음이온과 음향 발생 기능이 있는 옥돌을 이용한 조명기구 연구

김진명,임상호,Kim, Jin-Myung,Lim, Sang-Ho 산업진흥원 2020 산업진흥연구 Vol.5 No.2

This study is a technology related to a lighting lamp that illuminates indoor or outdoor lighting with light. In more detail, a see-through window is created in all directions on a case constituting the exterior, and a jade stone processed in a thin panel form is attached to the see-through window. By constructing a lighting lamp, since the soft light is irradiated indoors or outdoors through the jade stone, it provides comfort and warmth to the user, enhances the indoor or outdoor interior effect, emits far-infrared rays and negative ions, and emits a subtle floral scent It is a technology for lighting lamps using jade stones that emit. The characteristics of the product of this research and development is that the viewing window is formed in all directions on the case constituting the exterior, and the lighting lamp is composed by attaching the processed jade stone in the form of a thin panel to the viewing window. It is meaningful that they studied lightings using jade stones that generate sounds such as Buddhist scriptures, the Bible, and Sijo. 본 연구는 실내 또는 실외를 조명으로 밝게 비추는 조명등에 관한 기술로서, 보다 상세하게 설명하면 외관을 구성하는 케이스에 사방으로 투시창을 만들고, 사방 투시창에 얇은 패널(panel) 형태로 가공된 옥돌을 부착하여 조명등을 구성함으로써, 옥돌을 통해 은은한 불빛이 실내 또는 실외로 조사(照射)되므로, 사용자에게 아늑함과 따스함을 제공하고, 실내 또는 실외의 인테리어 효과를 높이는 한편 원적외선과 음이온을 발산하며, 은은한 꽃향기를 방출하는 옥돌을 이용한 조명등에 관한 기술이다. 본 연구개발의 제품의 특징은 외관을 구성하는 케이스에 사방으로 투시창이 형성되고, 사방 투시창에 얇은 패널(panel) 형태로 가공된 옥돌을 부착하여 조명등이 구성되며, 스피커를 통해 사용자에게 유익한 음악, 불경, 성경, 시조 등의 음향을 발생시키는 옥돌을 이용한 조명등을 연구했다는데 의미가 있다.

조선시대 왕릉 석인상(문인석, 무인석)의 크기에 관한 연구

김진명,최태월,이용선,Kim, Jin-Myung,Choi, Tae-Wol,Lee, Yong-Sun 산업진흥원 2020 산업진흥연구 Vol.5 No.2

본 연구는 조선시대 왕릉 석인상의 크기에 관한 연구로서 분석 결과를 요약하면, 석인상의 문인석, 무인석은 1600년대에는 크기가 증가하였다가 1700년대에는 크기가 다소 감소하였으나 1800년대에는 석인상의 크기가 증가하는 것으로 평균 분석 결과 확인되었다. 조선 왕릉의 석인상은 당시 인물을 반영하고 있으며, 이를 통하여 그 시대 인물상의 전형을 살펴볼 수 있다. 왕릉은 일관성과 고유성을 지니고 있으며, 석인상의 크기에 관한 규범은 시대별 변화를 보이고 있었다. 지배계급의 권위적 상징의 건축물로서 의식과 법제에 따라 왕릉이 축조된 국가적 공사였다. 조선시대 묘의 석인상 크기는 능의 석인상에 비하여 약 90cm의 차이로 작았으며 조선전기에 제작된 석물은 지위에 따라 석물의 크기에 차등을 두었다고 한다. 본 연구에서는 조선 왕릉 석인상의 연대별 석물 크기를 확인하는데 본 연구의 의의가 있다. This study is a study on the size of the stone statues of the royal tombs in the Joseon Dynasty. In summary, the size of the stone statues of Moon, Inseok and Unmanned Stone increased in the 1600s and then decreased slightly in the 1700s, but increased in size in the 1800s. It was confirmed that the average analysis result. The statue of Seok-in of the Royal Tombs of the Joseon Dynasty reflects the characters of the time, and through this, the typical figures of the times can be examined. The royal tomb has consistency and uniqueness, and the norms regarding the size of stone statues have changed over time. As a building of the authoritative symbol of the ruling class, it was a national construction where royal tombs were built according to rituals and laws. It is said that the size of the stone statues in the Joseon Dynasty was about 90cm smaller than the stone statues of the tombs. In this study, the significance of this study is to confirm the stone size of each stone age in the royal tomb of Joseon.

전통적 공간과 포스트모던 공간 -고향의 의미를 중심으로-

김진명,Kim, Jin-Myung 한국건축역사학회 2001 건축역사연구 Vol.10 No.1

This paper intends to explore some aspects of space as metaphor for the being of a subject and a subjected state of being. This paper deals with 3 Korean communities. Examples include (1) Yeog-maeul in Honam province (2) Samni village in Youngnam province (3) Bem Island in Seoul. Yeog-maeul is the village of Sannmin's (commoners), which is socially isolated from it's surrounding Yangban's villages. The social life in Yeog-maeul is generally divided two areas : that of men and women. The former is expressed as a life Dorang-Pak(outside of the stream) and the latter as Dorang-Ahn(inside of the stream). The former is a life of formality, sacredness. The latter is a life of informality, profaneness. Samni is a typical Yangban's village. With the support of literature such as Kohyun-Hyang-Yak(古縣鄕約). Yangban has exercised the social control which is widely practiced in various fields ranging from the fetal movement to the location of tombs. Bam Island is located Han river. It's resident had lived on the Island for over 700 Years, until they were forced to move collectively out of the Island, and settle in Chang-chun dong of Seoul. Yet, these people have kept holding Bugundang Kut, ritual for the entire village. The former Bam Islanders whose traditional culture is suppressed by the surrounding postmodern culture, have tried to fill the gap between their ideal and actual lives by symbolically realizing the former in the community ritual. In ritual life, the former Bam Islanders are deemed to sacred, while the rest of citizens of Seoul profane. The residents of Yeog-maeul and Samni village which live a life an their traditional space, has been subjects. But, the former Bam Islanders which moved collectively out of traditional space and settle in the postmodern space experience the subjected state of being.

전통적 담론과 여성억압

김진명 (Jin Myung Kim) 한국문화인류학회 1994 韓國文化人類學 Vol.26 No.1

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<그리스도의 세례>에 관한 미학적 성경주석 - 운보 김기창 의 <요한에 게 세 례 받음 >과 배경 본문 (마 3:13-1 7, 레 8:6, 12)에 관한 연구

김진명(Kim Jin Myung) 장로회신학대학교 성서학연구원 2021 성서학연구원심포지움 Vol.107 No.-

본 논문은 ‘미학적 성경주석’의 방법론을 사용한 미술과 성서신학의 간학문적 대화를 위한 연구의 결과이다. 운보의 <요한에게 세례 받음>에 반영된 본문해석에 대한 도상학적 연구와 마 3:13-17의 ‘예수의 수세’기사와 ‘구약관련 본문들’의 주석적 연구로 구성되었으며,이를 통해 ‘세례’ (마3장)기사의 구약적 배경으로서 ‘제사장 위임식’ (레8장)의 연결 가능성에 대한 해석을 제안하였다. This paper is a study for interdisciplinary dialogue between art and biblical theology using the commentary methodology of Aesthetic Biblical Interpretation . First of all, it was examined how the textual understanding of this Baptism of Jesus was achieved from the artist s point of view inUnbo Kim Ki-Chang’s work,<Baptized by John>.The methodology of iconography was used for the interpretation of his Korean style painting. The next step was to conduct an exegetical study of the text for the “Baptism of Jesus” in Matthew 3 and the “Old Testament-related texts” as the background, using the result of the interpretation of Unbo’s work as a clue. The main text of the New Testament that this paper focuses on is Matthew 3:13-17. Unbo introduced this text as a background text linked to the work <Baptized by John>. Therefore, the study of Aesthetic Biblical Interpretation began with discussion of this text.In this process, through the work of analyzing and comparing the New Testament linked to the picture and the related texts of the Old Testament as the background, an interpretation of the possibility of linking the “priest commitmentceremony”(Lev. 8) as the Old Testament background of the “Baptism of Jesus” was proposed.

재미 한인 사회의 사례를 통해 본 성과 ( Gender ) 권력

김진명 (Jin Myung Kim) 한국문화인류학회 1998 韓國文化人類學 Vol.31 No.1

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시편 19편에 나타난 하나님의 ‘창조’와 ‘구원’과 ‘율법’

김진명(Jin-Myung Kim) 한국기독교학회 2018 한국기독교신학논총 Vol.108 No.-

시편 19편에 대한 기존 연구들의 전제는 1–7절의 찬양시와 8–15절의 율법시라는 각기 다른 역사적 배경을 가진 두 개의 다른 시가 하나로 결합된 시편이라는 것이다. 하지만 본 논문은 시편에 대한 편집비평적인 연구를 통하여 세 단락으로 구성된 시편 19편의 구조와 내용을 분석해 보고, 찬양시 A – 율법시 B – 찬양시 A` 의 구조 안에서 창조(A)와 구원(A` )과 율법(B)의 주제를 파악하였다. 다시 최종 본문상에서 하나의 작품으로 해석할 수 있는 시편 19편의 특징들을 파악하고, 본문에 대한 수사비평적 연구를 진행하였다. 공시적 방법과 통시적 방법의 두 가지 방법론을 적용한 시편 19편 연구는 창조주와 구속주로서 ‘하나님의 정체성’과 바로 그 하나님의 말씀으로서 ‘율법’의 주제를 강조하는 이 시편의 특징을 새롭게 살펴볼 수 있었으며, 이 시편은 하나님의 창조와 구원과 율법의 주제들을 밀접하게 결합시켜 ‘하나님의 보편적 주권’을 강조한 시편으로 시편 19편을 해석할 수 있었다. The main arguments of the previous works on Psalm 19 is that the Psalms of 1–7 and the poems of 8–15 are paired together into two different poems with different historical backgrounds. In this paper, it is argued that Psalm 19 is composed of three paragraphs by means of a redaction critical analysis of the text; the praise A(Sun/existence of nature): creation of God–Torah B: the words of God–the praise A` (Sin/existence of human): redemption of God. This study shows that the background of Psalm 19 can be connected with the post–exile period in which people had a great concern for Torah. The final form of the poetic text shows that it is characterized as one unified work with a set of typical rhetorical and literary features. Many diverse expressions of the Law are used to show the meaning of the Word of God, and the overall literary structure and instrument illuminate its emphatic points. This study of Psalm 19, thus investigated in light of the diachronic and the synchronic method emphasizes the “God’s identity” as the Creator and Redeemer, and further highlights the theme of “Law” as the very Word of God. Finally, Psalm 19 can be finally viewed as conveying the theme of the “sovereignty of Yahweh” with emphasis on Yahweh’s “law.”

운보 김기창의 <물 위를 걷다>와 성경본문의 미학적 성서해석 - 마 14:22-33, 출 3:14, 시 2:7 본문을 중심으로 -

김진명(Kim, Jin-Myung) 한국문학과예술연구소 2021 한국문학과 예술 Vol.39 No.-

이 연구는 성화와 그에 관련된 구약과 신약 본문에 대한 도상학적이며, 주석적 연구의 시도로서, ‘미학적성서해석’(미학적성경주석) 방법론을 사용한 연구 결과이다. 운보의 작품 <물 위를 걷다>는 마 14:30-31의 내용을 반영하고 있으며, 물에 빠진 베드로를 건져주시는 예수님의 모습과 그 전체 장면을 포착하여 그림으로 표현하였다. 바다 위에 서 있는 예수님은 시편과 욥기(시 77:19, 욥 9:8)에 묘사된 하나님의 모습을 그대로 반영하였고, 물에 빠진 베드로를 건져 내시는 예수님의 모습도 시편(시 18:17, 69:2-3, 144:7)에서 구원을 베푸시는 하나님의 권능과 주권의 이미지를 반영한 것이며, 이를 통해 구약의 말씀을 성취하시는 예수님의 모습을 시각적으로 드러내고자 한 의미를 도상학적 연구를 통하여 찾아볼 수 있었다. 또한, 마 14:22-33의 전체 내용은 운보의 그림에서 묘사된 ‘하나님의 아들’(시 2:7)이며, ‘구세주’(출 3:14)이신 예수그리스도를 선포하고 있음을 구약의 관련 본문들에 관한 주석적 연구를 통하여 확인할 수 있었다. 성화와 그 배경이 되는 성경 본문에 대한 ‘미학적 성경주석’은 문자적인 본문을 실체화하고, 현장감을 느끼면서 성경 본문의 중요한 요소들에 집중하여 성화와 성경 본문을 해석하는 작업에 도움을 줄 수 있다. This study is an attempt to study on ‘religious painting’ and related biblical texts using the "aesthetic biblical interpretation" as a methodology. It is the result of a study that tried to analyze the elements of the common denominator as a connection point contained in related texts, compare and analyze them, and attempt a comprehensive interpretation. Unbo"s work <Walking on the Water> reflects the content corresponding to verses Mt. 30-31, 14 and captures the figure of Jesus and the entire scene as a picture it was expressed Jesus standing on the sea reflects the image of God described in the Psalms and Job (Psalm 77:19, Job 9:8). Also, in Unbo"s work, Jesus rescues Peter from drowning in the Psalms (Psalm 18:17, 69:2-3, 144:7) through the image of God"s power and sovereignty providing salvation in the OT. As it was described as Jesus fulfilling the word, we could examine its meaning. The entire content of Mt. 14:22-33 is the text of the NT proclaiming Jesus Christ, the "Savior" as the "Son of God" depicted in Unbo"s picture. It can be seen that the expression is a quotation of “I am who I am” in Exodus 3:14, which is a deity that appears in the text of the salvation from Egypt, and the expression “son” in verse 33 also refers to the relationship of quotation with the “son” of God in Psalm 2:7. As an expression of expression, it could be seen that the theme of "Messiah" was contained. As an inter-disciplinary interpretation of religious painting and its Biblical texts, "aesthetic biblical interpretation" materializes the literal text, visually understands its dynamics and concrete reality, and gives a sense of presence to the important content of the biblical text. Concentrating on the elements can help in the work of interpreting religious painting and biblical text.

출애굽기 4장 24-26절은 과연 누구의 이야기인가? - 맛소라 본문(MT)과 칠십인경(LXX)과 사마리아오경(SP)의 본문 비교 연구 -

김진명(Jin Myung Kim) 한국구약학회 2019 구약논단 Vol.25 No.4

Exodus 4:24–26 shows ‘Moses and his family’s journey back to Egypt’ in the entire story of Moses’ vocations in chapters 3-4. The ambiguous personal pronouns used in this text can be difficult elements for the interpretation of the text. This study focused on the ambiguity of the third-person personal pronoun “he” or “him” in Exodus 4:24–26, which implies the possibility of being translated as Moses or a son of Moses or even as a presumption of Zipporah. This ambiguity is a difficult problem, but at the same time it can be interpreted as an element that provides the possibility for various interpretations of the text. Because LXX focuses on a son of Moses and SP focuses on Zipporah, they describe the text not simply as a story centered on Moses, but a story in which the son or Zipporah had an important meaning or role. Assessing the differences between MT and LXX and SP as characteristics that show the versatility of texts rather than the discriminative criteria of superiority, and looking at these texts in parallel, the ambiguity of the personal pronouns presented in MT can rather function as an element of interpretability that can reflect the emphasis of LXX and SP. Through the comparative study of the three texts, Exodus 4:24–26 shows that Moses’ son (LXX) and his wife Zipporah (SP) can be closely related as family members in the calling process of Moses described in chapters 3-4 (MT). It is possible to reflect the viewpoints and contents of each text, and to recognize the story with the possibility of highlighting a variety of emphasis for each character. and the parallel work of comparing various final texts can help to understand the ambiguity and difficulty that can occur when studying each text individually. The parallel work of a comparative study of the different final versions (MT-LXX-SP) will re-illuminate the interpretational ambiguities or difficulties from different perspectives which occur when each of the different versions is studied individually, thus providing he mutual assistance to the interpretation of the text and the possibility of new interpretations.

한국 문화와 성 공간 , 육체 그리고 성 한 농촌 공동체의 사례를 중심으로

김진명 (Jin Myung Kim) 한국문화인류학회 1996 韓國文化人類學 Vol.29 No.2

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