산수화의 준법(준법)

한진만 홍익대학교 산업디자인 연구소 2003 미술디자인 논문집 Vol.- No.8

The spiritual world of an artist can be generally guessed by one's lifetime friendship, view of life, and ideology or by lines expressed on one's work. Although the writer discussed the art of drawing a landscape painting, it not only contains the writer's impression but also imply recreated territory of an earthy and rocky mountain after contemplating distinctive features of nature at a state of total freedom from distractions. In addition, the art of drawing holds each districts specific characters, climate, and the cosmic dual forces of natural principle that inner world should be paid more attention rather than appreciating the external form. The laws originated by the predecessors have been named by future generations of artists but those who inherited tradition have created different changes and transitions in art of drawing to undergo the change of times. In the other words, Pima tsu'n, Ujum tsu'n, Undoo tsu'n, Bubyu'k tsu'n, Hayub tsu'n, Juldae tsu'n produced Nansi tsu'n. Nanja stu'n, Mijum tsu'n, Daesobubyuk tsu'n. The originated idea Pima tsu'n by Dong Yuan and Geo Yeon in Five Dynasties appeared liberality by Huang Gong Mang in Yuan Dynasty through depth of coior. Ujum tsu'n which appeared countlessly on the work of Beom Guan's mountaintop transformed to mijum tsu'n by Mi Fu to construct dampness, moistness and the world of contemplation. Undoo tsu'n which originated from the cloud shape was the birth of technique to express time in Northern Song Dynasty by Gwak He. A rockwall Bubyu'k tsu'n driven by Yi Dang became a technique to express tension. A creation of Hayub tsu'n by Chao Meng Fu accelerated the diversification by causing a crack in the physical aspect of a mountain. In addition, Juldae tsu'n initiated by Wu Zhen in Yuan Dynasty emitted coolheaded mental world to abandon disgrace and express refreshing spiritual world and influenced Hong In Deng from Ching Dynasty. On the other hand, Seok Do escaped from tradition and classics to advocate lawless art of drawing to create various works of art. During the Choson Dynasty when there was no traditional Korean laws governing a landscape painting, there was no other choice but to accept the Chinese method. In the beginning, existing techniques were handed down but An Kyon transformed Undoo tsu'n to Dansunjum tsu'n. Chong Son painted Mijum tsu'n on an earthy mountain and perpendicular lines on a rocky mountain to depict the principles of Yin and Yang. Not only that, in Ming Dynasty the plane surface Bubyuk tsu'n changed by Soechal tsu'n and Jigchal tsu'n to show energetic world. Also Kim Hong Do transformed Bubyuk tsu'n by "ㄴ"shape Ma-a tsu'n. The two greatest modern Korean landscapist Lee Sang Bum and Byun Gwan Shik individually driven Dogpil Bub and Jugmook Bub to present moist and damp rural scenery and dry haggard Korean atmosphere. Thus landscape painting unlike other genre has mass produced through countless births and changes in the art of drawing and contains the artistic spirit and intentions. Therefore the present Korean art world should not only imply various techniques but experiment and research to lay the groundwork for modern landscape painting.

"지상파방송 광고판매 제도 개선"에 관한 연구

한진만,이수범,변상규 한국방송학회 2010 한국방송학회 세미나 및 보고서 Vol.2010 No.6

분무열분해 공정의 제조 조건이 Ca₈Mg(SiO₄)₄Cl₂:Eu²⁺ 형광체 특성에 미치는 영향

한진만,구혜영,이상호,강윤찬,Han, Jin-Man,Koo, Hye-Young,Lee, Sang-Ho,Kang, Yun-Chan 한국재료학회 2008 한국재료학회지 Vol.18 No.2

In spray pyrolysis, the effects of the preparation temperature, flow rate of the carrier gas and concentration of the spray solution on characteristics such as the morphology, size, and emission intensity of $Ca_8Mg(SiO_4)_4Cl_2:Eu^{2+}$ phosphor powders under long-wavelength ultraviolet light were investigated. The phosphor powders obtained post-treatment had a range of micron sizes with regular morphologies. However, the composition, crystal structure and photoluminescence intensity of the phosphor powders were affected by the preparation conditions of the precursor powders. The $Ca_8Mg(SiO_4)_4Cl_2:Eu^{2+}$ phosphor powders prepared at temperatures that were lower and higher than $700^{\circ}C$ had low photoluminescence intensities due to deficiencies related to the of Cl component. The phosphor powders with the deficient Cl component had impurity peaks of $Ca_2SiO_4$. The optimum flow rates of the carrier gas in the preparation of the $Ca_8Mg(SiO_4)_4Cl_2:Eu^{2+}$ phosphor powders with high photoluminescence intensities and regular morphologies were between 40 and 60 l/minute. Phosphor powders prepared from a spray solution above 0.5 M had regular morphologies and high photoluminescence intensities.

사이버상에서의 개인권익의 침해와 구제방안

한진만 언론중재위원회 2007 言論仲裁 Vol.104 No.-

라디오 저널리즘의 현황과 가능성

한진만 한국방송학회 2002 한국방송학회 학술대회 논문집 Vol.- No.-

라디오 저널리즘의 현황과 가능성

한진만 한국언론학회 2002 한국언론학회 심포지움 및 세미나 Vol.2002 No.-

256M-bit SDRAM을 위한 Hierarchical Phase-Locking Delay ( Hierarchical Phase-Locking Delay for 256M-bit SDRAM )

한진만,이정배,이승훈,윤세승,서동일 대한전자공학회 1996 대한전자공학회 워크샵 Vol.1996 No.-

근ㆍ현대 한구 수묵 산수화의 특징

한진만 弘益大學校 2001 미술디자인 논문집 Vol.- No.6

The first pieces of works in the Korean painting history to directly display the Korean identity were the realism ink landscapes and the genre paintings of the late Chosun Dynasty. The realism landscape paintings that contained actual scenes from Korea, led by Gyeomjae, and the genre paintings about the earnest everyday lives of the people drawn by Danwon succeed in completely leaving behind the characteristics of Chinese paintings previously accepted consciously or unconsciously. Just when the quest for the Korean identity was becoming active, Chusa, Sochi, Wubong and others campaigned for the scholar's paintings armed with calligraphy and fragrant flower drawings and the book of drawing. The realism landscape and genre painting that spread their wings after a long period of stillness had to fold its wings and return to following the trends of the Chinese scholar painting. The foundations for the Korean paintings were paved again only as it reached the modern and contemporary times and the realism landscapes were revived. Normally, people set the beginning of the modern age as 1880, when the doors were opened for foreign cultures, but the author wishes to consider the year 1918 as the beginning of contemporary times. Seohwahyeophoe, Korea's first organization of artists, was founded in 1918 to represent the noble thoughts of many artists. This Painting Committee was a great river that augmented the flow of the heritage of ethnic arts under the severe difficulties of the Japanese colonial occupation. Thanks to such influences, committee exhibition was held for the first time in 1921. The members' works of course including Gyeomjae and Danwon's paintings full of ethnic soul were exhibited as well to heighten the consciousness of the Koreans. Four young artists of the time, Chungjeon, Sojeong, Simsun, and Mukro, were influenced by such efforts and formed the first art group in Korea, named "Dongyeonsa". They wished to inherit the heritage of traditional paintings, study art history, and create pieces with a sense of the Korean psyche corresponding to the time. Though they were never able to have an exhibition, they began to produce the most Korean realism landscapes since Gyeomjae. During their learning years, they mastered the quintessential traditional painting techniques from Simjeon and Sorim. Later, when the Japanese loosened the restrictions of its colonial policy and hosted the Sunjeon exhibition in 1922, they learned the features of the Southern Japanese scholar paintings and the new Japanese painting trends and entered their works in the exhibition. Nevertheless, with the eruption of the idea and spirit of Korean identity that lay in their subconscious level, they began to seek out and sketch true scenery of Korea in their ink landscape productions. In other words, the four artists were influenced by the priestess custom, which has been passed on unaltered in the subliminal Korean self from the ancient times as an instinctive and basic ritual of totemism or shamanism. This custom had been regarded as superstition by the foreign religions as a way of oppressing Koreans, but on the contrary, the custom transformed the foreign beliefs or itself melted into the foreign belief. If such enduring elements are considered as the thought and disposition of the Koreans, the following observation can be made about the Koreans: first, the Koreans have an ability to harmonize and accept different cultures; second, the gods and ghosts are treated with human compassion; third, Koreans sought a single, harmonized, and united world where the people and nature, individual and group, mortals and immortals all merge into one being, and finally, the Koreans reach a state of ecstasy once they get excited and enthusiastic. Besides Cheongjeon, Sojeong, Simseon, and Mukro, artist like Uijae, Namnong, and Goam also paved the way for Korean painting's identity by producing ink landscapes with the Korean ethnic characteristics. Their common trait is that each of them pursued the Korean identity through brush and ink during the chaotic and struggling age of Japanese colonization and the Korean Civil War. Having acquired the strict traditional techniques of drawing at an early stage, they passed a stage of realistic sketches and one of exploration to seek a unique world of their own. With a determination to Koreanize, the Chinese ink dot portraits were replaced with Korean ink dot portraits. Instead of being ruled by the Japanese forces or swayed by foreign cultures, they became more Koreanized and introduced the image of earnest and simple Koreans. These paintings portray a world of harmonized nature at a level of annihilating self. Only because the thoughts and beliefs of the Koreans were reflected in the artists' works no matter what social conditions were, as described above, could the identity of the Korean paintings be firmly incorporated. Cheongjeon found the Korean characteristic by sketching realistically, and then later settled in a world of unified nature. He maintained a simple composition structure with thick forests using bald ended brush. Sojeong fully expressed the scenes from his stage of realistic sketches in a more mature stage that reach a level of forgetting the ego. He used piled dots and broken lines to make his Korean drawings strong and rough, and expressed a world of harmonious nature within. On the other hand, Simseon produced ideal works under careful calculations using a meticulous technique of portraying wrinkles to describe the Korean landscape. Later, he became absorbed in meditation and reached a world of no thoughts with uniform dots and contrasting dense and light ink shades combined in one brush stroke. Mukro and Goam had their differences but both used westernized water painting techniques that were closer to visual expressions than plain structures made by the technique of drawing numerous folds. Mukro was more outstanding in his skills than in individuality. He died at an early age before he could overcome this problem. With no period of maturation, he was never able to express a world of his own. Goam introduced a refreshing Korean temperament by vivacious dripping presentations. In the 1980's he sometimes searched for a new image of the Korean ethnicity with abstract landscapes. But since 1958 when he turned 55 and left for France, he concentrated only on abstract paintings applying calligraphy. He no longer produced any ink landscapes rich with the scent of Korean earth. The above mentioned artists worked around the central region. Uijae and Namnong were the heirs of Sochi in the southwest. They produced landscapes of the scholarly style. Uijae wished to escape from the influences of the Chinese and Japanese southern painting fashion by trying to Koreanize the realistic landscapes and dot portraits. However, he was never able to exit from the world of ideals and thus did not achieve the true Korean characteristics. Namnong on the other hand, parted with the earlier color pieces made under the influences of the new Japanese drawing style, and from the late 1940's to the late 1950's expressed the actual scenes of Korea in Korean paintings. Later still, he fell into the trap of mannerism and could no longer express the Korean painting world earnestly. When the artist produces a painting after sketching the authentic scenes, the Korean idea and spirit are reflected, but when he falls prey to mannerism or seeks only the novel, such reflections disappear. Generally, art works with a sense of Korean and exploration, and then melting the scene in the artist's heart without paying any attention to the external demand or popularity factors, and finally by transferring the scene unconsciously with a brush in a state free from the ego. Man and nature become harmonize into one natural being in such pieces to reveal a broad-minded and worn out atmosphere. The representative works of the modern and contemporary times that best symbolize the identity of Korean paintings are Cheongjeon's [Ugyeon] and [Hyowon], Sojeon's [Nongga] and other pieces with the Geumgangsan as the subject, Simseon's [Doganchobu], Mukro's [Sigolpunggyeong], Namnong's [Geumgangsan Manpokdong], [Sawolsancheonrok], and Goam's [Uigeomgang]. These masterpieces all have in common the fact that they were created at a time when the artists were concentrating only on their work no matter how harsh the circumstances were. And these paintings have the beauty of Korean human nature expressed with energetic movements of the brush in the absence of ego. For these reasons, these paintings silently comfort the Koreans while emitting the identity of Korean painting. One disappointment found in the process of establishing the identity of Korean paintings is that the modern and contemporary ink landscape artists transferred their beliefs and minds onto paper but were unsuccessful in establishing the accomplishment as an artistic theory. They only used the act as a tool for drawing the real Korean landscapes in the tradition of China's scholar paintings. Therefore, the Korean artists at present must concentrate on inheriting the tradition of modern and contemporary Korean ink landscapes that empathize with the thoughts and characteristics of the Koreans and establishing a Korean art theory one step more advanced.

AFKN 채널 활용에 대한 논의

한진만 한국언론정보학회 2003 한국언론정보학회 학술대회 Vol.2003 No.12

수목(樹木)의 표현방법

한진만 홍익대학교 산업디자인 연구소 2002 미술디자인 논문집 Vol.- No.7

In the successive generations of Chinese paintings, brushing techniques used to express trees can be classified into two broad categories: Baekmyobup(contouring method) and Balmookbup (blurring technique). In Baekmyobup technique, Ku k'ai-chin dynasty from East Chin dynasty showed concise lines, Wu Tao-tzu from Tang dynasty created sharp edge like a sword using strong and weak points of lines and was completed in Five dynasties by Ching Hao by his wrinkle expression. Especially, there is a record that Ching Hao researched pine trees and oriental arborvitaes natural characteristics prior to his work hence spirit is immanent in his work. Mi Fu from Northern Sung dynasty portrayed pine tree like a fan shape in 'Spring Mountains Ringed with Pines' and left a mold. On the contrast Liang Kai from Southern Sung dynasty used stems and branches of trees to evoke emptiness and sense of space in his work titled 'Two Birds in Autumn-Trees'. In addition, during Ming dynasty, Ch'en Hung-Shou used stems to resemble horses teeth and piled up leaves to standardization and created a world of Utopia. It is only known through records that Balmookbup technique was started in Dang dynasty by Zhang Zao, Wang Mo and Xiang Ring but actual piece of work is not handed down. Balmookbup technique appeared in Yuan dynasty by Huang Kung-Wang's work 'Dwelling in the Fu-ch'un Mountains'. Since then, it appeared at of Ming dynasty by artists like Tung Ch'i-Cha'ng, Shih-t'ao from Ching dynasty and Pa-ta shan je^n that style of painting where emphasis on the inner spiritual world rather then external form of style painting flourished. The distinguishing characteristics of works mentioned above are that various brushing techniques, like dotting methods combined with one stroke brush is painted with a dampness and concisely which then is expressed clearly without a flaw. These kinds of expressions are possible only when an artist does not miss the moment that he himself becomes the tree. Tree expression techniques in Korean paintings appeared outstandingly in landscaping from Chosun dynasty. In the beginning of Chosun dynasty Korean paintings were still influenced by Chinese landscape paintings but pursued its own path and came into its own. Precisely, Yi In-Sang's 'Snow-Clad Pines' shows detailed strokes of brush to create rise above this world. Chong-Son's 'Chongpung-gye Valley' and 'Mt. Inwang in Clearing Mist' uses of larger dots seems as though it is holding wind and cloud and generates the energetic force. All of Kim Hong-Do's work has penetrating taste as though it was sketched from nature. Also Kim Chong-Hee and Chon Ki used dry lines to draw trees to hold upright characteristics and integrity which can be called the essence of Korean literary style. Method to bring out the inner spiritual world rather than just the external form is possible when an artist has a grasp of subjects true nature and distinguishing features and feel heartily. Then he can gradually or spontaneously let it out on a canvas. When an artist recognizes that the a tree resembles our lives he then can attain state of perfect self-effacement.. At this point, an artist can harmonize empty space with trees while considering the golden section space. If these procedures are ignored and emphasis only on the external form, then one can not escape from the reality. If there is an artist who wish to be free from reality, he has to completely understand external from of tree and various methods of positioning and also acquire various uses of leaves. An artist who apprehended these process will be able to create a piece of work from one's innermost feelings.