陳洪綬의 遺民意識과 〈何天章行樂圖〉

張俊九(Chang June-gu) 미술사연구회 2008 미술사연구 Vol.- No.22

Chen Hong-shou (陳洪綬, 1598-1652) was a late-Ming literati painter who made a significant contribution in establishing and reviving antiquarianism in figure paintings in the history of Chinese painting. Chen was an artist with diverse talents. He was a painter, a calligrapher of high-caliber, a famous illustrator for popular novels and romance, and a poet. Archaic and antiquarian thematic and pictorial styles formed the distinctive quality of Chen’s works. Existing researches on Chen Hong-shou have not yet investigated several important issues, such as how his paintings were inter-related with his state of psychology or to his varied and complex life experiences as a Ming leftover loyalist. I believe that Chen was fundamentally an anguished drifter unsettling in between neither Ming nor Qing dynasty. Ho T’ien-chang in The Pleasure Outing of Ho T’ien-chang can be regarded as a symbol of the collective identity of leftover Ming intellectuals, who decided to become hermit scholars like Tao Yuan-ming. In this imaginary group portrait, Chen Hong-shou depicted the thwarted and conflict-ridden lives of left-over loyalties of Ming dynasty, including the painter himself. Chen represented the main subject of life and culture of his contemporary leftover intellectuals such as Ho T’ien-chang by portraying him as Tao Yuan-ming, a legendary hermit scholar whom Ming loyalists wished to associate themselves with. In The Pleasure Outing of Ho T’ien-chang appears Ho T’ien-chang, who lived in retirement out of suffering and conflict from the fall of his country. He sits tranquil in a quite surrounding, which represents the life of Ho T’ien-chang as a hermit scholar who received high-esteem from Ming loyalists. Large pine trees, bamboos, and Taihu rocks in the background symbolize the pure image of Ho T’ien-chang. The large pine trees extending their branches wide, the bamboos standing behind the pines and the Taihu rocks lying in the foreground all refer to the way of life of a nobleman who does not give up their spiritual nobleness even in perilous conditions. These objects are no mere sceneries. They were traditionally metaphors of unbent will and integrity of the noble men situated in the time of hardships, and they visually amplify Ho T’ien-chang who led his life with a clean and pure spirit despite the desolate reality. However, The Pleasure Outing of Ho T’ien-chang takes note of the tragic reality where such a literati intellectual with exceptional talent and nobleness like Ho T’ien-chang should end his life as a drifter and a hermit scholar. An almost inconspicuous chrysanthemum on the corner of the rock to the right side of Ho T’ien-chang in the painting implies the unfortunate lives of drifters as a visual metaphor. Among the drifting intellectuals, chrysanthemums have thus been regarded as a symbol of hardship and frustration of Ming leftover loyalists. By depicting the portrait of Ho T’ien-chang, Chen Hong-shou attached strong social significance and a high level of pictorial symbolism in The Pleasure Outing of Ho T’ienchang. From the outer appearance, the painting seems to have rendered the “pleasure outing”of Ho T’ien-chang, but it is a symbolical painting of Chen Hong-shou who represents the common “consciousness of Ming leftover”among Ming loyalists and the artist himself.

존슨 행정부 초기의 한미관계(1964~66) : 베트남 파병 협상을 중심으로

장준갑(Chang Jun-Kab) 호서사학회 2009 역사와 담론 Vol.0 No.52

This pater examines the negotiations for the dispatch of Korean troops to Vietnam which was both imposed by Johnson administration and volunteered by Park Chung Hee government of South Korea. The negotiations set a early stage for changes in patron-client mentality which had characterized relations between two countries since 1945. As Vietnam War grew in intensity in 1965, Johnson administration, faced with a urgent reinforcement of ground forces, tapped on Korean government about sending combat troops to Vietnam. When Park, who wanted to sent his combat troops to earn economic profits both from American and Vietnam, received the request of sending troops from American government, he somehow had the upper hand for the first time in the negotiations with America and this made him encourage to courageously ask the American government what he wanted. Even though he could not achieve all of his demands, the new diplomatic experiences on the side of Park government, heavily relied on American supports for survival in internal and external affairs, gave it a little self-confidence toward America. In this sense, the negotiations for the dispatch of Korean troops to Vietnam between two countries functioned as a turning point breaking through the feeling of being victimized and inferiority of Koreans and prepared a new chapter between them: a sign of tensioned relations in 1970s.

연구논문 : 닉슨독트린과 미국의 대한정책 -1969년 8월 한미정상회담을 중심으로-

장준갑 ( Jun Kab Chang ) 호남사학회(구-전남사학회) 2008 역사학연구 Vol.34 No.-

北京故宮博物院 소장 〈昭陵六駿圖〉 연구

張俊九(Chang Junegu) 미술사연구회 2012 미술사연구 Vol.- No.26

Zhaoling Liujun Tu (昭陵六駿圖; “Painting of the Six Steeds of Zhaoling”), part of the collection of the Palace Museum in Beijing, is an extremely important work. This is not only because it is a rare example of a surviving painting from the Jin Dynasty (金代; 1115~1234), but also because the date of its creation, in the 1220s, is clearly marked at the bottom edge of the work. Works with dates recorded clearly in this way are important both because their certain dates establish their authenticity, and because they function as benchmarks for determining with credibility the characteristics of the paintings of their age, by way of comparison with generic works and written materials. The Zhaoling Liujun Tu is notable for the fact that it is based on the Zhaoling Liujun (昭陵六駿; “Six Steeds of Zhaoling”) the stone relief carvings of the same six horses (637~649) at the famous Zhaoling Tomb, where Emperor Taizong (太宗) of the Tang Dynasty is buried. Zhaoling Liujun Tu depicts six horses ridden by Emperor Taizong of the Tang Dynasty (599~649; personal name Lee Shimin) during his active days on the battlefield. An inscription added to the painting by scholar Zhao Bingwen (趙秉文; 1159~1232), together with knowledge of circumstances at the time confirm that the work was painted by court painter Zhao Lin (趙霖) on the orders of Emperor Shizong (世宗) of the Jin Dynasty. Though Zhaoling Liujun Tu was essentially based on the Tang stone relief carvings, it does show certain differences, such as in the way it expresses a division of the horses’ manes into three parts, a form of expression known as sanhua (三花), and the way it depicts their fetlock feathers, due to differences in medium and period. Although Zhao Lin based his depiction of the six steeds on the forms and style used by Yan Liben (閻立本), the artist who carved their stone relief counterparts, he did attempt to faithfully follow Tang painting styles, such as those of Tang master painter Han Gan (韓幹). The fact that Zhao Lin was able to make use of Tang styles is probably due in large part to the fact that the most of the art collection of Emperor Huizong (徽宗) of the Song Dynasty (1082~1135) had fallen into the hands of Jin. Emperor Shizong of Jin was similar in several aspects to Taizong of Tang, including the fact that both monarchs laid the foundations of their dynasties and both possessed military spirit as leaders; this led Shizong to follow Taizong. Shizong was infatuated by the political text Zhenguan Zhengyao (貞觀政要; “Essentials of the Government of the Zhenguan Period [the reign of Taizong]”), this interest appears to have extended to Taizong’s horses, as depicted in the stone relief carvings. Ultimately, Shizong’s commissioning of Zhao Lin to paint Zhaoling Liujun Tu, too, was probably due to his will to invoke Taizong of Tang, whom he simply could not emulate enough. Perhaps, when gazing at Taizong’s Zhaoling Liujun, Shizong felt a sense of pride at being just as talented a monarch and military man as Taizong.

역사학 : 문수신앙(文殊信仰)과 돈황(敦煌)의 문수보살도상(文殊菩薩圖像)

장준구 ( June Gu Chang ) 대구가톨릭대학교 인문과학연구소 2009 인문과학연구 Vol.12 No.-

16, 17세기 중국의 여성화가

장준구(Chang Junegu) 한국예술종합학교 한국예술연구소 2018 한국예술연구 Vol.- No.21

葉淺予의 추억과 《戴愛蓮四十年代舞臺形象》

張俊九(Chang Junegu) 미술사연구회 2016 미술사연구 Vol.- No.30

Ye Qianyu(葉淺予, 1907~1995) was a pioneering figure in modern Chinese manhua(comics) and one of the leading painters of dance pictures in the modern-contemporary era, to the extent where he might be described as the Edgar Degas of East Asia. As an educator, too, Ye succeeded Xu Beihong(徐悲鴻, 1895~1953) as the longestserving head of Chinese painting at National Beiping Art College, the predecessor of China Central Academy of Fine Arts. Dai Ailian’s Stage Forms from the 1940s, a leading work by Ye in his final years, can be taken representative of his long life journey and artistic activity. In addition to its significance as one of Ye’s major works, this piece plays an important role in helping us understand the character of the dance pictures that account for the greatest single portion of his paintings and which he produced throughout his life. Also interesting is the fact that the sitter depicted is Dai Ailian(戴愛蓮, 1916~2005), Ye’s former wife and an eminent dancer. Dai Ailian’s Stage Forms from the 1940s, as its title demonstrates, is densely packed with images of Dai in action in the 1940s. It is largely thanks to old sketches and photographs that he had kept that Ye was able to depict images of his former wife in action some 40 years ago. Based on these, he created images that blended his own unique cartoon style with ancient figure painting styles. Dai Ailian’s Stage Forms from the 1940s can truly be regarded as a condensation of the knowhow that Ye had accumulated as an artist over several decades. In addition to importance as a work, however, it is significant for its symbolic value, located at the beginning and end of Ye’s oeuvre. This is because Ye began producing dance pictures after he met Dai. The reason Ye suddenly began painting his former wife, Dai, more than 40 years later was that he had never been able to forget her. Ultimately, Dai Ailian’s Stage Forms from the 1940s reflects Ye’s memories of and nostalgia for his love of Dai.

17세기 中國의 肖像畵 合作

張俊九(Chang Junegu) 미술사연구회 2014 미술사연구 Vol.- No.28

One notable aspect of China"s late Ming period is the relatively large number of portraits produced through collaboration among different artists. Such collaborative portraits are significant both in terms of technique and because of the relationships between the painters and the sitters. Though examples of collaborative portraits dating from the Yuan dynasty also exist, the practice began in earnest in the 17th century. The sharp increase in production of collaboration in portrait painting at this time was due to the trend for portraits in the format of landscapes with human figures. While impersonal ancestor portraits, in which the sitter sat upright against an empty background, were used in ancestral rites, portraits in the format of landscapes with human figures were highly sentimental in character, making them popular among literati who aspired to retire to quiet rural spots away from everyday life. The large proportion of canvas occupied by landscape in the latter type of portrait was an important factor in promoting natural collaboration between landscape artists and portrait artists. Another factor that drove the increase in collaboration was the social context of the time, which saw the emergence of talented portrait artists such as Zeng Jing(曾鯨) and his students. One important function of portrait collaboration in the 17th century was the increase it brought to the quality of works. In other words, works that combined the respective strengths of outstanding portrait painters and talented landscape artists attained new synergistic heights. In addition to the increase in the quality of works produced, an important aim of collaboration was the promotion of friendship between artists and sitters. Meanwhile, cases in which the identity of the portrait artist in collaborative paintings is not revealed suggest that the unnamed specialist portrait painters of the time held low status, as well as hinting at the possibility that the self-portraits of Xiang Shengmo(項聖謨) and Shi Tao(石濤) are not actually self-portraits. Few Joseon collaborative portraits have been discovered; this is because landscape with human figure-style portraits, unlike in China, were not particularly popular in Joseon. The handful of examples of collaborative Joseon portraits effectively have little to do with those of China from the 17th century onwards, except for the fact that they were produced through collaborations between pairs of well-known artists. This is because while landscape with human figure-style portraits in China were produced through collaboration between specialist portrait painters and literatus landscape painters, the Joseon collaborative portraits that have been discovered are works by two court painters, both capable of painting portraits alone.

미국의 베트남 정책에 대한 드골의 대응 : 일방주의에 대한 저항

장준갑(Chang, Jun-Kab) 동국역사문화연구소 2021 동국사학 Vol.71 No.-

드골(Charles de Gaulle) 프랑스 대통령이 미국의 베트남 정책에 반대했던 근본적인 이유는 그가 미국의 일방주의 외교에 대해 반대했기 때문이었다. 미국은 냉전적 상황에서 공산주의를 막아야 한다는 사명감이 매우 강했기 때문에 공산주의를 봉쇄하기 위한 미국의 베트남 개입은 당연한 귀결이며, 모든 자본주의 진영이 미국의 뒤를 따라 힘을 모아야 함은 당연하다고 여겼다. 드골은 미국의 이러한 생각은 당연한 것이 아니라 일방적인 것이라고 보았다. 수많은 인명 피해와 경제적 손실을 야기하는 미국의 일방적 군사개입 방식이 아니라 정치적 협상을 통한 중립화 방식이 더 효율적이며 평화적인 방식이라고 드골은 역설했고, 또 그 방향으로 나갔다. 물론 미국은 호전적인 공산주의자들을 상대해야 하는 냉전 상황에서 드골의 방식은 순진하고 비현실적이라고 무시했다. 과연 드골이 비현실적인 이상에 사로잡혀 미국의 베트남 정책을 반대했을까? 국제사회에서 프랑스의 위상 강화와 제3세계에서의 발언권 제고라는 외교적 목표 등을 고려하더라도 드골의 반대는 매우 강력했다. 드골이 그처럼 신념에 찬 행동을 한 이유는 그가 보기에 미국의 군사 행동이 성공할 가능성이 매우 낮다고 확신했기 때문이었다. 인도차이나에서 군사적 행동은 미국과 유럽인들이 생각하는 종류의 전투가 아니었다. 드골은 베트남 식민지인들과 직접 전투에 참여하면서 통상의 전투 방식으로는 이들을 이길 수 없다는 점을 잘 알고 있었다. 드골은 인도차이나의 현실을 서구 세계의 지도자들 중에서 누구보다도 제대로 인식하고 있었던 것이다. 드골은 인도차이나에서 공산주의의 봉쇄라는 목표도 전쟁이 아닌 정치적 방법으로 달성할 수 있다고 생각했다. 왜냐하면 어차피 전쟁에서 성공하지 못한다면 우세한 경제력을 앞세워 정치적 방법으로 적들을 압박하여 협상으로 목표를 달성하는 것이 현명한 정책이라고 보았던 것이다. 그 지역의 중립화는 공산화를 막고 서구 진영의 최종 목표인 자본주의화로 가는 첩경이라고 드골은 굳게 믿었다. 드골이 베트남 정책에서 미국의 강력한 일방주의 외교에 굴하지 않고 끝까지 저항했던 데에는 이러한 그의 철학과 신념이 자리하고 있었던 것이다. The paper examines why Charles de Gaulle had decided to resist against U.S. Vietnam policy which did outright aggression in Vietnam. Two related factors contributed to this French actions. First, de Gaulle approached foreign policy based on an ideology of French Grandeur, a larger international role and voice for France. Second, de Gaulle steadfastly insisted on an independent policy for France in Europe and globally by directly challenging American unilateral leadership of the Western alliance. American unilateralism in its Vietnam policy had been not only strengthened but also nakedly asked the support of its European allies. De Gaulle refused to join the American intransigent way in dealing with Vietnam problems. French had extensive and painful experiences in Vietnam, as the colony gained its independence in a bloody war. For this reason, de Gaulle knew that if the United States got caught up in the Vietnam affair, it could lose its forces, but also its soul. De Gaulle suggested a political settlement for the entire region: the neutralization of the country in accordance with the 1954 Geneva agreement. Kennedy and Johnson administrations rejected de Gaulle’s suggestion and insisted a military solution because they regarded the conflict in Vietnam primarily in terms of the ideological battle of the Cold War. Both sides remained diametrically opposed to the future course in Vietnam, and neither was willing to make concessions to the other side. De Gaulle defied U.S. leadership to fight together against Communism because he thought the American military adventure would only help the Communist to prevail in the region. As a result, de Gaulle’s revolt against American unilateral Vietnam policy had been right and his proposal of a negotiated settlement was finally considered in the peace talk of Paris in May, 1968.

차별화된 VPN 서비스를 위한 전략

장준형(Joonhyung Chang),이경근(Kyung Geun Lee) 한국정보과학회 2001 한국정보과학회 학술발표논문집 Vol.28 No.2Ⅲ

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