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This study is focused on the role and achievement of the Seohwa Misulhoe (書畵美術會 Association of Calligraphy and Painting) formed in the early 20th century as one of the Korea's first art institutions contributing to the production of distinguished artists and bridging the traditional and modern paintings and calligraphic works. Despite the significant role it played, the institution is today largely related with an outdated, pre-Modern method of learning via imitating old masters. The main discussion deals with the value of the institution in connection with the historical significance of 1910s, conservatism in art circles, conservative reformist nature of its support groups, and comparison between the association and other organizations engaging in palace affairs during the period. Teachers working in the association were called hwasa (畵師 painting masters) and took over some of the functions that had been performed by Dohwaseo (圖畵署 the Royal Art Council), including providing the court with human resources required for, for instance, the publication of uigwe (儀軌 the royal protocols). The situation led the Seohwa Misulhoe members to train themselves to improve the techniques related with various state events, resulting in the maintenance of conservative tradition of instructions. The study also contains a discussion about the association's transition from Seohwa Misulwon (書畵美術院 the Painting and Calligraphy Society) and operation through the discovery and research of new materials. The materials include a record about a Japanese who participated in the association's first graduation in 1914. Other materials used for the discussion of the research activities held in the Seohwa Misulhoe school include a collection of textbooks, the Shanghai-issued painting manuals, and studies made and owned by Yi Yong-geol, a student who attended the institution for the longest period of time until its close.
The purpose of this study was to investigate the relationship between Self-concept, Personal variables and Clothing selection behavior. Self-concept was measured with Choi Jung Hun's 'Perceptual Orientation Scale' and Clothing selection behavior scale was prepared for this study. The questionnaire were completed by 389 women in Taegu. Statistical analysis was performed using F-test, Scheffe's test. The results were as follows; 1. There was significant relationship between Self-concept and Clothing selection behavior. (individuality, conformity, economy, modesty). 2. There was significant difference in clothing selection behavior variables according to age. 3. There was significant difference in individuality and economy according to marital status. 4. There was significant difference in individuality, economy and modesty according to education level. 5. There was significant difference in clothing selection behavior variables according to monthly clothing expenses.
This study aims to identify female Japanese painters in Korea during the first half of the 20th century and to survey their characters and activities as painters. This study focuses on Doi Saiho, Adachi Hideko, and Tanaka Fumiko of Oriental painting, and Miyake Yasuko and Matsusaki Kimi of Western painting; it will trace their biographies as painters, examining their educational backgrounds, reasons for moving to Joseon, and their painting styles. This study especially highlights on the fact that the Bird-and-Flower paintings in the department of Oriental paintings of Joseon Art Exhibition . a gorgeous and detailed depiction of f lowers, a contrast between dense f lower trees and blank background . followed the style of Araki line led by Doi Saiho. Many female painters received the opportunity to learn western painting through Joseon Art Association of Yamada Shinichi and Joseon Art Company of Dada Gijou, along with the activities of female art teachers of the No. 1 Girl's Secondary School and No. 2 Girl's Secondary school. A still-life painting was especially a large part of the Western painting; the pastimes of women at that time, such as Dahlia and French dolls . also an important subject in the Japanese Government Exhibitions - were ref lected in their works. Based on this knowledge, this study takes another step in understanding the relationship between the Japanese Art and Joseon Art during the colonial period, including the characters of the female painters who had not received enough recognition, and the organization and the characteristics of Joseon Art Exhibition where those painters were mainly active.
1920년대는 다양한 외부로부터의 영향과 함께, 朝鮮美術展覽會를 통해 宮展風이 성립되면서 미술계의 지형이 변화하고, 근대성이 심화되는 중요한 시기이다. 이와 같은 1920년대 경향성의 일면을 살피는 과정에서, 본 연구는 首雲 金龍洙(1901-1934)를 선별하고 이와 관련된 회화적 흐름에 주목하고 있다. 실제로 본고에서 제시하게 될 김용수에 대한 새로운 자료들은 고무로 스이운(小室翠雲, 1874-1945)이라는 스승의 후광, 서화미술회 수학 및 書畵協會展覽會 출품, 5차례의 조선미전 동양화부 입상, 고려미술회 동인 및 근대 유명화가와의 합동전시회 등 화려한 경력을 증거해 주고 있는데, 그럼에도 불구하고 김용수는 30대 중반의 나이에 요절함으로써, 현재 학계에 그 이름이 거의 알려지지 않았던 것이다. 이러한 가운데, 본고를 통해 김용수는 1923년경부터 국내에서 활동하면서 조선미전을 중심으로 고무로 스이운의 영향을 받은 남화풍의 사경산수를 선보였고, 일본 남화계의 재부흥을 도모했던 日本南畵院 작가들의 작풍과도 관련이 있음을 밝혀볼 수 있었다. 따라서 김용수의 직품은 서화협전과 조선미전에서 시도되었던 同硏社 작가들의 사경산수와도 비견되면서, 같은 시기 화단에서 공존하게 된 것이다. 이처럼 한국 근대 미술계에 미친 일본 신남화의 영향문제에 있어서, 김용수는 유학을 통해 직접적으로 신남화 화풍을 국내화단에 도입하였으며, 여기에 그의 선봉적 역할을 간과할 수 없게 된다. 그럼에도 불구하고 생애 후반기, 관전풍 사경산수가 틀을 잡아가면서 변화의 길을 걷고 있을 때, 이러한 주류적 움직임으로부터 배제되면서 결국에는 화조영모나 인물 등으로 장르를 전환하게 되고, 지방을 순유하면서 수응화가로서의 삶을 살 수 밖에 없었던 그의 삶과 작품세계에 초점을 맞추어 보았다. The period of the 1920s is deemed to be an important time during which, together with diverse external influences, styles of government-hosted exhibition(官展風) were established through Joseon Arts Exhibition(朝鮮美術展覽會), effecting changes to the landscape of the fine art community and furthering its modernization. With regard to the review of the salient aspects of such trends of the 1920s, this research focused on Kim Yong-su (pen-name: Suun, 1901-1934) and the relevant fine art trends. New data on Kim Yong-su handled in this study indicate that he received the strong support of his teacher, Komuro Suiun(小室翠雲, 1874-1945), received his training with the Seohwa Fine Art Association(書畵美術會), presented his works at the Seohwa Association Exhibition(書畵協會展覽會), was awarded runner-up prizes on five occasions in the category of Oriental paintings at the Joseon Arts Exhibition, was a member of the Goryeo Fine Art Association(高麗美術會), and held joint exhibitions with a famous contemporary artist, showing his great achievements. However, Kim Yong-su died young in his mid-thirties, resulting in his name being little known among current academic circles. The research also found that as Kim Yong-su first became domestically active around 1923, he exhibited Nanga(南畵) style landscape paintings influenced by Komuro Suiun in the Joseon Arts Exhibitions, and that his painting style was linked with that of the Nihon nanga-in(日本南畵院) artists who attempted to revive the Nihon nanga community. Thus, Kim Yong-su's works were compared with the modern artists' landscape paintings exhibited at the Seohwa Fine Art Association's Exhibitions and the Joseon Arts Exhibitions, as he conducted his artistic activities in conjunction with those colleagues. As such, with regard to the influence of the Japanese new-nanga paintings on Korean modern art community, Kim Yong-su personally led the introduction of the new-nanga painting style to Korean modern fine art community as he studied in Japan. Nonetheless, in the last period of his life, as landscape paintings shown at government-hosted exhibitions began to establish themselves as different painting styles, he became alienated from the mainstream, and eventually switched genres, thereafter concentrating on paintings of animals, flowers and birds. Kim Yong-su also toured local regions and drew paintings by popular requested, and this research has focused on his life and works.
In the case of edentulous patients, the total amount of occlusal force is dispersed by the keratinized gingiva during mastication, in result, causing lower masticatory and chewing efficiency. In particular, the mandibular area has more side effects such as pain than the maxilla has. It gets worse when the patient has more absorption of alveolar bone, but the implant treatment is often interrupted due to the existence of the inferior alveolar nerve. In this case, a patient treated with the all-on-4 method by placing the implant in the anterior part of mandible and with the conventional complete denture for the maxilla has maintained without complications and was satisfied with the restoration both functionally and esthetically. 무치악 환자의 보철치료에서 총의치를 이용한 보철 치료 시 각화 점막을 통해 교합력을 분담하므로 저작력과 저작 능률이 떨어지고 특히 지지 점막 면적이 작은 하악의 경우 상악에 비해 통증 발생 등의 부작용이 더 많다. 치조골 흡수가 많은 환자일수록 이는 더 심화되나 하악 구치부 측의 하치조신경관의 존재 때문에 임플란트를 동반한 적극적 치료가 어려운 경우가 많다. 이에 본 증례에서는 상악에는 전통적인 총의치를 제작하고 하악은 치조골 높이가 충분한 전방부에만 임플란트를 식립하여 all-on-4 방법으로 치료한 환자에서 좋은 경과를 보여 보고하고자 한다.