20세기의 중국 대륙과 대만 예술을 통해 바라보는 현대성의 정황

왕가치(王嘉驥, Chia Chi Jason Wang) 이응노미술관 2017 고암논총 Vol.6 No.-

20세기 중국과 대만 예술의 현대성 정황

왕가치(王嘉驥) 한국미술연구소 2017 美術史論壇 Vol.- No.44

Chinese artists in the early and mid 20th century argued that they should correct the problem of ‘xiěyì(寫意, arts freehand brushwork in traditional Chinese painting)’ focusing on ‘xíngsì(形似, likeliness in form)’ by taking the factual spirit of the western painting in order to modernize the Chinese painting. From the early 1920s, a word ‘guóhuà(國畵, Chinese painting)’ became to have a meaning of opposition to the western painting due to a strong chauvinistic idea. In 1930s, many artists turned their interest from oil painting to the study and creation activity of Chinese water and ink painting. It is connected to the ‘New Chinese Painting(新國畵)’ which the mainland Chinese government claimed in 1950s. The Nationalist Party government that retreated to Taiwan after the complete defect at the Chinese Civil War in late 1949 asserted themselves as the authenticity of the Chinese culture and exercised Fascism. Since 1950s, the Taiwanese artistic world, and furthermore art education supported ‘guóhuà’ that revitalized traditionalism and conservatism ideology. But, there were some young Taiwanese artists who sought a new creation. Among them, ‘Fifth Moon Group(五月畫會)’ promoted by Liu Kuo Sung and ‘Dong Fang Group(東方畫會)’ founded bi Li Zhong Sheng accepted western artistic trends, especially the abstract expressionism making a challenge to closed, rigid and conservative artistic system and environment. Nonetheless, in the midst of grim reality of the political conservatism, the development of the modern art of Taiwan was frustrated from 1960s. The avant-garde modernity was not allowed by the political authorities and many founding members of Fifth Moon Group and Dong Fang Group moved to Europe and the USA. The international status of Taiwan was unstable up to 1970s. Even though a new historic phase was open with the mainland China, the controversy regarding the identity of Taiwan still continues.

朝鮮使臣海路使行路線中山東登州之地名考證與重構(一)

왕가,한종진,당윤희 중앙대학교 외국학연구소 2018 외국학연구 Vol.- No.43

During the Joseon Dynasty, the “overland route” was the main road of the Joseon envoys to China, though the “shipping route” also was the important road that has been used by various Chinese dynasties since the Three Kingdoms Period. This study's text was based on Yanxinglu(燕行錄), which was maintained from 1621 to 1636, 15years. In Yanxinglu(燕行錄), there were places called Huangchengdao(隍城島), Miaodao(廟島), Tuojidao(砣磯島), Zhenzhumen(珍珠門), Dengzhoushuicheng(登州水城), Dengzhoucheng(登州城), Pengxianxian’guan (蓬縣仙觀), Huangxianjie(黃縣界) of Dengzhou(登州), in Shandong(山東) China. In this article, we checked the literature and looked at the changes in the geographical names that occurred over history. We investigated the location of the geographical names of Dengzhou(登州) shown in Yanxinglu(燕行錄) on site and obtained unknown data from local historians. Moreover, we interviewed residents in the area and recorded their anecdotes which were passed down, took pictures, and made films to have data to compare the past and present humanistic views. We will then continue to investigate other areas of Dengzhou(登州) in the road of the Joseon envoys.

조선사신의 海路使行路線 중 山東 萊州府 朱橋驛 ― 萊州府城 노정의 인문 지리적 고찰(1) ― 朱橋驛에서 平利店까지

왕가,한종진,당윤희 중국어문연구회 2019 中國語文論叢 Vol.0 No.92

This article, from the diachronic perspective, based on the field surveys and interviews verifies the present geographic names of the places passed by the Joseon envoys from the Zhuqiao ancient courier station(朱橋驛) to Laizhoufucheng(萊州府城) in the Dengzhou-Beijing shipping routes of the envoys during the alternation of Ming and Qing Dynasties as well as reconstructs the routes. This thesis supplements the missing records in the relative documents according to Sahaeng record and corrects Joseon envoys’ inaccurate records of the names of some places basing on the local records. According to the analysis and field surveys, the names of the places passed by the Joseon envoys from the Zhuqiao ancient courier station(朱橋驛) to the Pinglidian Village(平里店村)are reconstructed as follows: Dalangya Village and Xiaolangya Village(大瑯琊村與小瑯琊村), Langya Mountain(瑯琊嶺), Xinzhuang Village(辛莊村), Jiadengzhanjia Village in Pinglidian Town(平里店鎮賈鄧戰家村), Wang River(王河), Pinglidian Village(平里店村).

造反과 崇拜 : ―紅衛兵 시에 나타난 紅衛兵 인격의 내적 분열

王家平 동아대학교 동아시아연구원 2007 동아시아 : 비교와 전망 Vol.6 No.2

从 ‘造反’,成为60年代中后期中国社会的时尚;‘叛逆’,乃是那个时代的主导性格。在权力问题上,文革显示出了相当丰富、生动的矛盾性:在对抗体制与维护体制之间始终存在着一种张力关系。在20世纪中叶,尤其是文革时期,毛泽东被奉为中华民族乃至全世界被压迫人民的救世主,亿万民众都把能去 ‘‘圣地’ 北京朝见救星毛泽东当作一生中最神圣的大事。红卫兵的狂热崇拜情绪不仅在对天安门及其他革命圣地的 ‘朝拜’ 中流露出来,而且他们的日常生活也无时不充满对毛泽东的虔敬。在狂热的宗教情绪下,红卫兵纷纷‘走火入魔’,他们愿意为保卫伟大领袖的‘伟大事业’而殉身。

몽골 민족독립운동과 중국공산당 민족정책

王柯 한국민족연구원 2002 민족연구 Vol.0 No.9

재만(在滿)시기 안수길 소설 연구

왕가 한국문학이론과비평학회 2012 한국문학이론과 비평 Vol.57 No.-

이 글은 재만(在滿) 시기 안수길(Ahn Soogil) 소설의 주제적 특성을 살펴보고,나아가 일제강점기 재만 조선인 소설의 성격을 밝혀보는 데 목적을 둔다. 재만(在滿) 시기 안수길 소설은 흔히 재만 조선인의 이주·정착에 관한 생생한기록, 또는 간도 보고서라고 평가받고 있다. 안수길은 20여 년에 걸쳐 가족과 함께 용정·장춘 등지에 거주한 자신의 간도 체험을 바탕으로 재만 조선인, 특히 조선인 농민들이 이 지역에서 “어떻게 살아왔느냐”에 관심을 기울이고, 그들의 간고한삶을 소설화한다. 「벼」, 「새벽」은 그 한 예이다. 그러나 그는 만주국 건국 이후 급변한 만주 공간의 정치·사회적 상황과 이에 따라 더욱 간고해진 조선인 사회의 생존 환경에 주목, 이러한 생존 조건 속에서 “어떻게 사느냐”의 문제를 천착하고 이를 소설로 담아낸다. 만주국 건국이 가져온 상황 변화에 어떻게 대응하여 살아남을 것인가 고민하고 작가 나름의 방향을 제시하고자 하는데, 「목축기(牧畜記)」, 『북향보(北鄕譜)』등에서 보는 ‘이상촌’ 건설, ‘아름다운 제2의 고향’이 그것이다. 말하자면, 재만 시기 안수길 소설은 「벼」에서 『북향보』에 이르기까지 주제의식의 변화를 드러내는데, 이는 만주와 만주에 이주한조선인의 삶을 바라보는 작가의 시각 변화에 기인한다. 재만 시기 안수길 소설에 나타나는 주제의식의 변화는 먼저 중국 또는 만주라는 공간과 중국인에 대한 긍정적인 묘사에서 확인할 수 있다. 그의 소설에 등장하는 중국인은, 지주나 관리 같은 지배계층의 인물이든 또는 소작 농민이나 머슴 같은 하층민이든, 이주 조선인에 대해 우호적이며, 조선인과 조선말로 소통하며 친밀한 관계를 맺고 있으며, 조선의 문화까지 이해하고 있는 인물로 형상화되어 있다. 「벼」, 「목축기」, 『북향보』의 중국인들이 그러하다. 이는 만주국 건국 이전 시기최서해·주요섭 소설에서 중국인의 형상이 불결하고 인색하며 의심이 많고 인간성이 없는 인물로 묘사된 것과는 사뭇 다르다. 그만큼 중국인에 대한 인식이 변화하게 된 것이다. 이는 오랜 기간 중국인과 조선인이 함께 지내면서 서로의 문화를 이해하고 존중하게 되고, 이에 따라 더 이상 적대관계가 아니라 더불어 공존할 수 있는 상대로 인정하게 된 데서 비롯한다. 그러나 한편, 이는 만주국 건국 이후 판이하게 달라진 사회 상황에서 불가피한 선택이기도 하다. 다음으로, 중국 또는 만주 공간에 대한 묘사에서도 확인할 수 있다. 최서해·주요섭의 소설이 내보이는 중국 또는 만주의 자연 환경은 춥고 불결하여 극도로 열악하다. 그리고 이러한 공간 제시와 상황 묘사는 이주 조선인들이 겪게 될 수난을암시한다. 그러나 안수길 소설에서는 만주 황무지가 희망의 땅이고 인간성이 가득찬, 그래서 내일을 도모하는 데 부족함이 없는 삶의 터전으로 그려지고 있다. 황무지에 다름없는 지형 조건이지만 개간하면 농사짓고 살 만한 터전으로 그려지고,나아가 벌판 가득한 논에 벼의 물결이 넘실거리는 풍요로운 땅, 만주 벌판을 정처없이 떠돌며 이곳저곳을 옮겨 다니던 조선인 이주민들이 ‘이상촌’을 건설하기에 더이상 바랄 것이 없는 천혜의 땅으로 묘사하고 있다. 이는 물론 재만 조선인의 정착에의 갈망과 당위를 드러낸다고 하겠는데, 이는 ‘북향정신(北鄕精神)’에 집약되어있다. ‘북향정신’은 만주라는 현실 공간에서 어떻게 살아야 하는가, ... This thesis aims to study the main ideas expressed in the novels created by Ahn Soogil, while he was staying in China, in the period of Manchuria. And it also elaborates the characteristics of the works written by the Koreans in the Japanese colonial period. The novels of Ahn Soogil created In the period of Manchuria are honored as the vivid records of the migrancy and settlement of the Koreans in China and they are also regarded as the written reports of the Gando Convention. Ahn Soogil has lived in Longjing, Changchun as well as many other places in China for about twenty years, together with his families. Based on his experience in Gando Convention, many famous novels are created by him,Most of which focus on the problems that met by the Koreans, especially the Korean peasants, in struggling to live on in Manchuria and examines the laborious life led by them, such as the rice plant and the dawn. As the establishment of Manchuria, the politics and social environment began to deteriorate, so Ahn Soogil turned his eyes on the tuff living condition of the Koreans in China, he tries to expose as well as put forward his own view on the question that how the Koreans, as aliens, facing the transformation of the society, survive the hostile environment. In his novels,such as 「Mokchookgi」, 『Bukhyangbo』, Ahn Soogil describes the construction of the ‘ideal village’ and the ‘the beautiful second hometown’. In other words, these novels show the alteration of the subject consciousness, which means the shift of the writer’s angel of view in observing the survival of the Koreans in Manchuria. The alteration of the subjective consciousness shown in Ahn Soogil’s novels can be affirmed through his positive attitude towards China and the Chinese people. All the Chinese figures that show up in his novels, from the ruling class, such as the landowner and the government officials to the people from the bottom of society, such as the tenant peasants and the farm labourers, show their friendship to the immigrants, for example, they communicate with the Koreans in Korean, establish intimate relationship with them and try to learn the Korean cultures. The Chinese figures appear ingin 「Riceplant 」, 「Mokchookgi 」,『Bukhyangbo』are all this kind of people, which are different from that described in the novels created by Choi Suhae and Joo Yosup whose novels contain the Chinese persons who are dirty, mean, suspicious and inhuman. The conversion of their awareness towards the Chinese people is caused by many reasons, on one hand, the Koreans and Chinese began to understand and respect each other in the process of living together and they also realize that the relationship between them should not be hostile but harmonious, on the other hand, this is the unavoidable choice for the persons from both countries with the transformation of the society after the Manchuria was founded. What’s more, the conversation can also be confirmed from the description of the environment of Manchuria or China. The natural circumstance depicted in the novels of Choi Suhae and Joo Yosup are freezing, sordid and extremely rugged. In addition, the presentation of the environment and the description of the surroundings suggest the hardship undergone by the Korean immigrants, While, in Ahn Soogil’s novels, the uncultivated land is full of hope and human touch and it is the basis for a well-fed and well-clothed life. Although wild, it is the guarantee of the prosperous life if cultivated. Furthermore, as far as the homeless and miserable Korean immigrants are concerned, the land is the heaven-sent ground on which their ‘ideal village’ can be setup. The descriptions of the land in Manchuria in the novels written by Ahn Soogil embody the desire for settlement, which can be summarized by the concept ‘the spirit of a northern hometown’. ‘The spirit of a northern hometown’ penetrates throughout the whole novel of 『Bukhyangbo』which expo...

만주국 시기 한·중 소설의 비교 연구 : 안수길과 양산정(梁山丁)의 소설을 중심으로

왕가 한국언어문학교육학회 2013 한어문교육 Vol.29 No.-

그래픽 디자이너의 역할 현황 분석 - 국내 실무 디자이너를 중심으로 -

왕가기 ( Jiaqi Wang ),김소영 ( Soyoung Kim ),이지은 ( Jieum Lee ),김희진 ( Heejin Kim ),설백교 ( Baijiao Xue ),문지혜 ( Jihae Mun ),김소연 ( Soyeon Kim ) 한국디자인트렌드학회 2020 한국디자인포럼 Vol.25 No.1

연구배경 과거 조형적 작업에 국한되었던 디자인은 오늘날 사회혁신을 위한 전략적 요소이자 비즈니스 경쟁력으로 제시되고 있다. 디자이너의 역할도 다변화되어 전략가, 혁신가로서의 역할이 강조되고 있다. 따라서 본 연구는 활발하게 논의되고 있는 디자이너의 확장된 역할이 실무에서 어떻게 수행되고 있는지 파악해 보고자 한다. 연구방법 본 연구는 그래픽 디자이너의 역할 현황 분석을 위해 브랜딩, 광고, UX/UI, VMD의 다양한 세부 분야 실무 디자이너와의 인터뷰를 진행하였으며 이를 디자인 프로세스 단계별로 구분하여 분석 및 논의하였다. 연구결과 실무 디자이너는 전형적 그래픽 디자이너의 역할에 한정되어 있었는데, 이는 조직의 구조적 문제와 타분야의 디자인에 대한 고정관념에서 기인된 것으로 나타났다. 또한, 커뮤니케이션 매체의 다변화 및 디자인 툴의 민주화로 인하여 그래픽 디자이너가 더욱 실현 및 전달 단계의 업무에 치중되고 있었다. 결론 디자인 연구와 실무분야에서 강조되고 있는 디자이너의 역할 차이 인식을 바탕으로 향후 공통된 논의를 이끌어 낼 수 있도록 해야 한다. Background Design, which was limited to visualizing and styling work in the past, is now presented as a strategic element for social innovation and business. The role of designer has also diversified, emphasizing the role of strategist and innovator. Therefore, this study aims to analyse how the extended role of designers, which is actively discussed in design research, are being performed in design practice. Methods The interviews were conducted with graphic designers in various sub-fields of branding, advertising, UX/UI, and VMD, in order to understand the role status of graphic designers in the field. Interviews were analyzed and discussed by the phases of the design process. Result Designers were confined to the role of traditional graphic designer and we found that it was due to the structural issue of organization and stereotypes about design from different field. In addition, due to the diversification of communication media and the democratization of design tool the role of graphic designers were more focused on realization and delivery phase. Conclusion Based on the recognition of the designers’emphasized role difference between design research and practice, effort need to be made to draw common discussion.

Design Evaluation of Parent-child Interactive Game Furniture Based on AHP-TOPSIS Method

왕가기,반영환 한국융합학회 2022 한국융합학회논문지 Vol.13 No.2

Through the research on the design evaluation index of parent-child interactive game furniture, it is convenient for designers to quantitatively analyze the design advantages and disadvantages of related products, which is of positive help to control and improve the design quality. Combined with AHP and TOPSIS, this study proposes the evaluation model of three design criteria and 26 design indexes. After expert scoring, calculation, and consistency test of each index, the weight value of each design index is obtained, and the index is classified according to the importance of each index. Finally, eight essential indicators, eleven secondary indicators, and seven general indicators are classified. A case study was conducted with TOPSIS, and the design samples of three parent-child climbing game furniture were analyzed. Finally, the three samples’ relative proximity was 0.505, 0281, and 0.640, respectively. The research shows that the AHP-TOPSIS method can scientifically and effectively sort and screen the advantages and disadvantages of design schemes and provide a reference for the research and development of related products.