Video Based Behavioral Analysis to Observe Attention during Mirror Therapy in Hemiplegic Patients : Preliminary Study

김진민(Jinmin Kim),송창호(Changho Song) 물리치료재활과학회 2021 Physical therapy rehabilitation science Vol.10 No.2

Objective: Mirror therapy is one of the promising methods suggested for the upper limb rehabilitation of stroke patients. Whilemirror therapy was presented to be effective in improving motor function of stroke patients, problems were raised as precedingstudies had various methods in applying mirror therapy. Some studies even reported no effect in mirror therapy. Our suppositionfor the reason of such problems was a decrease of attention on the illusive image during mirror therapy of stroke patients, and we aimed to observe this. Design: A cross-sectional preliminary study. Methods: Three hemiplegic acute patients were recruited for the traditional mirror therapy. It lasted for 30 minutes, and 12different tasks were asked to perform. All procedures were video-recorded, and Observer XT was used to analyse mirror-gazingtime, gaze-distracted time, preparation time, frequency of mirror gazing, frequency of distraction, frequency of preparation fortreatment. Results: Subjects spent an average of 4-5 minutes having instructions about the mirror therapy intervention (preparation duration), an average of 11 minutes watching the mirror during therapy (mirror-gazing duration), and the rest of 14-15 minutes lookingaround the environment (gaze-distracted duration). During the mirror therapy, the number of distracted moments (frequency ofdistraction) was eight times more than focusing on the mirror (frequency of mirror gazing). Conclusions: Once the patient looks at the mirror, it only lasts about 5 seconds on average. Thus, we confirmed that patients couldnot concentrate on the illusion during the session and therefore it may have affected the effectiveness of the therapy.

Mirroring the Text and Illustrations in Vanity Fair

( Young Hee Son ) 한국근대영미소설학회 2015 근대 영미소설 Vol.22 No.1

In Vanity Fair, mirrors, which seem to be ubiquitous in the text and illustrations, collaborate to debunk the myth that women are obsessed with their mirror images. Amelia and Becky are not preoccupied with their reflection in the mirror. Despite her indifference to the mirror, Becky still makes the most of the myth of women’s obsession with mirrors and uses her beauty and versatility to display her ability to compete with men. Her prosperity in Vanity Fair is an indication that Thackeray’s harsh criticism of her immorality thinly veils his admiration for New Woman freed from the myth of mirror gazing vanity. George and Jos’s narcissistic absorption in the mirror is stimulated by their bourgeois aspiration for social climbing and imitation of aristocracy. They are deluded by the glittering surface image of the mirror which brings about their estrangement from women. Jos’s preference for male company has given rise to the speculation over his sexual orientation. Exposed to the effeminizing and homosexualizing potential of mirror-gazing male vanity, the snobbish nouveau riche dandies fail to transcend the surface of the mirror to the wider outer world. Disguised as a jester and holding a cracked mirror, Thackeray reflects the world of Vanity Fair and warns the reader of the delusive surface image of the mirror. He denounces the weakening and homosexualizing effect of dandies’ mirror gazing vanity and moralizes on self-reflective contemplation and heterosexuality. However, the jester’s cracked mirror ultimately shines light on the duplicity of Victorian ideology of angelic women and heterosexuality. The seemingly ubiquitous mirrors in the text and illustrations serve to reflect the rupture of the rigid Victorian ideology of race, gender, and sexuality that Thackeray tries to preserve.

거울과 환영

치둥팡(齊東方),서윤경(번역자) 한국미술연구소 2007 美術史論壇 Vol.- No.24

동경은 일상생활의 용도로 쓰일 뿐 아니라 무덤의 부장품으로도 자주 사용된다. 동경에 관한 기존의 연구는 유형의 분기와 양식 내용의 분석에 집중되었다. 그러나 동경의 양식과 출토된 위치 및 상황을 좀 더 깊이 분석하다 보면, 우리는 동경의 다양한 특성과 용도를 이해할 수 있게 된다. 고대인들은 동경을 용모를 비추고 의관을 바로하는 기본적인 용도로 쓰는 동시에 이에 신기한 기능이 있다고 믿었다. 예를 들어 거울은 사람의 내면을 비출 수 있다 믿어 자아성찰의 용도로 쓰였다. 이는 더 나아가 정치상으로 사용되어 왕이 신하에게 거울을 하사하거나 신하가 왕에게 거울을 바치는 등 의식 행사에 쓰였다. 제작이 아주 정교한 당대의 것으로, '千秋'의 명문을 가진 동경은 이러한 특수한 의식 행사에 쓰인 것으로 짐작된다. 또한 고대의 동경은 궁을 장식하거나 용모를 장식하는 용도로 쓰였다. 거울의 맑고 반사되는 기능은 장식의 용도로 적합하였다. 때론 거울을 비춤에 자신의 감정을 싣는 기물로 받아들이기도 하였고, 때론 혼인의 정표나 증거물로 사용되기도 하였다. 당시 무덤에서 출토된 각 반쪽씩의 동경이나, 雙鸞鏡 또는 對鳥鏡과 같이 두 마리의 새가 좌우대칭으로 구성된 동경은 애정의 정표로 사용되었음을 말해준다. 옛 설화에는 거울에 비춰 재난의 조짐을 알아내거나 경사스런 일을 점치는 내용이 전한다. 또한 사람들은 더 나아가 동경을 통해 재난이나 두려움으로부터 대비하기를 바라게 되었고, 이에 동경을 액을 쫓아내는 용도로 사용하였다. 장례의 용도로 전문 제작된 동경은 이러한 액막이 용도로 쓰였음을 전한다. 고대의 거울은 종교적인 용도로도 쓰였다. 중국 고대에 道術을 하는 자들은 대개 좋은 검과 동경을 몸에 지니고 있으며, 이들이 지닌 동경은 神明을 통하는 도구였다. 도교와 불교의 종교 행사에서 동경은 法器로 쓰였으며, 민간에서도 각종 제사의 용도로 쓰였다. 唐代의 동경은 漢代 동경의 정형적인 조형을 벗어나 다양한 외형을 보인다든지, 도안식 문양을 벗어나 회화적인 표현이 이루어지는 등 변화하고 있다. 또한 동경은 위에서 살펴본 바와 같이 인간의 사상, 예술품의 취향 및 사회적 유행 등 시대의 변화와 밀접한 관계를 맺으며 발전하고 있다. 때문에 이러한 동경의 제작기술, 예술적 가치에 대한 평가와 이해를 통해 우리는 과거 사회의 정신적인 측면을 살펴볼 수 있는 것이다. The Bronze Mirror was one of finds of ancient tombs as well as a household article of daily use. Previous researches on the bronze mirror had primarily dealt with the analysis of craft and art characteristics varied in different time period. However, in-depth investigations of styles and environments in which the bronze mirror was excavated could lead to better understandings of its varied features and functions. Ancient chinese had believed that the bronze mirror held some mysterious power as a symbol of auspiciousness, let alone functioning as a daily article, For instance. their faith of mirror as a reflection of one's inner self led them use it as an implement for self-examination. Further more, emperors often granted bronze mirrors as an award and encouragement to those officials and sometimes subjects offered them to Kings to pay respect in a political context. Inscribed as 'a thousand years' yearning for a long and fulfilled life, the delicately carved bronze mirror produced in the Tang Dynasty (618-907), was presumably employed for ceremonial purposes. In addition to that, it worked as an ornament for decorating palaces or accessories for preening, because of its shiny reflective property. Some bronze mirrors were considered as implements expressing emotions, while others were taken as tokens of marriages. Half-split bronze mirrors discovered in tombs and mirrors carved with a pair of chinese mythological birds looking at each other with five-colored feathers implicate the roles the bronze mirror played as expressions of earnest wishes for affections. In old fables, the bronze mirror helped people to foretell the signs of mishaps or upcoming fortunes, in hopes of staying away from fears and repelling misfortunes. As usual funerary objects of ancient times, it suggested a belief of the magic power of warding off evil spirits. It was an implement of religious purposes as well. The Taoist among the ancient chinese kept bronze mirrors and good swords inside their clothes, with mythological thoughts of realizing divinity. Religious services in Taoism and Buddhism utilized the bronze mirror as a ceremonial tool along with the general folks's usages for ritual services. The Tang bronze mirrors had gone through many transformations such as diversified forms and pictorial expressions which were not restricted to the previous formal fabrications and monotonous motifs of the Han mirrors. Bronze mirrors were in the process of development along with the involvement with tastes and social fashions through time. The evaluation and understanding of the production techniques and artistic values, provides an important reference for the study of the spiritualities of our ancestors.

Perception of frontal facial images compared with their mirror images: chirality, enantiomorphic discrimination, and relevance to clinical practice

Zaid B. Al-Bitar,Ahmad M. Hamdan,Abedalrahman Shqaidef,Umberto Garagiola,Farhad B. Naini 대한악안면성형재건외과학회 2023 Maxillofacial Plastic Reconstructive Surgery Vol.45 No.-

Background What we think we see consists of models constructed in our brains, which may be constrained, limited and perhaps modified at a cerebral level. Patients may view their mirror image differently to how others and the clinical team view them. Understanding potential variations in perception between real and mirror images is important in clinical practice. The aims were to assess differences in self-perception between frontal facial and mirrored photographs, comparing the results with selfie photographs. Methods Facial photographs were taken by one investigator under standardized conditions for preclinical and clinical students. Each student took a selfie photograph at rest and smiling using his/her smartphone. A mirror image was generated for each image. Each student was shown his/her original and mirror image, without being informed which was which. For each pair of images, students were asked to choose which photograph they perceived as more attractive. A set of photographs of a male volunteer was shown to all participants, to choose either the original or mirror image as the more attractive. Results Most observers preferred the true image of the volunteer (P < 0.05), which may be evidence that most people prefer the true image of others, which is how they normally view them. Most observers preferred their own original photograph in frontal view at rest and smiling (P < 0.05), but preferred the mirror image of their selfie photograph at rest and smiling (P < 0.05). Conclusions Significant differences in perceptions of attractiveness between true and mirror-reversed frontal and selfie images were found. Observers preferred their image the way they view themselves in a mirror. The selfie is how other people view an individual. If a selfie is flipped horizontally, that is how an individual sees themselves in a mirror. Most observers preferred the mirror image of their selfie, which is how they would view themselves in a mirror.

백제 무령왕릉 출토 동경(銅鏡) 재검토

한밍 충남대학교 백제연구소 2020 百濟硏究 Vol.72 No.-

This paper discusses three bronze mirrors unearthed from the King Muryeong mausoleum. According to the unearthed and recorded mirrors during Six-Dynasties to Sui-Tang Dynasty, it is considered that the mirrors could be the products of Six-Dynasties from the perspective of design and style, and it is pointed out that there is the possibility of existance of mirror stamping-back technology in the Six Dynasties. In particular, the square regular mirror with relief figures should be carved and re cast after stamping back to the mold, and the possibility of secondary casting directly on the ancient mirror to form relief is low. According to the preservation condition of the unearthed relics and the chronological characteristics of the metal utensils, it is considered that the mirrors should be the products of the same period with the other relics. Based on the mirror design and the context where they had been unearthed, we discuss the cultural connotation of the mirrors, and hold that the significance of the bronze iron at the foot of the queen should have something in common with the square rule mirror, showing the connection with the culture of Han-to-Six-Dynasties. At last, we consider that the mirrors of King Muryeong mausoleum are at the turning point between the two peaks of mirror casting, which suggests that some so-called "Ancient Mirrors" of Sui-Tang Dynasty should be located at the position of the Retro Mirror of Six Dynasties. 본고에서는 무령왕릉에서 출토된 동경 세 점을 재검토하였다. 중국에서 출토된 육조·수당(隋唐)시대의 동경과 저술에 수록된 동경의 자료를 비교해 보면, 무령왕릉의 동경은 양식론적 시각에서 한나라 이후 제작되었다. 또 육조시대에는 답반제경(踏返製鏡) 기술이 존재했을 가능성이 있다. 특히 부조인물방격규구경(浮雕人物方格規矩鏡)은 답반제경 기술을 적용하여 경범(鏡范)을 만든 후 문양을 조각하여 제작해야 하기 때문에 고경(古鏡)에 직접 다시 주조하여 부조를 형성할 가능성은 낮다고 보았다. 출토유물의 보존 상태와 공반유물의 시대적인 특징을 살펴보면 무령왕릉 동경의 연대는 다른 부장품들과 매장시기가 비슷하다고 할 수 있다. 세 점의 동경의 형식과 출토 위치를 검토해본 결과, 부장된 규구경(規矩鏡)과 수대경(獸帶鏡)의 문화적 성격을 토론할 수 있었고, 왕비의 발 부근에서 출토된 청동다리미가 갖는 의미는 방격규구경과 공통점이 있다고 보았다. 이는 한육조문화(漢六朝文化)와의 연관성을 보여준다. 한나라와 당나라는 중국 역사에서 동경 제작의 전성기라 할 수 있는데, 여기서 무령왕릉 동경은 두 시기를 이어주는 열쇠라 할 수 있다. 그리고 육조 복고경적인 차원에서 보았을 때 이전의 남북조수당(南北朝隋唐) '고경'을 앞으로 연구해야 할 과제로 남기고자 한다.

高麗時代 ‘煌丕昌天’銘 銅鏡 考察

최주연(Choi Ju Yeon) 한국고대학회 2016 先史와 古代 Vol.48 No.-

Bronze mirrors decorated in relief with ‘HwangBiChangCheon’ which mean especially bright sky were widely found in east Asia such as China, Korea and Japan. It is estimated to be introduced and manufactured in Goryeo period and there still remain a lot of ‘HwangBiChangCheon’ bronze mirrors in Korea. Study of ‘HwangBiChangCheon’ bronze mirrors in Korea has started focused on its shape, design and holding location. As people pays attention to bronze mirrors of Song & Jin dynasties, people tried the Chronological study by using the methodologies of Art. To understand its patterns, recent study proposes various opinions such as approaching with a viewpoint of Buddhism. The study on ‘HwangBiChangCheon’ bronze mirrors emphasized on the interpretation of sailing patterns and inscription until now. On this account, the analysis on various ‘Hwang BiChangCheon’ bronze mirrors were not enough yet. With the concentration upon sailing patterns, some people think that ‘HwangBiChang Cheon’ bronze mirrors are related with the sea. But after careful consideration in this study, by classifying ‘HwangBiChangCheon' bronze mirrors according to its shape(octagon, round), it has proved that inscription was the main materials of bronze mirrors. Based on different appearance between round shaped bronze mirrors manufactured in Korea era and octagon shaped bronze mirrors from China, we can think that ‘Hwang BiChangCheon’ bronze mirrors became localized through introduction of new patterns and well-designed inscriptions. ‘HwangBiChangCheon’ bronze mirror is one type of bronze mirrors which introduced from China. Its production date is not sure because of non-existence of detailed documents and a lot of Artefacts using(傳世品) but it is to be estimated to be manufactured in 12~14 century. Although there remain a lot of ‘HwangBiChangCheon’ bronze mirrors which manufactured in Goryeo period, the study on this mirrors are still at early stage. In this point, this study will have significance for identifying unique characteristic of bronze mirrors of Goryeo period through analyzing ‘HwangBiChangCheon’ bronze mirrors of Korea and China. ‘황비창천(煌丕昌天)’ 4자가 양각으로 새겨진 동경은 ‘밝게 빛나는 창성한 하늘’을 뜻하며, 중국, 한국, 일본 등 동아시아에서 다수 발견되는 동경이다. 현재 한국에는 많은 수의 ‘황비창천’명 동경이 남아 있으며, 이는 고려시대에 국내로 유입되어 성행·제작된 것으로 보인다. 국내에서 ‘황비창천’명 동경에 대한 연구는 형태와 문양 그리고 소장처 소개를 시작으로, 이후 송, 금대 동경에 대한 관심이 높아지면서, 동경에 대해 미술사적 방법론으로 접근하여 편년고찰을 시도하였다. 그리고 최근 연구에서는 문양구성을 불교적 측면에서 파악하고자 하는 등 다양한 의견이 제시되고 있다. 지금까지 ‘황비창천’명 동경 연구는 ‘항해문’ 문양분석에 중점을 두어 다각적 분석이 다소 미흡하다. 이에 본 연구에서는 한·중 양국의 ‘황비창천’명 동경을 비교하여, 이 동경에 표현된 문양 중 명문이 주된 소재임을 밝혔다. 또한 고려시대 제작된 원형 동경은 팔능형 동경 문양과 상이한 양상을 보이는데, 이는 새로운 문양의 도입, 명문의 문양화 등 ‘황비창천’명 동경이 고려화 되어갔음을 보여주는 증거이기도 하다. ‘황비창천’명 동경은 중국에서 유입된 동경류 중 하나로 그 제작시기에 대해서는 대부분 12~14세기로 설명한다. 이는 동경에 관한 기록이 없고, 동경이라는 소재의 특성상 전세품이 많다는 점에서 제작시기를 명확히 밝히기 어렵다. 이에 대해 ‘황비창천’명 동경과 함께 출토된 동전의 제작시기를 통해 간접적으로나마 동경의 제작시기를 유추하였다. 고려시대 ‘황비창천’명 동경은 가장 많은 수량이 현존하는 동경이나, 이에 대한 연구는 아직 기초적인 단계이다. 이런 면에서 볼 때, 본 연구는 중국과 한국의 ‘황비창천’명 동경을 분석하고 이를 토대로 고려동경의 독자성을 밝히는데 의의를 두고자 한다.

거울 이야기 : 철학상담의 자세

정세근 ( Jeong Se-geun ) 한국철학상담치료학회 2011 철학 실천과 상담 Vol.2 No.-

철학상담을 하러 온 ‘손/님’(내담자, 클라이언트)을 어떤 태도로 맞이하여야 할까? 네 가지 거울 이야기로 상담자의 자세를 정리한다. ‘거울 속 거울’은 지나치게 복잡하면서도 불필요한 하나의 구조를 설정한다. 하나의 틀로서의 이론을 만들고자 하는 서양식 사고에서는 탁월한 접근이겠지만, 철학실천을 내세우는 철학상담에서 절실해보이지는 않는다. 이론철학을 전공하는 학자에게나 어울릴 법하다. ‘나의 거울’은 철학상담의 과정을 너무 잘 보여준다는 점에서 상담자의 방에 가장 어울릴 만한 시임은 분명하다. 그렇지만 나의 몰골에만 골몰하는 지나치게 강한 자아관 때문에 거울은 뒷전이 되고 만다. 거울은 그저 대상일 뿐, 없어져도 된다. ‘밝은 거울’은 스스로 빛을 내는 전지전능의 역할을 지닌다. 세상을 비추고 어두운 곳을 살펴준다. 세상의 소리를 다 들어주는 관세음(觀世音) 같기도 하고, 세상사 모두 도와주는 천수관음(千手觀音) 같기도 하다. 그것은 신의 거울이다. ‘님의 거울’은 너의 거울이다. 손이 오면 오고, 가면 간다. 밝지만 빛을 스스로 내지는 않는다. 발광은 하지 않고 반광만 하며, 산광(散光)하기보다는 무광을 선호한다. 자신이 멈추어있어야 남을 비출 수 있다. 자기가 없어야 남이 들어온다. ‘거울 속 거울’은 정신분석학자에게, ‘나의 거울’은 근대인들에게, ‘밝은 거울’은 무엇인가 해주길 바라는 사람에게, ‘님의 거울’은 스스로 길을 찾는 사람에게 어울린다. 손/님이 스스로 길을 찾는다는 점에서 ‘님의 거울’이 가장 이상적인 상담의 모습을 엿보여준다. ‘거울 속 거울’은 라캉의 상상계에서, ‘나의 거울’은 이상의 시 「거울」에서, ‘밝은 거울’은 불교에서, ‘님의 거울’은 『장자』에서 그 원형을 찾을 수 있다. The most difficult problem for a philosophical counselor is how to treat clients. Here I analysed mirrors which had 4 meanings. ‘A mirror inside a mirror’ is so complicated that presumed an unnecessary structure. The western way of thinking which is supposed to build a theory on a system intended to set up it constantly. Philosophical counseling, however, does not need that kind of exquisite thing. It is suitable for professional scholars. ‘My mirror’ shows a process of philosophical counseling well, so it is an adequate poem for counselor's office. But the strong self-centered consciousness precedes a mirror in itself. No matter where it is, a mirror is just an object. ‘A brightening mirror’ plays a role in the omniscient and omnipotent God who shines on the dark place of the world. It looks Avalokiteśvara who can see everything, and care everybody. It is a mirror of God. ‘Another’s mirror' is your mirror. Another comes, it comes; another goes, it goes. It is bright, but never shines in itself. It is not luminous, but just reflects. When it stops, it reflects something like water. When it disappears, the others come in. ‘A mirror inside mirror’ is befitting to psychoanalyst; ‘My mirror’ to Modern people; ‘A brightening mirror’ to someone who needs somebody's action; ‘Another's mirror’ to someone who seeks for one's own way. ‘Another's mirror’ looks ideal because clients search for the way by themselves. ‘A mirror inside mirror’ came from Lacan's imaginary realm; ‘My mirror’ from Lee Sang's poem < Mirror >; ‘A brightening mirror’ from Buddhism; ‘another's mirror’ from Zhuangzi.

靈光 水洞鏡으로 본 被葬者의 性格

金京七(Kim Gyeong-chil) 역사문화학회 2005 지방사와 지방문화 Vol.8 No.2

Korean archaeological circles has regarded a bronze mirror as a critical status symbol during the Bronze and Iron Ages in the Korean Peninsula. Bronze mirrors have been also considered as a standard of chronometric dating of the archaeological sites yielding them because the types of the bronze mirrors well reflect temporal shift. In particular, Chinese mirrors are one of the artifacts well reflecting international relationships among China, Korea, and Japan at that time. In the Korean Peninsula, mirrors imitating Chinese mirrors began to appear before and after the Christian era. While these mirrors imitating Chinese mirrors have been reported mostly in Gyeongsang provinces, a couple of bronze mirrors imitating Chinese mirrors were unearthed at Su-dong pit burial site in Yeonggwang along with a bronze implement with bird design. The discovery of the mirrors provided Korean archaeological circle a critical momentum in that they were bronze mirrors firstly reported in the Honam Region which provided an opportunity to study socio-political stratification or differentiation and international relationships at that time. While it was impossible to trace the original mirrors which two mirrors attempted to imitate, they were considered to be locally manufactured. Triple slender saw-tooth pattern design on the mirror “a” is considered to reflect knobbed mirror tradition of the former period. While the mirror “a” and mirror “b” represented characteristicsof the imitative bronze mirrors of the South and North Gyeongsang provinces, respectively. The fact that these two mirrors were furnished in a burial reflected furnishing tradition of the knobbed mirrors of the former period. Based on the bronze implements with bird design and two mirrors, the person buried in the pit burial might have a position related to ritual service rite. Along with the bronze implements with bird design, these two mirrors might be implements for the ritual service. While the person buried in the burial seemed to recognize the meaning of the Chinese mirror as a status symbol to symbolize authority, he did not have access to original Chinese mirrors. Instead, he manufactured and possessed imitative bronze mirrors for justifying his authority. While clear archaeological evidence to show direct trade or exchange with the Chinese Han Dynasty was not produced at the Su-dong site, these two bronze mirrors imitating Chinese mirrors are sound evidence that population at the Su-dong site already acknowledged the Chinese Han culture and there might be international trade or exchange with China, in particular, Nangnang commandery. Based on the typology of the bronze implements, the date of the site is belonging between the late 1st centure and the early 2nd century A.D..

고려 雙龍文鏡의 계보와 용도

정수희 미술사연구회 2019 미술사연구 Vol.- No.36

The term 'double dragon-patterned mirror’ denotes one decorated with two dragons entwined in a relief pattern on its reverse side. Some 170 Goryeo-era double dragon-patterned mirrors survive today, in Korea and abroad. These were produced in approximately 10 different styles, featuring various combinations of other motifs including precious beads, clouds, incense burners and waves. Goryeo double dragon-patterned mirrors can broadly be categorized into two lineages: those of China (Song, Liao or Jin) and those of Goryeo. Chinese-lineage double dragon-patterned mirrors entered Goryeo through trade with China: these are known as ‘duplicate’ or ‘modified duplicate’ bronze mirrors. Varieties belonging to these types include ‘double dragon, precious bead and cloud pattern band,’ ‘double dragon and flowing cloud pattern’ and ‘double dragon and incense burner pattern.’ These account for 71 percent (124) of extant Goryeo double dragon-patterned mirrors. Goryeo-lineage double dragon-patterned mirrors are those that feature styles created independently in Goryeo. These include varieties such as ‘double dragon with lotus flower and arabesque pattern band,’ ‘double dragon and wave pattern’ and ‘double dragon pattern with a precious bead-patterned knob.’ These account for 11 percent (19) of extant Goryeo double dragon-patterned mirrors. Goryeo double dragon-patterned mirrors are generally excavated from the site of the former Goryeo capital Gaegyeong and the surrounding area. Judging by the patterns they feature, the use of which was restricted according to social status, they are thought to have been used by those of noble status or higher. Double dragon-patterned mirrors are thought to have been used for various purposes, including as everyday items, as grave goods placed in tombs, as offerings or gifts at the Dano Festival, and in rain rituals. Firstly, the fact that most Goryeo double dragon-patterned mirrors were excavated from tombs indicates that they were used as grave goods, as part of ancient burial customs. In China, a custom of casting bronze mirrors and using them as offerings to superiors or gifts to inferiors existed from the Tang Dynasty. It is possible that double dragon-patterned mirrors were used for this purpose in Goryeo too, since there was awareness of this Chinese custom in Goryeo. Furthermore, the existence of an old story describing how “when a ritual was performed with dragon mirrors on Dano, the drought was broken by heavy rain” makes it highly likely that double dragon-patterned mirrors were also used in rain rituals. This is related to the fact that many rain rituals were performed in Goryeo, using shamanistic, Taoist and Buddhist methods. One record indicates that a mirror was used in a rain ritual at Bojesa Temple in Gaeseong, while several Buddhist scriptures describe a method of praying for rain by appealing to a dragon. Goryeo-lineage double dragon-patterned mirrors, while constituting a minority of extant examples, include high quality original-mold castings of finely patterned pieces in each style. Most measure at least 22.5cm in diameter, while six belong to a large type known as “emperor’s mirrors,” measuring at least 28.5cm in diameter. These mirrors are thought to have been produced in Goryeo for special purposes such as conducting rain rituals. 쌍룡문경은 거울 뒷면에 두 마리의 용이 서로 빙빙 감돌고 있는 형상을 새긴 동경을 말한다. 고려의 쌍룡문경은 현재 국내외에 170점이 남아 있으며, 두 마리 용과 함께 보주, 구름, 향로, 파도 등의 문양을 조합한 10여 가지가 넘는 다양한 양식으로 제작되었다. 고려의 쌍룡문경은 크게 중국(송․요․금)계와 고려계 두 가지 계보로 분류된다. 중국계 쌍룡문경은 중국과의 교역을 통해 고려로 유입되어 이를 再鑄하거나 倣製한 동경을 말한다. 雙龍寶珠文雲文帶鏡, 雙龍流雲文鏡, 雙龍香爐文鏡이 여기에 해당하며, 고려 쌍룡문경의 71%(124점)를 차지한다. 고려계 쌍룡문경은 고려 독자적 양식으로 창안된 동경을 말한다. 雙龍文蓮花唐草文帶鏡, 雙龍波濤文鏡, 雙龍文寶珠鈕鏡이 있으며, 고려 쌍룡문경 중 11%(19점) 정도이다. 고려 쌍룡문경은 주로 수도 개경과 주변 지역에 집중하여 출토되며, 사용자의 신분에 제약이 있는 문양의 특수성으로 보아 귀족 이상의 신분이 사용하였을 것으로 생각된다. 용도는 일상생활용구, 분묘 부장용, 단오일 헌상 및 하사용, 기우 의식용 등 다양하게 사용되었을 것으로 추정된다. 먼저 고려 쌍룡문경은 대부분 고분에서 출토되고 있어 고대부터 전해지는 장례 풍습과 연관된 분묘 부장용으로 사용되었음을 알 수 있다. 중국에서는 당대부터 단오일 龍鏡을 주조하고 이를 헌상 및 하사하는 풍습이 있었다. 고려에서도 이러한 풍습을 인지하고 있어 이와 같은 용도로 쌍룡문경이 사용되었을 가능성이 있다. 또한 “단오일 용경으로 제사 지내니 가뭄에 큰 비를 얻었다”는 고사가 함께 전하여 쌍룡문경은 기우 의식용으로 사용되었을 가능성도 매우 크다. 이는 고려시대에 무속, 도교, 불교적 방식으로 많은 기우 의식이 시행되는 점과 연관된다. 개성 普濟寺에서 시행된 기우제에 거울이 사용된 기록이 전하며, 여러 불교 경전에는 용에게 비를 청하는 祈雨法을 설하는 내용이 있다. 특히 고려계 쌍룡문경은 소수지만 각 양식마다 문양이 섬세하고 주조 품질이 뛰어난 原鏡이 있고, 대부분 22.5cm가 넘으면서 소위 ‘天子의 거울’이라 불리는 28.5cm 이상의 대형 동경도 6점이나 확인된다. 이 거울은 아마도 기우제와 같이 특별한 용도를 위해 고려에서 제작되었을 것으로 생각된다.

3D Magic Mirror 작품을 이용한 인터랙티브 아트 설계 및 구현

장현아,이원형 차세대컨버전스정보서비스학회 2015 디지털예술공학멀티미디어논문지 Vol.2 No.2

Digital art is recent genre from high technology and cultural development and one of the most unlimited growing fields. An audience becomes more interested in digital art as time goes by. Computer technology results in interaction development in interactive art. In this paper, we use 「Magic Mirror」, which is worked by Maurits Cornelis Escher, for creating interactive art 3D 「Magic Mirror」. Maurits Cornelis Escher was a Dutch graphic artist. 3D 「Magic Mirror」 is out of existing 2D 「Magic Mirror」 and has an infinite sense of space. We make to broaden vision of appreciating 「Magic Mirror」 and sublimate hided artistic merit in novel artistic merit. An optical illusion is one of special features in works of Escher. Before, A cause of optical illusion in 「Magic Mirror」 isn't found out by an audience easily. However, in 3D 「Magic Mirror」, an audience has a find it in no time at all then we make it obvious. And we added another fresh artistic merit which is animating objects in 3D 「Magic Mirror」. 새로운 예술인 디지털 아트는 시간이 흐를수록 관객이 많은 흥미를 느끼고 기술적으로나 예술적으로나 무한한 발전을 거듭하고 있는 예술분야 중 하나이다. 기술의 발전은 인터랙티브 아트에서 작품과관객과의 상호작용에 날개를 달아주는 결과를 낳았는데 본 논문에서는 기하학적 원리와 수학적 개념을 토대로 자신의 상상에서 비롯된 내적 이미지를 표현한 네덜란드 판화가․화가인 Maurits Cornelis Escher의 「Magic Mirror」를 사용하여 인터랙티브 아트 작품을 구현한다. 2D 작품인 Magic Mirror에서벗어나 3D로 구현하여 작품을 보는 시각을 넓히고 평면적 작품에 숨겨졌던 예술적 가치를 승화시켜내어 새로운 예술적 가치를 이끌어내었다. Escher 작품의 큰 특징 중 하나인 착시의 원인을 「Magic Mirror」에서는 관객이 쉽게 찾을 수 없었으나 3D아트로 재창조시켜 원인이 분명해질 수 있었고 이 오브젝트들을 애니메이팅 시켜 또 다른 예술적 가치를 더하였다. 관객의 직접 참여를 유도하는 인터랙션에 초점을 두어 작품을 구현하여 단지 전시만을 목적으로 하던 「Magic Mirror」에서 벗어나 3D 「 Magic Mirror」는 관객과 소통할 수 있었다.