천경자의 베트남 전쟁 기록화

이성례(李聖禮),양선하(梁善河) 한국미술연구소 2009 美術史論壇 Vol.- No.29

Throughout the life of Chun Kyungja (1924~ ), an artist who has cultivated a unique style of painting under such themes as flowers, women and snakes, artistic pursuit has come into contact with travel. However, it is little known that she participated in war correspondents during the Vietnam War. Korea’s entry into Vietnam War saw the first overseas dispatch of troops by the Korean Military, a commitment which lasted for eight and a half years from September 1964 to March 1973. The general atmosphere of the world at that time was solving the Vietnam War peacefully, but the Korean government forced the dispatch of its troops, emphasizing the great cause of ‘anticommunism’ and its responsibilities and duties as one of the members of the free world. This is closely connected with the experience of the Korean War, which was both a civil war and an ideological war, as well as with the circumstances of the times, when Korea was under the control of a military dictatorship. The war correspondents of the Vietnam War were organized to depict the activities of the Korean army in Vietnam and to commemorate their achievements. They visited battlefields, military camps, field hospitals, and such like from June 14th to July 2nd 1972, produced works upon their return to Korea, and held a ‘Pictorial Record of the Vietnam War’ exhibition at the National Museum of Contemporary Art, Korea, from Dec. 8th to Dec. 22nd of the same year. Twenty-one pieces of work were displayed at this exhibition, which was held seven years after the first dispatch of the Korean army to Vietnam, but most of them reflected neither the essence of war nor the unique personal style of the painters. However, the pictures of Chun Kyungja followed a somewhat different aspect. She painted ‘Aim’, and ‘Flower, soldier and the sound of firing’. ‘Aim’ depicts a scene from an ambush operation in which a group of soldiers armed with M-16 rifles watch the movements of enemy troops hidden in the tropical rain forest. The painting contains such elements as butterflies, lizards, flowers and fruits of various sizes, revealing the exotic atmosphere of a tropical region. Adding decoration to the painting, they make strong colors and elate fantastic atmosphere. ‘Flower, soldier and the sound of firing’ shows a company of the Maengho(Tiger Division) searching a village in Songkau. The painting uniquely produces rich, colorful effects. Although Chun Kyungja personally observed and witnessed the war, her pictures do not really reveal the misery of war. Rather, the sensitivity of the artist as a traveler is found after her overseas trip before and after working in the war correspondents. It may also be said that the fantasy element which penetrates the art of Chun Kyungja is reflected in her pictures of the war, which means that she looked at the war as a unique experience which stimulated her sensitivity rather than approaching it as a matter of life and death or as an issue of political ideology.

행복과 여유로움이 묻어나는 보금자리

이성례,Lee, Seong-Rye 한국주택협회 2006 주택과 사람들 Vol.193 No.-

대전 태평동 동양파라곤 304동 2203호에 거주하는 이성례 씨. 그녀는 동양파라곤에 입주한 이후 이 아파트의 매력에 푹 빠져 있다. 새 집을 얻었을 뿐만 아니라 새로운 라이프스타일도 함께 누리고 있다면 행복해하는 그녀, 이성례 씨가 말하는 동양파라곤에서의 웰빙 라이프를 들여다보자.

미술비평가 나혜석

이성례(李聖禮) 한국미술연구소 2012 美術史論壇 Vol.- No.35

Rha Hyeseok, who was our country’s first woman oil painter, gave an exhibition of her pictures for the first time in Seoul, and worked diligently on the stage of the Joseon Art Exhibition. During the period when some senior painters such as Go Heedong and Kim Kwanho left the circle of painters in the Western style, Rha Hyeseok did not lose self-awareness as a pioneer, and left numerous statements related to art in parallel with critical works. Starting from the publishing of “Paintings and Joseon Women” in Dong-A Ilbo in February 1921, she left a distinct mark on early modern art criticism, in 1924 writing “The sundry Observations of Gyeongseong: I Have a Look One Year after Seeing the Joseon Art Exhibition,” which is the first review of an exhibition written by a critic using her real name and, in 1933, “The Impression of the Joseon Art Exhibition” serially, which is the first criticism that comprehensively criticized the Joseon Art Exhibition. Besides art criticism, she wrote articles with enlightened characteristics that provided the concept and idea of art to the public, or published essays giving personal insight into what she had experienced and felt in the creative process. Moreover, she wrote in detail about the art world and art trends she experienced in the West in her travels, and recounted her travels around the world and how that became a turning point in her life. By today’s standards, the art criticism Rha Hyeseok wrote can be evaluated as only opinions that describe her impressive and subjective views, rather than objective observations based on academic basics such as aesthetics, science of the arts, and art history. She also confessed her limitations as a critic, describing herself as an outsider. However, there is no denying her achievements, in that she concretely pointed out the strengths and weaknesses of painters’ works, provided formative logic for the public, and edified the creation of art by voicing criticism about the mechanism of the contemporary art world, and connected art and the public in the early period of the field of art criticism. Her form of criticism, which combined creation and theory, shows a meaning that maintains literary calligraphic painters’ tradition with an embrace of poetry, calligraphy, and painting, and the aspect of an elite artist that directly defends her creative activities. That is why we must pay attention to Rha Hyeseok, who lived her life full of twists and turns, left not a few art reviews, and contributed to the realization of a new painting sprit during a transitional period.

한국 근대기 전시주택의 출품 배경과 표상

이성례(李聖禮) 한국미술연구소 2016 美術史論壇 Vol.- No.43

This research aims to review the rational residential spaces, the living environment, and life patterns presented at the Home Exposition (1915) and the Joseon Exposition (1929) held in Gyeongseong-bu(present-day Seoul) in the Modern Period of Korea, along with a view of the modern homes presented at the two expositions. The Home Exposition hosted by the Maeil Sinbo in September 1915 displayed models of houses that presented home interiors. The models brought a topic about the need to improve residential spaces and the living environment for Koreans during the colonial period, while the exposition provided an opportunity to reflect on the concept of modern homes. As for the Joseon Exposition which was held to commemorate the 20<SUP>th</SUP> anniversary of Japanese rule in Korea by the Japanese Governor-General in Korea, it displayed three fullscale model houses (100-125㎡). The events reflected public demand for a new residential environment, an improved residential life style, and improved houses. The two expositions also introduced new types of homes to Koreans and encouraged them to think about the need for changes in the way their homes looked as well as how they went about their daily lives. The background to the expos had something to do with the movement for the improvement of living conditions and residential spaces and culture that developed in Japan. The house designs and full-scale model houses introduced at the expos were representative of middle-income Japanese homes. The events were designed to renew Koreans’ daily life by presenting the Japanese residential environment as a model for improving the homes of Koreans.

중국 근대 ‘孟母斷機像’ 연구

이성례(李聖禮) 한국미술연구소 2017 美術史論壇 Vol.- No.45

The story of Mencius’ mother cutting cloth with a knife from a loom, a popular subject of paintings from traditional to modern times in China, is a visual and cultural symbol that cuts across the ages. Mencius’ mother embodied the importance of motherly duty and deeds in raising a child correctly in ancient times in China. Women’s good deeds signified the practice of virtue, and their diligent weaving works implied the practice of noble female virtue. In addition, weaving was a means of livelihood for many families. Images of Mencius’ mother cutting cloth with a knife from a loom were not only used as a lesson in virtue and for educational and meditation purposes in ancient times, but were also produced in association with the cultivation of the nation (Female Citizens, New People) during China’s modernization period. In other words, the image has developed and been used according to the demands and circumstances of the era. Modern Chinese “Images of Mencius’ Mother Cutting Cloth from a Loom” has been represented in various forms: general paintings, textbooks and textbook illustrations, calendar posters, picture storybook, printed art, decorative designs of craftwork etc.

일본 에도시대 목판화에 나타난 母子像의 이중 표상

이성례(李聖禮) 한국미술연구소 2008 美術史論壇 Vol.- No.27

In the Edo period of Japan, the mother image projected in visual images encompasses several seemingly contradicting images - the benevolent, chaste and wise mother image projected at home, the Yujyo (courtesan) image with sexual attractiveness features focused on physical beauty. and the hybrid image where desexualization and sexualization are mixed together. Women as mothers, give birth to and raise children and naturally do not continue to retain the ideal physical beauty. On the other hand, Yujyo (courtesan) serve an unspecified number of men, freeing themselves from the obligation of child birth and raising. Likewise. the mother image in the paintings of the Edo period was featured in the expression of sexual attractiveness weakened or strengthened. or in the expression of the mixture of those two images. This can be interpreted to mean that such woman image in Japan reflected social and temporal changes and requirements. The image of mother delivers the ideal image that the populace expects from women's body and appearance. Those images, packed in motherhood and child raising scenes, were produced into Ukiyo-e and sold in the market as popular image. Even in the Edo period before full swing modernization began in Japan. Ukiyo-e constitutes the birth of the universalization and population of visual images, and shows a typical example of diverse skills of production reproduced arts. Boys appear mostly next to the image of mother. Child images are varied such as naive child image based on the spirit of Kodakara (valuing children), and the alternate ego of the beings which was supposed to satisfy the desire of the main customer class, men, of Ukiyo-e.

나의 지방자치 경험 2

안성례 漢陽大學校 地方自治硏究所 1993 地方自治와 敎會의 役割 趙昌鉉編 Vol.- No.1

일본 모더니즘 잡지 시토시론(詩と詩論)에 실린 시들 ①

한성례 이상문학회 2018 이상리뷰 Vol.- No.14

7장. 근현대 미술에서 만나는 숲과 나무

이성례 숲과문화연구회 2016 산림문화전집 Vol.5 No.-

기혼 남녀의 주관적 삶 만족도에 영향을 미치는 변인 연구

홍성례 ( Sungrye Hong ) 사단법인 아시아문화학술원 2021 인문사회 21 Vol.12 No.5

본 연구는 기혼 남녀를 대상으로 사회인구학적 변인, 개인적 상황 변인, 가족 관련 변인 등이 주관적 삶 만족도에 미치는 영향을 살펴보았다. 본 연구는 설문조사로 진행되었고, 연구 대상은 총 370명으로 구성되었다. 수집된 자료는 빈도분석과 기술통계분석을 하였고, 기혼 남성과 여성을 구분하여 상관관계분석과 위계적 회귀분석을 실시하였다. 기혼 남성의 경우 부부관계만족과 가족여가시간만족 변인이, 기혼 여성의 경우 연령, 건강상태 심각성, 경제상황 심각성, 부부관계만족, 부모-자녀 관계만족, 가족탄력성, 가족유대감, 가족여가시간만족 등의 변인이 주관적 삶 만족도에 유의미한 수준에서 영향력 있는 변인들로 나타났다. 기혼 남녀 모두 주관적 삶 만족도에 가장 영향력 있는 변인은 가족여가시간만족이었다. 이 연구는 기혼 남녀의 삶 만족도를 향상시키는 방안 모색의 기초자료가 될 것이다. 이 연구결과를 바탕으로 미래 연구에 대한 방향을 논의하였다. The purpose of this study was to explored the relative impacts of socio-demographic variables, individual situation variables, and family related variables on the subjective life-satisfaction of males and females. The subjects of this study were 370 married males and females. Collected data were analyzed using frequency and descriptive statistics, correlation analysis and hierarchical regression analysis were conducted by separating married males and females. Relationship-satisfaction of spouse and satisfaction of family shared leisure time had the positive influence on the subjective life-satisfaction of married males. Age, severity of health condition, seriousness of economic situation, relationship-satisfaction of spouse, satisfaction of parent-child relationship, family bond, family resilience, and satisfaction of family shared leisure time had the significant influence on the subjective life-satisfaction of married females. For both married males and females, the most influential variable on subjective life-satisfaction was satisfaction of family shared leisure time. The study intends to present basic data for improving the subjective life-satisfaction of married males and females. Directions for future research are discussed.