운임(雲林) 예찬(倪瓚)의 사상(思想)과 그의 문인화(文人畵) 경계(境界)

권윤희,Kwon, Yun Hee 국제문화기술진흥원 2020 The Journal of the Convergence on Culture Technolo Vol.6 No.4

예찬은 중국 원말 사대가의 한 사람이다. 그는 이민족의 지배를 받은 시대적인 환경하(環境下)에서 자신의 독특헌 예술세계룰 구축하였다. 그의 화론인 흉중일기(胸中逸氣)는 동양 전통사상인 유(儒), 불(佛), 선의(禪) 영향으로 이루어진 정신적인 산물이다. 일기사상(逸氣思想)은 도가적(道家的)인 청담(淸淡)이나 허무(虛無), 무위사상(無爲思想)의 영향으로 문인(文人) 사대부(士大夫) 사이에 일어난 자연에 대한 새로운 자각이다. 이는 세속을 초월하여 일어났으며 남종 문인화(文人畵)의 이론적인 토대가 되었다. 예찬(倪瓚)의 일필(逸筆)은 흉중(胸中)의 일기(逸氣)를 그리는 방법이다. 이는 그가 오랫동안 노력하고 실천한 가운데 얻어진 문인화 경계이다. 예찬(倪瓚)은 생활의 체험 속에서 깨달은 선의(禪) 오경(悟境)으로 시서일체(詩書一體), 시선일치(詩禪一致)의 높은 경지를 실현하였다. 그의 예술정신은 흉중일기로 대변되는 탈속원진(脫俗遠塵), 일소부주의 고답(高踏), 시서일체(詩書一體)의 높은 경지를 표출하였다. 이를 통하여 그는 원말(元末) 명초(明初)의 화단에 독창적인 문인화(文人畵) 세계를 구축하였다. Ye-chan(倪瓚) is one of the four great masters of the Yuan. He built his own unique art world under the rule of the times under the rule of immigrahts. His theory of painting, i-ch'i(逸氣) in the heart, is a spiritual product made up of the influence of traditional oriental thoughts such as Confucian scholar(儒), Buddhism(佛), and Zen Buddhism(禪). The i-ch'i is a new awareness of nature that has arisen between literary noblemen(文人士大夫) under the influence of freshness(淸淡), emptiness(虛無), non-action(無爲). This is beyond the mundane world and became the theoretical basis for literati painting. The i-pi(逸筆) of Ye-chan is a method of drawing the i-ch'i in the heart. This is the boundary of his literati painting obtained through his long efforts and practice. Ye-chan realized the high ground of unity of poem and calligraphy(詩書一體) and unity of poem and Zen(詩禪一致), which he realized in his daily life.His artistic spirit expressed the high level of staying away from being clean(脫俗遠塵), doing not stay in one place(一所不住), and unity of poem and calligraphy(詩書一体). Through this, he built a unique world of literati painting in the Art World of the late Yuan and early Ming dynasty.

MBTI(Myers-Briggs Type Indicator)활용 소집단 협력 학습 프로그램이 간호대학생의 대인관계와 진로정체감에 미치는 효과

권윤희(Kwon, Yun-Hee),곽오계(Kwag, Oh-Gye) 한국산학기술학회 2010 한국산학기술학회논문지 Vol.11 No.11

본 연구는 MBTI활용 소집단 협력 학습 프로그램이 간호대학생의 대인관계와 진로정체감에 미치는 효과를 파악하고자 시도되었다. 학습 프로그램과 연구 참여에 동의한 T대학 간호과 2학년을 대상으로 실험군 30명, 대조군 30명으로 단순무선 배치를 하였으며, 실험군에게는 15주 30시간 MBTI활용 소집단 협력 학습 프로그램을 적용하였 다. 연구도구는 MBTI 검사, 대인관계, 진로정체감 측정도구를 이용하였으며, 자료분석은 SPSS Win 17.0 프로그램 을 이용하여 chi-square test, t-test로 검증하였다. 연구 결과 MBTI활용 소집단 협력 학습 프로그램에 참여한 간호대 학생은 참여하지 않은 간호대학생보다 대인관계와 진로정체감이 긍정적으로 변화하였다. The purpose of this study was to investigate the effect of small group collaboration learning program through MBTI on interpersonal relationship and career identity of nursing college students. 30 experimental group and 30 control group, nursing students were randomly assigned 2nd grade nursing students were selected from nursing program of T university in Daegu, Korea. The 30 experimental group students received small group collaboration learning program through MBTI for 30 hours(2 times in a week for 15 weeks). Measures were MBTI test, interpersonal relationships and career identity scale. The data were analyzed with SPSS Win 17.0 program, chi-square test, t-test. The experimental group which received small group collaboration learning program through MBTI will have a higher level of interpersonal relationships and career identity change score than the control group.

동양화론(東洋畵論)에서 ‘사(似)’개념의 자의성(恣意性) 고찰

권윤희(Kwon, Yun-hee) 한국학중앙연구원 2019 한국학 Vol.42 No.1

원예요법이 병동형 호스피스환자의 우울과 스트레스에 미치는 효과

권윤희(Kwon, Yun-Hee),송미옥(Song, Mi-Ok),김정남(Kim, Chung-Nam) 한국산학기술학회 2011 한국산학기술학회논문지 Vol.12 No.10

본 연구는 원예요법이 병동형 호스피스환자의 우울과 스트레스에 미치는 효과를 검증하기 위한 것이다. 본 연구의 자료는 2009년 4월 29일부터 7월 26일까지 D시의 D병원에 입원된 호스피스 환자를 대상으로 실험군 30명, 대 조군 30명을 각각 선정하여 수집하였다. 본 연구에서 실험처치인 원예요법 프로그램은 실내․외 원예활동으로 구성되 었으며, 주 6회 3주간 매일 30분씩 제공하였다. 연구결과는 우울과 혈청 코티졸 검사를 통한 스트레스를 측정하였다. 원예요법 프로그램 실시 후 실험군과 대조군의 우울 변화에서 유의한 차이가 있는 것으로 나타났다. 또한 원예요법 프로그램 실시 후 실험군과 대조군의 스트레스 차이를 검증하기 위해 혈청 코티졸에서 유의한 차이가 있는 것으로 나타났다. 결론적으로, 원예요법은 호스피스환자의 우울과 스트레스에 긍정적 효과가 있는 완화적 중재로 사료된다. The study was done to examine the effects of horticulture therapy on depression and stress in patient of hospice unit. The subjects of this study were hospice patient in D hospital in D city, thirty hospice patient were assigned to experimental group, thirty hospice patient were assigned to control group. Data were collected from April 29, 2009 to July 26, 2009. Horticulture therapy program consisted of indoor and outdoor horticultural activities. The horticulture therapy was conducted 30 minutes, 6 times a week for 3 weeks (a total 18 times). Measures were depression, and stress by serum cortisol count. Data were analyzed using descriptive statistics, chi-square test and t-test with SPSS/WIN 17.0 version. The results of this study was patients in the experimental group receiving Horticulture therapy had a significant difference in changes of depression between the experimental group and control group. The study results indicate that horticulture therapy is an effective, palliative intervention program to improve the depression and stress of hospice patients.

Emamectin benzoate와 Pyridaben의 잔효성에 따른 담배가루이의 섭식행동 변화

권윤희(Yun-Hee Kwon),양정오(Jeong-Oh Yang),오정훈(Jeong-Hoon Oh),노두진(Doo-Jin Noh),윤창만(Changmann Yoon),김길하(Gil-Hah Kim) 한국농약과학회 2008 농약과학회지 Vol.12 No.4

This study was perfom1ed to investigate the correlation between changes of feeding behavior of Bemisia tabaci and residual effect of two insecticides, emamectin benzoate and pyridaben, using EPG technique. Waveforms such as non-probe time and total duration of phloem phase of B. tabaci were recorded during three hours using EPG. Relationship between non-probe time and the change of residual effect of two insecticides correlated with more pyridaben than emamectin benzoate. In the relationship between phloem phase time and those of residual effect, emamectin benzoate was more correlated than pyridaben. These results show that the change of feeding behavior of B. tabaci is conrrelated with the change of residual effect of two insecticides.

한국적(韓國的) 진경체현(眞境體現)으로서 강암(剛菴) 송성용(宋成鏞)의 풍죽미학(風竹美學) 연구(硏究)

권윤희 ( Yun Hee Kwon ) 한국동양예술학회 2011 동양예술 Vol.17 No.-

Bamboo was a personified literati-scholars and the symbol of figuring virtue with things of Confucian society. Therefore many literati and calligraphers tried to build up their character while they drew bamboo as a material of the study of things and nature. especially, windy bamboo painting added metaphysical aesthetics was a personified literati-scholar that symbolize the overcoming the pain, hardship, and integrity. For a long time literati and calligraphers have been drawing bamboo to build up their character. However there has been a few painters who completed high aesthetic world with his windy bamboo. Gamg-am’s windy bamboo paintings have embodied various aesthetic feelings. His windy bamboo paintings based on the beauty of strongness to express the spirit of literati-scholar. He formed his own aesthetic world that calligraphy and painting harmonize with each other by how to use Chinese ink to express being dark and light, harmony and spreading. Therefore his windy bamboo paintings are the whole bamboo painting based on the windy bamboo painting that Tan-eun, Jeong Lee has established in Josun dynasty. This embodied a new style of windy bamboo painting aesthetics based on the beauty of strongness. His windy bamboo painting embodied the aesthetics of Confucian society and symbolize the personified spirit of literati. He formed his own unique aesthetic world that emphasize the human’s mind and beauty of strongness in the whole bamboo in the windy bamboo painting history. His aesthetics was enlarged to the thought of passion and being strange. This stemmed from the beauty of clearness based on Sung Confucianism (Juja) and the beauty of passion based on philosophy of Wang Yangming and embodied as harmony between being neatly in appearance and being comfortable inside. So Gang-am``s windy bamboo painting has embodied the unique Korean style of literati-scholar``s painting.

동양예술(東洋藝術)에서 화(化) 경계(境界)에 대한 심미적접근(審美的接近) -추사와 강암의 부작난도(不作蘭圖)를 중심(中心)으로-

권윤희 ( Yun Hee Kwon ) 한국동양예술학회 2014 동양예술 Vol.24 No.-

Eastern art has been mostly based on Confucianism, Buddhism and Taoism. It is elementally different from western art because eastern art is based on the nature. And it is characteristic that the eastern art becomes more riped through imitating and hard working. Especially, caligraphy, the essence of eastern art, is that case. Depending on the art’s individuality and taste, it is expressed with being unskillful, purity, passion, or deviation. So an artist can experience self-amusement when he creates his own artistic world. Usually an art help a man to experience a beauty of things and all kind of thoughts in everyday life. A man experiences various beauty, is observed in the beauty, and accumulates sense of beauty. In that process a man can have his own eye for the beautiful. Every art pursues unseen metaphysical finality and attempts pleasure. But it is hard to be seen the final destination. This study considered the borderline of ‘wha’ that is the final destination of metaphysical aesthetics based on Chusa’s and Gangam’s “Busaknando” However it is impossible that the borderline of ‘wha’ is realized. So we only try to reach its borderline. But some artist can be said that he is in the borderline of “wha”, because he sticks to his own art all his lifetime. However to be in the borderline, he should be riped with imitating and hard working, This paper studied the borderline of ‘wha’ in eastern art with the“bujaknando” of Chusa Kim, jung-hee(1786∼1856,) and Gangam Song, sung-yong(1913∼1999). The ability of judging beauty is premised on the subjectivity of aesthetic appreciation. If you trace their artistic life, you can realize that the “bujaknando” reached being riped by imitating and hard working. And not only the paintings but also the philosophical elements in the poetic expression of the painting show that they built the borderlin of ‘wha’. First, there are some philosophical elements of fusion both of confucianism and buddhist, 性中天and 不二禪. In other words, coexistence and fusion of both confucian aesthetics and buddhistic aesthetics can be ‘wha’ that the eastern art pursues. second, 閉門覓覓and 偶然寫出are the components of artistic activity, being riped. Therefore the poetic expression of “busaknando” has basic components of artistic philosophy that forms artistic activity. And the two “busaknado” are quite different in the sense of aesthetics although the poetic expression of the paintings is the same. This means the various ways of judging the beautiful because they have different characteristics respectively. Chusa’s “busaknando” shows scholastic unskillfulness, while Gangam’s represents passionate aesthetic scene that breaks harmony. All of them could be possible by hardworking and being riped. So you can realize that these senses pursue ‘wha’ and show the characteristics of the eastern art. The borderline of ‘wha’ is the longing of eastern art that it pursues basically. Chusa and Gangam showed their own characteristics and truth with “busaknando” in that they developed scholastic unskillfulness and passionate aesthetic scene that breaks harmony. This can be an aesthetic sense of caligraphy beyond times.

고람(古藍) 매화초옥도(梅花草屋圖)의 심미적(審美的) 이상경계(理想境界) -유(儒), 도가(道家) 미학(美學) 공존(共存)의 이상향(理想鄕) 구현(具顯)-

권윤희 ( Yun Hee Kwon ) 한국동양예술학회 2014 동양예술 Vol.25 No.-

Oriental arts are mainly composed with confucianism arts and taoism arts. Confucianism & taoism are unfolded mainly focused on human being and the nature. <Drawing1> of Koram``s ‘mawhaseokdo’(梅花書屋圖, a drawing of a house filled with books covered with plum flowers) coexists confucianism & taoism``s aesthetics appreciatively. There are the elements of appreciationaesthetic``s of confucianism & taoism``s aesthetics. If looked into philosophically and aesthetically, we can come to the fact. In other words, at the philosophical aspect, the ``stare``(凝視) through the pleasure and the ``transcendence``(超脫) through the ``play``(遊) displays the philosophical elements of confucianism & taoism. Originally, confucianism & taoism are counteract and complementary relationship each other. they realize the ideal through the self cultivation and body conservation. And at the aesthetic``s aspect, there are the``pleasure``(樂) and ``deviation``(일탈) for confucianism and & the ``stroll``(逍 遙) and ``self-satisfaction``(自適) for taoism. The pleasure of man of virture``s three happiness through the friend``s visting and the ``deviation`` of visiting the friend with music instrumentcalled gemungo(거문고) is the element of appreciation aesthetic for confucianism. And the ``stroll``(逍遙) searching for the friend situated in house filled with books and ``self-satisfaction``(自適) of friend in house filled with books is the element of appreciation aesthetic for taoism. Like this, <drawing1> of Koram``s ‘mawhaseokdo’(梅花書屋圖, a drawing of a house filled with books covered with plum flowers) coexists the aesthetic``s elements for confucianism & taoism. these show us that they realize the idal land(called ``utopia``) of human-being on aesthetic``s aspect.

文人畵(문인화)에서 意趣(의취)의 條件(조건)과 그 象徵(상징) -고람 전기의 문인화를 中心(중심)으로-

권윤희 ( Yun Hee Kwon ) 한국동양예술학회 2013 동양예술 Vol.22 No.-

This study is to grasp the meaning, condition, and symbol of Yichi (意趣) in the literati painting based on Goram Cheongi``s paintings. The main principle of eastern art is on skill through lots of practice. He shows us an aspect of gifted artist out of realizing unique artworks. Painting means an art that express an artist``s ``mind`` by drawing a ``shape``. especially, a literati painting exposes an artist``s ``mind`` by the method of shinsa. This contains mainly biduk(比德, comparing to the virture) or spirit of literati. Usually, the ``mind`` contains humans feeling, sensibility, emotion. Taste of the ``mind`` is ``Yichi`` ``Yichi`` is the counterpat of ``Lichi (理趣)``. While ``Lichi``tries to be ethical and cultivate his mind, ``Yichi`` tries to show his mind through conversation with nature, harmony with nature. So ``Yichi`` inclines to be emotional. Therefore, ``Yichi`` examines himself and absorbed in himself and shows beauty of enjoying himself. Because ``Yichi`` is shown when it accomplishes harmony with the nature on the basis of human sensibility. so, I think there are two conditions ``Yichi`` can be be embodied. Pursuing of ``jeongseong(情性, a kind of emotioal aspect)`` and realizing of the nature``s subtleness. Pursuing of ``jeongseong`` makes you reflect your inner world. So you can reinterpret the object the artist tries to express. And realizing the subtleness of the nature means that you discover yourself in the nature and realize the beauty and grace of the nature. ``Yichi`` can reveal various beautiful senses. But I consider ``ilmi`` (逸味, the taste for the idle pursuit of pleasure) and ``sunmi``(禪味, the taste for meditation in ZEN buddihism) as the category of ``Yichi``. I think ``mawhaseokdo``(梅花書屋圖, a drawing of a house filled with books covered with plum flowers), ``mawhachokdo````(梅花草屋圖, a drawing of a thatched house in plum flowers) and ``gesanpomudo``(溪山苞茂圖, a drawing of reeds and a mountain) are such paintings that have ``ilmi`` (逸味, a taste for an idle pursuit of pleasure) and ``sunmi``. ``mawhaseokdo`` and ``mawhachokdo`` are drawings that draw a man with ``geomunko``(a kind of korean lute) to see his friend. They reveal ``ilmi`` of ``sungmulusim``(乘物遊心, a mind of an idle pursuit of pleasure according to the situation). And ``gesanpomudo`` mainly expresses desolateness, being rough and coarse, being tranquil, so you can appreciate it as ``sunmi``(禪味, a taste of meditation in ZEN buddhism) that dirtiness becomes clean. Therefore ``ilmi``(逸味, a taste of an idle pursuit of pleasure) and ``sunmi`` in ``mawhaseokdo``, ``mawhachokdo```` and ``geomunko``(a kind of korean lute) is the symbol of ``Yichi``. therefore ``mawhaseokdo`` and ``mawhachokdo```` are a deviation from everyday routines, and ``gesanpomudo`` shows an extreme sense of desolateness. mountain with a brook should be full of dense reeds, but dense reeds are not seen, The main tendency is desolateness like a field after harvest. In other word, ``ilmi`` and ``sunmi`` in ``mawhaseokdo``, ``mawhachokdo`` and ``geomunko`` is ``sungmulusim``, ``chuktangsimhung``(滌蕩心胸, doing away with dregs out of deep mind) because it contains human``s feeling, sensibility, and emotion. So it typically shows the symbol of ``Yichi``

간호학생의 임상수행능력 경로모형 분석

권윤희(Kwon, Yun-Hee),곽오계(Kwag, Oh-Gye) 한국산학기술학회 2012 한국산학기술학회논문지 Vol.13 No.10

본 연구는 간호학생의 비판적사고성향, 진로정체감, 간호전문직 자아개념, 임상실습만족 및 임상수행능력 의 관계에 대한 경로모형을 검증하고자 시도되었다. 간호학생 581명을 대상으로 자가보고형 설문지를 이용하여 자 료수집 하였다. 자료는 SPSS 및 AMOS 프로그램을 이용하여 분석하였다. 연구결과, 간호학생의 임상수행능력에 대해 비판적사고성향, 진로정체감, 간호전문직 자아개념 및 임상실습만족이 직접효과가 있었다. 그리고 비판적사고 성향과 진로정체감이 간접효과가 있었다. 간호학생의 간호전문직 자아개념과 임상실습만족에 대해 비판적사고성향 과 진로정체감이 직접효과가 있었다. 이러한 결과에서 간호학생의 임상수행능력에 영향을 미치는 요인을 고려하 고, 적절하고 효율적인 교육과정 및 교수학습 프로그램을 개발해야 한다. This study examined the fitness of a path model on the relationship among critical thinking, career identity, nursing professional self-concept, satisfaction of clinical practice, and clinical practice competency for nursing students. The subjects consisted of 581 nursing students and data was collected through self-report questionnaires. The data was analyzed by the SPSS and AMOS programs. Critical thinking, career identity, nursing professional self-concept, and satisfaction of clinical practice showed a direct effect on clinical practice competency for nursing students. Critical thinking and career identity showed an indirect effect on clinical practice competency for nursing students. Critical thinking and career identity showed a direct effect on nursing professional self-concept and satisfaction of clinical practice for nursing students. We consider the cause which affects the clinical practice competency of student nurses and study on the reasonable and effective curriculum and teaching and learning program.