특집논문 : 호남문화와 감성담론의 다층 1 ; 기묘사림의 예술감성과 호남화단

이선옥 ( Seon Ok Lee ) 전남대학교 호남학연구원 2010 호남학 Vol.0 No.48

기묘사림은 조광조의 문인이거나 개혁정치의 일환으로 개정된 현량과로 등용된 인물들이다. 이들 중 작품이 남아있거나 서화로 이름난 문인들은 양팽손, 신잠, 김정, 고운, 최수성, 김구 등이다. 사화가 일어났을 때 이들은 대개 30세 전후의 의기 왕성한 시기로 이제 막 벼슬길에서 뜻을 펼칠 즈음이었다. 이러한 때에 뜻을 같이 했던 스승과 동료가 하루아침에 사사되고 유배되는 참담한 상황은 이들에게 씻을 수 없는 비애와 좌절감을 안겨주었다. 그래서 기묘사림들은 시와 그림에 자신의 복잡한 심회를 담아내었다. 최수성이나 김정은 사화 직후 사사되어 사화가 안겨준 비분강개한 심정을 회화에서 찾을 수는없으나, 신잠은장흥유배후묵죽을 더 많이 그렸으며 양팽손과 고운등은 낙향후 서화에 잠심하였던 것으로 알려져 있다. 이 논문에서는 기묘사림들의 전칭 작품과 제화시 등을 통해 이들의 감성이 어떤 형태로 작품에 표출되었는지 살펴보았다. 작품을 사군자, 산수화, 영모화로 나누어 보았고, 이에서 기묘사림들의 절의 정신과 은일사상, 그리고 불의에 맞선 기개가 예술로 꽃 피운 것을 볼 수 있었다. 그림을 그린문인화가들 뿐만 아니라 같은 아픔을 가진 사림들은 서로의 그림에 제화시를 남겨 돈독한 우의를 다졌고, 서화에 자신의 심회를 담아 표출함으로써 정서적 교감을 이루었다. 기묘사림의 절의정신과 예술 감성은 사화를 당한 문인 자신에 그치지 않고 확산되면서 후손들로 이어져 호남문화 형성에 영향을 주었다. 호랑이를 그리던 고운의 기개는 손자인 고경명의 의병활동으로 이어졌다. 양팽손의 묵죽에서 보인 절의정신은 아들과 손자들의 의로운 죽음으로, 그리고 양산보의 풍류의식이 낳은 소쇄원은 16세기 시가문학의 본산으로서 호남문화의 중요한 축을 이루었다. 윤구에서 보였던 예술 감성은 윤선도를 거쳐 윤두서로 이어져 조선 후기 화단의 빗장을 여는 선구적 화풍을 이루었다. 이는 윤덕희, 윤용 뿐아니라 외손인 다산 정약용에게도 영향을 미쳤으며, 19세기 소치 허련을 통해 근 현대로 이어졌다. 이들 기묘사림들의 절의정신과 예술 감성은 호남문화의 중요한 한 축을 형성하였다. Yang Paeng-son, Sin Jam, Kim Jeong, Go Un, Choi Su-seong and Kim Gu who were Gimyo Sarim(Confucian scholars who fell victims of Gimyosahwa) were famous for their works of calligraphy and painting. They belonged to a literary circle led by Jo Gwang-jo and were appointed to Hyonryanggwa which had been revised for reformative politics. When a calamity of scholars occurred, they were in early thirties when they started their official career. At that time their teachers and colleagues were sentenced to death or exile, which gave them ineffaceable sorrow and despair. Confucian scholars represented their complex mental attitudes in their poetry and painting. Sorrowful indignation was not found in paintings by Choi Su-seong or Kim Jeong as they were sentenced to death immediately after the calamity, but Sin Jam painted lots of Chinese ink painting of bamboo after he was exiled to Jangheung and Yang Paeng-son were immersed in calligraphy and painting after he returned home. This study analysed how sensitivity of scholars was represented in their painting and poetry. It categorized their works into Sagunja(an oriental painting of plum-blossom, orchid, chrysanthemums and bamboo), landscape paintings and Youngmohwa(painting of animals) and discovered that their integrity, hermitage and unyielding spirit were represented through art. The Confucian scholars who felt sorrow for the calamity as well as the literary artists consolidated their friendship through writing poetry on each others` painting and represented their mental attitudes in their calligraphic writing and painting which led to emotional sympathy. Integrity and artistic sensitivity of Gimyo Sarim were succeeded to junior scholars, which became an important axis of Honam culture. The integrity of Go Un who drew tigers led to Go Gyeong-myong`s leadership of righteous troops. Yang Paeng-son`s integrity shown in his Chinese ink painting of bamboo led to righteous death of his son and grandsons. Soswaewon derived from Yang San-bo`s taste for the arts has become a main axis of Honam culture as a headquarter of poetry literature of the 16th century. Yun Gu`s artistic sensitivity was inherited to Yoon Seon-do and Yoon Du-seo, which was a base of innovative painting circle of late Joseon period. It influenced Dasan Jeong Yak-young, a maternal grand-son as well as Yoon Duk-hee and Yun Yong, and became an origin of artistic hometown Honam through Huh Ryon in the 19th century.

파프리카 추출물의 색소안정성과 Ethoxyquin 및 잔류용매 검출

이선옥,경석헌,박길동,강희곤,박주성,이시경,Lee, Seon-Ok,Kyung, Suk-Hun,Park, Kil-Dong,Kang, Hee-Gon,Park, Joo-Sung,Lee, See-Kyung 한국응용생명화학회 2002 한국농화학회지 Vol.45 No.2

올레오레진 파프리카의 색소 안정성과 ethoxyquin의 잔류량 분석을 위하여 용매별 최대 흡수파장과 흡광도, 용매와 ethoxyquin파의 잔류량 분석 조건을 비교 분석한 결과는 다음과 같다. 용매별 올레오레진 파프리카의 최대 흡수파장은 444-458 nm에서 나타났으며 흡광도 값은 에탄올에서 가장 높게 나타났고 아세톤, 클로르포름, 메탄올의 순으로 높게 나타났다. 용매별 올레오레진 파프리카 추출물에서의 색가는 에탄올, 아세톤, 클로르포름 그리고 메탄올 순으로 높았으며 국가별로는 미국 제품이 용매에 따라서 다른 나라의 제품보다 2-6배 정도가 높았다. 올레오레진 파프리카에서 잔류되는 용매는 주로 아세톤, 메탄올 그리고 헥산이 일부제품에서 미량 검출되었으며 기타의 잔류용매는 검출되지 않았다 Ethoxyquin의 분석에서 GC에 의한 분석방법으로는 다양한 분석조건에서 실시하였으나 적합하지 않았다. HPLC에 의한 ethoxyquin의 분석을 위한 올레오레진 파프리카 추출물의 용해용매로 헥산을 이용한 것이 가장 분리능이 좋았으며 검출한계는 $0.01\;mgl^{-1}$이었다. 생산국별 올레오레진 파프리카에서의 ethoxyquin 검출은 미국과 스페인 제품에서 미량 검출되었으며 ethoxyquin이 검출된 제품이 검출되지 않은 제품보다 색가가 더 높게 나타났다. Effects of ethoxyquin on the color stability of oleoresin paprika extracts and amount of residual ethoxyquin, a color stabilizer, in commercial extracts were determined. The oleoresin paprika extracts dissolved in ethanol gave the highest maximum photo-absorbency at 444-458 nm, with the color index of United States product 2-6 times higher than that produced in India. The residual solvents in oleoresin paprika extracts were mainly acetone and methanol, although some other extracts also contained small amounts of hexane. HPLC analysis was determined as a proper analytical method for residual ethoxyquin assay in the oleoresin paprika extracts, particularly when hexane was used as a solvent. The residual ethoxyquins were detected in the extracts produced in US and Spain which had relatively high color indices.

SYSTEM EFFECT

이선옥,Lee, Seon-Ok 한국설비기술협회 1993 설비 : 공조ㆍ냉동ㆍ위생 Vol.10 No.9

일반논문 : 1990년대 광주에서의 현실주의 수묵화의 의미

이선옥 ( Seon Ok Lee ) 전남대학교 호남학연구원 2011 호남학 Vol.0 No.49

본 논문은 1980년대 시작되어 1990년대에 큰 호응을 얻었던 광주에서의 현실주의 수묵화를 수묵이라는 전통적 매재(媒材)가 갖는 현재적 의미와 이들 그림에 담긴 소재의 역사성이라는 두 층위에서 살펴본 것이다. 광주에서의 현실주의 수묵화운동은 1980년대 민중미술의 한 흐름 속에서 시작되었다. 현실주의 수묵화는 동양화의 형식실험이 중심을 이루었던 60년대 수묵화운동의 한계를 딛고 수묵에 80년대 현실을담음으로써 수묵의 내재된 힘과 주제의 역사성을 동시에 얻게 되었다. 홍성민의 <몸살>(1986)과 박문종의 <어머니>(1988) 등은 90년 대 전개된 현실주의 수묵화운동의 단초를 연 작품들이다. 1990년대에 활발하게 창작되었던 광주에서의 현실주의 수묵화는 박문종, 김경주, 하성흡, 그리고 허달용 등에 의해 그려졌고 오늘까지도 이어지고 있다. 이들은 80년 5월을 직접 형상화한 작품들뿐 아니라 이후 이어지는 일련의 역사적 사건과 그 사건의 중심에 있었던 여러 인물들을 그림으로써 당시를 증언하고 있다. 광주에서의 현실주의 수묵화는 같은 시기 민중미술의 주류를 이루었던 판화나 걸개그림이 주는 강한 선동성은 부족하지만 수묵이 주는 섬세하고 절제된 표현효과는 보는 이의 감성에 호소하는 바가 더 크다. 이러한 감성적인 수묵화는 시기적으로 80년 오월의 뜨거운 열기가 어느 정도 가라앉은 1990년대에 더 어울리는 표현수단이다. 그와 같은 감정의 절제가 있었기 때문에 강한 메시지를 담으면서도 현재까지 이어질 수 있는 생명력이 있다고 볼 수 있다. This study speculated realism ink painting in Gwangju of 1990s which began in 1980s and was very popular in 1990s in terms of the present meaning a traditional material of ink has and historical materials in the paintings. Realism ink painting in Gwangju began as a flow of Minjung art of 1980s. Overcoming limits of the ink painting movement in 1960s which focused on experiments on forms of oriental painting, it represented 1980`s reality in its painting through which internal power and historical themes were achieved simultaneously. Hong Sung-min`s(홍성민) <Illness(몸살)>(1986) and Park Mun-jong`s(박문종) <Mother(어머니)>(1988) opened the gate to realism ink-and-wash painting movement in 1990s. Realism ink painting which was active in Gwangju of 1990s has been inherited through Park Mun-jong, Kim Gyeong-joo(김경주), Ha Seong-heup (하성흡), and Huh Dal-yong(허달용). Their paintings describe a series of historical events and main leaders as well as configurate May of 1980s. Realism ink painting of Gwangju has less instigation than prints or hanging pictures which were another main streams of popular art at the same period, but the moderated forms and colors appeal more to sensitivity of viewers. Such sensitive ink painting is a representative mean which goes with the period of 1990s when fierce heat of May of 1980s subsided somewhat. Realism ink painting has vitality with powerful messages as sensitivity was moderated as such.

논문 : 민중의 시선으로 그린 사군자

이선옥 ( Seon Ok Lee ) 전남대학교 호남학연구원 2010 감성연구 Vol.1 No.1

민중의 시각을 담아 주로 무명 화가들에 의해 그려진 민화나 공예화에는 매·란·국·죽의 사군자 이미지와 더불어 길상의 의미가 보다 직접적으로 표현되어 있다. 매·란·국·죽 각각은 본디 다양한 가치에 의해 사람들로부터 사랑을 받았으며, 17세기 무렵부터는 문인들에 의해 사군자로 익히 알려져 왔다. 이 논문은 문인화의 대표적 화목으로서 오랜 동안 군자의 상징으로 여겨졌던 매·란·국·죽 사군자가 일반 민중의 시각에서는 어떻게 보였는지 살펴보았다. 민화에서 사군자는 의미상징에 있어서 특히 길상의 의미가 강조되었다. 인간의 가장 원초적 소망인 불로장생의 의미가 으뜸이었고, 이에 더하여 다산을 통한 자손번창에 대한 기원이 담겨 있었다. 이러한 상징은 각 식물의 생태적 특성에서 유래한 것으로서, 같은 식물에 대해서도 보는 시각에 따라 의미상징의 차이는 분명하였다. 민화 사군자화의 표현상 특징은 민화의 일반적 특징처럼 형태의 과장과 단순화, 그리고 화려한 색채를 통해 군자의 이미지와는 달리 흥겹고 재미있는 그림으로 바꾸었다는 점이다. 그럼에도 일반회화에서 볼 수 있는 군자로서의 상징성들은 남아있다. 민화사군자화는 전통적인 사군자화의 회화적 특징을 담고 있으면서도 대중적인 의미를 담아 재치 있게 표현된 것이다. 결론적으로 민화로 그려진 매·란·국·죽 사군자는 문인들 사이에서 그려졌던 사군자화와 일면 연관을 가지면서도 민화의 독특한 조형체계 안에서 민중의 감성을 반영하여 의미상징이 각색된 다양한 형태로 그려졌다. This thesis is about a study that how four gentlemen painting was appraised in the view of ordinary people as that is a main topic of literary paintings and gentlemen`s symbol for a long time. The character was estimated through folk paintings and technical art paintings which were painted by unknown painters according to ordinary people`s viewpoints. In the folk painting, four gentlemen`s painting emphasizes the meaning of good auspices in the meaning of symbol. The meaning of eternal youth that is human being`s fundamental wish is best. Furthermore, that includes the hope of offspring prosperity by fecundity. This symbol is originated from ecological character of each plant. The character of representation of four gentlemen`s paintings as folk paintings is a point that it has artistic character of traditional gentlemen`s painting and expresses the meaning of the general public with wits. Besides, that was changed into a cheerful and interesting painting by using exaggeration and simplicity of forms as well splendid colour. Nevertheless, four gentlemen`s paintings as folk paintings keeps an unique character that it has symbolism as gentlemen like original four gentlemen strongly. Plum, orchid, chrysanthemum, bamboo tree- four gentlemen`s painting has got a connection with four gentlemen`s paintings which were painted among literary men and also they reflect ordinary people`s sensitivity in the unique formative system of folk paintings. In addition, it was painted as various forms with adaption of symbol of meaning.

권두논문 : 19세기 여항문인화가 조희룡예술의 근대성

이선옥 ( Seon Ok Lee ) 전남대학교 호남학연구원 2016 감성연구 Vol.0 No.12

이 논문은 19세기 여항문인화가 조희룡(趙熙龍, 1789~1866) 예술의 근대적 성격을 밝힌 것이다. 조희룡은 어떤 화가보다도 생생하고 감각적인 방식으로 자기 자신의 사고와 정감을 화면 위에 고스란히 구현시킨 개성적인 화가이다. 그럼에도 스스로 갖는 자부심과는 달리 차별받는 처지에 있었다. 그는 여항인으로서의 자의식을 중인들의 시사활동에 적극 참여하고 중인들의 전기집인 『호산외기』 저술로 표출하였다. 한편으로는 함께 모여 시를 짓고 이를 기록하여 유서 깊은 문인아회(文人雅會)를 이어받았고, 다른 한편으로는 빼어난 재주를 가졌지만 그간 주목받지 못했던 인물들의 전기집을 발간한 것이다. 이로써 소수의 사대부들에 의해 주도되는 현실 제도에 대한 중인층의 울울한 심사와 반발감을 표현하였다. 그동안 주목받지 못했던 인물들을 서술 대상으로 끌어 올린 그의 역사의식은 새로이 부상하는 계급, 계층을 매개로하는 인식의 근대성이라 할 만하다. 문인이면서 예술가였던 조희룡은 여러 저술을 통해 회화예술의 가치를 중시하고, 수예론(手藝論)을 펼침으로써 화가들만이 특별한 재능을 갖고 있다는 자부심을 보였으며, 예술에 있어서의 독창성을 강조하였다. 그러한 회화관을 바탕으로 이전시기 뿐만이 아니라 당대 추사파 화가들과도 비교되는 참신한 화풍을 선보였다. 그의 회화는 심미성을 추구하고 자신의 감성을 화폭에 펼쳐내 감각적이면서도 새로운 미감을 보인다는 점에서 근대적인 특성을 보인다. 또한 그의 예술에는 예술적 주체로서 갖는 강한 자의식과 현실인식이 담겨있다. 조희룡 예술의 그 새로움은 변화하는 시대의 요청에 적극적으로 응한 산물로, 고동서화가 상품으로 유통되고 직업예술가가 출현하던 당시 서울의 도시문화를 배경으로 한다. 조희룡의 활동과 예술은 이미 흐트러졌음에도 여전히 고집되던 양반사회의 권위와 질서에 낸 도전장이며, 새로운 시대를 향한 힘찬 도약이라 할 수 있다. This study identified the modern nature of art produced by Jo Hee-Ryong(趙熙龍), a middle class literary artist in the 19th century. Jo Hee-Ryong uniquely realized his own thoughts and emotions in vivid and sensitive ways on canvass. However, he belonged to the middle-class and received differentiated treatment although he had high self-esteem. He actively participated in literary activities with the public who were self-aware and published 『Hosanouiki(壺山外記)』, a biographical collection for the public. Meanwhile, the public submitted poetry which he gathered together and recorded, and carried on the tradition of literators’ Elegant Assemblies(文人雅會), a prestigious literary group. Moreover, he was active in publishing a collection of biographies on artists who had not been noticed yet, although they had outstanding talent. The publication showed the depressed feelings and resistance of the public who were against the real institutions dominated by a few high officials. He raised those who were not noticed to the public``s eye, which indicates that he had modern awareness with the newly-rising class as a medium. Jo Hee-Ryong, a literary person and artist, recognized the value of paintings through publications of a few writings, and had pride in the special talent of painters and their gifted hand skills. Also, he emphasize originality in art. Based on this view of painting, he showed an original painting style comparable to painters of the Chusapa circle(秋史派). His paintings pursued aesthetics and the emotions he expressed on the paper were sensitive and new, this indicates his paintings and methods of thinking were modern. His art was characterized by a strong self-awareness in reality as an artistic subject. The newness in his art was a product which corresponded to the requests of the changing times, and his art expressed the city culture of the capital at that time where painting was distributed as a product and professional artists had appeared. His activity and art was a challenge to the authority and the order of the aristocratic class which was insistent although it was dispersed. His art and leadership were a powerful influence in a new era.

소치 허련과 호남의 매화도

이선옥 ( Seon Ok Lee ) 전남대학교 호남학연구원 2003 호남학 Vol.32·33 No.-

의재(毅齋) 허백련(許百鍊)의 ≪금강산도십곡병≫과 남종화전통≪Kumgangsandosipgokbyong≫ by Uijae Huh Baek-ryon and the Namjonghwa Tradition

이선옥 ( Seon-ok Lee ) 전남대학교 호남학연구원 2016 호남학 Vol.0 No.59

This study examines the characteristics used in the painting style of ≪Kumgangsandosipgokbyong金剛山圖十曲屛≫, a real landscape painting by Uijae Huh Baek-ryon (許百鍊, 1891~1977), and his tranditional views through his traditional painting style and composition. ≪Kumgangsandosipgokbyong≫ by Huh Baek-ryon was painted based on sketches he drew while travelling to Mt. Kumgangsan in 1921. However, the geological names of Mt. Kumgangsan were not known in ≪Kumgangsandosipgokbyong≫. Therefore, this study guessed the location of the painting through comparison with paintings of Mt. Kumgangsan by Yeomjae Song Tae-hoi (1872~1941) whom Huh Baek-ryon met immediately after he came back from his trip to Mt. Kumgangsan. Also, in consideration that he painted while keeping the changes in the four seasons in mind, he changed the order of Byongpung, a folding screen painting. On each screen of ≪Kumgangsandosipgokbyong≫, a painting theory is written. Most of the theories involve literary painting which appeared repetitively in his other works. Also, Huh Baek-ryon drew Mt. Kumgangsan as he was impressed with the painting by Jeong Sun, but he used his own painting style instead of following Jeong Sun’s painting style. He intended to paint even the significance contained in Mt. Kumgangsan as well as the appearance of the mountain and thought that the Namjonghwa(南宗畵) painting style was suitable for this. The fact that Huh Baek-ryon painted Mt. Kumgangsan with Namjonghwa painting style and did not write the place name is because of his view of a real landscape thinking that every landscape painting is a real landscape painting. Just as he did not write place names although he painted many mountains and rivers in Namdo, he did not feel a necessity to write the name of Mt. Kumgangsan even when he set out to paint the mountain. However, he emphasized the characteristics of Mt. Kumgangsan with lots of rock. Huh Baek-ryon’s painting of Mt. Kumgangsan, who intended to raise a real landscape painting to the status of Sauihwa(寫意畵), has special meaning in the flow of paintings of Mt. Kumgangsan in the 20th century.

息山 李萬敷(1664-1732)와 『陋巷圖』 書畵帖 硏究

이선옥(Lee Seon-ok) 한국미술사학회 2000 美術史學硏究 Vol.- No.227

This paper examines a painted album titled Nuhangdo by Siksan Yi Man-bu (1664-1732). Yi Man-bu is a Sirhak scholar, who belonged to the faction of the Southerners. Without serving the government office, he lived in Sangju, the Ky?ngsang province writing a number of books, which include such renowned works as Chihaengnok 地行錄. He is also famous for Nuhangdo, which shows his talent as a painter. It was common during the Chos?n period that a scholar built a hermitage 精舍 in mountains and represented it in a painting. This custom, which was popular from the early Chos?n period, was related to the tradition that the famous Confucian scholar Zhu Xi (1130-1200) in China left the depiction of his Mui jingsi 武夷精舍. This paper attempts to explore the significance of Nuhangdo in the history of Chos?n-dynasty painting. The second chapter discusses Yi Man-bu's life as a scholar and artist. Not only did he wrote a number of important works as a Sirhak scholar, but also he was a master in calligraphy and had profound knowledge of art. The third chapter examines the content of Nuhangdo. This album consists of "Nogokki and Hugi," which explains his reason for building the hermitage Siksan ch?ngsa, along with his poems and paintings depicting the hermitage. The forth chapter discusses the orgaruzmg features of the Nuhenado. In this album, there is a writing in front of each painting, and paintings match with poems. This format is quite distinct from other pictorial depictions of a scholar's hermitage of this period. The paintings are also connected with a new tendency of the period. True-view landscape. He used a bird's-eye view and textual strokes and evoked an archaic atmosphere by employing blue colours. The fifth chapter looks into Yi Man-bu's activity of writing and painting as well as his view of painting presented in Siksenjib 息山集, Although he was a literati painter who painted only at leisure, he drew maps and portraits of prominent scholars as well. This seems to show his attitude as a Sirhak scholar. Nuhando is connected to the preceding period in painting structure and textual strokes. In the depiction of real scenery, however, it is closely related to the contemporaneous True-view landscape: it also shows associations with genre paintings. In this respect, this album is quite significant in illuminating an important aspect of literati painting of this period.

논문 : 19세기 여항화가(閭巷畵家)들의 매화도

이선옥 ( Seon Ok Lee ) 호남사학회(구-전남사학회) 2005 역사학연구 Vol.25 No.-