평가’의 위기에 관한 것들이라는 것을 밝히고자 한다. 따라서 본 논문은 우리사회가 비평의 위기를 이해하는 방식을 비평해 봄으로써 비평의 영역과 역할 그리고 비평 본연의 가치를 재고해 보고자 한다. The crisis in art criticism surfaced in the early 21st Century. Athough we have heard occasionally of the obsolescence of art criticism since the 60’s it is not until 2005 in Korean Art Criticism Association’s journal “Mi-sul-pyong-dan” that the crisis of art criticism has been the main topic of discussion. Most writers of “Mi-sul-pyong-dan” found expansion of curator’s role as the core of problem of the crisis in art criticism. This paper attempts to re-direct the questions of art criticism and crisis in art criticism from the viewpoint of “Mi-sul-pyong-dan”; to ask if such crisis actually exists? I want to illuminate on the fact that the crisis talked about in most cases is the crisis of art critics, rather that art criticism itself. I want to ask the fundamental question of method and role of art criticism.