한국 古代紋樣이 현대 Symbol-mark에 미친 영향 : 太陽象徵 Mark를 中心으로 Focusing on Sun Symbol Marks

노미선 커뮤니케이션디자인협회 시각디자인학회 1996 커뮤니케이션 디자인학연구 Vol.1 No.-

Countless symbol-marks that are produced and utilized in Korea currently have somehow lost their nationality and significance. In addition, the serious problem of imitation is being raised. As a result of deducing the original form of Korean-style symbol-marks in this age of information, it was prescribed that the sun symbol-marks that have come about through the harmony between consciousness, for beauty and sun worship which are in fact the spiritual principles governing the creative activities of the Koreans at root, are the Korean-style symbol-marks. They were categorized into seven groups of concepts. Their ideographic representation and significance were observed and later the theoretical background of the Korean-style symbol marks were organized. Furthermore, through a table which have arranged the marks in chronological order, this study presented future tendencies for the style of expression to return its primitive original form.

호남지역 삼국시대의 고고학 자료를 통해 본 부뚜막신앙

노미선 전북대학교 인문학연구소 2018 건지인문학 Vol.0 No.21

This paper seeks to identify the realities of kitchen range religion that would have been relfected onto the kitchen range during the period of the Three States discovered in the Honam region. The kitchen range played an important role in indoor living as it provided heating, stored a source of fire and made cooking or lighting possible. The holy meaning attached to the kitchen range is verified through the contributions of purified water, burying of steel devices, the tunnel shaped hang-over structure and the form of portable kitchen ranges. It has also been verified that the rituals of the kitchen range were included in the rituals for burials that were seen as a rite of passage. By reviewing the archeological materials related to the kitchen range from the period of the Three States in the Honam region, the kitchen range religion was found to have been born through the related rituals associated in all stages of constructing, using and disposing of the kitchen range. During the construction stage, the Haenam Shinguem historic site shows that steel devices were buried, while for the usage stage, the kitchen range in the Gokseong Ojiri historic site shows a round clay pot estimated to be jowangjungbal. In the disposal stage, round clay pots and intentional damaging to the tunnel shaped hang-over structure within the reisdential areas were found to be proof of such rituals. Moreover, it can be estimated that kitchen range rituals have carried onto be reflected onto burial rituals through the tunnel shaped hang-over structure and portable kitchen range. However, estimating rituals that are not tangible based on archeological documents can only be vague. But since there would be resulting items of such activities, more studies will be carried out to interpret ritual activities of ancient times.

영산강유역 호형토기의 조업과 훼기 연구 - 광주 평동유적 분구묘 출토품을 중심으로-

노미선,강병선 한국문화유산협회 2012 야외고고학 Vol.0 No.14

영산강유역에서는 대규모의 분구묘가 축조되고 이에 수반되는 의례행위 또한 활발 하게 진행됨에 따라 주구내에 유물을 대량 훼기하는 양상이 보편화되었던 것으로 보인다. 이 글에서는 광주 평동유적 분구묘에서 출토된 호형토기에 주목하여 토기성형의 방식, 소성의 원리, 의례에 따른 훼기 양상들을 종합적으로 살펴보았다. 그리고 호형토기의 기 형, 태토, 문양의 관찰과 소성흔을 통한 소성분위기의 분석을 바탕으로 같은 조업이 이루 어졌던 토기조합을 확인할 수 있었으며, 이를 통해 군집을 이루는 관련 분구묘들간의 축 조 또는 의례행위 시점도 추정해볼 수 있었다. 의례용토기의 생산부터 훼기까지의 과정을 살펴보면, 우선 분구묘의 축조가 결정되면 계획단계에서 수요를 예측하고 부장 및 주구훼기용 토기의 생산과 공급계획이 이루어졌을 것으로 보인다. 특히 호형토기는 포타날을 이용하여 성형하고, 소성 역시 최소의 조업으로 다량의 토기를 소성하기 위해서 보다 복잡해진 방식의 중첩소성이 진행되었을 것으로 추정된다. 또한 의례에서 훼기예정인 호형토기의 경우는 소성시 정상적인 기형을 유지 하는데 크게 비중을 두지 않고 가능하면 많은 수량을 소성하기 위한 최선의 방법을 택하 였을 것으로 여겨진다. 이 글에서는 영산강유역의 주구내에 다량의 유물을 훼기하는 양상을 통해 호형토기의 제작부터 훼기까지의 일련의 과정을 추정해보았다. 추후 영산강유역 다른 분구묘군에서 출토된 훼기용 유물자료를 통합한 심도있는 분석이 이루어진다면 영산강일대 분구묘 집단 간의 의례용 유물의 생산, 분배, 유통에 대한 연구가 가능할 것으로 여겨진다. It seems that the destruction of artifacts within the ditch feature of mounded tombs became a generalized practice on a large scale in the Yeongsan River basin as the construction and ritual activities associated with these large mounded tombs developed. When investigating the mounded tombs of the Honam region, jar vessels account for the highest proportion amongst deliberately destructed artifacts found in ditch features, and much information can be obtained from the jar vessels, from the forming to the firing to the destruction process. In this article, jar vessels from the mounded tombs of the Gwangju Pyeongdong site were analyzed and the pottery forming method, firing method, mode of ritual destruction of this pottery type was comprehensively investigated. It was possible to confirm, based on examinations of firing atmosphere, surface pattern, etc, that the pottery was produced by the same group of manufacturers. The time at which the construction of the tombs took place and the ritual activities could also be estimated. The process through which objects destroyed during rituals were manufactured was as follows. It seems that when the construction of mounded tombs was first decided, demand was predicted and the plan for manufacturing and supplying objects that were to be used as grave goods or to be destroyed in the ditch features was established. Analysis of the pottery indicates that they were mass-produced utilizing the beating method, a fact that had not been recognized thus far, and repeated firing was adopted in order to fire as many vessels as possible with the least amount of effort. In addition, in the case of vessels that were to be ritually destroyed, effort was put into firing as many vessels as possible, with little concern regarding possible deformities in vessel form. It was hence possible to reconstruct the entire process of manufacturing to the destruction of jar vessels based on the plentiful artifacts from the ditch features of mounded tombs of the Yeongsan River basin. In the future, more advanced opportunities for the studying the manufacture, distribution and circulation of ritual objects associated with mounded tomb groups near the Yeongsan River basin may allow a more detailed and integrated understanding of destroyed objects excavated at other mounded tomb groups in the Yeongsan River basin.

門當戶 對에 의한 家門의 결합

노미선 한국외국어대학교 여학생회 1975 엔담 Vol.3 No.-

광주 월전동 원두 ·월전유적

노미선 한국고고학회 2009 한국고고학전국대회 발표문 Vol.- No.33

대옹의 소성흔을 통한 소성방법 연구 -영산강유역 출토 대옹의 소성실험을 바탕으로-

노미선,박동수 한국대학박물관협회 2010 고문화 Vol.75 No.-

In this study, the firing method of the excavated large pottery jar are inferred, by observing the firing trace which appeared in the experiment in which long necked pot firing is implemented, and the traces which appear in the pots excavated from various remains, in comparison. In this experiment of long necked pot firing, a pot coffin for experiment object, was manufactured through divided molding method, in an open-air cover typed pot firing kiln which is covered with mud, taking the pots for coffin exclusive use from Yungsan River basin as the prototype model. In the analysis of firing trace in the experiment, in case of sealed pot firing, the pots which are baked into soft substance and hard substance, are mostly the result of firing for which the pot is vertically placed in the kiln. In this case, the appearance that the bottom part of the pot is transformed into soft substance, or that the dark spot which is intensified on the center part of the bottom remains, are shown, or the firing trace according to supporting bottom stone or the bottom separating material like sand in the kiln, remains. In cover type open air firing, dark spots are identified, in some part of the lower section of the body region of the pot, and also in some part of the bottom, in case that the pot is laid in tilted placement mode in kiln for firing, and the dark spots are identified even in mouth region and in the lower section of the body region, in case that the pot is laid in lateral placement mode. It is also found that the dark spots are formed even in the other parts except the bottom part and inside part of the pot according to being cover type open air firing, and the firing trace according to the collapsed wall of kiln, remains. Finally, viewing through wide observation, it is grasped that the firing trace is related to the major usage of large pottery jar according to respective regions. It seems, unlike other regions, particularly in the region of the Yungsan river basin, though sometimes exclusive kiln is manufactured and used for firing pots, as the scale of the large pottery jar had been enlarged radically according that the large pottery jar are used as exclusive use for coffin, mostly, the sealed open air firing method is used for manufacturing large pottery jar. The large pottery jar from Jeju region are grasped to have similar appearance with that of Japan in Yayoi age, in firing method, which might be a good ground for inferring the existence of cultural interaction between the two regions. 본 연구는 대옹의 소성실험에서 나타난 소성흔을 관찰하여 여러 유적에서 출토된 대옹의 소성흔들을 비교 관찰하여 대옹 소성방법에 대해 추론하였다. 이번 대옹의 소성실험에서는 영산강유역의전용옹관을 모델로 분할 성형법으로 제작된 실험용 옹관을 진흙으로 피복된 덮개형 야외 소성요에서 소성하였다. 소성흔 분석 결과, 밀폐가마 소성에서는 연질과 경질소성된 대옹이 대부분 직치방식으로 소성된다. 이 경우 저부가 연질화되거나, 바닥의 중앙부를 중심으로 흑반이 남아있는 양상을 보이며 도지미를 이용한 이상재에 의한 소성흔이 남기도 한다. 반면 덮개형 야외소성은 대옹이 사치방식일 경우 동체하위와 바닥의 일부, 횡치방식은 구연부와 동체상위까지 흑반이 확인되었다. 또한, 덮개형 야외소성이기 때문에 대옹의 바닥 이외의 부분과 내면에도 흑반이 형성되며, 붕괴된 벽체에 의한 소성흔이 남게 됨을 알 수 있었다. 마지막으로 대옹의 소성흔 관찰을 통해서 보면, 지역적으로 대옹을 이용하는 주요 용도와도 관련이 있는 것으로 파악된다. 특히, 영산강유역은 다른 지역에 비해 대옹이 전용옹관으로 사용되면서 규모가 파격적으로 커지고 있기 때문에 전용가마를 제작하기도 하지만 상당수는 좀 더 간편한 밀폐형 야외소성 방법을 이용했을 것으로 추정된다. 그리고 제주지역 대옹은 일본의 야요이시대 옹관의소성방식과 유사한 양상이 파악되는데 이는 양 지역 간의 문화 교류관계도 추정해 볼 수 있을 좋은 자료로 여겨진다.

韓國鳥文의 造形性 硏究

梁浩一,盧美善 漢陽大學校 師範大學 1989 論文集 Vol.- No.6

紋樣은 人間心理根底에 깔려있는 祈願과 欲求의 發見이다. 따라서 紋樣은 그 民族의 造形文化의 斷面的 要素의 凝結體라 할 수 있다. 특히 動物紋樣은 가장 原始的인 信仰 배경에서 發生한 것이며 그 중에서도 鳥類紋樣은 우리나라의 開國과 관계가 깊고 우리 民族의 造形文化硏究의 가장 기본이라 생각된다. 思想的으로나 樣式的으로나 주로 中國, 東北아시아, 스키타이 등의 영향을 받은 우리나라의 鳥類紋樣은 傳해지는 과정에서 韓國的 要素가 가미되어 독창적인 우리 紋樣을 완성하게 되었다. 거의 모든 紋樣이 초기에는 開國說話나 神話와 많은 관련이 있었다. 그러나 고려, 이조시대를 거치면서 내포된 정신적인면이 많이 배제되고 외적인 造形性이 강조되면서 紋樣의 역할이 의미전달보다는 단순한 장식적 역할로 바뀌어가게 되었다. 따라서 이조시대에는 수많은 鳥類紋樣이 한꺼번에 出現하게 되었으며 그 形態 또한 상당한 단순화가 이루어졌다. 우리 조상들은 그 나름대로 우리의 것을 지키고 개발시키기에 전심전력을 다 했으나 외국문물이 수없이 쏟아져 들어오고 있는 이때 우리 조상들의 혼과 정신이 배어있는 우리의 形態가 아닌 외국의 혼과 정신이 배어 있는 외국의 形態를 마치 우리의 것인양 착각하고 무조건 모방함으로서 점차 한국적인 맛이 사라지게 되었다. 이제 다시 우리의 것을 찾고자 하는 움직임이 여러 곳에서 일고 있음과 때맞추어 民族造形文化의 단면적 요소의 凝結體라 할 수 있는 紋樣을 그 내포된 의미와 외적 造形을 그 始原부터 硏究해 보는 것은 시급한 문제라고 생각된다. 本 小考는 우리의 맛이나는 現代的 감각의 紋樣을 더욱 많이 硏究開發하기 위한 하나의 기초이론을 제시하고자 한다. A pattern is a discovery of prayer and desire underlying human psychology. therefore it is very natural that a pattern crystalizes diverse elements of each people,s formative culture. Animal patterns, especially, evolved out of the most primitive religious background. Among them, a bird pattern is closely related with the foundation of Korea and that is why it constitutes the bais of the Korean form ative culture study. Korean bird pattern was influenced mostly by China, northeast Asia and Skitai. In the process of its introduction, Korean elements were added resulting in a unique Korean bird pattern. In the early stage, most of teh patterns were tightly linked to the foundation story or myth of a country. Throughout Koryo and Yi dynasties, however, much of the spiritual factors were excluded, emphasizing the external formative beauth. The role of pattern had also changed from message delivery to decoration. For that reason, we saw the emergence of countless bird patterns during the Yi dynasty, forms of which were simplified to a great extent. Against a flooding foreign culture, our ancestors had done their best on their part to keep and to develop our own patterns. However, unique Korean flavor in design has gradually disappeared because we had imitated foreign pattern epitomizing their soul and spirit instead of our own, misunderstanding foreign pattern as our own. At a time when various attempts are being made to rediscover 'our own legacy, it is of great importance to study the pattern, underlying meaning of it and external forms from its origin, because a pattern crystalzes diverse elements of each people,s formative culture. I sincerely hope that my paper will serve as a guide for the further development of unique but modernized patterns of Korea.

뉴미디어시대의 일러스트레이션

노미선(Roh Mee Sun) 한국일러스아트학회 1998 일러스트레이션학 연구 Vol.2 No.-

Today`s illustration is not only a part of our age but. also functions` as an educational tool which awakens us to its relationship to our age. The illustration is a sign which both serves as a communication strategy and reflects the age`s social and cultural thoughts. In order words, it is a kind of popular art which combines social characteristics and artistic forms. It is an ultra modern style which can express the age`s sense of art far better than painting. After all, it takes the concrete from of artistic culture phenomenon, which is named as $quot;Illusart$quot;. It is expected that the illustration will continuously develop through artistic experimentation based on various medium created in accordance with environmental changes. Especially, digital environment created by computer, a new media in our age, offered a new production method of illustration. However, illustrators would not use and expand their ability of expression without having keen observation and good drawing skill. In conclusion, judged from the perspective of our age and environment, hand-worked illustration is expected to lead the trend of illustration in the future.

신문광고의 시각인지 연구

노미선(Mee Seon Roh),홍성완(Seong Wan Hong) 한국디자인문화학회 2008 한국디자인문화학회지 Vol.14 No.1

Graffiti Illustration 의 표출방식에 관한 연구 - 낙서화를 중심으로 -

노미선(Roh Mee Sun) 한국일러스아트학회 1997 일러스트레이션학 연구 Vol.1 No.-

In this study the fundamental foam of Graffiti Illustration is defined as Graffiti-style Art. Through the restoration of pictorial sense of independence, graffiti-style illustration has established psychological and social response with the mass as its basis. Hence it has formed visual environments and demonstrated persuasive strengths of communicating the image. However for such graffiti-style illustration to be recognized as part of art, its negative image was too strong. But now, it has finally established communication with the public value as one of information medium. The independent act of graffiti is a primitive act of communication using the visual senses and it releases the original forms which derives from the images that fill man`s unconscious mind. Such forms of exposure can usually be found in the pictures drawn by children, prehistorical man and mental patients. In conclusion, the simplicity that can be felt in their art, strongly moves the thoughts of other people and so the graffiti-style illustrations are applied in various fields of modern graphic design and their use is expected to continue into the future.