문화센터 이용 고객의 의류 구매 행동과 백화점 이용 만족도에 관한 연구

박효은,여은아 한국의류학회 2008 한국의류학회 학술대회논문집 Vol.2008 No.-

Characteristics of P wave in Patients with Sinus Rhythm after Maze Operation

박효은,김경환,김기봉,안혁,최윤식,오세일 대한의학회 2010 Journal of Korean medical science Vol.25 No.5

Maze operation could alter P wave morphology in electrocardiogram (ECG), which might prevent exact diagnosis of the cardiac rhythm of patients. However, characteristics of P wave in patients with sinus rhythm after the operation have not been elucidated systematically. Consecutive patients who underwent the modified Cox Maze operation from January to December 2007 were enrolled. The standard 12-lead ECG and echocardiography were evaluated in patients who had sinus rhythm at 6 months after the operation. The average axis of P wave was 65±30 degrees. The average amplitude of P wave was less than 0.1 mV in all 12-leads, with highest amplitude in V1. The most common morphology of P wave was monophasic with positive polarity (49%), except aVR lead, which was different from those in patients with enlarged left atrium, characterized by large P-terminal force in the lead V1. There were no significant differences in P-wave characteristics and echocardiographic parameters between patients with LA activity (30.6%) versus without LA activity (69.4%) at 6months after the operation. In conclusion, the morphology of P wave in patients after Maze operation shows loss of typical ECG pattern of P mitrale: P wave morphology is small in amplitude, monophasic and with positive polarity.

「조선후기 한양의 명승명소도와 國都 명승의 재인식」에 대한 질의문

박효은 숭실대학교 한국문학과예술연구소 2012 한국문학과 예술 Vol.10 No.-

石濤의 1696年作《淸湘書畵稿》에 구현된 詩畵의 境界

박효은 한국미술사교육학회 2007 美術史學 Vol.21 No.-

This article determines Shitao’s Qing Xiang’s Sketches of Calligraphy and Painting in 1696 as a synthetic literati painting sought by a professional painter from late 17th century to early 18th century in China. Through poems and paintings are observed Shitao’s self-consciousness which reflects a facet of early Qing Dynasty paintings which were becoming professionalized. The handscroll consists of fourteen poems and seven paintings. The close interaction of words in entire poetry and images in paintings lets us consider the piece as a unique work about Shitao’s life story. The artist represented his self-consciousness varying according to time and space and autobiographical life story to present for his patron. The reason behind this offer to a particular person comes from Shitao’s diverse and complex character as a calligrapher and painter at the time being. To understand such facet found in the form of the unity of poetry, calligraphy and painting, it is necessary to observe the role of each part based on his situation in 1696. Starting with brief information about the background of production and composition of entire scroll, the role of words and images to deliver Shitao’s life story in the aspect of the painter’s transformation and existence will be explained. Through this analysis, parts which images narrate instead of words will be discovered to unveil the painter’s expectation for patronage. Let’s start with the background and composition of Qing Xiang’s Sketches of Calligraphy and Painting. In summer of 1696, Shitao was invited to stay at Cheng Jun’s Pine Wind Hall located in Shexian estate in Huizhou, Anhui province. During his sojourn, Shitao produced the work following the landlord’s request. Cheng Jun was a famous merchant and literati of this area, who collected works of painters of the school of Anhui and Bada Shanren. Shitao met him in spring of that year for the first time. ‘Qing Xiang’ is one of Shitao’s many sobriquets. The entire composition of this handscroll with poetry of various scripts and paintings fall into four parts: two long passages in the middle framed by short opening and closing passages. The opening passage starts with four poems without painting. His creative activities in Beijing are described, where he worked for high-ranking officials and government ministers within the network of artist-patron from 1690 to 1692. About the autumn of 1691, he determined to return to the South. The subject of the first main parts of the scroll is his journey to the Grand Canal in the autumn of 1692. There are five poems and three pictures about the gathering of literati people in Botou and Xiazhen and sceneries of Gucheng, Linqing and Yangzhou. The gathering scene in the boat with an elegant atmosphere is represented in a reminiscent real scenery landscape painting. A symbolic flower painting of chrysanthemums stands for a haphazard gathering in Chongyangjie. The landscape painting which combined Gucheng in Jiangsu and Linqing in Shandong together outlines the scenery of the Grand Canal as a famous scenic spot. It also lets us understand his experience during the journey in detail. The second main parts of the scroll embody merchant patrons of the North and the South. Zhang brothers were salt merchants from Tianjin. While Shitao met them during the winter of late 1691 and early 1692, Cheng Jun, the merchant of Huizhou was his patron in the summer of 1696. Shitao visualized Zhang brothers’ economic capability and cultural support in scribbled but energetic scripts. For Cheng Jun, he drew in a linear neat style of the school of Anhui. The closing passage describes his self-portrait set in an old tree with a phrase of a poem in antique seal script and the inscription in regular script about the motive of production. From this scene, he implies the role of a patron who will enable Shitao’s eternal future as the master of Tao in paintings. In overall, Shitao’s poems...

한국 65세 이상 노인의 우울증에 영향을 미치는 요인: 앤더슨 모형을 활용한 융합적 연구

박효은,서인순 한국융합학회 2019 한국융합학회논문지 Vol.10 No.8

The purpose of this study was to comprehensively investigate predictive factors influencing on geriatric depression of the elderly by applying the Andersen's Behavioral Model of Health Service Use,. The research data was focused on the final analysis of 3,585 elderly population aged 65 or older among 21,724 participants in the 6th (2013-2015) Korea National Health and Nutrition Examination Survey. Hierarchical logistic regression analysis was conducted to multivariate analysis method of the variables for possible depression by the Andersen's Behavioral Model of Health Service Use. As a result of hierarchical regression analysis, there was a negative correlation of 0.49 times(0.31-0.78) for males. In addition, there was a positive correlation of pain 1.56 times(1.05-2.31), stress 0.55 times(1.10-2.19), walking exercise 1.44 times(1.03-2.00) and outpatient use 1.48 times(1.10-1.98). Therefore, differentiated support according to the gender of the community residents is necessary, and stress intervention or additional support for exercise is required. 본 연구의 목적은 앤더슨 모형을 적용하여 65세 이상 노인의 우울증에 영향을 미치는 예측 요인을 포괄적으로 파악하고 연구 대상자들의 인구사회학적 요인, 가능요인, 요구요인, 건강행태요인들 간에 연관성을 분석하는 것이다. 연구 대상은 제 6기(2013-2015년) 국민건강영양조사에 참여자 21,724명 중, 65세 이상 노인 3,585명을 대상으로 하였으며, 앤더슨 모형에 따른 우울증 여부에 대한 변수들의 다변량 분석을 위해 위계적 로지스틱 회귀분석을 실시하였다. 위계적 회귀 분석의 결과로 남성은 0.49 배(0.31-0.78) 음의 상관관계를 보였다. 또한 통증이 1.56 배 (1.05-2.31), 스트레스가 0.55 배(1.10-2.19), 보행 운동이 1.44 배(1.03-2.00), 외래 사용이 1.48 배(1.10-1.98)의 양의 상관관계가 있었다. 따라서 지역 주민의 성별에 따른 차별화 된 지원이 필요하며 스트레스 중재와 운동에 대한 추가 지원이 필요하다.

개인의 취향 : 조선 후기 미술후원과 김광국의 회화비평

박효은 이화여자대학교 한국문화연구원 2015 한국문화연구 Vol.29 No.-

Kim Gwang-guk (1727~1797), an art collector of middle-class jungin status, was a critic-patron who brought greater value to Joseon painting. He belonged to what is known as the third period of Korean art criticism, in the 17th and 19th centuries, a time of exposure to Ming and Qing art and Western influence. He was fond of the arts of literati from Seoul and the adjacent Gyeonggi region, and fascinated by Yuan and Ming scholarly trends. He located the value of painting in the theory of the Southern and Northern schools (南北宗論), yipin (逸品), moxi (墨戱) and the “Three Perfections” (詩書畵三絶), using items in his own collection to testify to the development of Joseon literati painting and the richness of the art world in his day. Kim claimed to admire 18th century literati artists such as Jeong Seon, Sim Sa-jeong, Jo Yeong-seok and Gang Se-hwang, great painters in the landscapes, genre paintings and Four Gentlemen styles, who had continued a Joseon tradition of literati painting that began with Gang Hui-an in the time of An Gyeon and was inherited by Kim Jeong, Sin Saimdang, Yi Jeong and Jo Seok. Yun Deok-hui, Kim Yun-gyeom, Yi Yun-yeong and Yi In-sang were adding new ground to the world of literati painting with their outstanding talents at this time, while Kim Eung-hwan and Kim Hong-do also fell into this category. Kim Gwang-guk elevated the status of these artists to a par with the great masters of Chinese literati painting. By passing on the rich world he enjoyed to future generations, he tried to broaden the experience of Koreans and to instill a sense of nostalgia for the great artists of his time. These actions, the products of personal taste, became the basis for discussing the history of Korean painting. The range of works he collected, his preference for paintings of his own time and his pursuit of Joseon literati paintings are surprisingly close to Joseon art historical narratives today. I hope that thorough research will eventually rescue his image and significance from the obscurity in which they have languished for so long. 중인수장가 김광국(金光國, 1727~1797)은 명청대 문예와 서양의 영향에 노출된 한국 회화비평 제3기에 17~18세기 서울 경기 문인들의 문예를 애호하며 조선회화의 가치를 높여준 비평가적 후원자이다. 원 명대 문인취향에 심취한 그는 남종화론(南宗畵論)과 일품(逸品), 묵희(墨戱), 시서화삼절(詩書畵三絶)에 가치를 두어 조선 문인화의 전개와 동시대 화단의 풍성함을 자기 소장품을 통해 증언했다. 그에 따르면 안견 시대의 강희안 이후 김정 신사임당과 이정 조속에 의해 문인화 전통이 지속된 조선에서 정선 심사정 조영석 강세황은 산수 풍속 사군자를 멋지게 그린, 그가 존경한 동시대의 문인화가였다. 윤덕희 김윤겸 이윤영 이인상도 빛나는 재능으로 문인화의 새 경지를 더했고, 김응환 김홍도 역시 그 범주에 동참하였다. 이러한 조선화가의 위상을 중국 문인화의 거장에 필적하게 끌어올린 그는 자신이 누린 풍요로운 세계를 후대에 전해 우리나라 사람의 견문을 넓히고 이를 숭모하도록 이끌고자 의도하기도 했다. 그러한 행위는 20세기 한국회화사 논의의 기초가 된 개인적 취향의 산물인 점에서 근대지향적이다. 그가 수집한 회화의 범위, 동시대 회화에의 애호, 조선 문인화의 추구는 오늘날 조선시대 회화사 서술에 의외로 근접해있다. 그럼에도 자기 소장품에 대한 비평에 그친 그의 행위는 오래도록 묻혀 있었기에 더 철저한 연구를 통해 정당한 위상과 의의를 되찾게 되기를 희망한다.

장수명주택 가변 아이디어 공모에 나타난 공간 변화 연구

박효은,박지영 한국주거학회 2019 한국주거학회 논문집 Vol.30 No.3

With the change of era, One Person Household has become a standard, and residential space appropriate for it is being demanded. In this study, the 6 works created by college students, graduate school students and general citizens, and selected in the ‘2030 Contest for the Ideas of Flexible Long-life Housing’, were analyzed focusing on Long-life Houses that could be easily transformed. Their family members, flexible space and flexible technology were examined, and the results are as follows. The family was formed as a new type of family consisting of one member or 2 to 3 individuals who had gathered as necessary. As for the flexible space for One Person Household, changeable and mobile space and office space were preferred, and as for that for 2 to 3 persons, the space to share an office and a kitchen had appeared. Regarding the flexible technology, furniture, moving wall and OLED panels were used along with the existing lightweight wall. The study was meaningful in that it has examined the spatial characteristics of One Person Household to cope with the future, and a follow-up research based on the analyzed works is necessary in order to secure practicality in terms of planning and construction. 주택의 기술 발전, 시대의 변화에 따라 다양한 주거 공간이 요구되고 있다. 본 연구는 장수명주택의 가변성 향상을 위해 아이디어 공모를 시행하고 당선 작품을 분석하였다. 총 6작품을 세대 구성원, 가변 공간 계획, 가변 시스템 계획 3가지 항목으로 분석하였다. 미래 주거 경향을 살펴보면, 세대 구성에는 1인 가구와 1인 가구가 모인 새로운 가족 형태가 나타났다. 주거 공간에서는 업무를 위한 사무실과 1인 가구 중심의 공유 공간이 요구되었다. 가변 시스템은 가구 시스템, 이동형 벽체, OLED 패널을 활용하여 가변성을 확보하였다. 본 연구는 아이디어 공모를 통한 작품분석을 하였다는 점에서 미래 주거 특성을 파악하는 한계가 있다. 분석된 항목을 바탕으로 가변 기술 개발 및 성능 검증이 필요하며, 심층적인 후속 연구가 필요하다.

대구시 여고생의 교복 변형에 대한 태도 분석

박효은,조현주 한국가정과교육학회 2007 한국가정과교육학회지 Vol.19 No.2

南京과 揚州를 재현한 17-18세기 中國 山水畵와 後援者

박효은 한국미술사교육학회 2018 美術史學 Vol.- No.36

이 글은 明末과 淸代에 南京·揚州의 실경을 그린 산수화가 제작, 향유된 양상을 고찰해 그 사회문화적 함의를 탐구해보고자 한 것이다. 金陵圖·廣陵圖로 지칭되는 이들 작품에서 남경·양주의 실제 장소는 그곳에 살거나 거쳐 간 紳士層과 商人層의 수요에 부응해 시·서·화의 문인예술적 형식으로 기념되었다. 元·明 文人趣向의 영향 하에 회화적 재현의 대상으로 전환된 각각의 장소는 공공의 명소로서나 사적인 공간으로 향유되고 소유되며 畵題와 圖像으로 자리잡았다. 황산파 내지 안휘파의 黃山圖와 더불어 17-18 세기에 성행한 금릉도·광릉도는 徽商과 밀접한 관계에 있던 점에서도 황산도와 공통되는 만큼 18세기 한국과 일본의 진경산수화·진경도와 비교하여 동아시아 공통의 화단 변화와 도시문화 전개를 조망하기에 적합한 중국측의 단서라 하겠다. 이 동향을 이끈 후원자로는 문인취향 양성자로서의 신사층, 추종자로서의 상인층이 주목되는데, 본고는 특히 휘상 중심의 후원자 네트워크와 그 사유지의 명소화 현상을 조명하여 상인후원자의 대두를 부각시키고자 했다. 그 결과, 중국회화사의 대표적인 개성주의자이자 황산파의 막내로서 황산도로 유명한 石濤(1642-1707)가 금릉도·광릉도를 다 그린 점, 지역 경관의 시각화에 크게 기여한 그가 종종휘상의 후원을 받은 점을 확인하였다. 또한 蕭雲從(1596-1673) 이래 弘仁(1610-1664)·석도와 18세기 方士庶(1692-1751) 등 휘상과 관련해 작업한 금릉도·광릉도의 화가가 조형 표현이나 재현 장소 선택에 있어 기존의 전형을 벗어나 새로운 방식을 추구한 점에서 공통된다는 사실을 파악하였다. 휘상은 궁정에서의 문인취향 애호, 중국을 넘어 한국·일본에 전해진 江南文化의 확산, 동아시아 전체에 유포된 文人畵 조류와 같은 17-18세기 동아시아 화단의변화를 이끈 주요 집단 중 하나임이 분명하다. 차후에는 휘상의 후원을 받은 석도의 금릉도·광릉도와 궁정세력이나 여타 집단의 후원으로 그려진 범주를 비교, 고찰해 상인의 문화후원과 화단의 관계를 보다 심층적으로 논해보고자 한다. This study investigates the production, appreciation, and socio-cultural implication of the landscape paintings depicting actual sites in Nanjing (南京) and Yangzhou (揚州) during late-Ming and Qing dynasties. Also known as Jinling-tu(金 陵圖) and Guangling-tu(廣陵圖) respectively, these paintings commemorated the sites of Nanjing and Yangzhou for literati-gentlemen (紳士層) and merchants (商人 層). These men as residents or visitors of the citiesen joyed landscape paintings along with poetry and calligraphy, which were under the influence of Yuan-Ming literati taste. As cultural consumers, they exhibited a great appreciation for private properties as well as publicly renowned places in Nanjing and Yangzhou, and converted specific sites into subject matters of painting and certain images. These paintings appeared parallel to the prevalence of Huangshan-tu (黃山圖) made by Huangshan school (黃山派) or Anhwei school (安徽派). In addition, what these paintings had in common with Huangshan-tu was their close relationships with Huizhou merchants (徽商). Based upon these facts, they can serve as a clue in understanding art world and urban culture during 17th and 18th century China, which should be analyzed with real scenery landscape paintings of 18th century Korea and Japan comparatively. Patrons who led the trends were literati-gentlemen who established literati taste (文人趣向) and also merchants who practiced the taste. This paper in particular has examined how the cultural patronage of merchants influenced the contemporary art world by closely looking into the pictorial representations of Huizhou merchants’ properties and their outing sites as well as the emergence of the network of patrons centered on Huizhou merchants. To support this point of view, I have shown how Huizhou merchants played a significant role in the development of Jingling-tu and Guangling-tu by investigating their relations to the works of Shitao (石濤, 1642–1707) as well as other painters such as Xiao Yuncong (蕭雲從, 1596-1673), Hongren (弘仁, 1610-1664) and Fang Shishu (方士庶, 1692-1751). As one of the most outstanding individualists in the history of Chinese painting and the youngest participant of Huangshan school, Shitao produced unique works depicting actual sites of Nanjing and Yangzhou as well as Huangshan. Thus, Shitao’s paintings were closely related to Huizhou merchants which eventually led to the widespread visual representations of local sites in unique ways. It is clear that Huizhou merchants were one of the most important groups whose cultural patronage and enthusiasm for culturally refined lifestyles contributed to the Qing emperors’ predilection for literati taste, the dissemination of Jiangnan culture (江南文化) beyond China to Korea and Japan, and the highest development of literati paintings (文人畵) throughout 17th and 18th century East Asia. In subsequent study, I would like to analyze in greater depth how Shitao’s figurative expressions and representations of actual sites in Nanjing and Yangzhou sponsored by the merchants differ from those patronized by the royal court and literati-gentlemen.

문화(文華)한 장원(莊園): 1804년작 《임곡운구곡도(臨谷雲九曲圖)》의 회화사적 고찰

박효은 사단법인 한국문학과예술연구소 2021 한국문학과 예술 Vol.40 No.-

Im Gogungugokdo, exhibited in the Chuncheon National Museum Brandzone with Gogungugokdo, is referred to as either Gugokdo, the work by Kim Sujeung (1624-1701) in “Sansudo”, or referred to as an imitation of Gogungugokdo. Until now, Im Gogungugokdo, has not yet been made a subject of academic study, and the work’s scale, composition, material, commissioner, date, quality, original artist, and relation to the art world are relatively unknown. This study will examine Im Gogungugokdo’s condition, as well as the details and period of its creation, then analyze the work’s contents, composition, and style to shed light on its literary and artistic depiction of a classical utopia andits stylistic context in the late-Joseon art world, drawing on art historical meaning to illustrate the balance of perspectives in both the imitation and the original. Im Gogungugokdo, though currently existing as nineteen separate leaves, came about as an album combining poetry, calligraphy and paintings commissioned by Kim Dalsun(1760-1806), an influential member of the Andong Kim family clan, in the process of restoring the original work, Gogungugokdo. The original work is a collection of paintings and poems created by “Gogun” Kim Sujeung, who was inspired by Song scholar Zhu Xi’s Muyi Gugok (“Nine-bend Stream in Wuyi Mountain”), Muyi Doga (“Songs of Nine-bend Stream in Wuyi”), and Muyi Gugokdo (“Pictures of Nine-bend Stream in Wuyi”), and thus created his own landscape, commissioning Cho Segeol in 1682 to draw the 9 beautiful valleys of Gogungugokdo first hand. Kim would then write the accompanying poems in 1692 with his son and grandson. While Gogungugokdo– a cultural landscape comparable to the likes of Muyi Gugok, Peach Blossom Spring, and Wangchuan Villa– was a family artifact that had become aged and worn out by the early 19th century, Kim Dalsun ordered not only the preservation of the original, but also the creation of a new piece, Im Gogungugokdo, in order to commemorate the scholarly achievements and literary, artistic traces of the family clan. Even in the late Joseon dynasty, when interest in reality, physical objects, and pragmatic thought set by observations and experiences was heightened, the combination of words and images and the application of a refined Southern School painting style caused the painting to be well-recognized as highly valuable. Furthermore, the painter of Im Gogungugokdo understood well the content and meaning of the original work, and was able to embody newly narrative interpretation of the classical utopia, demonstrating Southern School style in an intellectual and well-mastered display of skill. The painter’s familiarity with various forms of Southern School style is no better displayed than in his homage to the style of Manual of the Mustard Seed Garden, as well to the Orthodox school and Hwangsan school styles. Upon further examination of the specific motifs and strokes in the painting, the influence of Yi Inmun’s artistic and visual styles can also be seen, suggesting that the painter may have been one of his students or followers. Thus, though the identity of the painter of Im Gogungugokdo is unknown, it can be seen as a major accomplishment, worthy of representing the achievements and skill of the era’s Joseon court painters. 국립춘천박물관 브랜드존 <금강산과 관동팔경>에 《곡운구곡도》와 나란히 전시된 《임곡운구곡도》는 김수증(1624-1701)이 그린 ‘산수도’ 내지 ‘구곡도’로 불리는 한편 《곡운구곡도》의 1804년 모사본으로도 알려져 있다. 지금껏 학술적 고찰의 대상이 되지 못한 이 화첩은 규모나 구성, 재질, 주문자, 제작연대, 구성과 특징, 화단과의 관계 및 작자 등이 미지의 상태다. 이 글은 화첩의 현재 상태와 제작경위, 제작시기를 검토한 뒤, 그 내용과 구성, 화풍을 분석해 고전적 이상향의 구현양상과 조선 후기 화단에서의 작업맥락을 화풍 위주로 조명함으로써 잘못 알려진 작자를 교정하고 회화사적 의의를 구명해 원본과 모사본에 대한 균형 잡힌 인식을 도모하려는 것이다. 본래 합벽첩 한 권에 속한 《임곡운구곡도》의 19폭 낱폭 서화는 1804년에 안동 김씨 김달순(1760-1806)의 주문으로 《곡운구곡도》를 수리, 재장황하는 과정에 산출된 모사본이다. 《곡운구곡도》는 1670년대를 통해 강원도 화천에 있는 장원에 별서를 조성한 곡운 김수증이 남송대 학자 주희가 행한 무이구곡 조성, 무이도가·무이구곡도 창작의 뜻을 좇아 1682년에 조세걸에게 직접 곡운구곡 실경을 그리게 하고 1692년에 아들, 손자와 더불어 시문으로 읊고 써서 완성한 서화첩이다. 김수증의 장원을 무이구곡, 도화원, 망천장에 준하는 문화한 공간으로 규정한 이 서화첩이 낡고 더러워진 19세기 초에 그 후손들은 선조의 행적과 학문, 문예를 기념하고 가문의 명성을 계승하고자 《곡운구곡도》를 보존하는 한편 《임곡운구곡도》를 새로 제작하였다. 실경·실물에 대한 관심, 관찰과 경험을 중시하는 실학적 사고가 강화된 조선 후기에도 문자언어와 형상언어의 결합, 세련된 남종화풍 구사는 회화가 가치 높은 특수한 물건으로 인정받는 데 있어 관건이었다. 그런 가운데 《임곡운구곡도》를 그린 화가는 원본의 내용과 의미를 충분히 이해하고서 고전적 이상향에 대한 새로운 서사 구현, 남종화풍의 심화된 이해를 자연스럽게 실현할 만큼 지적이었다. 그가 다양한 남종화풍을 소화한 점은 『개자원화전』 섭렵에 더해 황산파·정통파의 기법까지도 두루 구사한 사실에서 알 수 있다. 또한 특정 모티프를 그리는 방식이나 세부필치를 검토한 결과 이인문 화풍과 시각적 친연성이 강해서 그의 지도나 영향을 받은 후배나 제자급 화원화가가 그린 것으로 보인다. 19세기 초 조선 화원의 역량과 성취를 실증해줄 주요 작품 하나가 추가된 것이다.