대구의 초기 수채화단 성립과 1930년 향토회 발족배경

이중희(Lee, Jung-hee) 한국근현대미술사학회 2012 한국근현대미술사학 Vol.23 No.-

Art activities in Daegu began to keep pace with those in Seoul circa 1922, the year in which the Joseon Art Exhibition was organized. The formation of a western painting circle in Daegu was not solely a regional cultural phenomenon, but one that was directly connected to the dynamics that lay at the heart of the formation of western painting circles at the national level. More to the point, Daegu played an important role in the formation of the dynamics that led to the emergence of western painting circles at the national level. This study seeks to identifythe reasons why the Daegu western painting circle was characterized by watercolor paintings, and to shed light on the actual reasons for the establishment of the Hyangtohoe in 1930. The core figures during the early stages of the modern period in which paintings exhibited the regional characteristics of the locale known as Daegu were: Seo Byeong-o (1862-1936), Lee Sang-jeong (1897-1947), Lee Yeo-seong (1901-?) and Seo Dong-jin (1900-1970). These individuals were the intellectuals, pioneers, and nationalists who best represented the Daegu area at the time. At a time of crisis in which national sovereignty had been usurped, these leaders initiated independence movements and did their utmost to protect Korea’s history and traditional culture. They exhibited a cultural orientation under which poetry, calligraphic writing, and painting were integrated into what effectively became an extensionof the sadaebu culture that had prevailed during the Joseon dynasty. The features of Western painting gradually became part of this cultural orientation. For these individuals, Western painting was the beacon of a new era and a symbol of the new age that was afoot. The works of Lee Sang-jeong and Lee Yeo-seong, both of whom were interested in new art forms, are characterized by watercolor paintings that shared many similarities with traditional sumukhwa (水墨畵, inkpainting). The watercolor paintings created by Lee Sang-jeong and Lee Yeo-seong were similar in style to the works produced bySeo Dong-jin, Park Myeong-jo and Choe Hwa-su. In this regard, Daegu came to be regarded as the center of watercolor paintings. While these pioneers’ painting style shared many similarities with traditional painting, they nevertheless exhibited elements of the Western painting style. To this end, their paintings were referred to as examples of western painting (seoyanghwa). What were the intentions behind the establishment of the Hyangtohoe in 1930? Individuals such as Seo Dong-jin, Kim Yong-jun, Choe Hwa-su, and Park Myeong-jo who were the main actors behind the Hyangtohoe saw the latter as a means to actualize the Korean identity based on the promotion of a nationalistic love for the motherland (local area). Their attempts to embody the hyangtosaek were rooted in their love for the rivers and mountains of Korea. In this regard, the term ‘hyangtosaek (indigenous colors)’ came to refer to more than indigenous colors rather, it took on the meaning of an ‘expression of the true Joseon.’ This wasclosely connected to the movements led by enlightened Koreans who since the late 1920s had sought to define and promote the Korean identity. The members of this organization focused on the production of works which depicted new architecturalbuildings such as the Gyesan Cathedral, ditches, and alleys in urban areas. In fact, one would be hard-pressed to find any pastoral agricultural landscapes. Nevertheless, the expression hyangtosaek had been regarded by some scholars to have been in keeping with the intentions of the members of thereview committee of the Joseon Art Exhibition, who asserted that, from the standpoint of the colonizer Japan, the depressed atmosphere found in agricultural paintings constituted the main theme and image of the controlled country known as Joseon.

이우환 예술의 근원

이중희(Lee Jung-hee) 한국근현대미술사학회 2015 한국근현대미술사학 Vol.30 No.-

It is still commonly known that the works of Lee Ufan, an artist who led object school (Mono-ha, 物派) in the contemporary fine arts world in Japan are not easily accepted due to the difference with regular art works. Although his works are peculiarly simple, the degree of understanding of his works was not as simple as the artworks. This is because of the weak approach to the essentialism of arts, where the thoughts of Lee Ufan are originated that constitute his works. However, the root of his arts is coming from the established philosophy that he thought before the arts, lying behind the emerged visual issue. This seems to be the different aspect from general artists as well as the main cause to make the understanding of his artworks difficult. Frankly speaking, it is no exaggeration to say that the artworks by Lee Ufan are nothing more than the visual images that describe his already firmly established world of philosophical thinking. Therefore, this research aims to seriously review his world of philosophical thinking, the world of thoughts that serve the foundation of the arts by Lee Ufan. It intended to explain the fundamental issues on why Lee preaches the importance of ‘meeting with the outside world (referent)’ so actively by mentioning the issue of ‘Corporality’ by himself.

≪단원풍속화첩≫ 진위 문제에 대하여

이중희 ( Jung Hee Lee ) 한국동양예술학회 2013 동양예술 Vol.21 No.-

본고는 중앙박물관소장 ≪단원풍속화첩≫ 25매가 단원의 친필이 아니라는 학설에 대한 반론형식으로 논술된 것이다. 그간에 제기된 단원필 부정의 주된 논거는 첫째, 단원의 친필 인물 묘사에서는 오류나 실수가 전혀 용납될 수 없고 반드시 정확해야 하며, 화풍이 일정수준 이상이어야 한다는 전제에 의거하고, 둘째 단원의 친필이라면 인물도상의 묘사상의 線質이 모두 일정해야 한다는 가설에 근거하고 있다. 그런데 부정론의 결정적인 결함은 단원화첩만의 특수한 편집상황이나 예술성을 도외시하고 있는 점이다. 단원화첩의 이러한 특수성을 일절 고려하지 않은 채, 직관적인 사생으로 제작된 단원의 친필 화풍과 수평적인 단순비교 방법으로 판단하고 있다. 무엇보다도 25매의 ≪단원풍속화첩≫의 편집의도나 화풍은 현장성 짙은 단원 진적그림과는 제작의도에서 확연히 다르며 다음과 같은 특수성이 있다. ① ≪단원풍속화첩≫ 25매 그림은 현장성이 강한 1차적인 화풍의 단원의 진적 그림(1778년 작≪무술년풍속병풍≫, 1795년 작≪을묘년풍속병풍≫)과는 다르게, 현장에서 떠나 실내에서 특정주제에 따라 주도면밀하게 편집된 2차적인 화풍이며, 각각 독자적이면서도 고차적인 예술세계를 가진다. 그러므로 다소간의 묘사상의 오류가 충분히 발생할 수 있는 것이다. ② 단원의 인물묘사에는 線質이 서로 다른 모필과 竹筆(대나무펜)을 병용하여 사용하였기 때문에 마치 복수의 화가가 그린 것처럼 오해받기 쉽다. ③ ≪단원풍속화첩≫은 만년에 이르러 풍속표현을 집대성하려 을묘년풍속병풍≫(1795, 51세)의 제작시기와 유사하여 필치에서는 젊은 날의 생동감 있고 활달한 선묘와는 다르게 노년기의 조심성 있고 흐느적거리는 취약한 선질이 부쩍 증가해 있다. 이상의 특질 외에도 단원화첩의 진면목은 무엇보다도 인간미물씬 풍기는 해학적 화풍이다. 손기술로 제작된 것이라기보다는 마음으로 어루만진 맛있는 화풍이다. 이 풍속화첩에 빨려들게 하는 원천이 바로 여기에 있다고 본다. 인물들 속에서 애정 어린 마음으로 포착한 정감을 듬뿍 느끼게 하는 것이 본 화첩의 첫째 특장이라 할 수 있다. 단원화첩의 이런 진가를 무시하고 극히 지엽적인 문제로서 오로지 도상이나 묘선의 錯亂 여부만을 파헤쳐 작가의 진위를 특정하려고 한다면 자연히 결론도 달라질 것이다. This paper was written in the form of objection to a theory where 25 pieces of paintings in <Album of Genre Paintings by Danwon> owned by the National Museum of Korea are claimed not to be painted by Danwon. The grounds for such claim that has denied the authenticity of Danwon``s painting are based on the hypothesis that i) every portrait painted by Danwon should be precise and never accepting any errors and mistakes, and in accordance with the premise that the style of painting should be over a certain level; and ii) every painting by Danwon should have a consistent line quality. However, there is a decisive flaw in such negative argument that the album``s exclusive compilation background and artistic value are neglected. After completely ignoring such specialty, the album is only judged by a simple horizontal comparison with Danwon``s painting style with his intuitive sketches. Above all, the compilation intention and painting style of 25 pieces of paintings in <Album of Genre Paintings by Danwon> are clearly different from the vividly depicted paintings painted by Danwon in terms of the painting intention. The album has three significant specialties as follows: ① Unlike Danwon``s previous paintings with vivid touches as a primary painting style in <Genre Painting Folding Screen in the Year of Musul> in 1778 and <Genre Painting Folding Screen in the Year of Eulmyo> in 1795, 25 pieces of paintings in <Album of Genre Paintings by Danwon> have a secondary painting style thoroughly edited under a certain theme that delivers an individual and high-level world of art in each painting, ② Since Danwon``s portraits of people were painted by alternatively using the paint and bamboo brushes that have different line qualities, it is easy to misunderstand the paintings were completed by multiple painters. ③ <Album of Genre Paintings by Danwon> was compiled for a long period of time of at least 4-5 years under the intention to compile all descriptions of custom in Danwon``s later years. Since the album was compiled in the similar period when the <Genre Painting Folding Screen in the Year of Eulmyo> (1795, age 51) was completed, the touches of the album show an increasing number of careful, fluttering and vulnerable lines in old age unlike the lively and dynamic drawing of youth. Aside from the above mentioned specialties, the true color of the album is the humorous painting style with touches of humanity. It is a tasty painting style soothed by heart, rather than handwork. This is the source that gets us absorbed into the album of genre paintings. If it is intended to determine the authenticity of Danwon``s paintings only by digging up the derangement of icon and lines which is an extremely minor issue and ignoring the true value of the album, it is only natural to reach a different conclusion.

중국의 인구 정책과 고령화의 추세, 원인 및 특성

李重熙(Lee Jung-hee) 대한중국학회 2007 중국학 Vol.29 No.-

  In the seventies of twenty century, the family plan started. Since its starting, especially the procreation of "one bady", the population accrual rate, summation procreation rate and the population birthrate all descended greatly. They have caused ageing problems. In 2000, ageing society started.<BR>  In China, the size of elderly population is very big. The speed of ageing has been very fast. When their incomes were not high in comparison with developed countries, China began to be ageing society. The dependency ratios of population by region are different from each other. The rural gross dependency ratio was higher than the urban gross dependency ratio.<BR>  Also the introductions of old-age insurances and health insurances have been uneven between rural and urban areas, among ownerships, and between citizens and mingongs. Therefore, ageing has had economically negative influences on poor population such as rural population.

Proxy Mobile IPv6 환경에서 Fuzzy Logic을 이용한 Local Mobility Anchor 선택 기법 연구

이중희 ( Joong-hee Lee ),최진영 ( Jin-young Choi ),임헌정 ( Hun-jung Lim ),이종혁 ( Jong-hyouk Lee ),정태명 ( Tai-myoung Chung ) 한국정보처리학회 2007 한국정보처리학회 학술대회논문집 Vol.14 No.2

이동 서비스를 지원하기 위한 프로토콜 중 현재 가장 주목 받고 있는 Proxy Mobile IPv6 (PMIPv6)에서 Mobile Node (MN)는 Local Mobility Anchor (LMA)와 Mobile Access Gateway (MAG)의 지원으로 무선 접속을 위한 기능 이외의 추가적인 동작 과정 없이 이동성을 가질 수 있다. PMIPv6 에서의 LMA 는 MN 에게 이동 서비스를 지원함에 있어서 가장 중추적인 역할을 하기 때문에 어떤 LMA 가 MN 에게 서비스를 지원하느냐에 따라 이동 서비스의 질은 직접적인 영향을 받는다. 따라서 본 논문에서는 이동 서비스에 영향을 미칠 수 있는 요소인 LMA 와 MAG 사이의 통신 비용과 LMA가 이동 서비스를 제공하고 있는 MN 의 수를 고려하여 Fuzzy Logic 을 이용한 LMA 선택 기법을 제안한다. 본 논문에서 제안하는 기법은 다수의 LMA 를 제공하는 사업자에게 있어서 적당한 LMA 를 선택하여 서비스를 제공할 수 있도록 함으로써 MN 에게 항상 양질의 이동 서비스를 제공할 수 있도록 한다.

중국의 개미족에 대한 계층적 분석

이중희(Lee Jung-Hee) 동북아시아문화학회 2011 동북아 문화연구 Vol.1 No.26

The purpose of this paper is to find the situation of balinghou (1980s), to find factors the formation of yizu (ant tribe), and to suggest the class analysis on yizu, The findings are as follows. First, yizu is groups who reside in big cities, and were graduated from undergraduate schools or graduate schools. Second, factors causing the formation of yizu are as follows. The first important factor is that the number limit of university has rapidly increased since 1990’s. The second important factor is that the prices of housing have rapidly increased since 1990’s. The third factor is the attraction of big cities in view of the young generation. Third, ninety three percents of yizu were 1980s in the survey of 2009. Most of yizu are from rural area or small cities. Eighty one percents of yizu have full-time or part-time jobs in the survey of 2009. The monthly income of yizu is 1,956 yuan in the survey of 2008. That of yizu is a very low level of income in comparison with other groups. Fourth, in the survey of 2010, eighty percents of yizu are from the poor parents. The rapid increase of the number limit of university does not cause the rising trend of graduates in view of social mobility. Fifth, since 2005, the beginning year of yizu, the number of yizu has rapidly increased. In 2011, the number of yizu is estimated to come up to several million. Sixth, entry barriers of balinghou to middle class are difficulties of getting employment and rapid increase of housing prices.

중국의 스모그에 대한 사회학적 분석

이중희(Lee, Jung-Hee) 동북아시아문화학회 2014 동북아 문화연구 Vol.1 No.41

Ulrich Beck argues that the industrial society was transferred to the risk society. The principle of the industrial society is the distribution of wealth while that of the risk society is the distribution of risks. And the technological and economic developments create new risks. The risk society theory of Ulrich Beck has been developed in Western societies and can be applied to Western societies. The development of Korea are different from that of Western Countries. The Korean development is the characteristics of the rush to modernization or the compressed modernization. The compressed modernization deepens and enlarges risks. Chang, Kyung-Sup regards Korean society as complex risk society including risks of developed societies, of developing societies, and of Korean specialties. First, in developed societies, serious risks can be caused by gas, nuclear energy power, etc. And the means of transportation and a large size of architectures can cause serious accidents. Second, in developing societies, people easily experience risks caused by transportation, energy, production and environment. Third, in societies of compressed modernization, there are various risks caused by the development of fast speed. In China, there are many papers which focus on Chinese society in terms of risk society. However, few papers focus on the Chinese specialties of risk society. Few papers analyze the Chinese risk society based on the Chinese specialties of development. The Chinese development has both compressed modernization and system conversion. The Chinese system has changed from the socialist planned economy system to the socialist market economy system. The Chinese society does not only have the risks of compressed modernity existed in korea, but also has risks of system conversion. The Chinese society is more complex risk society than the Korean Society. In China, the risks of system conversion include risks caused by the existing socialist system, the introduction of market economy, and the combination of the existing socialist system and the newly introduced market economy. In China, both the Wenzhou High-Speed Train accident and the Smog problems are problems which do not include only the risks of developing societies and compressed modernization, but also the risks of system conversion.

중국의 거대 플랫폼에 대한 반독점과 데이터 독점 규제: 알리바바 사례를 중심으로

이중희(Lee, Jung Hee) 한국아시아학회 2021 아시아연구 Vol.24 No.4

본 논문의 가설은 다음과 같다. 2020년 후반부터 중국에서 거대 플랫폼에 대한 규제가 본격적으로 시작됐다. 미국의 바이든 정권에서도 리나 칸 등의 신 브랜다이스 학파는 전통적 시각을 부정하고 소비자의 후생이 향상되더라도 민주주의 체제에 위협이 되면 독점으로 인정해야한다는 시각에서 아마존 등의 거대 플랫폼에 대한 규제를 주장하고 있다. 중국의 상황은 다르다. 중국이 미국의 실리콘밸리모델을 모방해서 그동안 플랫폼의 발전을 방임하거나 지원해왔다. 중국에서는 2020년 11월 이전까지 중국기업에 대한 반독점 조치를 명시적으로 거의 취하지 않았다. 그러다가 거대 플랫폼의 독점이 “중국공산당 영도의 체제” 혹은 시진핑체제에 위협이 된다고 판단하기 시작했다. 더욱이 국가는 독과점 플랫폼의 데이터 권력을 체제위협으로 인식하기 시작했다. 때로는 국가가 플랫폼이 가진 데이터에 대한 보안이 국가안보에 중요하다고 인식하기 시작했다. 그러면서 2020년 11월 이후부터 본격적으로 반독점 조치를 취하기도 하고 플랫폼의 독점적 데이터를 공유화하는 조치를 취하기 시작했다. 다시 말하면, 시진핑 체제를 강화하기 위해서 국가는 과거의 실리콘밸리 모델에서 플랫폼에 대한 규제 모델로 전환한 것이다. 이러한 과정에서 중국적 특성의 플랫폼 문제가 작용하기도 한다. 2020년 11월 이후부터 플랫폼에 대한 고강도 규제 사례는 다양하다. 본 연구는 이러한 가설적 주장을 검증하기 위해서 시진핑 체제에서 플랫폼 고강도 규제의 목표와 조치를 더 많이 내포하는 사례를 선정하여 연구하는 것이 적합한 것으로 판단된다. 현재 알리바바, 디디추싱, 메이퇀, 텐센트 등의 플랫폼에 대한 고강도 규제가 진행되고 있다. 본 논문에서는 이 가운데 고강도 규제의 보다 다양한 의미를 내포하는 사례로 알리바바를 선정하여 사례연구를 진행한다. 알리바바를 사례로 택한 이유는 첫째, 플랫폼의 반독점 규제와 데이터 파워에 대한 규제를 가장 많이 담고 있는 사례이기 때문이다. 데이터에 대한 국가안보문제와 관련된 디디추싱 사례, 청소년 게임 사용 제한을 통한 교육정상화와 관련된 텐센트 사례, 플랫폼 노동자 보호와 반독점 규제와 관련된 메이퇀 사례 등과 대조적이다. 둘째, 거대 플랫폼에 대한 최근의 고강도규제를 가장 대표하는 사례이기 때문이다. 알리바바에 대한 과징금 규모가 지금까지 가장 클 뿐만 아니라 데이터의 국가공유, 국유화 조치 등으로 보아 알리바바는 고강도 규제사례이기 때문이다. The hypothetical argument of this paper is as follows. Regulations on large platforms began in earnest in China in late 2020. The New Brandeis Movement in the United States also denies the traditional view. In its view, even if consumer welfare improves, if it poses a threat to the democratic system, it should be recognized as a monopoly. It argues for regulations on large platforms such as Amazon. The situation in China is different. China has supported the development of the platforms by imitating the US Silicon Valley model. In China, few anti-trust measures were explicitly taken against Chinese companies until the first half of 2020. Then, it began to judge that the monopoly of the huge platform threatened the "system of the Communist Party of China." Moreover, the state has begun to recognize the data power of monopoly platforms as a threat to the system. Sometimes the state has begun to recognize that security of the platforms" data is important to national security. In the meantime, from the second half of 2020, anti-trust measures were taken in earnest and measures were taken to share exclusive data of the platforms. In other words, in order to strengthen the Xi Jinping system, the state has shifted from the past Silicon Valley model to a regulatory model for platforms. In this process, the platform problem of Chinese characteristics may work. Starting in the second half of 2020, there are various cases of high-intensity regulations on platforms. In order to verify these hypothetical arguments, it is considered appropriate for this study to select and study cases that more imply the goals and measures of high-intensity regulations on platforms under the Xi Jinping system. Currently, high-intensity regulations are underway on platforms such as Alibaba, Didi Chuxing, and Meituan. In this paper, Alibaba is selected as an example that has more diverse meanings of high-intensity regulation and a case study is conducted. The reason why Alibaba was chosen as an example is that first, it contains the most anti-trust regulations on platforms and regulations on data power. This contrasts with Didi Chuxing cases related to data security issues, Tencent cases related to normalization of education through restrictions on youth game use, and Meituan cases related to platform worker protection and antitrust regulations. Second, this is because it is the most representative example of recent high-intensity regulations on large platforms. This is because Alibaba is not only the largest penalty so far, but also the strongest regulatory case in view of data sharing and nationalization measures.

초기 서양화 정착에 관한 연구

이중희(Lee, Jung-Hee) 한국근현대미술사학회 2006 한국근현대미술사학 Vol.16 No.-

코로나19로 가속화하는 중국의 디지털 혁명: 윈(雲) 열풍을 중심으로

이중희(Lee, Jung Hee) 한국아시아학회 2020 아시아연구 Vol.23 No.2

코로나 19가 창궐하기 시작한 2020년 초 중국의 언론이나 인터넷에서 가장 유행한 말은 바이러스 다음으로 雲(윈)이 들어간 신조어가 아닐까 생각한다. 2020년을 통틀어서 가장 유행할 것으로 예상되는 단어도 雲이다. 본 연구는 코로나19, 윈 및 디지털혁명과 관련된 두 가지 가설과 그에 대한 검증이다. 가설 1은 코로나19 위기로 윈 열풍이 불어왔다는 점이다. 다시 말하면 2020년 1월부터 코로나19가 창궐하면서 雲이 들어간 신조어가 폭발적으로 증가하기 시작했다는 점이 가설이다. 이를 검증하기 위해서 바이두(百度) 검색에 의존했다. 3월과 4월에 바이두에 등장하는 윈자가 들어가는 신조어의 폭발적 증가를 통해서 확인할 수 있었다. 雲이 들어간 신조어는 아주 다양하다. 첫째, 신조어가 아주 포괄적·추상적 수준부터 제한적·구체적 수준에 다양하게 걸쳐있다. 둘째, 사교, 경제, 생활, 공공 등 다양한 방면의 신조어가 속출하고 있다. 셋째, 雲 신조어가 특정한 세대에 국한되어 사용되는 신조어부터 모든 세대에 걸쳐 유행하는 용어들까지 다양하다는 사실이다. 본 연구의 가설 2는 중국에서 코로나19 위기가 디지털혁명을 가속화시켰다는 점이다. 중국의 디지털 혁명은 2000년대부터 불어왔으며, 특히 2010년대 초부터 4차 산업혁명도 본격화됐다. 코로나19 위기이후 디지털 혁명 가속화는 디지털에 대한 투자, 온라인 사용 증가, 투자유치를 한 사례 등에서 검증될 수 있었다. 아울러 윈열풍 그 자체도 디지털 혁명의 가속화라는 지표임이 확인됐다. I think the most popular word in Chinese media and the Internet in early 2020 when COVID-19 began to rise is a newly coined word with a “Cloud“(雲) after a virus. The word is expected to be the most popular throughout 2020. This study is a few hypotheses and verification of them. Hypothesis 1 is that the COVID-19 crisis has caused a Cloud boom. In other words, the hypothesis is that the number of newly coined words with “Cloud“(雲) began to rapidly increase in January 2020 when the COVID-19 was prevalent. To verify this, they relied on Baidu searches. Hypothesis 1 is accepted. Hypothesis 2 is that the COVID-19 Accelerates China"s Digital Revolution. China"s digital revolution has been blowing since the 2000s, and the fourth industrial revolution has also begun especially since the early 2010s. Accelerating the digital revolution has been verified in cases of investing in digital , increasing online use, and attracting investment after the COVID-19 crisis. In addition, it has been confirmed that the “Cloud“(雲) Boom itself is an indicator of the acceleration of the digital revolution.