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박한진 한국디지털디자인학회 2014 디지털디자인학연구 Vol.14 No.2
시각디자인에서 출발점이라 할 수 있는 인문에 대한 고찰 부족 문제를 연구배경으로 한 본 논문은 철학과 문화를 기반으로 디자인 사례들을 분석하여 인문학과 미디어가 어떻게 다양한 시각디자인 기획과 표현의 영감을 만들어내고 영향을 미치는지 분석하여 보았다. 이를 통해 시각디자인에서 인문학을 고찰해야 하는 필요성을 제기하고 현대시대에서 말하는 좋은 디자인에 무엇이 기저되어야 하는지 살펴보았다. 인문이란 사람을 연구하는 학문이며 사람의 특성을 안다는 것이다. 산업혁명 이후 획일화되고 트랜드를 추종하는 디자인이 지역과 인간중심으로 회귀하는 오늘날 철학, 문화, 미디어와 같은 인문요소는 현대 시각디자인에 영감을 주는 하나의 보고라고 할 수 있으며 그러한 영감을 외적으로 계획한 밑그림이 바람직한 디자인이라 할 수 있다. 시각디자인은 단순한 메시지 전달과 기능수행이 아닌, 인간을 이해하려 노력하고 다가가려 노력하는 융합행위이다. 커뮤니케이션의 새로운 가치를 추구하는 감성행위이며 공간과 새로운 시각언어를 통해 인간에 대한 사랑과 공감의 표현이자 소통이다. 이러한 목적을 위해 인간의 생각과 환경, 문화를 알아야 하는 것이다. 디자인은 근본적으로 인문정신이기 때문이다. In terms of Visual Design, It can be said that the lack of consideration is the start point, which is base of this research. This researcher, analyzing Design Case, based on Philosophy and culture is supposed to study on how humanities and Media make it possible to make inspiration of expression and design-planning diversely. Through this, I suggested the issue like humanities is needed to be considered in terms of visual design. Also, I examined that what is Good Design. Humanities are the subject of the study about Human and the knowing of characteristic of human, as well. After the Industrial Revolution, the design had the tendency like being standardized and being following the certain trend, however, these days, the design is inclinable to be back something like vernacular and being people-oriented. It is said that humanities are the repository that be able to give inspirations, in that expressing these Inspirations externally is the right design. Visual Design is not just simply to convey the message and to perform the function, and it is something like actions to try to understand humans and reach. And, it is a sensitivity- action to be toward new value of communication. Through space and new visual language, it is something like love for human and expression of sympathy. Therefore, for this purpose, the thought and environment about human have to be known. The reason is why Design is basically the spirit of humanities.
朴漢鎭 서울市立大學校 1990 論文集 Vol.24 No.-
Western painting was indirectly introduced to Korea from Japan in the turbulent days of Japanese colonial rule of Korea. The Western painting was distorted on account of Japanese peculiar taste and the then Korean painters accepted it passively. This distortion was detrimental to the forming of Korean painting and the developing Korean modern art. Yoon Sungho(1904-1981) knew difficulty in adopting Western painting. And he experienced the tension between two sensibilities through his experiment of plastic form. After all Yoon resolved the crisis by a new state of sensibility. In doing so he recovered the original basic quality of Korean painting.
朴漢鎭 西原大學校 1981 西原大學 論文集 Vol.10 No.-
Reviewing Goyas paintings of his last 40 years, we find out his peculiar fantastic qualities. His fantasy can be interpreted as the expression of the credible monstrosities. When a man's reason is no longer in control, real objects and people become distorted into monsters which are products of the degeneration of man's animal nature. The monsters take shape and become all the vices that beset the human race. These contortions, bestial faces, and diabolical grimaces, are profoundly human. He draws them, not in order to create an illusi on, but in order to express man's life's truths. And he starts as the witness of his own time. Goya deals with the subject of man's suffering caused by violence and brutality. As the political storms rage, Goya's painting becomes openly denunciatory and polemical. The central motif of his work is always to be reality, life in the raw. His paintings on human life, begin as satire, end as a generalization on the whole of mankind. 1. man of monster (plates 1-15) Goya's ghosts, demons, witches and nightmares are not the influence of satantistic mysticism. All these deformed figures reveal mans destructive fevor and search for the baptism of irrationality. They are forces of darkness in his time. Goyas vision shows the struggle against the monsters who pervert the simple faith of the people into means for their exploitation. 2. man of beast (plates 16-29) In his "Disasters of war"and "Tauromaquia", Goya indicts a man for madness. These exposed bestialities are primeval quality in human being. This characteristics becomes fantasy at the extremes of the ghastly madness. Absolutism and revolt are depicted in his formidable manner. Here Goya expresses the metamorphosis of man. His art symbolizes eternally the peoples protest against ceaseless political oppression. Goyas man is charged with universal human value beyond the Spanish tragedy. 3. man of mask (plates 4, 30) The mask plays a very important role. It has a new meaning: it unmasks in fact, it becomes a means of making reality more conspicuous. As Malraux says, "for Goya a mask is not something that hides the face, on the contray, it fixes it." The people of mask already lose their real faces and are the nightmare as the mask itself. The mask reveals the fatalistic obsession of Spain. Goyas art is the particular 「reality」 of lifes truths in his age. And the reality is the expression of man itself. Fantasy in condition of man is realized by his "universal idiom." The man in reality is newly created. Goyas aim is the restoration of mans nature free from nothingness in our age of collapse. And it is also opened a new possibilities for modern art which is in empty content und baffling form.