韓國 石油化學産業의 國際競爭力 決定要因에 관한 實證的 硏究

전석헌 東亞大學校 2006 국내박사

사진적 시각을 통한 사찰풍경에 관한 연구 : ‘나를 찾아 떠나는 여행’ 展을 중심으로

전석헌 경성대학교 멀티미디어대학원 2015 국내석사

현대를 살아가는 개인은 일상생활에서 수많은 영상과 사진 이미지들을 접하며 살아가고 있으며 스스로가 사진을 찍으며 일상에 대한 기록과 더불어 감정을 표현하고 있다. 한편 우리에게 기록과 증거로서의 역할에 충실하였던 근대사진과는 달리 현대사진은 우리가 눈으로 보고 이해하는 것과는 다르게 표현되는 예술가의 표현수단으로 기능하고 있다. 즉 현대사진은 주제의 일상성과 상징성 그리고 스토리텔링을 강조하고 있어 사진을 읽는 새로운 문법이 필요하다. 한국의 전통문화로 수용되고 있는 사찰의 문화와 주변의 자연은 무한한 상상력을 제공한다. 선종화와 함께 사찰의 벽화에는 십우도가 그려져 있다. 십우도는 ‘심우’에서 ‘입전수수’에 이르는 열 개의 도상으로 구성되어 있으며 ‘참 나’를 찾아가는 과정을 상징과 은유로 표현하고 있다. 사찰풍경을 소재로 선적인 사진을 구상하고 있는 연구자에게 이슈의 일상성과 상징성, 스토리텔링으로 대표되는 현대사진은 중요한 표현의 기회를 제공하고 있다. 연구목적으로 현대사진이 요구하는 주제의 일상성과 상징성, 스토리텔링을 불교적 관점에서 살펴보았다. 십우도의 ‘나’를 찾아가는 과정을 통하여 연구자는 바라보는 ‘나’라는 존재의 내면을 찾아보고 이를 상징화하여 표현하고자 하였으며 일상에서 만나는 사찰공간과 주변의 자연적인 대상을 바라 볼 때 심상의 눈으로 존재를 바라보고 읽고자 하였다. 작품은 심상으로 바라보는 사진적 시각을 통하여 흑백과 여백의 초현실적인 수묵화의 특징을 차용하여 현실에서 바라보는 관점이 항상 같지 않음과 선행인지로 고정된 인식은 존재의 허상임을 깨달아 알기를 강조하고자 하였다. 본 논문의 연구는 2015년도 경성대학교 사진학과 석사학위청구를 위한 <나를 찾아 떠나는 여행>展 이라는 제목의 사진전에 대한 작품논문이다. 부산소재의 대한 불교 조계종 25교구 본사의 하나이며 8대 총림의 하나인 범어사와 인근 암자 등 사찰과 주변 풍경을 대상으로 작업하였다. 본 연구를 통해 숨겨져 있는 사물의 본질을 발견하는 것이 바로 사진예술임을 자각하게 된 계기가 되었으며 본인의 작업에 있어서 내면의 시각화의 중요성과 함께 선적인 명상을 통하여 좀 더 본질에 다가 갈 수 있도록 연구하여야 할 것으로 생각하게 되었다. 향후 불법의 상징과 스토리로 가득 찬 그리고 무한한 상상력을 제공하는 한국의 주요사찰과 주변 풍경을 대상으로 하여 다음 작품의 발전을 도모하고자 한다. Our Contemporaries live in access to various images such as visuals and pictures in their daily lives. Furthermore, taking a picture, they express their emotion besides the record of everyday tasks. On the other hand, Contemporary photography function as the expression method of an artist, that expresses a certain object through a different method with seeing and understanding through our eyes; contrary to modern photography which played a key role as the records and evidences to us. Namely, a new decoding method of today’s picture is necessary because the pictures emphasize on the dailiness, symbolism and storytelling of the theme. The culture at the temple and its surrounding nature, which have been recognized as traditional Korean culture, inspire infinite imagination. The outer walls at temples are adorned with the illustrations called the “Sibudo” or the Ten Ox-herding Pictures, along with various Seonhwa Painting(Zen Painting). These pictures are composed of a series of ten illustrations from the Simu(尋牛 : searching for the ox) to the Ibjeonsusu(立廛垂手 : entering the marketplace and saving sentient beings), and express the process of searching for the True-self as a symbol and a metaphor. Contemporary photography, represented as the dailiness, symbolism and storytelling, give an opportunity of the important expression to a researcher who has a plan to introduce the photos of a meditation based on the temple’s scenery. The aim of this treatise is to examine the dailiness, symbolism and storytelling of the theme, which Contemporary photos require, from a Buddhist aspect. Through the process of searching for myself of the Sibudo(十牛圖 : the Ten Ox-herding Pictures), I sought further insight into the inside of the existence of ‘I’ and then tried to symbolically express it. And when I saw natural objects of a temple and its surroundings, I tried to observe through my mental image. Adopting the characteristics of a surreal sumukhwa(水墨畵 : ink washing painting) which is composed of the blank space besides black and white, and using an photographical aspect observing through my mental image, I tried to express with special emphasis that people would like to understand the fact which their daily views are inconstant, and also their fixed ideas as a result of pre-cognition are only the delusion. The study of this treatise is of the photo exhibition named the ‘journey to search for myself’, which was for earning a master’s degree of the department of photo at Gyungsung Uni. in 2015. These objects are the works to be focused on the sceneries of Beomeosa temple and its hermitages in Busan, including their surroundings, and the Beomeosa is one of the major temples of the 25 districts of the Jogye Order of Korean Buddhism as well as one of eight comprehensive monasteries of the Order. Through the study, I have come to realize that to discover the hidden essence of things is, namely, the photograph art. Futhermore, I have come to think that in the future process of my work, I should study to approach more deeply the essence of the things through an meditation as well as the importance of the inner visualization. Afterwards, I have a plan to introduce the better works, focused on the sceneries of Korean major temples and their surroundings, which are full of the symbols and stories, and have never cease to inspire our imaginations.

禪畵에 관한 硏究 : 廓庵禪師 十牛圖를 중심으로

전석헌 동국대학교 2013 국내석사

The philosophy of Seon(Zen) in the Buddhism has been the spiritual and cultural foundation for the 3 eastern countries, Korea, China and Japan, and since the general people's interest in Seon has increased, various discussions and studies on Seon have been actively being performed. Seon is the self-perceptive manifestation of wisdom in the daily life which pursues one's original true-self beyond all the other objects and boundaries except oneself. It should be seen as the ordinary creative activity that occurs in the state of a mind free from any manipulating or discriminating thoughts, and the Seon that is not practiced in life can not be the real Seon. When Seon and a dance meet, they become one flavor, and when Seon and tea meet, they become one flavor. Thus the Seon can settle down in every field of life like culture, economy and politics, and also in the Seon culture and Seon art, Seon become the theological background for them. The philosophy of Seon especially affect much on the Eastern painting and has become the philosophical background for a painting by literary artist and the black and white painting and even the genre called Seon philosophy painting has occurred independently. The Ten Ox-herding pictures, which is one of these Seon paintings, is the picture that has painted in an easy way the discipline process toward the enlightenment, the essential purpose of the Buddhism into the 10 steps. The content is the discipline process of a shepherd looking for a cow which signifies the mind or the enlightenment. The reason that Ten Ox-herding pictures has been classified and made as one of the Seon painting species is because of the popularity of the picture, but first and foremost, the decisive reason is because the teachings and guides in life which are contained in the painting can work as a milestone to go for a right life route. In other words, though not being a religious philosophical consideration or the professional consideration, the Ten Ox-herding Pictures can be expected to be the role as someone like a counselor that help solve one's own homework in life. Ten Ox-herding Pictures is the concise and simple but an profound picture that compressed the Eastern spirit and culture. When the main meaning of the Buddhist revelation and the enlightenment can be considered, the Ten Ox-herding Pictures may not be needed, but Gwak-am has embodied the stage of Seon first. This means the sculpture language, the picture which is close to the intuition rather than the character language like Gaesong, Whasong or Seo is preferred. Accordingly, he considered that first lead sentient beings to enlightenment of "seeing one's nature and becoming the Buddha" through Mahayana thought and then should cultivate sentient beings by altruistic activities for others. The characteristic of Ten Ox-herding Pictures as the Seon painting can be summarized into three things. First, since Ten Ox-herding Pictures is the tool to convey the spirit of Seon, it prefers the black and white rather than the sensual feelings and expressed a high level of spirit. Second, Ten Ox-herding Pictures expressed the shape of picture of One Empty Circle(Ilwonsang), the symbol for enlightenment in a very simple way and presented the ultimate absolute emptiness. Third, Ten Ox-herding Pictures is the pure work piece that is expressed in the none-thinking and non-desire state that exceeded even the thought to draw well, which is not that refined or delicate but exerts the apprehension of the truth from the person who watches it. Like this, Ten Ox-herding Pictures which is equipped with all the purpose of the enlightenment and the characteristics as the Seon painting is the characteristic of Seon painting not like literary painting. The representative work pieces of Ten Ox-herding Pictures include the Ten Ox-herding Pictures by Gwak-am and Mokudo by Bo-myeong of Song period. These two work pieces have the differences as follows in their types and contents. First, the Mokudo by Bo-myeong is expressed in more refined and concise manner inside the square frame with characters, and the Ten Ox-herding Pictures by Gwak-am is composed simply of the maps in the circle frame, the symbol of truth, and any spare Gaesong make an additional remark separately. Second, in the Mokudo by Bo-myeong, the practice with volition that makes the black cow white more and more was emphasized, and in the Ten Ox-herding Pictures by Gwak-am, the color of the cow change at a blow, and signifies the blow of enlightenment and meaning of the prior practice. Third, while in the Mokudo by Bo-myeong, in the last stage, the empty space symbolizes the shape of live Buddha, the Ten Ox-herding Pictures by Gwak-am has paraded the stage of enlightenment that Bo-myeong has expressed in the last stage as the original shape into 3 steps in an easy way. In other words, it presents the route of enlightenment and what the person who has been enlightened should do. In the last chapter, chapter 10, in the Yipjeonsusu, by expressing the awakened young boy, and exceeding the enlightenment, the Bodhisattva practice of the awakened who has come out for the relief of people was symbolized and the continuity of Ten Ox-herding Pictures is symbolized by making appear the young boy who comes out for the Simu in the 1st picture of Ten Ox-herding Pictures. By comparing the interpretation of Yanagida Seijan, Osho Rajneesh, Yokoyama Goichi about the map and Gaesong of Ten Ox-herding Pictures by Gwak-am and Seo of Jawon, the differences in the type and content can be viewed as follows. Yanagida Seijan has divided into the 1st picture through the 10th picture according to the map and content of Gwak-am and interpreted simply. Osho has interpreted the Ten Ox-herding Pictures by Gwak-am with the sub subject, "The Search-Talks on the Ten Bulls of Zen", "map travel that leaves for the source". He interpreted the 1st picture Simu and 2nd picture Gyeonjeok with the "travel to look of the cow". He interpreted the 3rd picture Gyeonu and the 4th picture Deuku in the "catching the cow" and the 5th do, Moku and the 6th picture, Giwooguiga in the "returning home on the cow's back". He interpreted the 7th picture, Dogamangwoo and the 8th do, Yinwoogumang in the "Exceeding both me and the cow" and the 9th picture, Banbonwhanwon and the 10th picture, Yipjeonsusu in the "returning back to the world". Yokoyama Goichi interpreted the Ten Ox-herding Pictures by Gwak-am with the sub subject, "Ten Ox-herding Pictures finally gets me". In the first picture, Simu, he divided into the followings and interpreted. "The fact that the cow runs away, why does the cow run away, why do I have to go look for the cow and why do I have to look for it by myself." He has attached subtitles as follows and interpreted. In the 2nd picture, Gyeonjeok, "what is the cow's footstep?, do not become a slave of a language, see the middle way'. In the 3rd picture, Gyeonu, "what is to see, the cow is hidden". In the 4th picture, Deuku, "What is the reins that the cow is wearing, why is cow violent". In the 5th picture, Moku, "Taming the tough cow", In the 6th picture, Giwooguiga, "That I come back sitting on the cow's back, that I play the pipe joyfully". In the 7th picture, Mangwoojonin, "that the cow does not exist, taking a nap peacefully." In the 8th picture, Inwoogumang, "Why do I have to leap in one original state, One Empty Circle(Gongilwonsang)“. In the 9th picture, Banbonwhanwon, "Living in the nature", In the 10th picture, Yipjeonsusu, "loving others". Osho interpreted as a pioneer, but on the other hand Goichi approached under theological consideration therefore the two have differences as mentioned above. But each interpretation explains in the same way about the process searching for truth, namely, the seeing self-nature and attaining Buddhahood. Though it is the picture of Song period, the reason that the Ten Ox-herding Pictures can be seen even today in Buddhist murals is as follows: It conveys the ideas with the sculpture language, the world's common language. And the theme of the picture can be understood easily because the scenes of the cow and the ox-herder in the Ten Ox-herding Pictures coincide with the scene taming the cow as the tool of the agricultural work. However, most of the Ten Ox-herding Pictures shown in Buddhist murals are cited from the pictures of Song period, and thus the unique modern characteristics of the picture can not be said to exist in due to imitation of the characters and the clothing background. In addition, the value of today's works can not be evaluated highly in an artistic aspect about the pertinent conveyance of Seon thought. It is hoped that Seon thought is properly illuminated that is contained in the Ten Ox-herding pictures and it should appear by the realization and creative activity with practicality of the authors and by the expansion of the various art world of the authors. Also, the proper production criteria and study of the Ten Ox-herding Pictures are required to do its genuine role not only as the guide of practice for the Seon trainees and the novices through their true understanding of the pictures but also as the method of the propagation or cultivation for visitors of Buddhist temples.

海外資源의 安定的 確保를 위한 對策

전석헌 釜山大學校 1981 국내석사