http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 권오만(O Man Kwon) (검색결과 10 건)
- 무료
- 기관 내 무료
- 유료
-
-
한국(韓國) 전통문화상(傳統文化上) 풍류활동(風流活動)의 전개(展開)
권오만 ( O Man Kwon ),고제희 ( Je Hee Go ) 국제뇌교육종합대학원 국학연구원 2014 선도문화 Vol.17 No.-
본 연구는 우리민족 풍류활동의 전개양상을 변별하고 향유처에 따른 풍류의 다양한 의미를 구명하는 것으로서, 고찰된 연구의 결과는다음과 같다. 한국 전통문화에서 풍류의 기원은 소도의 제천문화에서 찾을 수 있다. 고대국가의 의례는 농경제천의 축제로 전개됨에 따라 제의를 구성하는 집단적 신명의 놀이는 원시형태의 풍류로 규정되며, 화랑도로 전승된 풍류는 산수를 순례하며 심신을 단련하는 것이었다. 그러한 유오산수의 수련법은 후대에 자연에 대한 심미적 완상유풍으로 이어갔으나, 조선시대에는 귀족적 탐미로 변모되었다. 조선시대에 이르러 선비들은 은둔문사 또는 신선을 상징하는 탈속적놀이를 통해 풍류를 실현했다. 이들이 즐긴 풍류의 행위는 은일 고사의 행위 중에서 유래한 것으로서, 각자의 취미생활이나 친목 도모의소재로 애완된 것이었다. 구체적인 풍류의 행위로는 바둑을 두거나,관수, 관폭, 탁족 등의 은일적 소일활동, 아집의 모임을 통해서 시,서, 화를 즐기는 행위, 악기를 직접 연주하거나 연주를 들으면서 아취를 즐기는 행위 그리고 차를 마시면서 자신들을 신선과 동일시하는 방법을 통해 풍류를 즐겼던 것으로 조사되었다. This study aims to identify the historical development and a variety ofmeanings of Pungryu in the Korea traditional culture. The result of thisstudy is as follow. The origin of Pungryu on the Korea traditional culture can be foundin the culture of offering rites to heaven of Sodo (蘇塗). The ritual ofKorean ancient countries was developed to the grand harvest ritual, socollective plays of ritual is defined as primitive form of Pungryu. And thePungryu inherited to Hwa Rang of Silla Dynasty is to train the mind andbody during pilgrimages to mountains and streams. The discipline led toaesthetic enjoying to nature, however in Joseon Dynasty, this custom wastransformed to an aristocratic taste. The literati in Joseon Dynasty hadpracticed Pungryu through the unworldly plays which represented aseclusive literati and a Taoist hermit with miraculous powers. Theactivities enjoyed as Pungryu were seemed from old stories of seclusiveliterati, and they were found as a dilettante life or promoting friendship. Their activities include a playing go, a seeing stream and waterfall, aenjoyment of poems, calligraphy and paintings, a playing musicalinstrument, listening to music and a drinking tea. The activities mean notonly anchoritic diversion but also the way for equating with Taoisthermit.
-
정우진 ( Jung Woo Jin ),권오만 ( Kwon O Man ),심우경 ( Sim Woo Kyung ) 한국전통조경학회 2014 한국전통조경학회지 Vol.32 No.1
본 연구는 중국 명대 원림서인 원야, 장물지, 한정우기를 통해 중국 죽병의 용도와 식물소재를 분석한 것으로, 요약된 결과는 다음과 같다. 위 세 서적은 거의 동일한 시기에 저술되었지만 작자가 바라보는 죽병의 시각은 부정적이기도 했고 적극 지지하는 의견이 피력되기도 한다. 이는 명초에 시은(市隱)을 조성할 때 죽병을 사용했던 양상이 퇴색되는 과정을, 나아가 명말 사회경제적 변화에 의해 죽병의 의미가 사치적 성향으로 전화되었음을 보여준다. 죽병은 덩굴성 식물의 가지가 등반·부착하게 하는 보조재(補助材) 또는 유도재(誘導材)의 성격으로 고안된 것이었다. 이는 한편 여름 내내 많은 꽃이 연이어 피는 장미과 식물의 관상효과를 극대화하기 위한 장치였으며, 또한 중국 특유의 문화적 향유와 관련되었다. 죽병에는 주로 꽃이 아름다운 장미과 식물이 사용되었으며, 이 식물들을 부식하여 만든 죽병은 평소에 담장의 역할을 하다가 개화기에는 아름다운 화벽을 볼 수 있는 다목적 시설로 설치되었다. This study has researched the uses and plant materials of bamboo screen from the gardening books in Ming Dynasty: Yuanye (園冶), Zhang wu ji (長物志) and Xian Qing Ou Ji (閑情偶寄). The results were as follows; first, though these books nearly were written nearly at the same period, the bamboo screen was seen in a negative viewpoint or positively endorsed by authors. These show the extinctive process which had used bamboo screen creating for urban seclusion in early Ming Dynasty and that the meaning was changed by the social economic changes in Late Ming Dynasty. Second, the bamboo screen was devised as a support which was trained the branches of the creepers. This was an equipment to maximize ornamental effectiveness with some rose families which produced nearly all year round, and it was involved cultural enjoyment of Chinese indigenous custom. Finally, the bamboo screen was used rose families for the beautiful flowers. And this was constructed as a multipurpose facility which was used as the flower screen in blossoming season as well as the role as wall.
-
-
-
-
六堂詩와 장르認識의 問題 : <散文詩>와의 관련을 中心으로
權五滿 서울市立大學校 1985 論文集 Vol.19 No.-
As many scholars and critics have maintained, Yuk-dang's early poems can not be divided from songs. He classified his chang-ga as a poem in magazine 'So-nyun'(The boys) which he edited by himself. Till the end of year 1909, his recognition of genre was not matured. Around November 1909, he went over to Japan and stayed there about two months. In those days, he experienced many things of new culture. Probably he learned the method of the classification in the poetic works and new form of the poem during this journey. Came back from his journey, he published his new anthology named 'Tae-Paek-San-Si jip' and had effort to divide from each another his three forms of poetic works; poem in prose, chang-ga which means song, si-jo the one of the traditional poetic forms. He established his three division in poetic genre at may 1910. But after four months, he put out his three division from his magazine because he could not make his own poem in prose. Since he was lack of knowing what the poem in prose is, he could not continue to make it. Owing that failure, his later works went back to the state of his early stage.
-
權五滿 서경대학교 1979 論文集 Vol.7 No.-
1. This paper is written to illuminate some traits of the poet Hwang Tong Kyu's poetical writing. In the former part another study about the poet On Hwang Tong Kyu, by Yun chai Keun(尹在根), will be examined and critisized, while in the latter part the traits of the poet being divided into three stages will be examined. 2. Yun Chai Keun considers all poems of the poet as a phenomenological one according to merlos ponti, art including poetry can be a means to have a more true under standing than science and, on the other hand, all understanding is made in the phenomenological world. In this proposition all poetry shoule be understood phenomenologically. If we want to call the poet's poetry a phenomenological poem, the poetry should be based on that particular methodology, but none of the poetry except the second-stage poems is seemed to be based on such kind of methodology. 3. Perseverance forms the attitude and method of the poet consistently in his poetical writing. In his early stage the perseverance which is reflected in the poems is only an attitude of life which is not yet enhanced as a method of his poetical writing. But, in the second stage the perseverance appears to be transformed into such a phenomenological writing as "language becomes an integration of the relationship between things and me", and, finally, in the third stage the perseverance is deepened to the methodology of poetical writing as a methoodlogical tension and an intellectual extermination. This is the stage where the most fruitful result reveals in the course of Hwang Tong Kyu's poetical development in which the perseverance becomes an axis.
-
-
ScienceON연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
