운임(雲林) 예찬(倪瓚)의 사상(思想)과 그의 문인화(文人畵) 경계(境界)

권윤희,Kwon, Yun Hee 국제문화기술진흥원 2020 The Journal of the Convergence on Culture Technolo Vol.6 No.4

예찬은 중국 원말 사대가의 한 사람이다. 그는 이민족의 지배를 받은 시대적인 환경하(環境下)에서 자신의 독특헌 예술세계룰 구축하였다. 그의 화론인 흉중일기(胸中逸氣)는 동양 전통사상인 유(儒), 불(佛), 선의(禪) 영향으로 이루어진 정신적인 산물이다. 일기사상(逸氣思想)은 도가적(道家的)인 청담(淸淡)이나 허무(虛無), 무위사상(無爲思想)의 영향으로 문인(文人) 사대부(士大夫) 사이에 일어난 자연에 대한 새로운 자각이다. 이는 세속을 초월하여 일어났으며 남종 문인화(文人畵)의 이론적인 토대가 되었다. 예찬(倪瓚)의 일필(逸筆)은 흉중(胸中)의 일기(逸氣)를 그리는 방법이다. 이는 그가 오랫동안 노력하고 실천한 가운데 얻어진 문인화 경계이다. 예찬(倪瓚)은 생활의 체험 속에서 깨달은 선의(禪) 오경(悟境)으로 시서일체(詩書一體), 시선일치(詩禪一致)의 높은 경지를 실현하였다. 그의 예술정신은 흉중일기로 대변되는 탈속원진(脫俗遠塵), 일소부주의 고답(高踏), 시서일체(詩書一體)의 높은 경지를 표출하였다. 이를 통하여 그는 원말(元末) 명초(明初)의 화단에 독창적인 문인화(文人畵) 세계를 구축하였다. Ye-chan(倪瓚) is one of the four great masters of the Yuan. He built his own unique art world under the rule of the times under the rule of immigrahts. His theory of painting, i-ch'i(逸氣) in the heart, is a spiritual product made up of the influence of traditional oriental thoughts such as Confucian scholar(儒), Buddhism(佛), and Zen Buddhism(禪). The i-ch'i is a new awareness of nature that has arisen between literary noblemen(文人士大夫) under the influence of freshness(淸淡), emptiness(虛無), non-action(無爲). This is beyond the mundane world and became the theoretical basis for literati painting. The i-pi(逸筆) of Ye-chan is a method of drawing the i-ch'i in the heart. This is the boundary of his literati painting obtained through his long efforts and practice. Ye-chan realized the high ground of unity of poem and calligraphy(詩書一體) and unity of poem and Zen(詩禪一致), which he realized in his daily life.His artistic spirit expressed the high level of staying away from being clean(脫俗遠塵), doing not stay in one place(一所不住), and unity of poem and calligraphy(詩書一体). Through this, he built a unique world of literati painting in the Art World of the late Yuan and early Ming dynasty.

동양예술(東洋藝術)에서 "화(化)" 경계(境界)에 대한 심미적접근(審美的接近) -추사와 강암의 부작난도(不作蘭圖)를 중심(中心)으로-

권윤희 ( Yun Hee Kwon ) 한국동양예술학회 2014 동양예술 Vol.24 No.-

동양 예술은 주로 儒家와 佛家·道家의 사상을 토대로 형성되었다. 이는 자연에 바탕을 두고 模·臨·倣을 통하여 熟을 요구하는 것이 특징이다. 특히, 동양예술의 진수라 하는 서예술은 더욱 그러하다. 동양예술은 熟에 의하여 예술가의 개성과 嗜好에 따라 拙이나 樸·狂·逸과 같은 여러 심미경계로 표출된다. 인간은 예술을 통하여 다양한 미를 체험한다. 그러한 과정에서 개성과 취향·기호에 따라 각자의 심미안을 가지게 된다. 모든 예술은 보이지 않는 형이상의 궁극을 추구하며 心樂을 도모한다. 그러나 그 지향처가 可視化되는 것은 쉽지 않다. 본고는 동양예술에서 형이상의 심미의 궁극처를 ‘化’의 경계를 추사와 강암의 <不作蘭圖>를 審美的인 側面에서 接近하여 고찰하였다. 사실상 모든 예술가가 지향하는 ‘化’의 경계는 실현이 불가능하다. 다만 ‘化’의 경계를 指向할 뿐이다. 그러나 위대한 예술가는 ‘化’의 경계에 있다고 한다. 즉, 模·臨·倣을 통한 후천에 의한 熟, 천부적인 性靈과 格調를 ‘化’ 境界의 조건으로 본다. 본고는 ‘化’의 경계에 있는 서예가로 근대와 현대를 대표하는 서예가로 추사 김정희(1786∼1856, 이하 ‘추사’)와 현대의 서예가인 강암 송성용(1913∼1999, 이차‘강암’)을 예로 들었다. 특히 그들의 <부작난도>를 통하여 化’ 境界를 심미하여 보았다. 심미능력은 審美의 主觀性을 전제로 하고 있다. 추사와 강암의 <부작난도>가 ‘화’의 경계를 형성하였음은 화제에 나타난 예술철학적인 요소 뿐 아니라 문인화 미학을 심미적인 측면에서도 확인하여 볼 수 있다. 화제에 나타난 예술철학적인 관점에서는 첫째 性中天과 不二禪의 유·불의 혼융요소가 있다. 즉, 성중천과 불이선의 유가미학과 불가미학의 공존과 융화가 동양예술이 구현하는 ‘化’로 보았다. 둘째로 閉門覓覓과 偶然寫出은 積工的인 예술활동의 요소로 熟이 있다. 또한 문인화 미학적인 관점에서는 추사 <부작난도>의 미감이 文字香的古拙美感 이라면, 강암의 <부작난도>는 破中和에 의한 狂逸美感으로 심미된다. 추사의 문자향적 고졸미감과 강암의 脫中和, 破中和的인 狂逸의 미감은 ‘化’의 경지의 顯示이다. 동양예술에서 ‘化’의 경계는 동양 예술이 근본적으로 추구하는 憧憬의 길이다. 추사와 강암은 <부작난도>를 통하여 문자향적 고졸미감과 파중화의 광일미감으로 발화시켜 個性과 自己眞情을 보여 주었다. 추사와 강암의 <부작난도>는 시대의 간극을 넘어 서예로써 자신의 경계를 개척함으로 서예술의 ‘化’ 境界의 단면을 보여주었다. Eastern art has been mostly based on Confucianism, Buddhism and Taoism. It is elementally different from western art because eastern art is based on the nature. And it is characteristic that the eastern art becomes more riped through imitating and hard working. Especially, caligraphy, the essence of eastern art, is that case. Depending on the art’s individuality and taste, it is expressed with being unskillful, purity, passion, or deviation. So an artist can experience self-amusement when he creates his own artistic world. Usually an art help a man to experience a beauty of things and all kind of thoughts in everyday life. A man experiences various beauty, is observed in the beauty, and accumulates sense of beauty. In that process a man can have his own eye for the beautiful. Every art pursues unseen metaphysical finality and attempts pleasure. But it is hard to be seen the final destination. This study considered the borderline of ‘wha’ that is the final destination of metaphysical aesthetics based on Chusa’s and Gangam’s “Busaknando” However it is impossible that the borderline of ‘wha’ is realized. So we only try to reach its borderline. But some artist can be said that he is in the borderline of “wha”, because he sticks to his own art all his lifetime. However to be in the borderline, he should be riped with imitating and hard working, This paper studied the borderline of ‘wha’ in eastern art with the“bujaknando” of Chusa Kim, jung-hee(1786∼1856,) and Gangam Song, sung-yong(1913∼1999). The ability of judging beauty is premised on the subjectivity of aesthetic appreciation. If you trace their artistic life, you can realize that the “bujaknando” reached being riped by imitating and hard working. And not only the paintings but also the philosophical elements in the poetic expression of the painting show that they built the borderlin of ‘wha’. First, there are some philosophical elements of fusion both of confucianism and buddhist, 性中天and 不二禪. In other words, coexistence and fusion of both confucian aesthetics and buddhistic aesthetics can be ‘wha’ that the eastern art pursues. second, 閉門覓覓and 偶然寫出are the components of artistic activity, being riped. Therefore the poetic expression of “busaknando” has basic components of artistic philosophy that forms artistic activity. And the two “busaknado” are quite different in the sense of aesthetics although the poetic expression of the paintings is the same. This means the various ways of judging the beautiful because they have different characteristics respectively. Chusa’s “busaknando” shows scholastic unskillfulness, while Gangam’s represents passionate aesthetic scene that breaks harmony. All of them could be possible by hardworking and being riped. So you can realize that these senses pursue ‘wha’ and show the characteristics of the eastern art. The borderline of ‘wha’ is the longing of eastern art that it pursues basically. Chusa and Gangam showed their own characteristics and truth with “busaknando” in that they developed scholastic unskillfulness and passionate aesthetic scene that breaks harmony. This can be an aesthetic sense of caligraphy beyond times.

강암 송성용 서예술의 형성과 전승

권윤희(Kwon, Yunhee) 한국비즈니스학회 2021 비즈니스융복합연구 Vol.6 No.4

분사압력에 따른 분사형 초공동의 특성에 관한 수치해석적 연구

권윤희(Younhee Kwon),정상민(Sangmin Jung),고성호(Sungho Ko) 한국유체기계학회 2016 한국유체기계학회 학술대회 논문집 Vol.2016 No.11

유료복지시설과 무료복지시설 입소 노인의 건강상태와 생활만족도 비교

권윤희(Kwon, Yunhee),오윤정(Oh, Yun Jung) 한국보건간호학회 2009 韓國保健看護學會誌 Vol.23 No.1

Objectives: The purpose of this study was to compare the health status and life satisfaction of elders in charged and free welfare facilities. Methods: The subjects of this study were selected among those without cognitive impairment from charged (124 persons) and free (126 persons) welfare facilities in D city. The data were analyzed using frequency analysis, χ² test, and t-test. Results: Subjective health status was significantly higher for the residents in the charged welfare facilities. The data collected indicated significantly higher scores for the residents at charged welfare facilities when questioned regarding the physical health status, sense, personal hygiene, excretion control and activity. The data collected indicated significantly higher scores for the residents at charged welfare facilities when questioned regarding the mental health status, recall of breakfast side dishes, awareness of dates, interests in daily matters, feelings of happiness, feelings of loneliness and depression. Life satisfaction was significantly higher for the residents at the charged welfare facilities. Conclusions: There were significant differences in health status and life satisfaction of elders in charged and free welfare facilities.

노인전문병원 간호사의 노인에 대한 지식, 태도 및 간호실천

권윤희(Kwon, Yun-Hee),이화연(Lee, Haw-Yean),황승숙(Hwang, Seung Sook) 한국산학기술학회 2013 한국산학기술학회논문지 Vol.14 No.11

본 연구는 노인전문병원 간호사의 노인에 대한 지식, 태도 및 간호실천과의 관계를 확인하고 간호실천에 미치는 영향요인을 파악하기 위하여 시도되었다. 자료수집은 2013년 3월 17일부터 4월 20일까지 D시와 K도 노인 전문병원 간호사 188명을 대상으로 하였다. 연구도구는 노인에 대한 지식, 태도 및 간호실천을 이용하였다. 자료분 석은 SPSS와 Amos 프로그램을 이용하여 빈도분석, 평균과 표준편차, t-test, One-way ANOVA, Pearson's correlation coefficients, multiple regression analysis, 최대우도법을 이용해 분석하였다. 대상자의 노인에 대한 지식은 1점 만점에 0.49점, 태도는 7점 만점에 3.72점, 간호실천은 4점 만점에 3.54점으로 나타났다. 대상자의 연령, 총 임 상경력, 최근 노인관련 교육 경험, 노인과 동거 경험에서 간호실천 차이가 있었다. 대상자의 노인에 대한 지식, 태 도 및 간호실천은 정적 상관관계가 있었다. 노인간호 실천에 영향을 미치는 요인은 노인에 대한 지식, 태도, 최근 노인관련 교육 경험으로 나타났다. This study was carried out to investigate relations among knowledge, attitude, and nursing practice, and influencing factors on nursing practice of the nurses-towards the elderly in geriatric hospitals. Data were collected from March 17 to April 20, 2013 by questionnaires from 188 nurses who work at 12 geriatric hospital in D city and K city. The data were analyzed by the SPSS and AMOS programs. The subjects’ knowledge score was 0.49 out of 1, attitude score of subjects 3.72 out of 7, and their nursing practice score was 3.54 out of 4. There were significant differences in nursing practice among the subjects due to age, duration of employment, current gerontological nursing education, and living with the elderly people. There were significant positive correlations among knowledge, attitude, and nursing practice. According to the research, influencing factors on nursing practice of the nurses-towards the elderly in geriatric hospitals included knowledge, attitude, and current geronological nursing education.

임상간호사의 영상표시단말기 증후군 및 영향요인

권윤희(Kwon, Yunhee) 한국간호교육학회 2016 한국간호교육학회지 Vol.22 No.4

Purpose: The present research is a descriptive study aimed at understanding clinical nurses’ Video display terminal (VDT) syndrome and identifying the factors that affect their VDT syndrome. Methods: Data were collected from 239 clinical nurses working in two metropolitan cities. Research tools included subject’s VDT syndrome assessing musculoskeletal, ophthalmic, dermal, psychiatric, and whole body syndromes. The data were analyzed using frequency analysis, average and standard deviation, t-test, One-way ANOVA, and multiple regression analysis with the SPSS/WIN 20.0 program. Results: The subjects’ VDT syndrome score was 1.34 out of 5. There were significant differences in participating subjects’ VDT syndrome, hospital’s size, working unit, health status, diagnosis of illness, having an Order Communication System (OCS), having an Electronic Medical Record (EMR) System, continuous VDT working for more than one hour, break time during VDT use, VDT use time, comfort of the chair, adjustability of the height of the chair, size of the VDT’s desk, distance between the monitor and the user’s eyes, resolution of the monitor, and frequency of eye exercise during VDT use. According to the research, influencing factors on VDT syndrome in clinical nurses included size of the VDT’s desk, frequency of eye exercise during VDT use, having an EMR system, break time during VDT use, diagnosis illness, and having an OCS’ system. Conclusion: The findings from this study can be used as a basis for future VDT syndrome prevention education and programs for clinical nurses.

MBTI(Myers-Briggs Type Indicator)활용 소집단 협력 학습 프로그램이 간호대학생의 대인관계와 진로정체감에 미치는 효과

권윤희(Kwon, Yun-Hee),곽오계(Kwag, Oh-Gye) 한국산학기술학회 2010 한국산학기술학회논문지 Vol.11 No.11

본 연구는 MBTI활용 소집단 협력 학습 프로그램이 간호대학생의 대인관계와 진로정체감에 미치는 효과를 파악하고자 시도되었다. 학습 프로그램과 연구 참여에 동의한 T대학 간호과 2학년을 대상으로 실험군 30명, 대조군 30명으로 단순무선 배치를 하였으며, 실험군에게는 15주 30시간 MBTI활용 소집단 협력 학습 프로그램을 적용하였 다. 연구도구는 MBTI 검사, 대인관계, 진로정체감 측정도구를 이용하였으며, 자료분석은 SPSS Win 17.0 프로그램 을 이용하여 chi-square test, t-test로 검증하였다. 연구 결과 MBTI활용 소집단 협력 학습 프로그램에 참여한 간호대 학생은 참여하지 않은 간호대학생보다 대인관계와 진로정체감이 긍정적으로 변화하였다. The purpose of this study was to investigate the effect of small group collaboration learning program through MBTI on interpersonal relationship and career identity of nursing college students. 30 experimental group and 30 control group, nursing students were randomly assigned 2nd grade nursing students were selected from nursing program of T university in Daegu, Korea. The 30 experimental group students received small group collaboration learning program through MBTI for 30 hours(2 times in a week for 15 weeks). Measures were MBTI test, interpersonal relationships and career identity scale. The data were analyzed with SPSS Win 17.0 program, chi-square test, t-test. The experimental group which received small group collaboration learning program through MBTI will have a higher level of interpersonal relationships and career identity change score than the control group.

풍죽(風竹) 문인화(文人畵)의 심미지향(審美指向)

권윤희 ( Kwon Yun Hee ) 전남대학교 호남학연구원 2016 감성연구 Vol.0 No.13

풍죽 문인화는 대나무와 바람이 결합되어 이루어진 문인의 그림이다. 풍(風)은 보이지 않은 가운데 감화 ·교화를 시켜주는 형이상의 심미요소가 있으며, 竹은 유가미학의 상징으로 절개·지조·선비 등을 상징하는 심미요소가 있다. 따라서 풍죽 문인화는 竹이라는 자연물로 된 유가미학의 상징과 풍(風)이라는 형이상적인 심미요소가 결합되어 심미이상을 구현한다. 풍죽 문인화는 일반적으로 상리(常理)의 추구가 담겨 있으며, 중신사(重神似)의 원칙으로 청풍고절(淸風高節)의 정신미(精神美)가 드러나게 된다. 풍죽 문인화에 대한 심미는 다양한 관점과 기준에서 이루어질 수 있다. 본고는 기세(氣勢)와 신채(神采)를 가장 중요한 심미기준으로 본다. 왜냐하면 기세에는 동양예술의 기본원리인 숙(熟)이 담겨있고, 신채에는 풍죽 문인화의 품격을 격상시켜 주는 격조가 함께 있기 때문이다. 즉, 기세는 극공의 숙에 의한 개성이며 천착된 필력이 있어야 가능하다. 기세가 외적인 형태로 드러난다면 신채는 내적인 정신이 드러남이다. 풍죽 문인화의 심미기준으로 신채는 품격을 보여주는 심미요소이다. 신채는 속됨을 없애고 맑음의 드러남을 추구하게 됨으로 가능하게 된다. 풍죽 문인화 미학의 심미이상은 비덕을 통한 유가미학의 구현에 있다. 이는 자연물에 군자와 선비를 의인화하여 가능하게 한다. 또한 풍죽 문인화 미학의 심미이상은 선비정신의 가시화(可視化) 하여 줌에 있다. 이는 청풍고절의 의상(意象)과 문향청기의 의상(意象)을 통하여 가능하게 한다. 이와 같이 풍죽의 문인화가 지향하는 심미지향은 비덕에 의한 유가미학의 구현을 통하여 선비정신을 드러내는 바에 있다. Windy bamboo is literati painting combined with bamboo and wind. The wind can`t be seen but has a metaphysical aesthetic element for influence and enlightenment. The bamboo also has a metaphysical aesthetic element for symbol of fidelity, unworldliness, and literati. Therefore, it is combined with the aesthetic element of bamboo which is a natural object and a symbol of Confucian aesthetics and wind which is the aesthetic element of metaphysics to realize the ideal of aesthetics. It generally has the pursuit of the matter of course(常理) and spiritual beauty of the clear wind and high fidelity(淸風高節) is revealed by the principle of the focused on mentally copied(重神似). The aesthetic about the windy bamboo can be reached at many different viewpoints and standards. I believe gi-se(strong force) and sin-chae (noble & mystic state) are the most important. It is because being mature, the basic principle of eastern art, is in the gise and the sin-chae consists of dignity which improves the level of the windy bamboo. In other words, the gise is individuality by studying hard and deeply and it will be available if there were the excavated power of a brush stroke. So, the gise expresses its personality outward, then the sinchae is its inner mind. They are the aesthetic elements of windy bamboo which show grace. This is available through pursuing revelation of clear and erasing earthliness. The ideal of aesthetics in windy bamboo is to embody confucian aesthetics through metaphor. It is possible by personification of wise man and scholar to natural object. And the aesthetic orientation is in the realization of confucian literati`s visualization. It is feasible through the image of the clear wind and high fidelity(淸風高節) and the image of literati`s fragrance and clear vigor (文香淸氣). Like this, the aim of aesthetics expresses the realization of confucian literati by metaphor through confucian aesthetics.

조갑진균증의 진단에 있어 KONCPA 검사의 임상적 의의

권윤희 ( Yoon Hee Kwon ),조백기 ( Baik Kee Cho ) 대한피부과학회 1996 대한피부과학회지 Vol.34 No.4

Background: It has been reported that KONCPA(KOH+Nail clipping+PAS reaction) test might be a useful complementary method with a high positive rate and an exellent view for making the diagnosis of onychomycosis. Objective : This study was aimed to know whether KONCPA test would increase the diagnostic sensitivity of onychomycosis, and agree with the findings of fungus culture and whether KONCPA finding would be of help in diagnosing the causative fungi even in case that KOH smear and fungus culture fail to identify the causative fungi. Methods : Using 95 onychomycotic nail samples obtained from 87 patients, the KONCPA findings were compared with those of KOH smear and fungus culture. Results : The results were as follows ; 1. The positive rates for dtecting the causative fungi from KOH srnear, fungus culture and KONCPA test were 77.9%, 45.3% and 95.8% respectively. The time required for KONCPA test, showing the highest positive rate, was only about 2 to 3 hours. 2. The fungus culture identified the causative fungi from 43 samples, of which dermatophytes were found in 31 samples(72.1%), Candida spp. in 5 samples(11.6%) and molds in 7 samples(16. 3%). KOH smear revealed the causative fungi in 63 samples : dermatophytes 56(88.9%), Candida spp. 4(6.3%) and molds 3(4.8%). KONCPA yielded the highest positivity by detecting the pathogenic fungi in 86 samples(95.8%): dermatophytes 60(69.8%), Candida spp. 8(9.3%), molds 10 (11.6%) and mixed infections 8(9.3%). 3. Compared with the results of fungus culture, 3 groups of fungi showed morphologic differences on KONCPA test: dermatophyte showing septated long and thin hyphae and a few arthrospores, Candida sp. showing blastospores and/or grape-like clusters of regular spores and pseudohyphae, and mold showing irregular hyphae with variable width and aggregates of irregular spores. 4. Of the 52 samples which were negative in fungus culture, 33(63.5%) showed findings of dermatophyte, 2(3.8% ) of Candida sp., 2(3.8% ) of mold and the remaining 11 samples(21.2% ) were negative on KOH smear, Of these 52 samples, KONCPA diagnosed 34(65.4%) to be dermatophytes, 6(11.5%) Candida syp., 6(11.5%) molds, 1(1.9%) mixed infection and 2 samples(3.8%) to be negative. Conclusion : KONCPA test is useful in the diagnosis of onychomycosis because of its higher positive rate in detecting the causative fungi compared with fungus culture or KOH smear. It is also a timesaving and simple procedure. Furthermore, in case that KOH smear and fungus culture fail to identify the causative fungi, it is possible to make a presumptive diagnosis by the findings of KONCPA test. (Kor J Dermatol 1996;34(4): 527-537)