기억 속의 가공된 이미지: 蘇軾의 〈偃松圖〉 - 김정희 〈歲寒圖〉 연구Ⅱ를 겸하여 -

김현권(Kim, Hyunkwon) 한국미술사교육학회 2021 美術史學 Vol.- No.42

현재 蘇軾이 그렸다는 작품이 상당수 전한다. 이 중에는 〈木石圖〉처럼 진작에 가까운 작품이 있는가 하면 전칭작 중에는 본고의 주제와 관련하여 상하이박물관 소장 〈枯木叢篠〉, 베이징고궁 박물원 소장 〈古柏圖〉, 그리고 개인 소장 〈偃松圖〉를 열거할 수 있다. 이 그림들에는 소식의 〈목석도〉에 보이는 세죽, 바위, 용과 뱀처럼 휘감긴 나무가 그대로 재현되어 있다. 이렇듯 진작으로 통용될만한 요소를 간직하고 있으나 그림 속 나무는 비스듬한 정도가 아니라 지면에 닿을 정도로 누운 형태이고 기둥이 직각에 가깝게 꺾였다. 이런 부자연스러운 형태가 전칭작에서만 강하게 보이는 점은 진작이 사라져 볼 수 없는 상황에서 「偃松屛贊」같은 문헌이 작품을 대신하였고 이 중에 ‘偃松’이라는 단어는 후대인들이 소나무를 비롯한 고목의 완전히 누운 이미지를 상상하게 해주었다. 상기 작품들은 시대가 내려갈수록 상반된 평가를 받는데, 〈목석도〉는 주목받지 못했으나 나머지 전칭작은 관심의 대상이 되어 갔다. 특히 원명대를 거치면서 소식이 〈언송도〉를 그렸다는 인식과 가공된 소식의 ‘언송’이미지가 나타났다. 그리고 乾隆帝(1736~1795)의 회화 애호와 궁정 수장품의 분류 사업 및 翁方綱(1733~1818)과 주변 인물의 소식 애호는 전칭작이 진작의 지위를 확실히 갖게 해주었다. 그러므로 이 전칭작은 이들의 가슴과 머릿속에 담긴 소식의 ‘언송’이미지를 읽어낼 중요한 자료가 된다. 한편 翁門 내에 구축된 ‘언송’이미지는 김정희를 비롯한 연행 구성원을 통해 조선에 유입되었고 김정희는 〈언송도〉를 남기기도 하였다. 그러나 〈세한도〉의 소나무 형태는 가공된 소식의 ‘언송’이미지와 관련성이 희박하다. 그는 論語 「子罕」편을 조형화하기 위해 倪瓚 화풍에 고목죽석도 구성을 결합하여 〈세한도〉를 제작하였다. Currently, many works are said to have been drawn by Su Shi(蘇軾). Among them, there are work close to the authentic works, such as 〈Tree and Rock(木石圖)〉, and among the attributed works related to the subject of this article, 〈Dry Tree and Bamboo(枯木叢篠)〉, 〈Old Cypress Tree(古柏圖)〉, and 〈Lying Pine Tree(偃松圖)〉. The authentic works depict a thin bamboo, rock and snake-like winding tree in Su Shi’s 〈Tree and Rock〉. In other words, it retains elements that can be used as authentic works, but the wood in the painting is not slanted but laid to the ground, and the columns are bent close to the right angle. This unnatural form appears only in the attributed works because literature such as 「Lying Pine Tree Painting’s Poem(偃松屛贊)」 has replaced works in the absence of the authentic works. In particular, the word “Lying Pine Tree(偃松)” in the literature allowed future generations to imagine fully laid images of old trees, including pine trees. These works received conflicting reviews as the times passed. Among them, 〈Tree and Rock〉 began to lose public interest, whereas, the rest of the attributed works received attention. In particular, the recognition that Su Shi painted 〈Lying Pine Tree〉 and the fictional Su Shi’s “Lying Pine Tree(偃松)” image appeared in the Yuan(元) and Ming(明) period. During the Qing(淸) period, the attribute works though the love of painting by Emperor Qianlong’s(乾隆帝, 1736-1795) and interest in Su Shi in the school of Weng, Fang-gang(翁方綱, 1733-1818). Therefore, these attributed works are an important source of information to read the “Lying Pine Tree” image of what they think. Meanwhile, the “Lying Pine Tree” image, which was built in Weng School, was introduced to Joseon through Kim Jung-hee(김정희) and other members of the group, and Kim Jung-hee also drew 〈Lying Pine Tree(偃松圖)〉. However, the shape of the pine tree in 〈Wintry Days(Sehan-do, 歲寒圖)〉 differs from the fictional Su Shi’s “Lying Pine Tree” image. He combined the Ni Zan(倪瓚) style of painting and the composition of the “Dry Tree, Bamboo, and Rock(枯木竹石)” to visualize the “Zihan(子罕)” chapter of 〈The Analect(論語)〉.

炯庵 李德懋의 회화관과 한중교류

김현권(Kim, Hyunkwon) 고려대학교 한국학연구소 2014 한국학연구 Vol.49 No.-

李德懋(1741~1793)는 다양한 화목의 회화를 남겼던 화가이다. 그는 洛論의 天機論과 북학파의 寫生論이라는 창작론에 바탕을 둔 작품을 제작하였으며 朱子學에 근거한 載道論이라는 기능론으로 예술의 효용성을 한정시켰다. 이러한 개념 중에 천기론과 재도론은 그가 북학파로 활동하기 이전부터 개진하였는데, 그의 집안이 노론이라는 점과 이덕무가 김창협 집안의 후손과 가진 교유에 따른 것으로 판단할 수 있다. 이후 1768년경부터 이덕무는 박지원이나 박제가 등과 교유하면서 북학파로서 활동하였다. 이로써 그는 다양한 색목과 학맥의 士類나 서화가들과 교분을 가지게 되었고 북학파내의 사생론과 한중교류성과를 공유할 수 있었다. 이러한 측면은 북학파가 사상적으로 유연하였고 庶孼許通을 지지하였기에 가능하였던 것이다. 이덕무는 1778년 3월에 燕行을 하여 四川 출신의 淸 문사들과 교분을 가졌다. 이러한 교분은 홍대용과 유금이 이룬 한중교류의 성과에 힘입은 것이다. 그러나 이덕무는 청의 소조를 조선의 초상화관으로 이해하는 등, 청 회화에 대한 이해가 넓지 않았으며 자신이 가졌던 회화관으로 청 회화를 바라보았다. 이덕무는 연행 이후에도 기존의 회화관을 유지하였다. 그러면서도 화훼조충도류에 대한 관심과 재도론적 사고의 상대적 감소 등, 약간의 변화를 보여주었다. 이는 당시 청에 고증학과 필묵이 강조된 산수화가 성행한 점과 무관하지 않을 것이다. 이러한 변화는 그의 작품에서도 나타나는데, 〈산수〉에서 소슬한 분위기를 내는 구성은 청대 회화 경향과 연결된다. 한편 〈산수〉는 이덕무의 전반적인 회화 경향을 확인시켜 주는 중요한 요소를 갖추고 있다. 적당한 물기를 머금은 필치는 이인상의 필법을 연상시키며, 배경을 생략한 구도는 마치 김정희의 〈세한도〉나 〈고사소요〉에서 찾을 수 있다. 그러므로 이 그림은 노론 내에서 선호되었던 18세기 전반의 이인상 화풍과 19세기 전반의 김정희 화풍을 조형적으로 연결시켜주는 요소를 갖고 있다. 즉, 이덕무는 박지원이나 박제가처럼 청의 학예 경향에 경도된 예술가가 아니라, 북학파 중에서 가장 전통을 충실히 계승하는 가운데 청의 회화 경향을 조심스럽게 수용하였던 화가라고 평가할 수 있다. Yi Dukmoo was a painter who drew various kinds of flowers and trees. His creative painting was influenced by Cheongi Theory(天機論) of Nak school(洛論) and Saseang Theory(寫生論)of Bukhakpa(北學派). For him, the role of art should be viewed in the light of Jaedo Theory(載道論)based on the doctrines of Chu-tzu(朱子學). Among these concepts, Cheongi Theory and Jaedo Theory were importantly considered even before he joined in Bukhakpa. This could happen because his family was a member of Nak school and Yi Dukmoo was a friend of Kim Changheap family. Since 1768, Yi Dukmoo had worked as one of Bukhakpa, keeping company with Park Jiwon and Park Jaega. He had relationship with many scholars and painters whose ideas and styles were various, sharing Saseang Theory of Bukhakpa with them. This was possible because ‘flexibility of idea’ and ‘support about Abrogation of the Discriminations against Seol’, which means allowing sons of concubines to appoint as public officers, were agreed within Bukhakpa. On March 1778, Yi Dukmoo went to China and met with writers from Sachun(四川) province. They became friends thank to Korea-China exchange achieved by Hong Daeyong and Yu Gum. However Yi Dukmoo could not fully understand paintings of Chung dynasty ? for instance, he viewed Chinese plastic arts on the perspective of the portrait method of Chosun dynasty ? which meant he interpreted Chinese paintings with his view of Korean painting. Even after came back from China, Yi Dukmoo kept his Yi Dukmoo view on paintings. However there were small changes: he was interested in paintings about flowers, birds and bugs, while relatively lost interest of Jaedo Theory. This might be caused by the popularity of landscape painting in which the study of ancient document and brush & ink had been focused. His paintings reflected these changes, for instance, loneliness seen in 〈Sansu〉 could relate to the painting trend of Chung dynasty. In the meanwhile, his painting 〈Sansu〉 clearly shows Yi Dukmoo’s style. His brush contained appropriate amount of water, which reminds of Lee Insang. The simple composition was similar to 〈Sehando〉 and 〈Gosasoyo〉 of Kim Junghee. Thus the painting has some factors which make it possible to connect Lee Insang’s painting style in the first half of 18 century when Noron faction had been preferred and Kim Junghee’s style in the first half of 19 century. In other words, Yi Dukmoo was not an artist who followed Chung dynasty’s style like Park Jiwon and Park Jaega, but a painter who preserved Korean tradition very well and carefully adopted Chung’s painting style.

Image Dehazing using Conditional Context-aware Generative Adversarial Network

Md Foysal Haque(포이살 하크),Hye-Youn Lim(임혜연),Dae-Seong Kang(강대성) 한국정보기술학회 2021 Proceedings of KIIT Conference Vol.2021 No.11

기후 변화 인해 흐리고 흐린 날씨가 자주 일어나기 때문에 시야가 좁아진다. 최근 이미지 디헤이징을 위한 딥러닝 접근법의 개발에서, 이 작업은 컴퓨터 비전에서 좋지않은 성능으로 도전적인 문제로 여전히 간주된다. 본 논문에서 제안된 비지도 딥 러닝 모델인 이미지 디헤이징의 성능을 향상시킨다. 제안된 모델은 이미지 디헤이징 작업을 강화하기 위해 조건부 상황 인식 생성적 적대 네트워크를 통한 비지도 학습 방법을 채택했다. 이 모델은 희미해진 데이터와 원래의 희미하지 않은 훈련 데이터 사이의 상황 차이를 기반으로 희미함을 제거하는 방법을 학습한다. 또한 제안된 모델은 이미지의 사실적인 텍스처 정보를 생성하고 복잡한 흐릿한 이미지에 대한 시각적 대비를 향상시키기 위해 성공적인 정확도를 달성했다. Due to climate change, cloudy and hazy weather frequently occurs; therefore, this weather condition reduces visibility. In the recent development of deep learning approaches for image dehazing, the task remains considered an ill-posed and challenging problem in computer vision. Enhance the performance of image dehazing, an unsupervised deep learning model proposed in this paper. The proposed model adopted the unsupervised learning strategy with Conditional Context-aware Generative Adversarial Network to enhance the image dehazing task. The model learns to remove the haze based on the context difference between the dehazed and original haze-free training data. In addition, the proposed model achieved successive accuracy to generate realistic texture information of the image and enhance visual contrast for the complex hazy image.

소쉬르의 《일반언어학강의》와 《제3차 강의노트》의 비교

김현권(Hyunkwon Kim) 사단법인 한국언어학회 2017 언어학 Vol.0 No.78

This paper reviews and examines the Saussure’s third course in general linguistics from the Notebook of E. Constantin with a view to making a contrast between the third course and CLG, ‘the Vulgate.’ Saussure’s third course is particularly important for understanding his authentic thoughts on general linguistic theory and its development. The editors of CLG, Bally and Sechehaye, did not make use of Constantin’s Notebook of the third course, in which many new ideas on general linguistic theory can be found in comparison with the first course and the second. One can recognize the visible contrast in the order of the contents and many different terms between the two versions.

동사 의미와 사전 기술

김현권(Kim, Hyunkwon) 한국사전학회 2015 한국사전학 Vol.- No.25

We have discussed some linguistic and lexicographic problems raised in the course of constructing the Verb Construction Dictionary of Contemporary Korean that is being prepared. Although the title indicates the verb construction dictionary, it contains many other useful linguistic informations enough to fully understand a verb’s usage, including constructions of a verb headword: morphological, grammatical, semantic, pragmatic and lexical combinatory(collocation and idioms) informations. There are six core features of the dictionary distinguished from traditional dictionaries, in terms of which are revealed its own properties and values. 1) coverage of verbs, 2) homonymic division of a headword, 3) detailed representation of constructions and selectional restrictions, 4) rank of sense unit and subsense and their arrangement, 5) definition and its English translation, and finally 6) paradigmatic sense relations.

전문용어사전의 정의와 지식표상

김현권(Kim, Hyunkwon) 한국사전학회 2013 한국사전학 Vol.- No.22

The goal of the article is to present a very useful and effective way of terminographic definition using the basic lexicographic concepts of the ECD of I. Melčuk and Semantic Dictionary of Paducheva & Custova as well as the qualia structure of the Generative Lexicon of Pustejovsky, all of which are based on the semantic knowledge representation. For this poupose, we have proposed that terminographic definitons are segmented into homogeneous concept/knowledge units called 〈noemes〉 and sematico-conceptual features which has their own values are analysed. These noemes are arranged and patterned in a consistent way within the definitions according to the qualia structure, which will make easy the comparison between termes and their comprehension, and further facilitate the elimination of old concepts or noemes and the addition of new concepts/knowledge in the definition. This kind of terminographic definitons will also be easily implemented in the knowledge engineering.

소쉬르 언어사상의 발달 : 「논고」에서 「노트」/「강의」로

김현권(Hyunkwon Kim) 사단법인 한국언어학회 2009 언어학 Vol.0 No.53

In this paper, we have traced the origin and the development of Saussure"s thought on General Linguistic Theory which is described as such in Cours de Linguistique Generale. His general linguistic thought has many original aspects but it has not originated ex nihilo, it has various linguistic and philosophical sources. Saussure started his linguistic career from the comparative historical Indo-european linguistics which prevailed the nineteenth century linguistics. His famous work Memoire was the culmination of his early study in this domain of linguistics. But, in this work, we can find the term systeme, mot clef of the structural method which made sure of the success of the work. This should be considered as the seed of his general linguistic thought. The other principal sources of his general linguistic theory are not so obvious, and are dispersed. Although his own writings which reveal the general theory are so scanty, we have a few important writings, for exemple the inaugural lectures in Geneve University and some manuscript notes for the preparation of Courses of General Linguistics and of a book of which he would have conceived as about the general linguistics. These materials are edited and published recently as a book titled Ecrits. We have examined Memoire, Ecrits and Cours with a view to finding whether there exists the continuity and/or discontinuity of the development of his linguistic thought and to investigating the dynamic process of constructing the general linguistic theory.

조선후기 小照의 제작과 북학파의 역할

김현권(Kim Hyunkwon) 한국미술사학회 2011 美術史學硏究 Vol.- No.271·272

19세기와 20세기 프랑스 언어학의 지적 전통과 혁신

김현권(Hyunkwon Kim) 사단법인 한국언어학회 2012 언어학 Vol.0 No.64

This paper tries to trace the development of main linguistic trends revealed from the examination of the major contributions by the four important linguists Breal, Saussure, Meillet, and Benveniste in the turning period of 20th century in France. First, Breal, founding father of the comparative historical linguistics in France. introduced the German comparative historical linguistics in France, but he radically turned the form based historical studies into the semantic change with a view to find the general laws which govern our reasoning mind through semantic changes. Here we find a trace inherited from the Port-Royal Grammar. Then, as Indo-european linguist, Saussure was a founding father of modem structural general linguisitcs and tried to establish linguistics as a science which has its proper object and method, the epistemology of which was influenced by the sociologist Durkheim. The ‘langue’ which he defined as sign system is a social phenomenon, and a language is a meaningful sign in a given society. His general linguistics was very innovative by rejecting the exclusively historical point of view and taking into consideration the general synchronic semiotic view of language for the comparative historical linguistics. Thirdly, Meillet as pater patriae of French linguistics was deeply imbued with the socio-anthroplogical view of language which made him to find causes and general laws of language (semantic) change in the structure of society. His general linguistics, therefore, an advanced step for the comparative historical linguistics. Finally, Benveniste explored the language(s) widely in various fields of linguistic phenomena with the socio-anthroplogical, structuralistic, semio-semantic view of language. He is a genuine general linguist of innovative synthesis of his predecessors’ various linguistic studies in France. The linguistics in France changed very dynamically in this turning period of 20th century due to the great influences from the other adjacent sciences, especially the anthropology and sociology as well as the Zeitgeist or episteme. However, one cannot deny that the French tradition of the rationalistic grammar also had some influence on the later development of the comprative historical linguistics. These intellectual situations might contribute much to the differenciation of the linguistics in France from the German linguistic tradition.

에밀 벵베니스트의 언어, 담화, 사회 연구

김현권(Hyunkwon Kim) 사단법인 한국언어학회 2014 언어학 Vol.0 No.68

This paper aims to draw some essential theoretical elements from the works of E. Benveniste, which reveal the subtle relation between language, discourse and society, and to illustrate their relation using some indo-european examples. Benveniste presents a very original concept of the e?nonciation that situates the discourse between Saussure’s notion of langue and the society. His e?nonciation, which is somewhat different from the speech act, contains some references indicating the extra-linguistic reality by making use of the special linguistic signs. Thus, the discourse has two different characteristics by nature, one the semiological, the other the sociological. This theoretrical framework finally leads to the semantic analysis of the institutional lexicon of the Indo-european society, the triparite structure of which is discussed here as a case study.