몽골 청동기시대 장식용품에 나타난 문양디자인고찰 -특히 사슴돌문양의 시공(時空) 인식체계를 중심으로-

백승정,박원길 한국몽골학회 2012 몽골학 Vol.0 No.33

Karasuk Culture of the flying deer stone patterns is the finest works of art in itself. besides, it is the idea of the ancient northern people (natural law recognition system), which represents the first formal expression of hierarchy. This paper overviews how it reflects the northern original cultural form design with the historical and philosophical track of deer patterns of the flying deer stone and in the process, it overviews the relationship with our ancient culture. It attempts to create the modern design and application of the flying deer stone through it. As a result, deer stones Karasuk Culture patterns of the Karasuk Culture is the language and philosophy appeared to be a work of art, with the nature of the legal recognition of time and space system design that are logically represented. In particular, it has also revealed that flying deer stone has the role of the time traveler going to the world beyond from the ground. In addition, flying deer stone is historically highly likely to be relevant to the constellation of Cassiopeia of Goguryeo.

몽골 전통문양디자인의 상징성 연구 - 한국 전통문양디자인과의 비교를 중심으로 -

백승정 한국몽골학회 2013 몽골학 Vol.0 No.35

In this paper, the most representative and widely used as a common pattern of the natural patterns and religious symbolism were compared with each other among the traditional patterns of Mongolia and South Korea. Natural patterns of the sun, moon, mountains, water, fire, cloud pattern, and religious patterns of the fish among typical pattern of Eight Treasure Pattern, lotus pattern were included in the study. The natural patterns of Mongolia and South Korea has been symbolized since prehistoric times. They were important symbol system as a sign of the communication for themselves and for their communities. Especially, they were handed down to posterity in the form of seal, not just a decoration but a cultural symbol with the whole human life style. In addition, the natural patterns and religious patterns have been variously used to pottery, bronze, Buddhist ritual instruments, the palace decoration representing the authority and household goods. And they are now the most commonly used as decorative patterns through the development of the times in Mongolia and South Korea. Therefore, they are eternity, power, strength, happiness, abundance, harmony, fusion, longevity, courage, and northern original cultural form which has been used since ancient times steadily. Also they are Lucky pattern that implies the symbolism of transcendental immortality which is the core idea of northern Shamanism. Accordingly, the symbolic and cultural value of Mongolia and South Korea can be excellent materials of storytelling design when it comes to checking the homogeneity of the traditional culture and creating a cultural product of industrialization. As a result, we must find original cultural form and modernly reinterpret the spirit world, tales, legends, so that can be effective use for industrialization of cultural industry and design area.

中國비단文樣硏究 : 隋唐詩期를 中心으로

白承正 瑞逸大學 1998 論文集 Vol.16 No.-

몽골 할흐 전통문양의 스토리텔링디자인 연구- 격자문양을 중심으로 -

백승정,박원길 한국몽골학회 2014 몽골학 Vol.0 No.36

Saraljin Pattern is the most typical pattern of Khalkha Mongol thatappears much in Eurasian Altai people. Saraljin Pattern is also known askhanan Pattern, because it is like a wall decoration pattern of MongolianGer. In this paper, Saraljin Pattern includes philosophy of birth and death ofEurasian genus-Altai. This can be determined through a meaning of thegrid pattern and a case study. in other word, Saraljin Pattern has the mostreligious color that is directly linked to death or negative removal inEurasia - Altai culture. In addition, the philosophy of Saraljin Pattern is proven in Korea'straditional door decoration and also in the structure of Goguryeo tombmurals. khasilg-a chilagu represents the Saraljin Pattern in historicalartifact of Eurasia-the Altai people. this paper implicated the system ofstorytelling of Saraljin Pattern with khasilg-a chilagu and Bird-Manpainted on Lascaux cave. This paper emphasized that it is important to interpret through consilience of disciplines like humanities, psychology and psychoanalysis,when approaching the traditional pattern of historical heritage.

몽골로이드속의 캐나다 북서해안 문장예술(Crest Art)의 특성

백승정 한국몽골학회 2004 몽골학 Vol.0 No.17

이누잇(Inuit)의 아모틱(Amautik)에 나타난 몽골의 북방 샤머니즘

백승정 한국몽골학회 2006 몽골학 Vol.0 No.20

몽골의 인장에 나타난 알항헤(망치문양)디자인의 상징성 -한국의 뇌(雷)문양과의 비교를 중심으로-

백승정 한국몽골학회 2012 몽골학 Vol.0 No.32

In this paper, it compared the symbolism of the Mongolia's Alkhan khee(hammer pattern) and Korea's lightning pattern representatively and commonly appeared in geometric patterns of Mongolia and Korea, in the historical and folkloristic consideration. Mongolia's hammer pattern originates from the hammer seal. Its forms and types are dozens of them, they appeared in earthen vessels, bronze wares, rock painting, deerstone, Mongolian stone statues, etc, from the prehistoric age. It is a northern original cultural form of cultural symbol that had been used constantly from the ancient as a concise form that is connecting to posterity in the form of seal. That is, it reflects the national sentiment, and religious ceremonies, as a lucky pattern representing plenty of life, the eternal strength, happiness of life, power, courage, and longevity for centuries. In addition, it is formalized in unique geometric decorative patterns of the most commonly used in Mongolia, involving the deep symbolical meaning. lightning pattern of Korea is a leading pattern in geometric patterns. From the prehistoric age, lightning pattern had been used as earthen vessels, bronze wares, the Buddhist ceremonial instruments, representing the authority of the palace decorations, and household goods. And lightning pattern is a lucky pattern involving symbolism as eternal power and happiness of neither the beginning nor the end, harmony and fusion, power and strength, prosperity, and longevity. Therefore, in the historical and folkloristic consideration we find that the pattern of Mongolia's hammer pattern and Korea's lightning pattern is the same in the form, cultural circles and symbolism, and they involves the transcendent symbolism of immortality which is the core idea of northern Shamanism.

백남준 예술작품세계 속의 몽골인식

백승정,박원길 한국몽골학회 2019 몽골학 Vol.0 No.58

Nam June Paik himself created and expressed the philosophy of northern culture, Shamanism, as C.G. Jung wrote and sketched his soul. This paper examines how the Eurasian-Mongolian code, which forms a prototype of Paik's art world, is reflected in his work world and when it was formed through the Mongolian factor in Nam June Paik's works and Paik's follow-up in Mongol history. Analysis of Paik 's works of art reveals that the Eurasian - Mongolian codes are in harmony with the natural legal recognition system (Shamanism) which forms the ideological source of the nomadic people of the North. This is also confirmed by the fact that his work world consists of the three-number eruption system, a traditional structure of northern thought. Nam June Paik's first recognition of the northern cultural prototype was found to have a relationship with the flow of Japanese history at the time. 백남준은 C.G.융(Jung)이 자기 영혼을 쓰고 그렸듯이, 그 스스로도 북방문화원형 즉 샤마니즘의 철학을 만들고 표현했다. 본고는 백남준 예술세계의 한 원형을 이루는 유라시아-몽골 코드가 그의 작품세계에 어떻게 반영되어 있으며, 또 언제 형성되었는가를 백남준의 작품에 보이는 몽골적 요소와 백남준의 청소년기 몽골역사 인식추적을 통해 살펴본 것이다. 백남준의 예술작품을 분석하면 유라시아-몽골 코드가 북방유목민족의 사상적 원천을 이루는 자연법적 인식체계(샤마니즘)와 일치하고 있음이 나타난다. 이는 그의 작품세계가 북방사상의 전통적인 구조인 3수 분화체제로 이루어져 있는 것에서도 확인된다. 백남준의 북방문화원형에 대한 첫 인식은 당시 일본 역사학의 흐름과 관계를 가지고 있다는 것이 밝혀졌다. 그러나 그 인식은 일본적인 인식이 아니라 백남준의 인식이라는 점에서 차이를 지니고 있다. 백남준의 역사적 위치는 AI시대의 입구에서 예술에서의 게임의 규칙을 바꾼 사람으로 자리매김할 수 있다. 백남준의 게임규칙은 그의 예술세계를 관통하고 있는 유라시아 - 몽골 코드이며, 그 사상적 핵심이 바로 조화와 공존의 철학을 추구하는 샤마니즘이다.

몽골의 게르(Ger)에 나타난 북방문화원형 디자인 연구

백승정,박원길 한국몽골학회 2011 몽골학 Vol.0 No.31

Mongolian Ger is unique form of housing that Eurasia -Altaic language family created and developed. Mongolian Ger is considered as the most environmentally friendly home in the history of humanity. In this paper, we saw the Mongolian Ger, the relationship between the reflection of the northern cultural circle design and ancient cultures by historical and philosophical trace. This also tried the creation of a modern design application of Mongolian Ger. As a result, Mongolian Ger was the buildings that reflect northern cultural circle. It was made in foundation of a circular structure in a series combination of many triangles. In addition, it was architecture that reflected the movement and survival philosophy of the northern nomadic tribes. And historically, we found that they are a lot to do with our nation.

몽골 식물문양의 상징성 - 문양의 구성형식을 중심으로-

백승정 한국몽골학회 2017 몽골학 Vol.0 No.51

Plant patterns in Mongolia originated from the symbol of plants that existed in nature and symbolize the symbolism of growth and prosperity. Plant patterns include tree patterns, grass patterns, floral patterns and leave patterns that exist in nature, such as flowers, leaves, branches, stems, and shoots. The patterns of the Mongolian willow tree was regarded as the object of worship and religious rites for the Northern nomadic tribes since ancient times. The grass patterns were imitated by the shape of the plant and represented the prosperity of the meadow. Even in Korea, the willow tree was symbolized by purity and gentleness, symbolizing the Buddhist material. In particular, the lotus patterns, one of the representative religious symbols of Mongolia and Korea, represents very important meaning of Buddhism as symbols of Buddhism. Additionally, Mongolia and Korea's peony patterns symbolized wealth, prosperity, and happiness, used to clothing, painting, needlework, and artifacts. The patterns of the Mongolia is variously repeated and organized, depending on the material, purpose, and shape of the object. It seeks perfection and has a variation and rhythm for decoration. The reason is that the artistic style has expanded because of the rich, beautiful sense, tradition, and cultural exchanges with various ethnic groups. Accordingly, the Mongolia’s plant patterns was decorated with all aspects of national faith and belief, and is decorated with everything related to everyday life. It Symbolized wealth, prosperity, richness, purity, happiness, good luck. That is, it created a unique and beautiful art stamp featuring the lifestyle and artistry of Mongolia.