동 ․ 서양 종교적 자연관에 내재된 긍정적 정서의 명상 공간

문정필(Jung-Pil Moon) 중앙승가대학교 불교학연구원 2021 불교와 사회 Vol.13 No.1

명상행위가 사회적으로 확산되고 있는 데 반해, 그 공간을 제시하는 연구는 미미하다. 이를 위해 명상에 들 수 있는 초입공간의 개념 정립이 필요하며, 그 환경에 접근하기 위해 전통적으로 선행되어온 동․서양의 종교적 자연관을 고찰해 볼 필요가 있다. 본 연구의 목적은 명상 행위를 위한 공간적 접근으로서, 동․서양의 종교적 자연관을 근본적으로 이해하고 긍정적 정서가 생성되는 명상 초입공간의 개념적 가치를 논의하고자 한다. 연구의 방법은 명상에 들어갈 환경을 동․서양의 종교에 나타난 자연관에 관련성을 두어, 동아시아 전통건축물과 서구의 전통건축물을 대상으로 해석, 긍정적 정서로 생성되는 공간을 통해 명상의 초입에 들어갈 환경으로 논의하고자 한다. 동․서양의 종교적 자연관을 논의하여 긍정적 정서가 생성되는 명상 초입공간을 이루는 공간적 가치는 다음과 같다. 첫째, 동아시아 유․불․선의 자연관을 배경으로 한 명상공간은 근본적으로 마음을 비워 자연과 연속되어 하나 된다는 점에서 허공이나 비움을 우선으로 한다. 이는 물질적 세계를 비워내는 공간으로, 자연과 연속성을 이루는 효용적 가치로 긍정적 정서에 접근될 수 있다. 둘째, 서구 기독교의 자연관을 배경으로 한 명상공간은 근본적으로 물질을 위계적으로 활용하는 공간이다. 이는 물질적 세계를 중심으로 표현되는 공간으로, 노출된 자연환경에서 신에 의해 보호되는 내밀함의 가치로 긍정적 정서에 접근될 수 있다. 따라서 동․서양 종교적 자연관에 긍정적 정서가 내재된 명상초입공간은 과거의 종교적 사회성을 현대사회에서 요구하는 사상적 가치로 공간을 변환시켜 적용해야 할 과제이다. Today, various forms of meditation and related behaviors are spreading socially. On the other hand, research surrounding the space of meditation is insignificant. Therefore, it is necessary to organize the 'entry space' as a spatial concept entering the space of meditation and the perspectives related to the perception surrounding the space. To this end, a review of the traditional view of nature from the religious point of view of the East and West is also requested. The purpose of this study is to pay attention to the step-by-step approach in space for meditation behavior. We will look at the difference in perception in the religious natural view of the East and West, and look at the conceptual definition and meaning of the entrance space for meditation. In particular, we tried to discuss the environmental meaning of the entrance space that generates positive emotions at the entrance of meditation. To this end, attention was paid to differences in religious perspectives between the East and West, which reveal differences in perception of the natural environment for meditation. Based on this basis, interpretation was attempted in preparation for traditional East Asian and Western buildings. In this study, the spatial meaning created in the entrance space for meditation by differences in natural views from religious perspectives in the East and West was presented as follows. First, in the meditation space set in the natural view of East Asian traditional thought, the empty mind is fundamentally emptied and the empty space is prioritized in that it becomes one with nature. This is a spatial perception to empty the material world, and to give more positive and emotional value to achieving continuity with nature. Second, in the meditation space set in the natural view of Western Christianity, a space that hierarchically utilizes the material world is given priority. This is a space expressed around the material world, pursuing the value of sticking out while being protected by God in an exposed natural environment, and approaching positive emotions. In the space of traditional architecture, the religious nature and sociality of the era are basically reflected. As discussed above, discussions on the space for meditation entry are common in trying to elicit positive emotional values regardless of East or West. This has a social and ideological meaning that can be sufficiently utilized in the spatial perception of modern society and has practical value to apply.

단청색의 정서 관점에서 본 한국 현대건축의 사회적 표현

문정필(Moon Jung Pil) 동양사회사상학회 2015 사회사상과 문화 Vol.18 No.1

오늘날의 정보화 사회에서, 단청이 칠해진 우리의 전통건축은 옛 권력이 상징화된 모습을 고스란히 보여주는 그 시대의 사회적 표현으로 나타난다. 또한, 현대도시 속 전통건축의 단청은 직설적인 시각적 관계의 색 뿐만 아니라 그 정서를 통해 전통건축의 창건 당시와 중건 또는 복원 할 때의 시점에서 정치적, 사회적, 문화적 사상의 다양한 이데올로기를 통하여 폭넓은 정서로 이해할 필요가 있다. 그러므로 전통건축물의 단청색은 오방색을 기본으로 한 동아시아의 포괄적인 문화로 단정 지어 흘려보내기 보다는 정보화 사회와 맞물려진 현시점에서 한국의 정서적 표현으로 확장될 수 있는 정보적 표현 의미를 논의할 때가 온 것이다. 이에 본 연구는 단청 색과 관련된 우리민족의 음양오행사상이나 자연친화사상으로 변화무상하고 사람의 시각에 순응되는 색채의 취지를 해석하고자 한다. 이러한 색 문화를 통해 현대건축에 적용되어야할 공간과 시간의 융합적 표현 가치와 정보화 사회에서 지역성과 민족성의 유기적 통일감으로 조화되는 건축색채 정보의 사상적 가치를 현시점에서 논의 하고자 한다. 따라서 본 연구는 한국 전통건축의 단청색의 정서를 통해 역사 속에만 머물고 있는 전통적 가치를 현대건축과 공존하여 새로운 정보로 표현 가능한 사회사상적 가치를 인식하고자하는데 그 의의가 있다. korean traditional architectures painted with Dancheong, korean traditional decorative colors are socials of the times as they show their symbolizations of old authorities with no change. In modern cities and architectures, succeeding to tradition means that we have to understand the political, social and cultural thoughts in the time they were built, rebuilt and restored through various ideologies as well as direct and sensible visual relations. It is time to discuss the meaning of Dancheong colors emotional instead of concluding it as a simple exposure of obangsaek, five colors of directions. The study will interpret a purpose of physiological color through Dancheong which vary to eumyang and ohaeng and five elements and a natural friendly life style of korean people and conform to visibility of a person and. It puts together how the emotion of our race takes place as the social ideology value through this color. The feeling expression of the color to be applied to the modern architecture and illustration tries to be discussed as the thoughtful value of the information oriented society. Dancheong emotion of korean traditional building not only stayed in history but also coexists with modern architectures in cities at this moment. It is important to recognize its value in social thinking which can be reinterpreted by using new information.

양산지역의 불교건축에 나타난 원효사상 : 천성산 미타암을 중심으로

문정필(Moon, Jung-Pil) 지역사회학회 2020 지역사회학 Vol.21 No.1

양산지역은 천성산이 동·서를 나눔으로 인해 문화적 균형을 이루지 못하고 있다. 최근, 천성산에 ‘원효대사 둘레길’의 제안은 양산의 동·서 지역에 문화적 균형을 이루는 매개로 작용할 수 있을 것이다. 천성산에는 원효가 89암자를 창건했다는 설화와 함께, 현재는 조선 때 대부분 폐사되어 사지로만 남아있거나 미타암을 포함한 몇 곳 만 암자로 유지되고 있다. 본 연구는 원효가 천성산에 창건한 89암자 중 한 곳인 미타암을 중심으로 원효사상을 논의한다. 미타암은 이름 그대로 원효의 정토사상이 녹아있는 곳이다. 미타암에 잠재된 원효사상을 드러낸다면 시 ·공간에 대한 장소적 가치의 향상과 천성산 둘레 길의 중요한 연결점이 될 수 있을 것이다. 원효사상이 깃든 시·공간을 논의를 미타암으로 선정한 이유는 천성산에 계획하고자 하는 둘레길의 특성을 나타낼 수 있기 때문이다. 미타암은 좁은 일 열의 오솔길에 전각들이 접해있어 둘레길이 축소된듯한 시 ·공간적 가치를 갖추고 있다. 따라서 본 연구는 미타암을 통해 원효사상의 시·공간적 가치를 ‘미타암의 생태적 관점’, ‘불교와 오행에 의한 방위의 빛’, ‘불교에 선 사상과 민간신앙의 공존’으로 해석하고자 한다. 이러한 논의는 비슷비슷한 전통건축을 차별화함으로 미타암만이 갖는 역사적 시간성을 인식할 수 있을 것이다. The Yangsan area has achieved no cultural balance with Mt. Cheonseong dividing it between east and west. The recent proposal for “Perimeter Route of Grand Master Wonhyo” in Mt. Cheonseong may serve as a medium for cultural balance between the eastern and western parts of Yangsan. In this background, this study set out to discuss Wonhyo’s ideology in Buddhist architecture with a focus on Mitaam in Mt. Cheonseong. Wonhyo built 89 small Buddhist temples in Mt. Cheonseong. Most of them were abolished in the Joseon Dynasty, and their sites only remain today. Only a few of them including Mitaam still function as a small Buddhist temple. Having exerted influences on the Buddhist landscape of East Asia as well as Korea, Wonhyo’s Buddhist ideology can retrieve the memories of the 89 small Buddhist temples by combining ecological values with the tales that have passed down through the various time and space spots of Mt. Cheonseong. This study focused on Mitaam of the 89 small Buddhist temples to discuss Wonhyo’s ideology. Mitaam literally means a place with his Buddhist Elysium ideology melted in it. If even one of the 89 small Buddhist temples scatters around the mountain reveals its meanings through traditional architecture with Wonhyo’s ideas latent in it, it will help to enhance its value as a place in the time and space aspects. If the placeness of Mitaam is enhanced, it might be an important node along the perimeter route of Mt. Cheonseong currently at the planning stage. This study interpreted the time and space values of Wonhyo’s ideology based on Mitaam as “Mitaam’s ecological perspective.” “fusion of Buddhism and Five Elements in harmony with nature.” and “fusion of Buddhism, Zen ideas, and popular beliefs.” The unique historical temporality of Mitaam will be recognized based on such differentiation of similar traditional architecture.

건축적 관점에서 본 고분의 현대적 가치 : 양산 북정동 고분군을 중심으로

문정필(Moon, Jung-Pil) 지역사회학회 2021 지역사회학 Vol.22 No.2

본 연구는 고분을 통해 고대 양산지역의 도시, 사회, 문화를 건축적 관점에서 바라본 시·공간을 사회학적 건축사상으로 논의하는데 목적이 있다. 연구방법은 고대의 건축과 도시를 유추하기 위해 5-6세기경에 존재해 왔던 북정동 고분군을 시간적 해체를 통해 건축적 사고로 의미화한 브리꼴라주의 사고 즉, ‘건축적 브리꼴라주’로 재구성하여, 문명으로 길들여진 사고방식이 아닌 통섭과 유추의 사고를 건축학에 이입해 고대 사회를 시·공간적으로 바라보고자 하였다. 북정동 고분군을 시·공간적으로 해체하고 건축적 브리꼴라주로 재구성한 논의로 결론에 이르는 방향은 다음과 같다. 첫째, 북정동 고분군과 같은 권역에 있고 고분과 극적인 조화를 이끌 수 있으며 삼국시대부터 조선시대까지 역사·전통적 가치가 있는 신기동 산성은 속히 복원해 고분과 대조되는 상관적 시간의 인식을 시작으로 도시공간의 여러 시간적 가치를 부여해야 할 것이다. 둘째, 부부총의 코오벨식 구조와 고대 건축의 공포양식이 켄틸레버 구조로 공통점이 있다는 유추는 동일한 구조 원리가 공존했으므로 전통건축에도 추측 가능한 사회·문화적 표현 가치를 찾을 수 있어야 할 것이다. 셋째, 성황산부터 양산천에 이르는 영역은 고대의 산성과 고분이 도시의 원경관(原景觀)을 형성하는 원점이 되므로 도시공간문화에 긍정적으로 작용할 삼국·고려·조선·근대·현대의 시간적 흐름을 이루는 요인들을 찾아서 복원·개발해야 할 것이다. This study aims at discussing the city, society and culture of the ancient Yangsan area as time-space thoughts from an architectural viewpoint through the ancient tombs. Regarding the research methods, in order to infer the ancient architecture and city, the ancient tombs in Bukjeong-dong that have existed since the 5th and the 6th century were re-organized as the idea of bricolage signified with architectural thinking through spatial dissolution, that is, as ‘architectural bricolage’. The ancient society was restructured with time-space idea and examined by applying the thinking of convergence and inference, not the way of thinking trained by civilization, to architecture. When the ancient tombs in Bukjeong-dong were dissolved in terms of time and space and reconstituted as architectural bricolage, the following conclusions have been reached. First, the mountain fortress in Singi-dong in the same zone as the ancient tombs in Bukjeong-dong can induce dramatic harmony and have the history and tradition from the Three Kingdoms to Joseon Dynasty, so it needs to be restored soon and exist as the value of time in the urban space. Second, as the Corbel style of structure of Bubuchong and the style of the wood supporting the edge of the eaves of the ancient architecture are inferred to have a common feature of cantilever structure, which shows the same structural principle in the ancient times, the social and cultural expressive values which can be guessed from the traditional architecture will be able to be found. Third, the domain from Mt. Seonghwang to Yangsan Brook becomes the starting point from which an ancient mountain fortress or an ancient tomb forms the view of a hill scenery, so the factors, which will have positive effects on the urban space culture since the ancient times and form the flow of time of the early modern times, modern times and contemporary history, should be found, restored and developed.

불국사에 나타난 이데올로기의 관광자원

문정필(Moon, Jung-Pil) 대한건축학회 2014 대한건축학회논문집 Vol.30 No.3

This research aims at raising questions about that the contribution of the restoration of Bulguksa to tourist industry has made it appear as a myth, finding mythical values of the meanings of the materials, time and space expressed in the architecture which was realized through the tale related to Bulguksa, and identifying the characteristics of the spiritual ideology of the culture to approach the pursuit of aesthetic appreciation of tourism. For this purpose, the values to be complemented by the spiritual value of the culture of Bulguksa can become the resources for tourism, through tale from the viewpoint of Barthes" mythologies, as follows. As for the creation of the myth of rule by royal authority, the socio-political aspects of middle era of Silla can be tourism resources by covering Bulguksa and surrounding Toham Mountain. In addition, the creation of the myth of filial duty should not be dealt just with the viewpoint of Buddhism, and the ideas of filial duty and enlightenment, the common goals of the three religions of Confucianism, Buddhism and Taoism that had been already established in East Asia at that time, can also be the resources for tourism. With regard to the creation of the myth by the fiction of imagination, tourism resources can be created when the elements composing Bulguksa expose what is hidden by a certain reality at the level of denotation meaning through semiologic signification. Therefore, with Bulguksa"s foundation, rebuilding and restoration with the spirit of the times, the identity of the spiritual existence of ideological culture which recognizes the imperfection of its architecture and tale and continues to correct them has to be confirmed continuously, and the pursuit of aesthetic appreciation by tourism needs to become the resources.

물질의 가치론 관점에서 본 건축의 사회적 표현 양상

문정필(Moon, Jung-Pil) 대한건축학회 2015 대한건축학회논문집 Vol.31 No.3

This research aims at examining the architectural expression aspects for architecture consisting of material to reflect the modern capitalistic society through immateriality that spreads through utility of functions, creation of time and space, and nonverbal communication. The architectural aspects of the information-oriented society are as the following in terms of the axiology of material based on the <Das Kapital> of Marks and <Essai sur le don> of Mauss. First, as for the use value of projection, architecture that expresses substance straightforwardly works as the visual media which will be expressed as the context or concept to be reflected to the urban context. Therefore, the eye itself that can penetrate into the real human society can be reverted to an artistic sense. Second, regarding the exchange value of the conversion, the material composing architecture changes and becomes conscious as dematerialized information of time and space. Therefore, an architect needs a conscious opportunity so that he/she can interpret architectural materiality in more various ways and reorganize time and space with diverse information by encouraging observers to participate as well. Third, the meaningful interpretation of hypothetical symbolic values becomes rich by memory or imagination through the forms of architecture. In this background, an architect helps remember the information of social events through architecture and extends the meanings to result in inspiring communication with observers with forms and space through symbolized emotions.

안동지역 전통건축 공간에 나타난 관광/문화의 대립성: 천등산 봉정사를 중심으로

문정필(Moon, Jung-Pil) 한국관광레저학회 2021 한국관광레저학회 학술발표대회 Vol.2021 No.7

This study focuses on the spatiality that tourists intuitively feel through Bongjeongsa Temple located in Andong. We will then look at how tourism and culture are confronted in the realm of space. The purpose is to discuss the aesthetics of tradition and history in the architectural space and extract the possibility of developing into culture and tourism through this. The cultural tourism that we are discussing in this study does not have a primary purpose simply for the materiality of visiting historical sites and monuments. In particular, the challenge of tourism raised at Bongjeongsa Temple will be reborn as cultural tourism that satisfies quaint and novelty when it can be found and revealed what has disappeared. We would like to discuss this around the aesthetics of Bongjeongsa Temple"s cultural madness, the timeliness of Silla found in the Hall of Heaven, and the imagination of Silla in Gogeumdang. To this end, in this study, we will look at the aesthetic aspects of Bongjeongsa Temple by standing on the border where tourism and culture can be confronted. In addition, we wanted to present the possibility of architectural culture and tourism by examining the various time zones combined in the spatial area, the wooden style of the Hall of Heaven, and the meaning of the ancient shrine.

건축에 나타난 시간의 표현과 인식에 관한 연구

문정필(Moon Jung-Pil),김기환(Kim Ki-Hwan) 대한건축학회 2009 대한건축학회논문집 Vol.25 No.8

This study is proposed to find the expression of time through three cases of viewpoint about time and synchronicity in the architecture. The expression of time analyzed by the expression of time in the architecture and the recognized time by architect. The cases is as follow; First case, It is ‘The expression of the real time and the recognition through the instant synchronicity’. The architecture had to express the dynamic constitution which reflected any moving or recognition of changing emotionally. So, those expression could steer the observer's recognition of multiful spaces at the same time through the ‘sensible instant’. Second case, It is ‘The expression of relational time and the recognition through the phenomenal synchronicity’. The architecture had to express for changing human's unconsciousness to consciousness. So, those expression could steer the observer's recognition through the ‘presentness of consciousness’ as synchronous methods. Third case, It is ‘The expression of ideological time and the recognition through the flux synchronicity’. The architecture had to express the continuation concerned of the time after including the past memory sources and future expectations with present things. So, those expressions could steer to observer's recognition for accomplishing the ‘meaning of continuation’ as the way of synchronicity of the time. As the results, architect should try to express the three cases of time and make practical appications of synchronicity for observer.

동시성으로 본 불국사의 미

문정필 ( Moon Jung-pil ) 동양사회사상학회 2014 사회사상과 문화 Vol.29 No.-

불국사는 한국의 정취가 우러나는 불사건축으로 젊은 층과 외국인들에게도 인기가 높으며, 방문객들이 수차례 답사해도 싫증나지 않는 친근한 매력이 있다. 그 이유는 불국사를 처음 마주했을 때 전통적 건축의 볼륨감이 직설적으로 시 감각에 전달되는 감성적인 면과, 일정시간 머무를 때 물질의 구성을 통한 공간적 변화가 자연스럽게 시 지각으로 전달되는 지성적인 면의 조화로움 때문이다. 건축의 미는 눈에 들어오는 시각정보를 종합화 하여 느껴지는 것이므로 물질, 공간, 시간의 개별적 해석으로는 감성적인 면과 지성적인 면의 아름다움을 동시에 해석하기 어렵다. 이를 동시에 해석하기 위해서는 물질의 구성으로 나타난 공간에 시간을 더하여 사고하는 ‘동시성’을 통해 아름다움을 해석하는 방법론이 필요하다. 또한, 전통건축물인 불국사의 시·공간을 해석하기 위해서는 서양의 실증론적 미학의 가치와 동양의 인식론적 아름다움의 가치를 서로 보완시킨 상보적 가치를 방법론으로 드러내어야 한다. 그러므로 불국사는 서구의 물리학, 심리학, 철학에서 드러난 동시성의 이론적 배경에 동양의 유·불·선 경학의 시·공간 인식체계를 접근시켜 동·서양이 융합된 사상으로 불국사의 아름다움을 새롭게 해석할 필요가 있다. 따라서 본 연구는 현대의 사회·예술적 입장에서 동·서양의 동시성을 융합한 사상적 풍요로움으로 불국사의 시·공간을 해석하여 미적 사상과 그 가치를 도출하는데 그 목적이 있다. Although it is a Buddhist temple full of oriental sentiment, Bulguksa highly attracts young people and foreigners who have great emotional tendencies. This is because instant radiation of sensible beauty by abundant material volume through visual sensation from the first impression of Bulguksa and then time and space recognition through composition of materials by visual perception afterward reveals intellectual beauty of harmonization which is gradually continuous with nature. For this, Bulguksa needs to analyzed as the simultaneity of time and space beyond materials. Synchronicity means coincidence of space and time, and this study tries to newly analyze aesthetics of Bulguksa by approximating space-time cognitive system of oriental Confucianism, Buddhism and Zen ideas to theoretical background of A. Einstein, C. G. Jung, and H. L. Bergson. Therefore, this dissertation aims at recognizing Bulguksa upon socio ideological value of modern beauty by analyzing it with abundant ideas of complementarity by combining oriental and western synchronicity.

피터 쿡 건축에 나타난 운동의 표현에 관한 연구

문정필(Moon Jung-Pil) 대한건축학회 2010 대한건축학회논문집 Vol.26 No.9

In this research, the movements expressed in Peter Cook’s blueprints were interpreted by applying sense, consciousness and meaning, the results were approached by the analysis of completed Kunst House, and the characteristics of three kinds of movements were synthetically deducted. They were deducted through Kunst Haus as ‘sensuous movements caused by digital expression’, ‘conscious movements resulted from a flexible pattern of power and surrealistic representation techniques,’ and ‘meaningful movements brought about by the fluid representation techniques in a continuative relation to the surroundings.’ In addition, the three aesthetic values expressed through the movements of Peter Cook’s architecture, centered on sense, consciousness and meaning, are as following. First, the sensuous feature has the value of sensuous beauty because the background and the shape offer the pleasant experience of the differences in changes and speed. Second, the conscious characteristic has the value of the beauty of form because objects perceive the dynamic patterns presented through them and form a pleasant, visually perceiving structure. Third, the meaningful feature has the symbolic beauty of giving joy because certain images created through materials offer the movements mind or heart catch.