산수화의 수파준법(수파준법)

한진만 홍익대학교 산업디자인 연구소 2004 미술디자인 논문집 Vol.- No.9

Water painted in the early stage of Oriental landscapes was that set characters and mountains off. As Oriental philosophers commented on the attribute of water, and landscape painters and art commentators presented the nature of water and its expression, the painting of water had become the center of interest. Water passes off by evaporation heat, and the vapor composes the clouds. At last, it falls on the mountains and valleys with the forms of rain, and it again finds its way to the river and sea. Likewise, as to environment and climate, water vertically falls with the form of fall. Sometimes it forms bubble like surge and sometimes it flows leisurely along the streams. At times, it raises quickly due to a strong wind or it turns round like a whirlwind. Such forms and activities of water functions as the blood vessel of mountains, that invigorates to those. Water is the sign of softness and strength; at the same time, it comes under a property that can be expressed through perceiving nature like the clouds and mist. Hereupon, as the expression technique of water wave has been diversified and materialized, it has been functioned as the expression of metalism. In addition, water has been commented its volume and color as to each season, and it has been recognized as a factor containing calmness and dynamic simultaneously. Water is also shifted its form to wave by the influence of wind, and shifted to the bubble of waterfall by itself; besides, it fill up the space of Original landscapes with the space of mentalism. In order to properly represent the form of water, it should be painted in an instant after being painted its tip similar to the painting of literary men. In such a case, its fluidity can be rightly represented. Also, its shallowness, depth, dynamical nature, etc.; even handling of brush, i.e., softness and strongness, has been materialized. As previously mentioned, various expression techniques of water waves have been presented, but it is incomplete compared with those of mountain. Thus, in this paper, I compared Korean expression technique of water waves with Chinese expression technique of those, and classified as follows: First, whirlpool-shaped technique, second, ∧-shaped (triangle-shaped) technique, third, -shaped(wave-shaped) technique, forth, -shaped (thread skein-shaped) technique, fifth, short or long leveling technique, sixth, waveless technique, seventh, - shaped and -shaped technique as to upwards and downwards visual angles, eighth, C-shaped technique that represents the downstream of a valley, ninth, m and n-shaped (waterfall-shaped) technique. Besides, there are jar-shaped and palm-shaped wave technique that Jin Hong-soo, an artist who lived in the Ming Dynasty, showed in 「Japhwadochaekj」. The palm-shaped technique means the expression method that gradates the surroundings of waterfall. Jung Sun, an artist who lived in the Chosun Dynasty, represented m and n-shaped wave referring to the preceding technique; afterwards, Jo Jeong-gyu and Byun Gwan-shik applied the technique. And tenth, there is river and sea-wave technique mixed with C-shaped, spring-shaped and shoes-shaped techniques. It was represented by Mawon, an artist who lived in the Southern Song Dynasty, and it is being carried in 「Sonhgansangumdo」. Afterwards, the technique was somewhat changed by Jung Sun, Shim Sa-jung, Kim Hong?do, etc., artists who lived in the Chosun Dynasty. In addition, there are various other expression techniques of water waves, but the rest may be mentioned later. Korean traditional landscape painters had been sometimes applied the creative expression techniques of water waves containing extreme tense atmosphere and formative arts, though they were influenced by Chinese painting. Jung Sun's river and sea and Hong Se-sup's wave painting based on bird's eye view are cases in point. The water expression in Oriental landscape painting was originated from drawing the pattern of clouds. After that, it has been diversified by various painters and commentators. Nevertheless, it has not been closely represented, because it is difficult to instantaneously capture the flow of water or its wave. For this why, creative representations should be more studied and produced, based on penetration on water.

종합편성채널의 실상과 비전

한진만 관훈클럽 2012 관훈저널 Vol.- No.122

춘천 MBC 산학협동 결과 보고서

한진만 한국방송학회 1995 한국방송학회 세미나 및 보고서 Vol.- No.-

선거보도 방송의 제 준칙에 관한 연구

한진만 한국방송학회 1996 한국방송학회 세미나 및 보고서 Vol.- No.-

RF Magnetron Sputtering법에 의한 FED용 $ZnGa_2$$O_4$형광체의 특성분석

한진만,박용민,장건익 한국전기전자재료학회 2000 전기전자재료학회논문지 Vol.13 No.9

ZnGa$_2$O$_4$thin films were prepared on Si(100) wafer in terms of RF power, substrate temperatures and Ar/O$_2$flow rate by RF Magnetron Sputtering. Photoluminescence(PL) measurement was employed to observe the emission spectra of ZnGa$_2$O$_4$films. The influences of various deposition parameters on the properties of grown films were studied. The optimum substrate deposition temperature for luminous characteristics was about 50$0^{\circ}C$ in this investigation. PL spectrum of ZnGa$_2$O$_4$ thin films showed broad band luminescence spectrum.

수목(樹木)의 표현방법

한진만 홍익대학교 산업디자인 연구소 2002 미술디자인 논문집 Vol.- No.7

In the successive generations of Chinese paintings, brushing techniques used to express trees can be classified into two broad categories: Baekmyobup(contouring method) and Balmookbup (blurring technique). In Baekmyobup technique, Ku k'ai-chin dynasty from East Chin dynasty showed concise lines, Wu Tao-tzu from Tang dynasty created sharp edge like a sword using strong and weak points of lines and was completed in Five dynasties by Ching Hao by his wrinkle expression. Especially, there is a record that Ching Hao researched pine trees and oriental arborvitaes natural characteristics prior to his work hence spirit is immanent in his work. Mi Fu from Northern Sung dynasty portrayed pine tree like a fan shape in 'Spring Mountains Ringed with Pines' and left a mold. On the contrast Liang Kai from Southern Sung dynasty used stems and branches of trees to evoke emptiness and sense of space in his work titled 'Two Birds in Autumn-Trees'. In addition, during Ming dynasty, Ch'en Hung-Shou used stems to resemble horses teeth and piled up leaves to standardization and created a world of Utopia. It is only known through records that Balmookbup technique was started in Dang dynasty by Zhang Zao, Wang Mo and Xiang Ring but actual piece of work is not handed down. Balmookbup technique appeared in Yuan dynasty by Huang Kung-Wang's work 'Dwelling in the Fu-ch'un Mountains'. Since then, it appeared at of Ming dynasty by artists like Tung Ch'i-Cha'ng, Shih-t'ao from Ching dynasty and Pa-ta shan je^n that style of painting where emphasis on the inner spiritual world rather then external form of style painting flourished. The distinguishing characteristics of works mentioned above are that various brushing techniques, like dotting methods combined with one stroke brush is painted with a dampness and concisely which then is expressed clearly without a flaw. These kinds of expressions are possible only when an artist does not miss the moment that he himself becomes the tree. Tree expression techniques in Korean paintings appeared outstandingly in landscaping from Chosun dynasty. In the beginning of Chosun dynasty Korean paintings were still influenced by Chinese landscape paintings but pursued its own path and came into its own. Precisely, Yi In-Sang's 'Snow-Clad Pines' shows detailed strokes of brush to create rise above this world. Chong-Son's 'Chongpung-gye Valley' and 'Mt. Inwang in Clearing Mist' uses of larger dots seems as though it is holding wind and cloud and generates the energetic force. All of Kim Hong-Do's work has penetrating taste as though it was sketched from nature. Also Kim Chong-Hee and Chon Ki used dry lines to draw trees to hold upright characteristics and integrity which can be called the essence of Korean literary style. Method to bring out the inner spiritual world rather than just the external form is possible when an artist has a grasp of subjects true nature and distinguishing features and feel heartily. Then he can gradually or spontaneously let it out on a canvas. When an artist recognizes that the a tree resembles our lives he then can attain state of perfect self-effacement.. At this point, an artist can harmonize empty space with trees while considering the golden section space. If these procedures are ignored and emphasis only on the external form, then one can not escape from the reality. If there is an artist who wish to be free from reality, he has to completely understand external from of tree and various methods of positioning and also acquire various uses of leaves. An artist who apprehended these process will be able to create a piece of work from one's innermost feelings.

제1주제 텔레비전 방송사의 편성전략에 관한 연구

한진만 한국방송학회 1994 한국방송학회 학술대회 논문집 Vol.- No.-

근ㆍ현대 한구 수묵 산수화의 특징

한진만 弘益大學校 2001 미술디자인 논문집 Vol.- No.6

The first pieces of works in the Korean painting history to directly display the Korean identity were the realism ink landscapes and the genre paintings of the late Chosun Dynasty. The realism landscape paintings that contained actual scenes from Korea, led by Gyeomjae, and the genre paintings about the earnest everyday lives of the people drawn by Danwon succeed in completely leaving behind the characteristics of Chinese paintings previously accepted consciously or unconsciously. Just when the quest for the Korean identity was becoming active, Chusa, Sochi, Wubong and others campaigned for the scholar's paintings armed with calligraphy and fragrant flower drawings and the book of drawing. The realism landscape and genre painting that spread their wings after a long period of stillness had to fold its wings and return to following the trends of the Chinese scholar painting. The foundations for the Korean paintings were paved again only as it reached the modern and contemporary times and the realism landscapes were revived. Normally, people set the beginning of the modern age as 1880, when the doors were opened for foreign cultures, but the author wishes to consider the year 1918 as the beginning of contemporary times. Seohwahyeophoe, Korea's first organization of artists, was founded in 1918 to represent the noble thoughts of many artists. This Painting Committee was a great river that augmented the flow of the heritage of ethnic arts under the severe difficulties of the Japanese colonial occupation. Thanks to such influences, committee exhibition was held for the first time in 1921. The members' works of course including Gyeomjae and Danwon's paintings full of ethnic soul were exhibited as well to heighten the consciousness of the Koreans. Four young artists of the time, Chungjeon, Sojeong, Simsun, and Mukro, were influenced by such efforts and formed the first art group in Korea, named "Dongyeonsa". They wished to inherit the heritage of traditional paintings, study art history, and create pieces with a sense of the Korean psyche corresponding to the time. Though they were never able to have an exhibition, they began to produce the most Korean realism landscapes since Gyeomjae. During their learning years, they mastered the quintessential traditional painting techniques from Simjeon and Sorim. Later, when the Japanese loosened the restrictions of its colonial policy and hosted the Sunjeon exhibition in 1922, they learned the features of the Southern Japanese scholar paintings and the new Japanese painting trends and entered their works in the exhibition. Nevertheless, with the eruption of the idea and spirit of Korean identity that lay in their subconscious level, they began to seek out and sketch true scenery of Korea in their ink landscape productions. In other words, the four artists were influenced by the priestess custom, which has been passed on unaltered in the subliminal Korean self from the ancient times as an instinctive and basic ritual of totemism or shamanism. This custom had been regarded as superstition by the foreign religions as a way of oppressing Koreans, but on the contrary, the custom transformed the foreign beliefs or itself melted into the foreign belief. If such enduring elements are considered as the thought and disposition of the Koreans, the following observation can be made about the Koreans: first, the Koreans have an ability to harmonize and accept different cultures; second, the gods and ghosts are treated with human compassion; third, Koreans sought a single, harmonized, and united world where the people and nature, individual and group, mortals and immortals all merge into one being, and finally, the Koreans reach a state of ecstasy once they get excited and enthusiastic. Besides Cheongjeon, Sojeong, Simseon, and Mukro, artist like Uijae, Namnong, and Goam also paved the way for Korean painting's identity by producing ink landscapes with the Korean ethnic characteristics. Their common trait is that each of them pursued the Korean identity through brush and ink during the chaotic and struggling age of Japanese colonization and the Korean Civil War. Having acquired the strict traditional techniques of drawing at an early stage, they passed a stage of realistic sketches and one of exploration to seek a unique world of their own. With a determination to Koreanize, the Chinese ink dot portraits were replaced with Korean ink dot portraits. Instead of being ruled by the Japanese forces or swayed by foreign cultures, they became more Koreanized and introduced the image of earnest and simple Koreans. These paintings portray a world of harmonized nature at a level of annihilating self. Only because the thoughts and beliefs of the Koreans were reflected in the artists' works no matter what social conditions were, as described above, could the identity of the Korean paintings be firmly incorporated. Cheongjeon found the Korean characteristic by sketching realistically, and then later settled in a world of unified nature. He maintained a simple composition structure with thick forests using bald ended brush. Sojeong fully expressed the scenes from his stage of realistic sketches in a more mature stage that reach a level of forgetting the ego. He used piled dots and broken lines to make his Korean drawings strong and rough, and expressed a world of harmonious nature within. On the other hand, Simseon produced ideal works under careful calculations using a meticulous technique of portraying wrinkles to describe the Korean landscape. Later, he became absorbed in meditation and reached a world of no thoughts with uniform dots and contrasting dense and light ink shades combined in one brush stroke. Mukro and Goam had their differences but both used westernized water painting techniques that were closer to visual expressions than plain structures made by the technique of drawing numerous folds. Mukro was more outstanding in his skills than in individuality. He died at an early age before he could overcome this problem. With no period of maturation, he was never able to express a world of his own. Goam introduced a refreshing Korean temperament by vivacious dripping presentations. In the 1980's he sometimes searched for a new image of the Korean ethnicity with abstract landscapes. But since 1958 when he turned 55 and left for France, he concentrated only on abstract paintings applying calligraphy. He no longer produced any ink landscapes rich with the scent of Korean earth. The above mentioned artists worked around the central region. Uijae and Namnong were the heirs of Sochi in the southwest. They produced landscapes of the scholarly style. Uijae wished to escape from the influences of the Chinese and Japanese southern painting fashion by trying to Koreanize the realistic landscapes and dot portraits. However, he was never able to exit from the world of ideals and thus did not achieve the true Korean characteristics. Namnong on the other hand, parted with the earlier color pieces made under the influences of the new Japanese drawing style, and from the late 1940's to the late 1950's expressed the actual scenes of Korea in Korean paintings. Later still, he fell into the trap of mannerism and could no longer express the Korean painting world earnestly. When the artist produces a painting after sketching the authentic scenes, the Korean idea and spirit are reflected, but when he falls prey to mannerism or seeks only the novel, such reflections disappear. Generally, art works with a sense of Korean and exploration, and then melting the scene in the artist's heart without paying any attention to the external demand or popularity factors, and finally by transferring the scene unconsciously with a brush in a state free from the ego. Man and nature become harmonize into one natural being in such pieces to reveal a broad-minded and worn out atmosphere. The representative works of the modern and contemporary times that best symbolize the identity of Korean paintings are Cheongjeon's [Ugyeon] and [Hyowon], Sojeon's [Nongga] and other pieces with the Geumgangsan as the subject, Simseon's [Doganchobu], Mukro's [Sigolpunggyeong], Namnong's [Geumgangsan Manpokdong], [Sawolsancheonrok], and Goam's [Uigeomgang]. These masterpieces all have in common the fact that they were created at a time when the artists were concentrating only on their work no matter how harsh the circumstances were. And these paintings have the beauty of Korean human nature expressed with energetic movements of the brush in the absence of ego. For these reasons, these paintings silently comfort the Koreans while emitting the identity of Korean painting. One disappointment found in the process of establishing the identity of Korean paintings is that the modern and contemporary ink landscape artists transferred their beliefs and minds onto paper but were unsuccessful in establishing the accomplishment as an artistic theory. They only used the act as a tool for drawing the real Korean landscapes in the tradition of China's scholar paintings. Therefore, the Korean artists at present must concentrate on inheriting the tradition of modern and contemporary Korean ink landscapes that empathize with the thoughts and characteristics of the Koreans and establishing a Korean art theory one step more advanced.

분무열분해 공정의 제조 조건이 Ca₈Mg(SiO₄)₄Cl₂:Eu²⁺ 형광체 특성에 미치는 영향

한진만,구혜영,이상호,강윤찬,Han, Jin-Man,Koo, Hye-Young,Lee, Sang-Ho,Kang, Yun-Chan 한국재료학회 2008 한국재료학회지 Vol.18 No.2

In spray pyrolysis, the effects of the preparation temperature, flow rate of the carrier gas and concentration of the spray solution on characteristics such as the morphology, size, and emission intensity of $Ca_8Mg(SiO_4)_4Cl_2:Eu^{2+}$ phosphor powders under long-wavelength ultraviolet light were investigated. The phosphor powders obtained post-treatment had a range of micron sizes with regular morphologies. However, the composition, crystal structure and photoluminescence intensity of the phosphor powders were affected by the preparation conditions of the precursor powders. The $Ca_8Mg(SiO_4)_4Cl_2:Eu^{2+}$ phosphor powders prepared at temperatures that were lower and higher than $700^{\circ}C$ had low photoluminescence intensities due to deficiencies related to the of Cl component. The phosphor powders with the deficient Cl component had impurity peaks of $Ca_2SiO_4$. The optimum flow rates of the carrier gas in the preparation of the $Ca_8Mg(SiO_4)_4Cl_2:Eu^{2+}$ phosphor powders with high photoluminescence intensities and regular morphologies were between 40 and 60 l/minute. Phosphor powders prepared from a spray solution above 0.5 M had regular morphologies and high photoluminescence intensities.

보도영상의 윤리와 법

한진만 한국방송학회 2001 한국방송학회 학술대회 논문집 Vol.- No.-