동양화의 공간개념 고찰 I : 동양화의 '여백' 해석을 위한 동양화의 특성 再考 Reconsideration of Characteristics in Oriental Painting for the Interpretation of Marginal -Space

김기주 동덕여자대학교 예술대학 2004 예술논총 Vol.6 No.-

동양화와 서양화와 가장 큰 차이점은 아마도 여백일 것이다. 이 논문은 ‘동양화의 공간개념 고찰’이라는 논문 중 제일 부로, ‘동양화의 여백 해석을 위한 동양화의 특성 再考’ 을 통해 극동아시아인이 갖고 있는 역설을 이해하려는데 목적이 있다. 그런데 동양화는 화 畵와 도화 圖畵의 의미를 이해할 때 비로소 그 의미를 이해할 수 있을 것이다. 唐, 장언원(張彦遠)은 『역대명화기 歷代名畵記』 모두 冒頭를 다음과 같은 회화(畵)의 정의 定義로 시작한다. “대저 회화란 것은 교화를 하고, 인간의 윤리를 조장하며, 신비한 변화를 궁구하고, 깊숙한 것과 미세한 것을 헤아림이 여섯 가지 경서 經書와 공 功을 같이하며, 사계절이 도는 것과 그 운행을 함께 하는 것으로, 천연 [自然]에서 나와야지 지어서 만든 것 [述作]에 말미암은 것이 아니다”. 과연 唐代에 이미 회화 [畵]는 인간의 자연적인 발로로 자연이나 ?書에 필적하는 인간문화의 최상에 있었다. 그런데 그는 안연지(顔延之, 384-456)의 도 ?에는 도리 ?理 ㆍ 도식 ?識 ㆍ 도형 ?形이 있다는 말을 인용하면서, 안연지에게 회화는 도형이었다(『역대명화기』「敍畵之源流」)고 언명한다. 중국회화사를 들여다보면, 이 두 가지 의미를 이해하지 않고서는 중국회화를 이해할 수 없다. 중국 회화사는 형상을 그린 ‘도형 ?形’으로 시작되어, 남북조 시대에 왕미 王微에 의해 도리 圖理, 예를 들어, 괘상 卦象의 영역까지 표현할 것이 요청되었고, 도식, 즉 문자학은 문인 사대부들 곁에 항상 곁에 있었다. 최근까지도 우리는 미술시간을 ‘도화 ?畵’시간이라고 말했고, 아직도 그림 그리는 종이를 ‘도화지 ?畵紙’라고 부름으로써 ‘도’와 ‘화’의 합성어, ‘도화’와 ‘회화’를 동일시하고 있다. M. 설리반이 중국의 산수화를 ‘영원의 상징’이라고 말하듯이, 중국회화의 영역은 상징이나 사고의 영역까지 확대되었다. 따라서 동양화를 서양화적인 개념으로 이해할 수는 없다. 그려지지 않은 여백공간이 표현된 형체보다 더 의미를 담고 있는 동양화에서 여백은 동양인의 삶과 사유세계를 들여다보지 않으면 이해할 수 없을 것이다. 그러므로 II장에서는 중국회화 제작 태도를 둘로 나누어, 변하지 않는 항상성으로서 더 많은 요인들이 있겠지만 지면의 한계상 그 중에서 특히 서양과 다른 ㆍ ‘예화 藝畵 정신’을 다루고, 시대마다 가변적인 것으로서 ‘회화의 목표’를 고대에서 시대 순으로 ‘정교 政敎’ ‘사실 寫實’ ‘심회 心懷의 표현’을 추적해 보았다. ‘예화 藝畵 정신’은 예술이 道를 추구하는 과정이요, 그 결과였다. 예술자체가 예술가의 인품의 정도의 반영이었고, 도의 순간이 찰라이므로, 표현방법은 자연히 ‘필은 간단하면서도 형체가 갖추게(筆簡而形具)되지 않을 수 없었다. 그것이 바로 여백이 많은 수묵화였다. 역사적으로 살펴보면, 그림은 도형 圖形에서, 사실 寫實로, 사실의 핵심인 정신, 즉 신 神을 중시한 북송 문인들의 중신사론重神似論을 거쳐 원에 이르면, 외족의 압제아래에서 오히려 예술을 스스로 즐기는 ’자오 自娛‘의 단계에 이르게 되었다. 그러나 흉중일기 胸中逸氣의 표현이라고해도, ’저절로 발현되어야 하는(發於自然)‘, 장언원의 회화의 정의는 역사상 지속되었다. 따라서 외족의 압제아래, 번영했던 唐의 그림을 모방했던 조맹부도, 북송의 동원을 모방했던 원말사대가도, 옛것을 숭상(崇尙)하여 고화 古畵를 臨 ㆍ 모 摹방 ㆍ 방 倣으로 모방한다해도, 그것은 기술을 모방한 것(師手)이 아니라 작가의 마음을 모방(師心)한 것이었고, 그 때의 상태는 ekstasis, 즉 황유(恍游) 체험 상태였다. 元人은 자유 自由는 문자적 의미에서 자연 自然과 같으니, 그들은 모방이라는 제한 속에서 오히려 의식의 자유를 획득했던 것이다. 시대별로 고찰해 보면, 회화의 목표는 정교 政敎(唐까지) ㆍ 사실 寫實(宋) ㆍ 작가의 새로운 조제 調劑(元)로 변화했다. 그러나 문인 사대부나 직업화가이든 궁극목표는 도 道의 실현, 즉 득도 得道였다. 따라서 III장에서는 득도 得道의 방편과 득도의 표출을 살펴보았다. 득도의 과정은 역사적으로, 작가의 의식으로도 중국인의 독특한 變 ㆍ 通 ㆍ 成을 거쳐 이루어졌다. 중국회화의 독창성은 여기에 있고, 조선조 화가 정선의 <금강산도>나 <박연폭포>도 이러한 의미로 이해해야 할 것이다. 그런데, 득도의 마음의 상태를 들여다보면, 천진한 심사(眞思)요, 유회(游) 상태였다. 이것은, 서양미학에서 칸트가 말한 ‘미는 감성과 오성의 유회상태에서 나오고, 숭고미 崇高美는 감성과 이성의 유회상태에서 나오며, 그 마음은 관심 없는 관심 Interesse ohne Interesse인 무관심성을 전제로 한다는 것과 일치한다. 그러나 여백이 이것만으로 이해되는 것은 아니다. 극동아시아인은 고대부터 음과 양의 『주역 周易』에 익숙해, 역설적인 표현인 수묵의 파묵 破墨과 발묵 潑墨을 통해 여백을 창출하였다. 표현 안된, 음화 陰畵와 표현이 된, 양화 陽畵를 자유자재로 볼 수 있고 표현할 수 있는 능력은 동양인의 이 역설에 기인한다. 동양화에서 여백이 강한 의미를 갖는 것은 이러한 의미들을 이해할 때 비로소 가능하리라고 생각한다. I think that distinction between Oriental painting and Western painting may be marginal space(yue-pai,餘白). This treatise aims at understanding of Far Eastern people's paradox as the first part of "A study on the concept of space in Oriental painting" through reconsideration of characteristics in Oriental painting for the interpretation of marginal space in Oriental painting. However, we can not understand the meaning of Oriental painting until we understand the meaning of 'hua(畵)‘ and 't 'u-hua(圖畵)’. Chang, Yen-YUn (張彦遠) in Tang Dynasty begins his book, 『Li Tai Ming Hua Chi(Some T'ang and Pre-Tang Texts on Chinese Painting)』 which is the first Chinese art history book from the definition of Painting(畵). He says, "Its(that is,) merit is equal to that of (any of )the Six Arts (of Antiquity) and it moves side by side with the Four seasons. It proceeds from the Nature and not from (human invention)" Really, painting was the highst place of human cultures in the T'ang Dynasty. However, he quoted, "Yen(顔延之, 384-456) said that the word t 'u(?) contains three concepts. The first is the representation of principles ?理; the forms of the hexagrams 卦象(of the Book of Changes) are such. The second is the representation of concepts 도식 ?識:the study of written characters has to do with this. The third is the representation of forms, ?形 and this is painting. To Yen, Painting is the representation of forms. In the history of Chinese Painting there were are these three concepts. Without understanding three concepts, we cannot understand the Chinese Painting. It's history began from representation of forms, passed the representation of principles by Wang Wei 王微 in the Six Dynasty and the representation of concepts 도식 ?識:the study of written characters was always written by literati. Until recently we have called a class fine arts a class of Tu Hua ?畵時間 and still painting paper Tu Hua Chi ?畵紙. It says we feel that the two are same. As M. Sullivan called Chinese landscape painting 'symbols of eternity', realm of Chinese painting are enlarged to the realm of symbols or thought. Therefore we must not understand Oriental Painting as the conception of Western Painting. We cannot understand marginal - space not to paint is more meaningful than part to paintwithout understanding of the life and world of the thought of the Orientals. And so in ChapterII, I treated dividing working attitude of Chines painting into two parts, that is. mentality of i-hua 藝畵 which has not changed and aims of painting which have changed from, reality, through official admonition政敎, hsieh-shih寫實, to expression of painter's mind'. Mentality of i-hua is the process which arts search for Tao and the result. Art itself is a reflection of artist's pesonality. As moments of Tao are momentary, methods of it was naturally not able to be 'brush strokes simple and forms satisfy requirements. It is just a painting in Chinese Ink which has many marginal space. Historically, painting proceeded from the representation of forms, ?形 through hsieh-shih寫實, chung-shen-shih-lun 重神似論 which laid stress on spiritual likeness by literati in Nothern Sung Dynasty to tzu-y 自娛which painter pleased himself. Expression of going go to excess in his mind 胸中逸氣 may be eventually Ghang, yen-yuean's proceeding from the Nature(發於自然) and we cany say that definition of painting continues. Though they imitated ancient paintings, they did not imitate their technique but their mind and the situation of the time was ekstasis. Under compression the different race, Yuan, they obtained freedom of consciousness rather in limitation of imitation. Freedom, 自由 is same with the Nature, 自然 in the literal meaning. When we consider periodically, purpose of the painting is changed from official admonition政敎(until T'ang), hsieh-shih寫實(Sung), to expression of painter's mind', that is, new making of the artist. However, all painter's ultimate purpose whether are literati or professional was the realization of Tao 得道. Therefore in chapter III I inquired the methods of the realization of Tao 得道 and expression of it. The process of it was accomplished through Chinese unique pien(change), t 'ung(to be well informed),accomplishment. It is the originality of the chinese painting. We must understand 'Diamomd Mountain' or 'Waterfall Bak -Yun' by Jung Sun in this meaning. By the way, mental situation of realization is genuine thought and the situation of play. This agree with the fact which beauty and the sublime come from the situation of play between knowledge abilities and it's mind is based on 'interest without interest' which Kant said in Western aesthetics. However, we cannot understand marginal space in Original painting as such. Chinese became accustomed with the Book of Changes 周易 of Yin and Yang from the ancient. Because they became accustomed with paradox, they created paradoxical marginal space through paradoxical expression of p 'o-mo 破墨 and p'o-mo 潑墨. We can see Yin-hua which there is not expression and Yang-hua which there are expressions. It originated from an Oriental's paradox. When we understand these meanings, I think, we can understand what marginal spaces have the important meaning in Oriental painting.

김기주

김기주 한국사진학회 1997 AURA Vol.4 No.1

취학 전 음운장애 아동의 철자인식 병행한 음운인식 그룹 중재의 효과

김기주 사단법인 한국언어학회 2009 한국언어학회 학술대회지 Vol.2009 No.6

컴퓨터 응용설계기술(CAE)을 이용한 자동차용 서브-프레임 부품의 하이드로포밍 공법 설계

김기주 한국기계기술학회 2017 한국기계기술학회지 Vol.19 No.6

Recently, the use of tubes in the manufacturing of the automobile parts has increased and therefore many automotive manufactures have tried to use hydro-forming technology. The hydro-forming technology may cause many advantages to automotive applications in terms of better structural integrity of the parts, lower cost from fewer part count, material saving, weight reduction, lower spring-back, improved strength and durability and design flexibility. In this study, the whole process of sub-frame parts development by tube hydro-forming using steel material is presented. At the part design stage, it requires feasibility study and process design aided by CAE (computer aided design) to confirm hydro-formability in details. Overall possibility of hydro-formable sub-frame parts could be examined by cross sectional analyses. All the components of prototyping tools are designed and interference with press is examined from the point of geometry and thinning.

Development of Application Technique of Aluminum Sandwich Sheets for Automotive Hood

김기주,Meung Ho Rhee,최병익,김철웅,성창원,한창평,강기원,원시태 한국정밀공학회 2009 International Journal of Precision Engineering and Vol. No.

Objective of this study was to develop basic techniques in order to apply aluminum sandwich sheets for an automotive hood part. The aluminum sandwich sheet is the material fabricated by adhering two aluminum skins to one polypropylene core. When it has the same bending stiffness as a steel sheet, it is 65% lighter than the steel sheet and 30% lighter than an aluminum alloy sheet. Therefore, it is notified exclusively as good substitutive materials for a steel body to improve the fuel efficiency. Through aluminum sandwich sheet, however, it has relatively lower formability than that of the steel sheet for automotive application. In this study, we developed application techniques of the aluminum sandwich sheet for automotive hood. The various formability evaluations were carried out in order to secure the fundamental data for the measurement of sheet metal forming and the establishment of optimum application conditions of the sandwich sheet. From these results, it was found that the sandwich sheet could reduce the weight and maintain the flexural rigidity simultaneously comparing to the steel sheet.

크롬산의 농도변화에 따른 FRP 의 부식에 관한 연구

김기주,성덕훈 ( K . J . Kim,D . H . Sung ) 한국부식방식학회 1990 Corrosion Science and Technology Vol.19 No.1

다차원적 해양안보 위협과 한국의 전략적 선택:한국 해군의 전략과 전력 발전방향을 중심으로

김기주,손경호 국가안보전략연구원 2013 국가안보와 전략 Vol.13 No.1

The main purpose of this study is to discuss development direction of the ROK navy’s strategy and force structure in response to multiplication of maritime security threats in Northeast Asia. In the 21st century, the ROK navy faces a multilevel threats, which include North Korea’s military threat in the Korean peninsula, neighboring countries’ potential threats in Northeast Asia, and transnational threats in international area. In order to effectively and simultaneously respond to these triple-threats, the ROK navy should establish a tailored and balanced strategy. That is, the ROK navy should accomplish maritime control at offshore to deter military provocations of North Korea in peacetime and to win a war in wartime. It should also make maritime balance in preparation for deterring any maritime disputes with neighboring countries in the region. In addition, the ROK navy should actively participate in maritime cooperation in the blue sea to cope with transnational threats. To efficiently play a triad balance strategy, it is necessary for the ROK navy to build a maneuver fleet. The efficient utilization of a maneuver fleet by the ROK navy will bring significant contribution to peaceful reunification in the Korean peninsula, stability in Northeast Asia, and international peace. 본 논문의 목적은 동북아 해양안보 위협의 다원화에 따른 한국 해군의 전략과 전력 발전 방향을 논의하는 것이다. 21세기 한국 해군은 한반도에서의 북한 위협, 동북아에서의 주변국 위협, 그리고 국제지역에서의 비전통적 위협이라는 다차원적 위협에 직면해 있다. 이러한 삼중위협에 효과적으로 대응하기 위해서, 한국 해군은 위협대상에 따른 맞춤형 전략을 균형적으로 수립해야 한다. 즉, 북한 위협에 대비하기 위하여 연안에서 해양통제를 달성하여 북한의 도발을 억제하고 전면전시에는 전쟁승리에 기여하며, 주변국 위협에 대비하기 위해서는 근해에서 해양균형을 달성하여 주변국과의 해양분쟁을 억제하고 분쟁 발생시에는 주도권을 선점해야 하며, 비전통적 위협에 대비하기 위해서는 원해에서 적극적인 해양협력을 수행해야 하는 것이다. 이와 같은 3축 균형전략을 효과적으로 수행하기 위해서는 기동함대의 건설이 필요하며 기동함대는 국가전략과 외교정책을 지원하는 핵심 전략수단으로서 한반도 통일과 동북아 안정, 그리고 국제 평화 유지에 기여 할 것이다.

Change and Continuity in the South Korean Military: An Application of the Postmodern Military Model

김기주 국방대학교 국가안전보장문제연구소 2010 The Korean Journal of Security Affairs Vol.15 No.1

Facing the decreased scale and intensity of threat perception in the post-Cold War era, armed forces in a number of Western countries have been required to transform their major mission definition, force structure, and dominant military professional. After reviewing this trend, this study raises a question: are similar phenomena occurring in South Korea? Unlike the postmodern military thesis, this article argues that the mere change of the international system does not automatically lead to the change of a state's threat definition and people's threat perception. More importantly, this study claims that identifying how the military and people perceive what kinds of sources of threat do really matter with national security is critical. In essence, this study argues that in South Korea, with its present high external threats to national security, the military will not shift toward a postmodern military. From this argument, this study examines how the threat perceptions have influenced the South Korean military in the post-Cold War era, as compared with the Cold War period, highlighting the issues of major mission, force structure, and dominant military professional. This study finds that under the unchanged high national security threat from North Korea, the South Korean military's major mission definition remains national defense and support of alliance and it keeps a large professional army with a conscript system, although it has experienced the downsizing of the army and increasing participation in multi-missions. The fairly noticeable change in the South Korean military is the shifting image of senior officers from warrior style to technician/manager or soldier-statesman/ soldierscholar. Consequently, a postmodern military model may not be an option for the South Korean military anytime soon.

SERRATION MECHANISM OF AA5182/POLYPROPYLENE/AA5182SANDWICH SHEETS

김기주 한국자동차공학회 2006 International journal of automotive technology Vol.7 No.4

The AA5182/polypropylene/AA5182 (AA/PP/AA) sandwich sheets have been developed for application to automotive body panels in future lightweight vehicles with significant weight reduction. It has been reported that the AA5182 aluminum sheet shows Lüders band because of dissolved Mg atoms that cause fabrication process problem, especially surface roughness. The examination of serration behavior has been made after the tensile deformation of the AA/PP/AA sandwich sheets as well as that of the AA5182 aluminum skins at room and elevated temperatures. All sandwich sheets and the AA5182 aluminum skin showed serration behavior on their flow curves. However, the magnitude of serration was significantly diminished in the sandwich sheet with high volume fraction of the polypropylene core. According to the results of the analysis of the surface roughness following the tensile test, Lüders band depth of the sandwich sheet evidently showed lower than that of the AA5182 aluminum skin. The strain rate sensitivity, m-value, of the AA5182 aluminum skin was −0.006. By attaching these skins to the polypropylene core, which has relatively large positive value of 0.050, m-value of the sandwich sheets changed to the positive value. The serration mechanism of the sandwich sheets was quantitatively investigated in the point of the effect on polypropylene thickness variation, that on the strain rate sensitivity and that on the localized stress state.

20세기초 4칸${\times}$4칸 교회의 평면구성 및 구조형식에 관한 연구

김기주,Kim, Ki-Joo 한국건축역사학회 2008 건축역사연구 Vol.17 No.5

This study aims to investigate and analyze the plan and structural system of 4 kan(間) by 4 kan(間) square church built in early 20th century. At that time, three kinds of traditional wooden structure church had been built under the circumstances of transitional era : Basilica style such as Ganghwa Anglican Church, 'ㄱ' shaped style such as Keumsan Church and $4{\times}4$ Square style such as Bukok Church and Jacheon Church that are concerned in this study. Traditional plans and structural system were mixed with new religious function and transformed into korean peculiar style. $4{\times}4$ Square style is a residual product in that process. Despite of it, little concerns on it till now. The results of this study are described as follows. 1. The plan of these $4{\times}4$ square churches is divided into three areas : cathedra($1{\times}1$), attendance($4{\times}2$), and intermediation($4{\times}2$). The location of cathedra is commonly the opposition part of main gate and projected out of the building. Attendance area was also divided into two, man and woman, because of keeping a distance with each other. 2. The structural system of these $4{\times}4$ square churches are somewhat different because of their size and roof style. In the case of Bukok church, $4{\times}4$ square fall off $3{\times}3$ and $2{\times}2$ gradually and turn into paljak(八作) roof, which enable us to get in traditional entering methods. On the contrary, Jacheon church use hipped roof but almost alike pyramidal roof, which could make us not to recognize entering in the aspect of gable part.