만다라를 통한 집단 미술치료가 성인의 자아존중감 향상에 미치는 효과

유봉자 조선대학교 학생지도연구소 2005 生活指導硏究 Vol.24 No.-

프란시스코 고야의 작품 세계에 나타난 자아 특성

유봉자 유럽문화예술학회 2020 유럽문화예술학논집 Vol.11 No.1

본 연구에서는 프란시스코 고야의 삶과 작품을 통하여 그의 자아 특성을 살펴보았다. 본 연구에서 살펴 본 프란시스코 고야의 자야 특성은 그의 작품 활동 기간을 세 시기로 나누어 탐색하였다. 고야의 작품 활동을 구분한 시기는 그가 궁정화로 활동하던 시기와 ‘전쟁의 참화’를 그린 시기, 그리고 ‘검은 그림 연작’시기이다. 고야의 작품 활동을 시기별로 구분한 이유는 위의 세 시기가 그의 삶과 회화에 있어서 그에게 예술가로서 전환점이 되었기 때문이다. 본 연구에서 살펴 본 결과 위의 세 시기에 나타난 고야의 자아는 다음 세 가지의 특성으로 요약해 볼 수 있다. 첫째, 고야는 궁정화가의 시기에 ‘풍자가’로서의 자아특성을 보여주고 있다. 이 시기에 그는 궁정에서 왕족의 초상화를 주로 그렸는데, 그의 작품 <카를로스 4세의 가족>을 통해 고야는 스페인 왕의 무능함과 그의 가족들의 탐욕 풍자하고 있다. 또한, <먼 옛날 그의 조상까지, 변덕, 제39번>의 작품을 통해서는 고트족의 왕족이 되고 싶어 안달하는 재상 마누엘 고도이를 당나귀로 그려줌으로써 그의 왕족으로서의 욕구를 풍자하는 ‘풍자가’ 로서 자아를 보여주고 있다. 둘째, 고야는 청력을 상실하면서 자신이 겪은 전쟁의 참상을 그린 판화 작품집 ‘전쟁의 참화’를 통해 ‘사유의 주체로서의 자아’의 특성을 보여주고 있다. 전쟁에 대한 주체적 사유를 통해 고야는 전쟁이 인간을 어떻게 괴물로 만들며, 전쟁이 얼마만큼 참혹하고 잔인할 수 있는지 를 ‘전쟁의 참화’를 통하여 여실히 보여주고 있다. 사유의 주체자로서 보는 전쟁에 대한 고야의 시각은 매우 객관적이다. 고야는 스페인 국민임에도 스페인의 시각으로 전쟁을 보지 않는다. 전쟁에는 이유가 없으며, 이유가 없는 전쟁은 이유가 없는 민중들의 죽음만을 불러올 것이라는 확신으로 고야는 그 어떤 전쟁도 반대한다. 그러한 생각은 고야의 작품을 통해 표현된다. 셋째, 고야는 ‘검은 그림 연작’에 서 보여준 환상적 세계의 창조자로서의 ‘분열적 자아’의 특성을 보여주고 있다. 청력을 완전히 상실한 고야가 ‘귀머거리의 집’에 은둔하면서 자신의 분열된 정신세계를 표현한 작품들이 바로 ‘검은 그림 연작’이다. 검은 그림 연작에는 마술, 마녀, 악귀 등 기괴하고 섬뜩한 그림들로 가득하다. 고야는 자신의 고통스러운 운명과 정치적 혼란, 악화된 건강의 공포로 분열된 자아를, 검은 그림 연작에서 환상이라는 예술상징을 통하여 자신의 절대적 이미지를 표현하였으며. 그런 고야의 자아는 환상적 세계의 창조자로서의 모습을 보여주고 있는 것이다. 이상에서 살펴 본 고야의 자아는 다양하다. 그런 다양한 자아는 모두가 그의 모습이며, 그의 삶의 경험이며, 그의 예술이다. 따라서 본 논문에서 말하고 자 하는 바는 한 예술가가 가지고 있는 서로 다른 자아는, 서로 충돌하는 것이 아니라 서로 부족한 부분을 보완하여 하나로 합일함으로써 하나의 완전한 자아를 이룬다는 것이다. This study investigated the ego characteristics of Francisco Goya based on the life and artworks of the artist. In the study, the ego characteristics were contemplated by dividing his active years into three periods: 1) when he was working as a court painter, 2) when he worked on the ‘Disasters of War’ series, and 3) the ‘Black Paintings’ series. The periods were divided in this way as the three periods represent turning points for goya as an artist. The ego characteristics found in these three periods can be summarized as follows: first, Goya showed his ego characteristics as a ‘satirist’ during the ‘court painter period.’ During this time, he mainly painted portraits of the royal family in the court, including the Charles IV of Spain and His Family which satirized the incompetence and the greedy family of the Spanish King. Also, in <Back to His Ancestors No. 39>, he depicted the prime minister Manuel de Godoy who was desperate to become Goth royalty as a donkey. This painting reveals Goya’s ego as a satirist.. Second, in Disasters of War, which depicts the horros of war he experienced, he displays characteristics of his ego as an ‘autonomous thinker.’ Through his own view reflected in ‘Disasters of War,’ he showed how war turns humans into monsters and how horrible and cruel war can be. As an autonomous thinker, he shows a very objective viewpoint toward war. Despite being Spanish, he does not look at the war from the perspective of Spain. He opposes any kind of war, believing there is no rational reason for war and that it only brings death to common people. And this view is expressed in his paintings. Third, in the 'Black Paintings' series, Goya shows characteristics of 'split ego' as a creator of a fantastic world. After completely losing hearing, he expressed his divided mind in the series while staying in the ‘House of the Deaf Man.’ The Black Paintings series is full of grotesque and creepy paintings of sorcery, witch, devil, etc. Goya used fantasy as an artistic symbol to represent his split ego that suffered from his painful fate, political mayhem, and deteriorating health, which shows the artist's mind as a creator of a fantasy world. The findings show how diverse Goya's ego was. All of them represented himself and his art. In conclusion, this study suggests different egos an artist has do not clash but, rather, complement each other to form a complete ego.

프리다 칼로(Frida Kahlo) 작품에 나타난 통합적 자아

유봉자 유럽문화예술학회 2022 유럽문화예술학논집 Vol.13 No.1

Frida Kahlo is a passionate female painter who was destined to suffer in agony going through all these physical pains caused by her own disabilities and accidents that she had gotten during the turbulent period of Mexico from the 1920's to the 1940's. She mainly dealt with her own body as topics for her work, and that was what had led her to present her experiences as a woman and motherly imagination as well in realistic and authentic fashion. This study aims to explore how Frida Kahlo built up her egos as looking into her life and work. How Frida Kahlo had formed her egos could be observed from the three points of view. The egos are believed to say an ego as a woman focusing on a relationship with Diego Rivera, an ego based on motherhood related to these desires for pregnancy and childbirth, and an integrative ego of the earth which had been formed as it would embrace all of the other previous ones. In terms of how this study discusses how Frida Kahlo built her egos as observing the whole work from an insightful perspective, it helps this study considered significant for it has expanded an range of any previous research on Frida Kahlo's egos all the way to the integrative ego going even beyond the perspective of feminism. 프리다 칼로는 1920대에서 1940년대 멕시코의 격동기에 장애와 사고로 얻은 육체적 아픔을 온몸으로 겪으며 고통과 함께 살다간 강인한 여성 화가이다. 그녀는 자신의 육체를 그림의 주제로 하여여성으로서의 경험과 모성으로서 상상을 사실적이고 진실하게 작품에 표현하고 있다. 본 연구는 프리다 칼로의 삶과 작품을 통하여 그녀의 자아 형성과정을 탐색해 본다. 프리다 칼로의자아 형성과정은 세 가지 관점에서 접근해 볼 수 있다. 디에고 리베라와의 관계를 중심으로 한 여성으로서 자아, 임신과 출산의 욕구와 관련된 모성으로서의 자아, 이를 모두 포용하여 형성된 대지로의통합적 자아가 그것이다. 프리다 칼로의 자아 형성과정을 작품 전체를 통한 통찰적 시각으로 살펴보는 것은 이전까지 연구되었던 프리다 칼로의 자아에 관한 연구 영역을 페미니즘의 시각을 넘어 통합적 자아로까지 확장해본다는 데 본 연구의 의의가 있다고 하겠다.

에드바르드 뭉크의 그림에 나타난 자아통합에 관한 연구

유봉자 유럽문화예술학회 2015 유럽문화예술학논집 Vol.6 No.1

The human who has language express their emotion mainly through language. But not 려1 human emotion could be expressed through language, and it is not able to express. It is because the language is the tool which has no other way but to have limitation in expressing all human emotion or experience. So human use other medium, the art, besides language, with which we are able to express our experience or emotion. In this point of view, it is so natural that many 따tists spe밟about process of their lives in their world of 따t. Gogh who lived in hardship as an 따tist was so, Picaso who experienced misery of the Spainish Civil War was so, and Franscisco Goya who had to betrayed his country because of French invasion was so. Edvard Munch who were subject of this study also expresses his experience of growth and psychological injury, anxiety and fear on death through his paintings. Munch tried to cure psychological injury he experienced by himself by expressing his substance as painting without any adjustments. The process of his growth was succession of death. The death of his mother he experienced first time at five left psychological attachment anxiety to Munch, and successive deaths of his family after that left as memory of psychological anxiety of fear about death which could come to 피m any time and as fear to bear through his life. And schizophrenia and tuberculosis gene which had been inherited from his family worked as fatal obstructive factor for Munch to form a family and live. So Munch who had to live in solitude and loneness without forming a stable family through his life searched his shape in painting self portrait until he died. Following his portraits painted by years, we could understand how objectively and how thoroughly he tried to search himself. Munch who experienced mother’ s death in growth also experienced attachment anxiety and confusion of gender identity during the process of character development and self development in early childhood. The concept about his self which was not formed positively caused ceaseless confusion on his id앙ntity, and this confusion of identity became a motive of having distJrted view on women. The relationship between men 뻐d women in his paintings shows this view point of Munch on gender well, and it 펴so provides the important information for us to understand the artist, Munch. But the conflict on self showed in his paintings are not end as conflict itself. He ceaselessly looked for the way to communicate with the world through paintings, and eventually he accomplished self unity for his life with his paintings. And he left as a succeed painter in making himself understood to US. Munch had a chance to unity his life and 따t, art and self by insight through the paintings of his journey of stained life which he must live with fear of death, solitude and disease. This study explains the process of Munch’s self unity through his life and paintings. This is a meaningful work which shows how a life of an artist and painting could be one through the search about an artist, Munch, who is never light. And this study will provide an opportunity to search how the experience of extreme anxiety and death human can feel could bloom as art spirit.

미술 작품에 나타난 색채이미지 - 빨강, 노랑, 파랑, 검정, 흰색을 중심으로 -

유봉자 유럽문화예술학회 2010 유럽문화예술학논집 Vol.1 No.2

The inner experiences of humans are not easily expressible only in language. But they can obtain clear semantic interpretation through expressive means of visual images. The colors that expressing such visual images are sometimes even better than language in reflecting internal and subjective experiences of human emotion, feeling, sentIment, etc. Accordingly, this study will conduct an analysis on psychological images of colors as a way of seeking for color images in art works. lnquiring into color psychology and color images of the red, yellow, blue, black and white colors will be carried out prior to the consideration of what images each color turned into in art works. Munch and Chagall were focused for the study on red color images, and Gogh for yellow color images. Picasso, Goya for blue and black colors images for the consideration of the effect of color images on the artists' inner experiences and their world of works. Lastly, the art works of Utrillo and Picasso’s Guernica were studied for the inquiry into white color. This study has confirmed as its results that the psychological images of colors are the reflection of artists' s inner experiences, which appear as characterized images of colors in art works.

고흐작품에 나타난 노란색의 색채이미지

유봉자 유럽문화예술학회 2012 유럽문화예술학논집 Vol.3 No.2

Vincent van Gogh was an excellent 따tist. But, his inclividual life was unhappy. The great artist wanted to give hope to people with his own pictures and communicate with people. But, his life was always poor and common happiness given to people living in the same period was not permitted to him. He suffered from a sense of inferiority, his relationship with people was not good and he should fight with severe loneliness. His pictures give a liveliness with strong brushstroke, but despair was continued in his life. But, Gogh drew pictures continuously and intended to find his existence in the pictures, so he established his own creative world of pictures. Yellow he enjoyed using shows positive images such as life, hope, brightness, warmness, expectation, happiness, etc. in color psychology. But, it also contains negative images such as loneliness, despair, sharpness, desperation, delusion, schizophrenia, epilepsy, etc. Also, when yellow is contrasted to black, it has images of desperation and danger. While he was living in Arles, yellow show positive color images such as hope, expectation and happiness. But, after experiencing mental pain, schizophrenia, alcoholic and conflict with Gauguin, yellow symbolized unhappiness, despair and death for him. This thesis intends to approach yellow's image in Gogh's works through the color psychology and assist to understand a great 따tist, Vincent van Gogh, As the results, yellow Gogh used in works is reflected by Gogh’ s routine of life and inner psychology as well as directivity of life he wanted.

자화상에 나타난 자아투영 - 뭉크ㆍ고흐ㆍ렘브란트를 중심으로 -

유봉자 유럽문화예술학회 2017 유럽문화예술학논집 Vol.8 No.1

Self-portraits of artists convey their life journey and inner psychology. Perhaps, it is a matter of course that the artists'lives are reflected on their self-portraits. Artists who often paint self-portraits reveal themselves through the paintings. And, perhaps, the artists see themselves as they want to, or must, see through their self-portraits. In that sense, self-portraits are the life and record of the artists as an individual. Munch, Van Gogh, and Rembrandt are known for having painted many self-portraits, through which they answer the question: "Who am I?" Why did Munch have to paint so many self-portraits? How did his passion for painting and solitude change Van Gogh? How did Rembrandt become a libertine? We can find answers to these questions by observing their self-portraits closely and carefully. study attempted to examine the lives and egos of Munch, Van Gogh, and Rembrandt through their self-portraits, and, thereby, provide an opportunity to think about the message they wanted to convey through their own images through the self-portraits. As a research method, this study explored the psychological self development process and looked into the ego theory proposed by Husserl. psychology, ego development is influenced by genetics and environment through childhood, adolescence and senescene, forming a trajectory of one's life. Development of attachmentduring childhood, self-examination and success during adolescence, and self-integration during senescene have tremendous impact throughout the life cycle of a human being. In phenomenology, Husserl divided ego into physical self, personal self, and pure self explained characteristics of each self. Based Husser!' s self theory, this study investigated how the egos of Munch, Van Gogh, and Rembrandt were projected in their self-portraits. exploration process provided a framework within which to understand consc10us or subconscious psychology of the self found m the self-portraits of Munch, Van Gogh, and Rembrandt, and understand self-portraits of artists from a different perspective.

집단미술치료가 성인의 자기개방과 인간관계 형성에 미치는 영향

유봉자(Bong-Ja You) 조선대학교 교과교육연구소 2004 敎科敎育硏究 Vol.25 No.2

A human being is a spiritual animal simultaneously with being a physical animal. Therefore, the ultimate goal of life that we proceed with living, can be the pursuit of happiness. What is called happiness has various conditions, but even among them, the formation of human relations through a person-to-person meeting, is shown to possess an important position in the condition of happiness. The art-therapy counselling helps people, who are making a closed living because of being difficult for verbal expression or because of mental symptoms, with a method of developing the self through a symbol of art works, thus it is the counselling-therapy material that makes it possible to manage the happily individual life through mental and psychological recognition. Among these art-therapy methods, the group art therapy is the group counselling that makes it possible to positively collect and analyze information, to recognize and solve problems of self, and to have a meaning and value in an individual life, by accepting to understand other person s emotion and frankly expressing self s emotion. A meeting being attained amid the attitude of honesty and love, will add happiness to the individual life. The purpose of this study was to examine whether these people can meet the self, a family, others, and society with the original looks, escaping from mental desire and attachment through the group art therapy.

기획 특집 : 몸, 권력, 이미지 ; 미술치료와 아동의 색채이미지

유봉자 ( Bong Ja You ) 조선대학교 인문학연구원 2009 인문학연구 Vol.37 No.-

The purpose of this study was to examine children`s color images during art therapy activities in an effort to get a profound understanding of children`s emotional state. Art therapy and color psychology are part of psychotherapy that aims at getting an extensive grip on children`s inner experience and emotional conflicts by interpreting the meaning and symbol of their art expressions and making a systematic analysis of their color images. The subjects in this study were five children aged 6 to 8. An art therapy case study was conducted to check into their color images during art therapy activities. emotion pie technique was utilized when the art therapy activities were performed. This technique made it possible to understand the children`s emotional state by having them represent their feelings by using colors and in the form of emotion pie. The finding of the study preview that the children`s color images during the art therapy activities had a close correlation to their emotion. It suggested that in art therapy, the use of colors serves to provide information on children`s inner experiences and conflict situations and thereby produces therapeutic effects.

부모의 자녀양육방법과 아동의 인성과의 관계

서현자,유봉자,이윤왜,허정원 淑明女子大學校 文理大 敎育硏究會 1966 靑坡 敎育 Vol.6 No.1