행복과 여유로움이 묻어나는 보금자리

이성례,Lee, Seong-Rye 한국주택협회 2006 주택과 사람들 Vol.193 No.-

대전 태평동 동양파라곤 304동 2203호에 거주하는 이성례 씨. 그녀는 동양파라곤에 입주한 이후 이 아파트의 매력에 푹 빠져 있다. 새 집을 얻었을 뿐만 아니라 새로운 라이프스타일도 함께 누리고 있다면 행복해하는 그녀, 이성례 씨가 말하는 동양파라곤에서의 웰빙 라이프를 들여다보자.

평전으로 다시 보는 미술평론가 방근택

이성례 한국예술종합학교 한국예술연구소 2024 한국예술연구 Vol.- No.43

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7장. 근현대 미술에서 만나는 숲과 나무

이성례 숲과문화연구회 2016 산림문화전집 Vol.5 No.-

한국 근대기 ‘여성독서도’ 연구

이성례 한국미술연구소 2023 美術史論壇 Vol.- No.57

여성이 책의 내용에 몰입한 순간을 포착하거나 책을 읽다가 상념에 잠긴 모습을 그린 이미지는 전통시대에는 찾아보기 어려운 도상이다. 이것은 중국 명·청대와 일본 에도(江戸) 시대에 책 읽는 여인을 모티프로 한 시각 이미지가 다수 재현되었던 것과 구별된다. 하지만 근대기에 이르면 국내에서도 독서하는 여성의 이미지가 본격적으로 등장한다. 여성 인물화의 주제가 ‘여성과 책’으로 확장된 것이다. ‘여성독서도’는 여성 인물화의 주제와 제재에서 높은 비중을 보였고, 조선미술전람회에서도 중요한 모티프의 하나로 자리 잡았다. 또, 최신 트렌드에 민감하게 반응한 상업 광고와 신문, 잡지 등 인쇄 미디어에서도 책과 결합한 여성의 이미지가 근대성을 체현한 여성상으로 소비되었다. 이러한 사실은 독서와 같은 지적 활동이 새로운 시대에 여성이 지녀야 할 아름다움의 조건이 되고, 사회가 근대화된 정도를 보여주는 하나의 기준이 되었음을 의미한다. 물론, 제도 교육의 수혜를 입은 여성은 전체 여성 대비 극히 일부였고, 여성 독서자도 남성 독서자와 비교하여 매우 적었다. 하지만 이미지를 통해 배운 여성들의 삶 속에 독서 행위가 자리 잡아갔음을 볼 수 있고, 책 읽는 여성을 향한 사회적 시선이 달라졌음을 환기하게 된다. 그리고 그것은 당시 한·중·일이 공유했던 이상적인 여성상과 근대성이 맞물리는 지점이기도 하다. Images that capture the moment when a woman is immersed in the content of a book, or depict her lost in thought while reading, are rare in the traditional period. This is in contrast to the Ming and Qing dynasties in China and the Edo period in Japan, where many visual images with the motifs of reading women were produced. However, in the modern era, images of women reading began to appear in Korea. The theme of female portraiture expanded to include ‘women and books.’ ‘Images of reading women’ were highly prominent in the themes and topics of female portraits and became one of the most important motifs in Joseon Art Exhibition. In addition, in commercial advertisements and print media, such as newspapers and magazines, which were sensitive to the latest trends, the images of women with books were consumed as female images that embodied modernity. Such fact suggests that intellectual activities such as reading became a condition of beauty for women in the new era and a measure of how modernized a society is. Of course, the women who benefited from institutionalized education were a tiny fraction of all women, and there were very few female readers compared to male readers. However, the images show that the act of reading has become an integral part of the lives of educated women and remind us that society’s view of reading women had changed. It is also a point where modernity intersects with the idealized image of women shared by Korea, China, and Japan at the time.

전기 Heater & Cooler

이성례 중앙대학교 예술대학 공예학과 1976 卒業作品硏究文集 Vol.1976 No.-

우리나라 강낭콩의 수분흡수 및 조리특성

趙銀子,李性禮 성신여자대학교 생활문화연구소 1991 生活文化硏究 Vol.5 No.-

한국 근대기 전시주택의 출품 배경과 표상

이성례(李聖禮) 한국미술연구소 2016 美術史論壇 Vol.- No.43

This research aims to review the rational residential spaces, the living environment, and life patterns presented at the Home Exposition (1915) and the Joseon Exposition (1929) held in Gyeongseong-bu(present-day Seoul) in the Modern Period of Korea, along with a view of the modern homes presented at the two expositions. The Home Exposition hosted by the Maeil Sinbo in September 1915 displayed models of houses that presented home interiors. The models brought a topic about the need to improve residential spaces and the living environment for Koreans during the colonial period, while the exposition provided an opportunity to reflect on the concept of modern homes. As for the Joseon Exposition which was held to commemorate the 20<SUP>th</SUP> anniversary of Japanese rule in Korea by the Japanese Governor-General in Korea, it displayed three fullscale model houses (100-125㎡). The events reflected public demand for a new residential environment, an improved residential life style, and improved houses. The two expositions also introduced new types of homes to Koreans and encouraged them to think about the need for changes in the way their homes looked as well as how they went about their daily lives. The background to the expos had something to do with the movement for the improvement of living conditions and residential spaces and culture that developed in Japan. The house designs and full-scale model houses introduced at the expos were representative of middle-income Japanese homes. The events were designed to renew Koreans’ daily life by presenting the Japanese residential environment as a model for improving the homes of Koreans.

미술비평가 나혜석

이성례(李聖禮) 한국미술연구소 2012 美術史論壇 Vol.- No.35

Rha Hyeseok, who was our country’s first woman oil painter, gave an exhibition of her pictures for the first time in Seoul, and worked diligently on the stage of the Joseon Art Exhibition. During the period when some senior painters such as Go Heedong and Kim Kwanho left the circle of painters in the Western style, Rha Hyeseok did not lose self-awareness as a pioneer, and left numerous statements related to art in parallel with critical works. Starting from the publishing of “Paintings and Joseon Women” in Dong-A Ilbo in February 1921, she left a distinct mark on early modern art criticism, in 1924 writing “The sundry Observations of Gyeongseong: I Have a Look One Year after Seeing the Joseon Art Exhibition,” which is the first review of an exhibition written by a critic using her real name and, in 1933, “The Impression of the Joseon Art Exhibition” serially, which is the first criticism that comprehensively criticized the Joseon Art Exhibition. Besides art criticism, she wrote articles with enlightened characteristics that provided the concept and idea of art to the public, or published essays giving personal insight into what she had experienced and felt in the creative process. Moreover, she wrote in detail about the art world and art trends she experienced in the West in her travels, and recounted her travels around the world and how that became a turning point in her life. By today’s standards, the art criticism Rha Hyeseok wrote can be evaluated as only opinions that describe her impressive and subjective views, rather than objective observations based on academic basics such as aesthetics, science of the arts, and art history. She also confessed her limitations as a critic, describing herself as an outsider. However, there is no denying her achievements, in that she concretely pointed out the strengths and weaknesses of painters’ works, provided formative logic for the public, and edified the creation of art by voicing criticism about the mechanism of the contemporary art world, and connected art and the public in the early period of the field of art criticism. Her form of criticism, which combined creation and theory, shows a meaning that maintains literary calligraphic painters’ tradition with an embrace of poetry, calligraphy, and painting, and the aspect of an elite artist that directly defends her creative activities. That is why we must pay attention to Rha Hyeseok, who lived her life full of twists and turns, left not a few art reviews, and contributed to the realization of a new painting sprit during a transitional period.

중국 근대 ‘孟母斷機像’ 연구

이성례(李聖禮) 한국미술연구소 2017 美術史論壇 Vol.- No.45

The story of Mencius’ mother cutting cloth with a knife from a loom, a popular subject of paintings from traditional to modern times in China, is a visual and cultural symbol that cuts across the ages. Mencius’ mother embodied the importance of motherly duty and deeds in raising a child correctly in ancient times in China. Women’s good deeds signified the practice of virtue, and their diligent weaving works implied the practice of noble female virtue. In addition, weaving was a means of livelihood for many families. Images of Mencius’ mother cutting cloth with a knife from a loom were not only used as a lesson in virtue and for educational and meditation purposes in ancient times, but were also produced in association with the cultivation of the nation (Female Citizens, New People) during China’s modernization period. In other words, the image has developed and been used according to the demands and circumstances of the era. Modern Chinese “Images of Mencius’ Mother Cutting Cloth from a Loom” has been represented in various forms: general paintings, textbooks and textbook illustrations, calendar posters, picture storybook, printed art, decorative designs of craftwork etc.

일본 에도시대 목판화에 나타난 母子像의 이중 표상

이성례(李聖禮) 한국미술연구소 2008 美術史論壇 Vol.- No.27

In the Edo period of Japan, the mother image projected in visual images encompasses several seemingly contradicting images - the benevolent, chaste and wise mother image projected at home, the Yujyo (courtesan) image with sexual attractiveness features focused on physical beauty. and the hybrid image where desexualization and sexualization are mixed together. Women as mothers, give birth to and raise children and naturally do not continue to retain the ideal physical beauty. On the other hand, Yujyo (courtesan) serve an unspecified number of men, freeing themselves from the obligation of child birth and raising. Likewise. the mother image in the paintings of the Edo period was featured in the expression of sexual attractiveness weakened or strengthened. or in the expression of the mixture of those two images. This can be interpreted to mean that such woman image in Japan reflected social and temporal changes and requirements. The image of mother delivers the ideal image that the populace expects from women's body and appearance. Those images, packed in motherhood and child raising scenes, were produced into Ukiyo-e and sold in the market as popular image. Even in the Edo period before full swing modernization began in Japan. Ukiyo-e constitutes the birth of the universalization and population of visual images, and shows a typical example of diverse skills of production reproduced arts. Boys appear mostly next to the image of mother. Child images are varied such as naive child image based on the spirit of Kodakara (valuing children), and the alternate ego of the beings which was supposed to satisfy the desire of the main customer class, men, of Ukiyo-e.