환경칼럼 - 5월과 푸르름

윤민용,Yun, Min-Yong 환경보전협회 1988 환경정보 Vol.10 No.8

A Case of Metachronous Metastasis to the Breast from Non-Small Cell Lung Carcinoma

윤민용,송창석,서미혜,김민재,오태윤,장운하,곽현주,김희성,임시영,임성용,이승세 대한암학회 2010 Cancer Research and Treatment Vol.42 No.3

Breast metastases from an extramammary primary tumor are very rare and the prognosis for such patients is generally poor. We report here on a case of a 42-year-old female with metastasis of non-small cell lung cancer to the breast, and she is now being followed up on an outpatient basis. In 2004, she presented with a solitary pulmonary nodule in the left lung, and this lesion had been noted to have gradually increased in size over time. The final pathological diagnosis was adenocarcinoma, and the diagnosis was made by performing percutaneous needle aspiration and lobectomy of the left upper lobe. Adjuvant chemotherapy and radiotherapy were given. Unfortunately, a nodule in the left breast was noted three years later, and metastatic non-small-cell lung cancer to the breast was diagnosed by excisional biopsy. Making the correct diagnosis to distinguish a primary breast carcinoma from a metastatic one is important, because the therapeutic plan and outcome for these two types of cancer are quite different.

환경칼럼 - 가로수의 교훈

윤민용,Yun, Min Yong 환경보전협회 1987 환경정보 Vol.9 No.20

계화(界畫) 용어를 중심으로 본 건축화(建築畵)의 출현과 발전

윤민용 미술사학연구회 2021 美術史學報 Vol.- No.56

This study aims to reexamine the meaning and use of ‘Gyehwa(Jiehua, 界畵)’ and suggest ‘Geunchughwa (建築畵)’ as its substitute in Korean language. Gyehwa has been used for a painting category term of architectural paintings in the East Asia. Originally, Gyehwa meant a painting technique to draw a straight-line using ruler. Close reading on the Chinese historical texts written by art critics reveals the following problems using Gyehwa as a painting category term. First, it is not equivalent to other painting categories based on the subject matter such as landscape paintings and birds-and-flowers paintings, etc. Secondly, this term has been interchangeably to refer to techniques, subjects and category of painting. In third, not all architectural paintings used Gyehwa technique. Finally, various words referring for architectural buildings had been used for indicating architectural paintings from the 4thcentury. Gyehwa as a painting category term has been used from the 14thcentury. Therefore, this study will suggest Geunchughwa as a Korean academic term for replacing Gyehwa and discuss its definition and sub-topics. Simultaneously, the emergence and development of Chinese architectural paintings will be explored. 본 연구는 동아시아 회화에서 건축물 주제의 회화를 지칭하는 화목(畵目) 용어로 사용되어온 ‘계화(界畫)’의 개념과 용례를 재검토하고, 이 용어에 내포된 문제점을 고찰하고 이를 대체하는 한국어 학술용어로 ‘건축화(建築畵)’를 제안하는 것을 목적으로 삼았다. 계화는 본래 도구를 이용하여 직선을 긋는 회화기법을 의미하지만, 원대 이후로 건축물을 그린 회화를 총칭하는 화목 개념으로도 사용되어 왔다. 이에 근거하여 현대의 동아시아 회화사 연구에서도 큰 문제의식 없이 건축물을 주제로 한 회화를 계화로 총칭해왔다. 이러한 상황은 한국 미술사학계에서도 마찬가지였다. 계화를 화목 용어로 사용하는 것은 여러 문제점을 내포하고 있다. 우선 다른 화목 용어와 그 개념이 대등하지 않다. 둘째, 계화라는 용어에는 기법과 화제, 화목의 개념이 혼재되어 사용되고 있다. 또 건축물을 그린 회화가 모두 계화기법을 사용한 것이 아니기 때문에 이를 화목 용어로 사용하는 것은 부적절하다. 마지막으로, 북송대에 계화라는 용어가 출현하기 이전인 남북조시대부터 이미 건축물을 가리키는 다양한 용어가 건축물 주제의 회화를 지칭하는 화목 용어로 사용되어 왔다. 이에 본 논문에서는 계화를 대신하는 한국어 학술 용어로 ‘건축화’를 제안하고, 그 정의와 대상을 논할 것이다. 더불어 중국의 화론서를 중심으로 건축물을 주제로 삼은 회화를 총칭하는 화목 용어의 변천을 살피고, 계화 용어의 시대별 의미를 재검토하였다. 이 과정에서 송대까지 중국 건축화의 출현과 전개 양상을 함께 고찰할 것이다.

正祖代 宮中의 城市圖 제작과 함의

윤민용 서울대학교 규장각한국학연구원 2023 한국문화 Vol.- No.103

The cityscape painting, a significant painting subject in East Asian art history, serves as a visual testament to the urban landscapes of a premodern era. These artworks intricately capture various facets of urban life in premodern times, illustrating bustling streets teeming with denizens, including merchants, buyers, inquisitive onlookers, laborers, entertainers, and even grand processions. Termed “Seongsido” during the Joseon period, cityscape painting was a visual narrative that took root later in Korea compared to China and Japan, where rapid urbanization and demographic concentration prompted its earlier emergence. Typically commissioned by sovereign rulers, cityscape paintings in premodern East Asia, such as the renowned “Qingming Scroll” of the Northern Song era, symbolized a harmonious reign marked by urban orderliness. However, in Korea, cityscape painting did not emerge until the late 18th century, coinciding with King Jeongjo’s reign. Previous research primarily approached Joseon cityscape painting as a genre painting. This study argues that the sudden appearance of Seongsido during King Jeongjo’s reign requires a careful examination within the context of court painting to understand its unique characteristics and multiple meanings. To elucidate the circumstances surrounding the unprecedented rise of cityscape painting during King Jeongjo’s reign, this study conducts a comprehensive analysis. It commences with an examination of the initial ten poems of “Seongsijeondosi” ((a poem on cityscape painting) cityscape painting poem), composed in 1792 by Gyujanggak agents and high-ranking officials at King Jeongjo’s request. Subsequently, it investigates the themes associated with cityscape paintings and reviews records of the Chabi Daeryeong Hwawon (court painters in waiting) in the Naegagillyeok (Cabinet Calendar). The findings not only confirm a consistent predilection for cityscape painting among late Joseon monarchs but also underscore that Seongsido was a special painting subject for the select audience within the palace, comprising the king and a few literati officials. Notably, King Jeongjo, known for his scholarly pursuits and in-depth study of Song dynasty history, established the Gyujanggak, emulating the institutional framework of the Northern Song dynasty. His recognition of the potent visual language and the tradition of producing and admiring auspicious paintings in the Northern Song court prompted him to task court painters with reviving the auspicious cityscape as a subject. Though these court painters may have referred to mass-produced reproductions of the Qingming Scroll from the Ming and Qing dynasties during their creative process, the cityscape paintings of late Joseon firmly rooted themselves in the tradition of East Asian cityscape art, particularly within the context of courtly artistic expression. Consequently, the cityscape painting commissioned in 1792 by King Jeongjo’s decree effectively embodied his aspiration for a peaceful reign (Taepyeongseongdae) and a society marked by profound unity (Daedongsahoe), ideals that he ardently pursued throughout his reign.

사가기록화의 지형도 그리기 - 조선시대 양반 관료의 욕망과 재현

윤민용 한국예술종합학교 한국예술연구소 2023 한국예술연구 Vol.- No.39

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조선 후기 宮中 所用 建築畵와 差備待令畵員 활동 연구

尹玟容(Yoon Minyong) 미술사연구회 2021 미술사연구 Vol.- No.41

조선 후기 궁중회화에서 두드러지는 현상 중 하나는 궁궐과 누각 등 건축물 이미지를 재현한 회화와 시각자료의 제작이 급증했다는 사실이다. 조선 후기 궁중에서 건축물 이미지는 궁중행사도와 궁중장식화, 궁궐도, 성시도, 산릉·영건·연향의궤의 圖說(혹은 圖形), 단독 건축도형 등의 형태로 재현되었다. 이들은 모두 대형화면을 이용하여 계화기법을 정교하게 구사하고 세부 표현이 정밀하다는 특징이 있다. 본 연구의 목적은 조선 후기에 궁중에서 건축물을 재현한 회화와 시각자료를 건축화라는 관점에서 조망하고, 궁중회화에서 건축화가 증가했던 사실과 관련한 차비대령화원의 활동상을 구체적으로 밝히는 데 있다. 조선 후기 궁중회화에서 궁궐과 관청 등 건축물은 국가와 왕실의 행사가 設行되는 공간이면서 국가통치의 기반이 되는 정치적 공간이었다. 또 궁중장식화에서 궁궐과 누각은 장수와 복록을 상징하는 공간이기도 하였다. 누각은 국왕들이 선호하는 화목이었고, 성시도와 왕회도 등 대형 건축물 이미지가 요구되는 화제는 국왕들이 애호하여 자주 출제하기도 하였다. 궁중 내 건축화의 수요 증가 현상은 『내각일력』의 차비대령화원 녹취재 누각 화목 및 인물 및 속화 화목에 출제된 건축화 관련 화제를 통해 살필 수 있었다. 19세기 후반 작성된 궁중소장의 병풍발기 3건에서도 건축물을 주요한 공간적 배경으로 설정한 궁중장식화가 다수 제작되었음을 살폈다. 마지막으로, 차비대령화원의 녹취재 건축화 관련 성적을 토대로 조선 후기 건축화의 발달을 이끈 화원들의 활동상을 분석한 결과, 정조~순조대에 궁중 소용 건축화의 발달을 견인한 차비대령화원으로 朴仁秀가 있었다. 이후 헌종대에 다시 한번 건축화 전문화원의 세대교체가 이루어지고 건축화의 표현양식도 변화하였다. 조선 후기 궁중 소용 건축화의 혁신은 궁중회화의 주문자이자 최종 감상자이며, 궁중화원들의 활동을 후원한 조선 후기 국왕들의 의지와 취향이 반영된 결과라 할 수 있다. One of the outstanding phenomena in court painting during the late Joseon Dynasty period is the rapidly increased production of paintings and visual materials where the images of buildings including royal palaces and pavilions were reproduced. At the court during the late Joseon Dynasty period, such architectural images were translated into forms including the paintings of court ceremonies, palaces, and cities, the paintings for decorating court, the illustrations in the Royal Protocol for the Construction of Royal Tomb (Sanreung Dogam Uigwe), the Royal Protocol for the Construction of the Palace (Yeonggeon Dogam Uigwe), and the Royal Protocol for Court Banquet (Yeonhyang Uigwe), and independent architectural designs. Their common characteristics include the use of a large screen, the exquisite deployment of architectural painting methods called gyehwa techniques, and the precise expression of details. This study examines the paintings and visual materials through which the architecture of the court was reproduced in the late Joseon Dynasty period from an architectural painting perspective. It verifies concretely that a growing number of architectural paintings were created within the field of court painting during this period, and casts light on the specific activities of court painters in waiting (chabi daeryeong hwawon, 差備待令畫員). In the court paintings during the late Joseon Dynasty period, architectural structures including palaces and public offices served as the venues for national and royal ceremonies to be held as well as the political spaces on which the rule of state was based. Also, in decorative paintings for court, palaces and pavilions were the places that symbolized a long, blessed, and glorious life, and pavilions were also among the kings’ favorite things. In addition, kings apparently loved subjects that required images of huge buildings such as a painting of a city or the painting of tribute mission to the son of heaven, and frequently set them as contest themes. The increased need for architectural paintings at court is verified by the Records of Daily Affairs Kept By Gyujanggak (Naegakilryeok) showing how many times architectural themes were set for the pavilion painting category and the figure and folk painting category of competitive examinations (nokchwijae, 祿取才) to give a government post that provided a stipend to selected court painters in waiting. Moreover, by examining the three documents of the Court Records of Folding Screens (Byeongpung Balgi) written in the late 19th century, this study identifies that numerous decorative paintings for the court featured architectural elements as their spatial background. Lastly, this study analyzes the activities of the artists who led the development of architectural painting in the late 19th century based on the architectural-painting-related results of the examinations. This analysis uncovers that Park Insu (朴仁秀) was one of the court painters in waiting who led the development of court architectural painting during the period from King Jeongjo’s reign (1776~1800) to King Sunjo’s reign (1800~1834). Afterward, a new generation of painters that were specialized in architectural painting replaced the old generation, and the form of expression changed during King Heonjong’s reign (1834~1849). It can be said that the innovation of the court architectural painting in the late Joseon Dynasty period was sparked by the will and preference of the kings during the late Joseon Dynasty period, as they were the ultimate customers who commissioned and appreciated the court paintings and sponsored the activities of the court painters.

18세기《탐라순력도》의 제작경위와 화풍

윤민용(Yoon, Min Yong) 한국고지도연구학회 2011 한국고지도연구 Vol.3 No.1

본고는 18세기 초 제주도를 배경으로 제작된 기록화, 《탐라순력도》의 제작배경과 화풍의 특징을 살피는데 목적을 두고 있다. 조선시대 지방관들의 순력을 중심으로 제주도 통치의 실상을 상세히 드러낸 화첩은 제주도 박물지의 성격을 지닌다. 더불어《탐라순력도》는 기록화와 회화식 지도, 실경산수화, 민간회화 등 다양한 회화요소가 뒤섞여 있는데, 이는 제한된 지리적 공간을 화면에 효율적으로 재현하고 관련 정보를 집약적으로 전달하는 과정에서 나타난 특징이라 할 수 있다. 기록화를 주문하고 소비하는 주체와 시각적으로 재현하는 주체가 다른 상황에서 제작된 화첩은 지배계급의 이데올로기를 담아내는 동시에 지역의 개성적이고 독특한 조형의식을 반영하고 있어서 흥미롭다. This study aims to reveal the historical background and style of Inspection Tour of Jeju Island in the 18th century. This painting album mainly depicts local governor’s inspection tour implemented in the Chosun Dynasty. Deeply and detailedly focusing on the various information on Jeju island, the painting album has the character of recording the natural history on Jeju island. Moreover the album represents a style of documentary painting comprised of various pictorial elements such as pictorial map, real-scenery painting and folk arts. The album is significant because of reflecting the ideology of the ruling class as well as reflecting the formative consciousness of its own region. This study will provide a wider and deeper understanding of the new style of documentary painting.

조선 후기 濟州實景圖의 비교 연구 : 《耽羅巡歷圖》와‘耽羅十景圖’후모본을 중심으로

윤민용(Yoon, Minyong) 한국고지도연구학회 2021 한국고지도연구 Vol.13 No.2

조선 후기에 제주도를 재현한 시각자료의 상당수는 실제의 장소를 바탕으로 재현한 實景圖로서, 화첩 《耽羅巡歷圖》와 ‘耽羅十景圖’ 후모본이 대표적 예이다. 이 둘은 모두 제주목사가 개인적으로 제작한 宦歷의 기념물이지만, 제작목적과 성격이 다르다. 1696년 제작된 李益泰의 ‘탐라십경도’는 제주도의 독특한 지형과 절경, 관방시설을 그린 실경도이다. 1703년 완성된 李衡祥의 《탐라순력도》는 제주도의 실경을 바탕으로 순력과 공무 수행 등을 묘사한 행사도와 회화식 지도 등 41장으로 구성된 기록화첩이다. 《탐라순력도》와 유사한 작례는 찾을 수 없으나 탐라십경도는 단출한 구성, 명확하게 확정된 도상, 감상화로서의 성격 때문에 19세기까지 지속적으로 재생산되었다. 최근 공개된 《濟州實景圖》는 탐라십경도의 새로운 유형으로서, 관방시설 장면이 추가되어 공적 성격이 강화되었다. 현전하는 탐라십경도 후모본은 제작목적에 따라 십경의 구성이 변용되었음을 드러낸다. Most of visual materials on Jeju lsland in the late Joseon Dynasty has the characteristics of real scenery paintings and pictorial map. 《Tamna Sullyeokdo(耽羅巡歷圖)》 and later copies of Tamna Sipgyeongdo(耽羅十景圖) are the representative examples. Both of these are produced as the private memorial of Jeju local governors. However there is a difference in the purpose of production and characteristic. Lee Ik-tae’s Tamna Sipgyeongdo , produced in 1696, was made with a small folding screen including Jeju Island s unique topography, magnificient view, and government facilities. Lee Hyeong-sang s album of 《Tamna Sullyeokdo》, completed in 1703, was composed of 41 paintings depicting the inspection tour and official duties. Thus its historical as well as practical characteristic was strengthened. No similar examples could be found later in the 《Tamna Sullyeokdo》, but the Tamna sipgyeongdo was continuously reproduced until the 19th century due to a simple and definite composition and as an enjoyment of appreciating Jeju landscape. The recently released 《Jeju Silgyeongdo》 is a new type of Tamna simgyeongdo, and its public character has been strengthened by two scenes of government facilities. It is revealed that the composition of the later copies of Tamna Sipgyeongdo was changed by the purpose of production.

조선 후기 한궁도 연구

윤민용(Yoon, Min yong) 한국미술사학회 2018 美術史學硏究 Vol.299 No.299