일제시대의 보통학교 도서교육과정 분석 -제2차 조선교육령시기의 5-6학년 《보통학교도서첩》을 중심으로-

심영옥 ( Young Ok Sim ) 경희대학교 교육발전연구원(구.교육문제연구소) 2004 慶熙大學校 敎育問題硏究所 論文集 Vol.20 No.1

데이케어센터의 인지ㆍ감각 융합 노인미술프로그램 적용 및 효과성 검증

심영옥(Sim Young Ok),조미경(Cho Mi Kyung),김현희(Kim Hyun Hee) 한국미술교육학회 2018 美術敎育論叢 Vol.32 No.4

본 연구는 서울시 소재 데이케어센터를 이용하는 노인을 대상으로 이들의 삶의질 개선과 복지수를 높일 수 있도록 인지력과 감각력을 융합하는 미술프로그램을개발ㆍ적용한 후 그 효과성을 검증한 것이다. 본 연구의 미술 활동은 데이케어센터를이용하는 노인들이 대부분 장기요양 등급판정 기준에 따라 등급을 판정받은 노인이지만, 이들을 병리적 치료의 목적이 아닌 유년시절을 기억하고, 생활에서 흥미를느낄 수 있도록 구안한 것이다. 더불어 기억력을 회생시키고 양손 활용을 통해 좌, 우뇌 발달을 도모할 수도 있다. 미술프로그램은 실생활 중심과 순수미술 중심의미술 활동인데 실시한 결과 사회복지사, 노인참여자, 수업진행 교사들 모두 만족도높았다. 특히 노인참여자들의 만족도는 상당했다. 다만 이러한 미술활동이 많은데이케어센터의 주요 활동이 되길 기대한다. The present study aimed at verifying the effects after developing and applying an art program which fuses perceptivity and sensibility in order to develop the quality of life and to boost the happiness index with the subjects of the senior citizens who use senior citizens’ day and night care centers located in the city of Seoul. The art activities of the present study were designed not for their pathological treatment, but for letting the elderly to remember their childhood and feel interests in their daily life, although most of them have senile dementia. Moreover, it can revive their memory and the development of both left and right side of brain can be planned through the use of both hands. The art program has real life- oriented and pure art-oriented activities. The results of the activities showed that the social workers, the elderly participants, and the teachers who proceeded the classes were highly satisfied. Especially, it was revealed that the satisfaction of the elderly participants were quite significant. It is expected that this kind of art program would become the major activities of many senior citizens’ day and night care centers.

운보 김기창의 <예수의 생애> 작품을 통한 기독교 토착화 담론

심영옥(Sim, Youngok) 삼육대학교 신학연구소 2020 신학과 학문 Vol.30 No.-

This study analyzes dominant themes of thirty pieces of painting by Woonbo, Kim Ki Chang, entitled <Jesus’ Life> from a spiritual and ministerial perspective. The personal and historical backgrounds of these works include the artist’s spiritual upbringing from birth, his physical ailments, and the Korean War. Kim portrays Jesus’ ministry depicted in the gospels using the images of a cowled seonbi-a virtual scholar-of the Chosun Dynasty. The analysis shows that his works uniquely portray Jesus in a way that appeals to the Korean viewers and therefore increases their ministerial potential. In addition, Kim’s works exhibit his unique hermeneutical approach. In his portrayal of various events described in the four gospels, Kim often added or removed certain details to suite the Korean cultural context. This shows his creative approach and interpretation of biblical texts to make the biblical stories more easily understood and accepted by the Korean people. 본 연구는 운보 김기창의 작품인 <예수의 생애> 30점에 나타난 신앙적-선교적 의미를 분석한 것이다. 이 작품이 그려진 개인적-역사적 배경은 그의 모태신앙, 신체적 장애, 그리고 한국전쟁이다. 그는 복음서에 나타난 예수의 사역을 조선 시대를 배경으로 한 ‘갓 쓴 선비’의 활동으로 그려냈다. 분석 결과 그의 작품은 그의 독특한 예수상을 나타내고 있을 뿐 아니라 토착화된 재현으로 선교적 의미도 있음이 확인되었다. 또한 그의 작품은 그의 독특한 성서해석학적인 접근도 보여준다. 그는 복음서의 내용을 그리면서 성서 본문에 없는 내용을 한국적 상황에 맞게 첨가하기도 하고 생략하기도 하였다. 이것은 토착화를 위해 그가 성서 텍스트를 자유롭고 창조적으로 접근하였음을 보여준다.

조선미술전람회 작품의 조선향토색 비평 연구

심영옥 ( Sim Young Ok ) 한국동양예술학회 2020 동양예술 Vol.48 No.-

The present paper aimed at investigating the critical discourse on how the significance of Chosun Art Exhibition and Chosun local color were interpreted. Chosun Art Exhibition was first founded by Japan in 1922 since March 1st Movement which was all-out anti-Japanese occupation. It was among many conciliatory policies of Japan in order to profess to have culture policy while changing the line of the militarism politics. Chosun local color was represented by its nature, customs, landscapes with esthetic atmosphere. In other words, although Chosun Art Exhibition appointed many promising new artists and it was an encouraging thing that they could get an opportunity to broaden their worlds of works, it has obtained many criticism. And the Chosun local color represents the period of Japanese colonial rule rather than the national color, that is, it means the local expression that was shown during the Japanese colonial rule. It can be said that the meaning of two terms have a significance in the history of art because they had a systematic setting which enabled them to work actively and create original colors in the art field during the Japanese oppression. However, as mentioned above, it has a contradiction of discourse. In this aspect, it was discussed by the researcher that there must be the need of right critical perspectives about Chosun Art Exhibition and Chosun local color.

이중섭 작품의 유희적 표현과 바다 미학 -제주, 부산, 통영 시절을 중심으로-

심영옥 ( Sim Young Ok ) 한국동양예술학회 2020 동양예술 Vol.49 No.-

The present research aimed at re-examinating some of Artist Joong-sub Lee’s works, which were created during his days of refuge in the sea areas such as Busan, Jeju Island, Tongyong, etc. during Korean War with the sea-esthetic perspectives. In his works, there are amusing expressions, which display his amusing vision by amusement impulse, deliver his sentiments by the pathos of amusing sentiments, and form the sympathy from those who appreciate his works by transferring his amusement and imagination to them. Especially, those works which he created in the sea cities such as Busan, Seokwipo, and Tongyong present the amusing sublimity and sense of unity which makes one feel infinite love of family. It is thought that the reason why Artist Lee had esthetic thinking near the sea is because he formed the bond of sympathy in order to impart an intuitive meaning as he professed the special philosophical theories of Kant, Hegel, and Aristotle. In short, the materials frequently shown in Artist Lee’s paintings such as fish, crabs, crawfish, etc. are not merely expressing ocean living things, but depicting infinite sublimity through family, sanctity of life, and morality. Although the esthetic meaning of his works were examined in contrast with the artist’s physical environment in the present research, it is revealed that there are absolutely some limitations that this could be illuminated as a subjective viewpoint, because this kind of research with sea esthetics with Artist Joong-sub Lee’s works has never been conducted.

고구려 고분벽화의 인물풍속도에 나타난 인물화 연구

심영옥 ( Young Ok Sim ) 한국동양예술학회 2007 동양예술 Vol.12 No.-

This thesis tries the study of to the figure paintings through the figure genre paintings the ancient Tomb mural paintings of Koguryo. The results of the study are follows, Pyongyang tombs show large round faces, round noses, small lips, Giban tombs show long oval faces, think and straight eyebrows, round eyes, long pointed noses and small lips. All figure paintings have a globular line of the jaw taken altogether through the figure genre paintings the ancient Tomb mural paintings of Koguryo. But, Samsil tumb``s figure paintings have narrow line of the jaw. The face of Pyongyang area and the Giban area is a difference. The face of the Pyongyang area is big and round in shape. But the face of the Giban is narrow and refine. Koguryo persons were active and were a sturdy lot. But we must not jump to a conclusion. There is a possibility without being the Korean specific face in the figure genre paintings the mural paintings in a tumulus of Koguryo

신라토우 인물상에 나타난 상징성과 조형미감 연구

심영옥 ( Young Ok Sim ) 한국동양예술학회 2006 동양예술 Vol.11 No.-

The Clay doll of Silla dynasty represents the figures of various animals, utensils, houses as well as that human beings. The Clay doll of Silla dynasty reflects the primitive folk religion the existed before the introduction of Buddhism into the dynasty. The Clay doll of Silla dynasty are characterized by superstitious nature in the sense that they represent the human desire to accomplish various wishes, which also include the aspiration for the immortality. The Clay doll symbolizes the fertility and abundance through the image of things that symbolize the productivity. Considering plastic form, the Clay doll of Silla dynasty takes distorted form in order to emphasize the symbolism by omitting the details in the representation of space, volume, dynamism, matiere, Through these distorted forms, the primitive feeling about life is vividly expressed in the Clay dolls of Silla dynasty.

혜원 신윤복 풍속화의 성 풍류적 특징 연구 -에로티시즘을 중심으로-

심영옥 ( Young Ok Sim ) 한국동양예술학회 2012 동양예술 Vol.19 No.-

The purpose of the study is to close look at expression methods related to nightlife and eroticism of his time expressed through artist Shin yun-bok``s works. When analyzing sexual matters in his genre painting, we realize facts that his works were connected to social issue at the time His works are not expression the relationship between men and women but contain love affairs and conflicts of a status system. The characteristic of his works is that he expressed beauty of human nature and a Korean look. Especially, facial expressions and behaviors of men and women in his works are very natural. Also he rarified women``s beauty in the light of the society. The intention of his sexual genre paintings consists of four themes. First, it is about metaphorical eroticism. Secondly, it is about physically affectionate and eroticism of city life. Thirdly, it is about eroticism as recreation cultures. Finally, it is about expression of eroticism. Shin Yun-bok``s genre paintings were ahead of sexual cultures opening, it isan impressive achievement in Korean art history. And that he stamped his seal on his works of art shows his artistic views and tenacious spirit.

추상화가 유영국 작품의 시기별 특징 및 예술적 의의

심영옥 ( Youn Gok Sim ) 한국동양예술학회 2015 동양예술 Vol.27 No.-

Yu, Yeong-Guk tried abstract art, which is the most experimental art in that time, established the footing of abstract art in our modern artistic history. And he had continued to deepen his world based on abstract formative arts. He used natural motif such as mountains, clouds, and lakes based on a question : He organized his modernism by bring natural elements into his painting to diagram them into abstract forms, and reorganizing them into constructive forms. The composition in his painting is naturally made up of lines, planes and interactive relations between colors. In his abstract world, colors have superiority to forms. When colors are considered as representative, it indicates liberating of colors in two meanings. The first, as every expressionist painting will do, indicates liberation of colors from a reproductive function, and the second indicates liberation of colors from a reproductive function, and the second indicates complete liberation of colors from restraint of forms. He reaches to abstract by action of all the factors which are abstract. His painting is geometrical abstract made by several figures made of simple and straight lines that spread like flashes rather than abundant use of diverse colors. He recreated a natural emergency using his own method. Yu, Yeong-Guk occupied an important position in the introduction of Korean early abstract arts. Through this process, he opened the possibilities of describing the inner and spirit of things with abstract pictures. In other words, he opened a new world to abstract of Korean nature through his quest for natural subject matter.

혜원 신윤복의 회화관(繪畵觀)과 당시 륜리의식(倫理意識)과의 관계 연구

심영옥 ( Young Ok Sim ) 한국동양예술학회 2013 동양예술 Vol.23 No.-

Due to their topics being centered on man``s mundane and daily life, Genre painting from the end of the Joseon Dynasty enable us to understand not only the then society``s life and systems, but also people``s sense. This study examines how the inherent eroticism in Shin Yun-bok``s works portrays the then sense of ethics from a critical point of view. First, how critically it portrays the then overflowing Confucian moralism, second, how he expressed active accommodation of sex culture as a revolt against oppressed sex, and third, what kind of changes he had in his progressive view on women as an expression of getting the women who were concealed during the Joseon Dynasty to take a big step forward. However, Shin Yun-bok``s eroticism only has value when it is investigated from a historical point of view, and it is hard to approach the essence of sex from only an ethical viewpoint. In other words, Shin Yun-bok``s eroticism needs to be viewed from a cultural historical viewpoint that surveys the historical timeline in which it was created. To conclude, although Shin Yun-bok expressed gender equality in a metamorphical way by featuring women or concealed women``s nude bodies in his works as a way to criticize the aristocrat or male-centered society of the Joseon Dynasty, he is also satirizing the aristocrat society that enjoys itself with gibangs and gisaengs and its immoral deeds, Confucian moralism, and the Anti-Confucian reform awareness about nobles and commoners through his plainly expressed eroticism.