소치 허련(1808~1893)의 사의(寫意) 묵란화

강영주,Kang, Yeong-ju 국립문화재연구원 2019 헤리티지:역사와 과학 Vol.52 No.1

소치 허련(小癡 許鍊,1808~893)은 조선 말기 대표적 남종 문인서화가이며 남도 문인화의 시조로, 초의선사와 추사 김정희의 문하에서 문인의 학문적 면모와 화원의 능숙한 화법을 모두 체득해 '사의화(寫意畵)'를 이룬 직업형 문인화가였다. 허련의 산수화는 그의 화격을 높이 산 김정희의 지도에 의해 형성되었으나, 추사 사후 그의 나이 70세경에 본격적으로 그리기 시작한 묵란화는 '추사란(秋史蘭)'의 양식과는 관련이 없고, 전체적으로는 고법(古法)을 따르면서도 거칠고 호방한 필치의 사의성을 띠고 있어 주목된다. 허련의 묵란화는 사군자류 중 화란법(畵蘭法)을 남길 만큼 관심을 가졌던 분야임에도 전체적인 작품의 조사나 분석이 이루어지지 않고 있다. 이에 본고에서는 화란법과 제발(題跋), 인문(印文)에 나타난 난화관(蘭畵觀)을 통해 그의 묵란화 인식을 살피고, 화보를 임방하고 당대 화풍을 수용하면서도 개성적인 필묵의 운용으로 형성된 소치란(小癡蘭)의 면모를 파악해보고자 한다. 특히 허련은 당시 묵란화의 대가인 이하응이나 조희룡과 화우(畵友)로 지내지만 난 그림에 있어서는 김정희의 난화론을 바탕으로 삼아 초기 지두란(指頭蘭)을 그리는 등 자신만의 화란법을 형성하고 예술세계를 구축한다. 또한 난화는 유가적 전고(典故)를 바탕으로 그리지만 제발과 인장의 내용을 통해서는 유가적 성격뿐만 아니라 도가 불가적 의미까지 더해져 허련의 인생 지향과 사유세계를 유추할 수 있다. 이러한 복합적이고 다양한 철학과 심미의식이 반영된 허련의 묵란화는 시기에 따라 변화 과정을 거치며 만년에 사의 묵란화를 형성한다. 즉 그는 직업형 화가였음에도 말년에 더욱 활발히 제작했던 사의란을 통해 조선 사대부의 이상에 더욱 가까이 다가가려 했음을 알 수 있고, 소치란은 문인의 표상을 실현하려는 사의적 시각과 의지의 발로였다는 것을 보여준다. Sochi Heo Ryun (小癡 許鍊, 1808-1893) was a literary artist of Chinese paintings of the Southern School during the late Joseon dynasty and the founder of paintings in the literary artist's style of Jindo County in South Jeolla Province. He was also a professional literary artist who acquired both learning and painting techniques under Choui (a Zen priest) and Kim Jeong-hee's teachings. Heo Ryun's landscape paintings were influenced by Kim Jung -hee. However, his ink orchid paintings, which he began producing in his later years, were not related to the 'Ink Orchid Paintings of Chusa (秋史蘭)'. His ink orchid paintings as a whole drew attention as he followed the old methods but still used rough brush strokes . Ordinary orchids were drawn based on Confucian content. However, his Jebal (題跋) and seal (印章) contain not only Confucian characters but also Taoist and Buddhist meanings. Therefore, it is possible to guess his direction of life and his private world of suffering. Ryun's ink orchid paintings reflected a variety of philosophies and aesthetic sensibilities. He went through a process of stylistic change over time and formed an 'Ink Orchid Painted Thought' in later life. The main characteristic of Sochi's ink orchid paintings is that he formed his own special methods for orchid paintings by mimicking the Manuals of Paintings. He drew orchids with his fingers in the beginning. Then, Jeongseop, Lee Ha-eung, Cho Hee-ryong, and others developed an organic relationship with the painting style of ink orchid paintings. Then in later years, orchid paintings reached the point of 'Picture Painted Thought (寫意畵)'. The above consideration shows that ink orchid paintings, which he produced until the end of his life, were the beginning of his mental vision and will to realize the image of a literal artist.

Enzymatic Modification of Soy Proteins: Effects of Functional Properties of Soy Isolate upon Proteolytic Hydrolysis

강영주,Kang, Yeung-Joo Korean Society of Food Science and Technology 1984 한국식품과학회지 Vol.16 No.2

To study affinity of proteolytic enzymes to soy proteins, the physicochemical and functional properties of enzymatically modified protein products, kinetic parameters and degree of hydrolysis were measured using trypsin, alcalase (serine type protease) and pronase. Bacterial alcalase and pronase showed much greater affinity to soy protein than animal intestinal trypsin. This effect was very significant when unheated soy isolate was used as a substrate. Specific activities of these enzymes decreased with the increment of substrate concentration (over 2.0%, w/v) when heat denatured soy protein was used as a substrate. However, the decrease in specific activity was negligible at substrate concentrations lower than 2.0%. Polyacrylamide gel electrophoretic results showed that the pattern of 2S protein band changed distinctly in alcalase hydrolysis as compared with those of trypsin and pronase. Protein solubilities of alcalase and pronase hydrolyzates increased by 25-30%, at their pI (pH 5.0) over the control. Virtually no change was observed in solubility by trypsin hydrolysis. Heat coagulability and calcium-tolerance of the protein increased by enzymatic hydrolysis. No clear tendency, however, was observed for emulsion properties, foam expansion and the amount of free -SH groups. The enzyme treatment considerably decreased foam stability. 본(本) 연구(硏究)는 분리(分離) 대두단백질(大豆蛋白質)에 단백분해(蛋白分解) 효소(酵素)를 작용(作用)시킬 때 일어나는 효소반응성(酵素反應性) 및 단백질(蛋白質) 기능성(機能性)에 미치는 영향(影響)을 조사(調査)하였다. 사용(使用)된 효소(酵素)는 동물성(動物性)인 trypsin과 세균성(細菌性)인 alcalase 및 pronase였으며 열(熱) 처리(處理)되지 않은 대두단백질(大豆蛋白質)에 대(對)하여 trypsin보다 세균성(細菌性) 효소(酵素)가 높은 친화력(親和力)을 나타냈으며 열(熱) 처리(處理)된 대두단백질(大豆蛋白質)에 대(對)하여서는 효소종류(酵素種類)에 관계없이 기질농도(基質濃度)가 증가(增加)함에 따라 반응(反應)이 저해(沮害)되었다. 가수분해(加水分解)된 대두단백질(大豆蛋白質)의 전기명동(電氣鳴動) 결과(結果) alcalase가 특이적(特異的)으로 대두단백질(大豆蛋白質) 중(中) 2S 단백질(蛋白質)에 어떤 변화(變化)를 가져오는 것이 관찰되었다. 대두단백질(大豆蛋白質)의 기능성(機能性)에 있어서 효소처리(酵素處理)는 등전점(等電点)에서 $25{\sim}30%$의 가용성(可溶性) 단백질(蛋白質)의 증가(增加)를 가져왔으며 또한 열(熱) 응고성(凝固性)의 증가(增加), 칼슘 침전성(沈澱性)의 감소(減少)를 초래하였다. 그리고 에멀젼 특성(特性), 거품 형성능(形成能) 및 유리(遊離) SH기(基) 등에 대(對)하여서는 큰 변화(變化)가 없었으나 거품 안전성(安全性)은 크게 감소(減少)하는 경향을 보였다.

가토의 대퇴부에 Calcium Metaphosphate로 코팅된 임플란트 매식후 골유착에 관한 비교 연구

강영주,김기현,이재열,이주민,안상욱,송진우,정유진,신상훈,Kang, Young-Joo,Kim, Ki-Hyun,Lee, Jae-Yeol,Lee, Ju-Min,Ahn, Sang-Wook,Song, Jin-Woo,Jung, Eu-Gene,Shin, Sang-Hun 대한악안면성형재건외과학회 2010 Maxillofacial Plastic Reconstructive Surgery Vol.32 No.6

Purpose: This study was conducted in order to compare the efficacy of osseointegration of three different calcium metaphosphate (CMP) coated implants in the rabbit's femur. Materials and Methods: Twenty four rabbits and three different type of CMP coated implants and RBM implants were used in this study. The animals were divided into 4 groups on the basis of implant surface characteristics. Two implants were installed into the condyle of femur of each rabbits. The animals were sacrificed at 2 and 4 weeks after installation. The undecalcified specimens were prepared for histological, radiological examination and histomorphometric analysis of implant-bone contact ratios (BIC) and bone area ratio (BA). Results: Two implants were failed to osseointegrate and implant success rate was 95.2%. There were not any significant inflammatory response in all groups. Fluorescent image at 4 weeks shows that remodeling is slower in RBM group than CMP group. CMP III showed more active remodeling than CMP I, II. In histomorphologic analysis, BIC ratio at 2 weeks was lower than 4 weeks. Conclusion: The results suggest that the ratios of CMP coated implants were higher than that of RBM control group but there is no significantly difference between RBM group and CMP group. In conclusion, CMP coated implant had more clinical availability than RBM implants.

'가난한 연극, 가난한 미술' - 그로토프스키 연극이론과 아르테 포베라

강영주,Kang, Young-Joo 한국미술이론학회 2007 미술이론과 현장 Vol.5 No.-

What a concept of theatricality in modern art became more controversial is through a review "art and object-hood" on Michael Fried's minimal art, as having been already known broadly. As he had been concerned, the art following the minimalism is accepting as the very important elements such as the introduction of temporality, the stage in the exhibition space, and the audience's positive participation, enough to be no exaggeration to say that it was involved in almost all the theatricality. Particularly even in the installation art and the environment art, which have substantially positioned since the 1970s, the space is staged, and the audience's participation is greatly highlighted due to the temporal character and the site-specific in works. In such way, the theatricality in art work is today regarded as one of the most important elements. In this context, it is thought to have significance to examine theatricality, which is shown in the works of Arte Povera artists, who had been active energetically between 1967-1971. That is because the name of this group itself is what was borrowed from "Poor Theatre" in Jerzy Grotowski, who is a play director and theorist coming from Poland, and because of having many common points in the aspect of content and form. It reveals that the art called Arte Povera is sharing many critical minds in the face of commanding the field called a play and other media. Grotowski's theatre theory is very close to the theory and substance in Arte Povera in a sense that liberates a play, which was locked in literature, above all, renews the relationship between stage and seat and between actor and audience, and pursues a human being's change in consciousness through this. That is because Arte Povera also emphasizes the communication with the audience through appealing to a human being's perception and through the direct and living method, not the objective art concept of centering on the work. In addition, the poor play or poor art all has tendency that denies a system, which relies upon economic and cultural system, and seeks for what is anti-cultural, elemental, and fundamental. It is very similar even in a sense that focuses on the exploration process itself rather than the result, excludes the transcendental concept, and attaches importance to empiricism. However, Arte Povera accepts contradictoriness and complexity, and suggests eclecticism and tolerance, thereby being basically the nomadic art and the art difficult to be captured constitutively. On the other hand, there is difference in a sense that the poor play is characterized by purity, asceticism, seriousness, and solemnity. If so, which significance does this theatricality, which was introduced to art, ultimately have? As all the arts desire to be revealed with invisible things beyond the visual thing, theatricality comes to play a very important role at this time. If all the artists and audiences today came to acquire actual or virtual freedom much more, that can be said to be a point attributable to that art relied upon diverse conditions in a play.

장수와 복락, 多子의 고상한 염원 : 19세기 전북지역 묵포도도 전문화가의 활약

강영주(Kang, Young-ju) 한국민화학회 2022 한국민화 Vol.- No.17

본 연구는 원광대학교 박물관 소장 춘파 강봉훈이 제작한 《묵포도도 10폭 병풍》의 고찰에서 출발했다. 그리고 그 과정에서 그와 동일시기 동일지역에서 활동했던 호운 서병우와 낭곡 최석환 포도도의 형식과 양식이 춘파의 포도도와 유사함을 살필 수 있었으며 이어 전북지역 포도화풍에 영향을 미친 충청 찰방을 지낸 조선 후기 대표적인 포도화가 휴당 이계호의 생애를 재정립하는 계기가 되었다. 특히 전북지역에 활동한 포도그림 화가들의 작품이 당시 중앙화단이나 다른 지역에서는 볼 수 없는 고유한 형식과 양식이어서 더욱 주목되었다. 이것은 중앙에서 40대 이전 포도그림으로 이름을 떨친 휴당 이계호가 이후 충남 공주지역에서 포도그림 화가로 활약했던 것과 관련이 있음을 추정할 수 있었다. 18세기 이전 문인들의 修己 목적이자 인격화된 君子 식물로 인식해 제작 감상되었던 포도도는 이계호에 이르러 포도의 식물학적 특징의 사실적 묘사에 관심을 기울이고 활달하고 생동감 있는 필치로 화가의 감흥을 표출하고 포도의 길상적 상징까지 적극적으로 표출하는 방식으로 변하였다. 더 나아가 19세기 전북지역 포도도 전문화가 최석환은 이계호의 포도도 화풍을 이어받아 대형 병풍에 농묵으로 서예적 용법을 준용하여 빠르고 신속하게 붓을 휘둘러 작화 행위 자체에 흥취를 더했다. 뿐만아니라 그는 포도도에 부귀영화와 다자다산을 상징하는 다람쥐[鼠]를 그려 넣어 이상적 인간상인 군자상징과 부귀다산의 세속적 상징을 모두 담아내었다. 즉 이계호에서 시작된 묵포도도는 군산 임피의 최석환, 익산의 서병우, 이리의 강봉훈에게 이어지고 이들의 묵포도도를 경험한 근대기 문인서화가인 정술원, 김철수, 허백련에게 전해졌음을 알 수 있었다. 전북지역에서 활동한 견식있는 화가들이 그린 묵포도도는 조선 포도도의 의미와 가치가 변화되는 과정을 보여준다. This study started in the process of examining the grape painting of Chunpa Kang Bong-hoon(春坡 姜鳳薰), director of the Wonkwang University Museum. In addition, it was possible to examine the similarities between the format and style of the painting of Houn Seo Byung-woo(湖雲 徐丙于) and Nangok Choi Seok-hwan(浪谷 崔奭煥), who were active in the same area at the same time as Kang Bong-hoon. It then served as an opportunity to redefine the life of Hyudang Lee Gye-ho(休堂 李繼祜), a representative grape painter in the late Joseon Dynasty who died while living in Gongju(公州), Chungcheongnam-do. The works of grape painting artists working in the Jeonbuk(全北) regions drew more attention because they were unique in form and style that could not be found in the central art organizationt or other local art organizationtf at the time. This may have started when Hyudang Lee Gye-ho became the best painter in Gongju, Chungcheongnamdo, and served as a grape painter for decades. It can be seen that the characteristics of grape painters who worked mainly in Jeollabuk-do in the 19th century were first changed by the purpose of training themselves before the 18th century and by recognizing them as personified plants. In other words, the characteristics of grape painting in the 19th century changed in a way that paid attention to the realistic description of the botanical characteristics of grapes and expressed the artists excitement with lively and lively strokes and included auspicious symbols of grapes. Furthermore, in the 19th century, Choi Seok-hwan took over Lee Gye-hos grape painting style and quickly wielded a brush with a thick ink on a large screen to add excitement to the painting act itself. In addition, a mouse symbolizing wealth and many children(多子) was drawn to include both the ideal human symbol of a man of virtue(君子) and the secular symbol of wealth and fertility in the grape painting. In other words, it can be seen that the grape painting, which began in Lee Gye-ho, were handed down to Choi Seok-hwan of the Gunsan Impi, Seo Byung-pyo of Iksan, and Kang Bonghoon of Iri(益山), and to Jeong Sul-won(斗山 鄭述源), Kim Cheol-soo(芝雲 金綴洙) and Heo Baek-ryeon(毅齋 許百鍊), who experienced grape paintings them. Grape paintings, which have symbols of honor and auspiciousness born from the hands of knowledgeable grape painting specialists such as Choi Seok-hwan, Seo Byung-pyo, and Kang Bong-hoon, show the process of changing the meaning and value of Joseons grape paintings. The next task will be to consider the works of Oh Nam-woon and Kim Hak-soon, who were not clearly revealed in this paper, and artists specializing in folk painting in the first half of the 20th century, and grape painting in the central art organization or Gyeongsang-do.

조선 전반기 묵란화(墨蘭畵) 연구

강영주 ( Young Ju Kang ) 한국불교미술사학회 2011 강좌미술사 Vol.36 No.-

본 논문에서는 고려~조선전반기 왕공·문인사대부의 묵란화를 고찰하여 묵란화의 특징과 의미를 살펴보았다. 난초는 古來로 살충과 향기가 갖는 식물학적인 특징으로 인해 숭배의 대상이 되어왔다. 이후 孔子나 屈原에 의해 도덕과 충정을 겸비한 ``君子``의 상징으로 고착되었다. 송대 문인들은 회화소재의 뜻과 의미에 관심을 기울였기 때문에 군자를 상징하던 소나무, 대나무, 매화, 난초, 고목, 石 등을 그림의 소재로 활용했다. 아울러 이들 화목에 대한 관심은 여러 텍스트와 화보의 출간을 낳았으며, 이로 인해 문인들의 작화활동이 활발해졌다. 특히 난초에 관해서는 南宋 趙詩庚의 『金장蘭譜』(1233), 王學貴의 『蘭譜』(1246), 元代孔克齊의 『(靜재)至正直記』 등의 텍스트가 발행되어 난초의 종류와 재배법 및 그리는 방법까지 비교적 상세히 소개되었다. 이 책들은 당시 문인들이 추구했던 寫意표현의 정보와 기술을 제공해 주었다. 우리나라의 묵란화는 묵죽화와 더불어 기록과 작품을 통해서 보면 어지러운 세상에 정치·사회적으로 충정과 선비의 덕이 강조되던 조선중기와 조선말기에 집중적으로 그려졌다. 이는 중국의 남송말 원초와 명말 청초, 청대후기에 나타나는 현상과 유사하다. 때문에 문인화로서 군자를 상징하는 묵란화는 대부분 유학이 정치적 이념으로 작용됐던 고려말부터 조선전반기에 걸쳐 주자 성리학의 실천주제인 왕공·문인사대부에 의해 그려진다. 난초에 대한 인식은 통일신라시대부터 있어왔고, 송원과의 대외교류를 통해 난초와 묵란화에 대한 관심은 증대되었다. 남송의 조맹견이나 원의 선승화가인 보명의 묵란화에 대한 고려말 조선전반기의 기록을 통해서는 당시 문인들의 묵란화 인식 애호 경향을 살필 수 있다. 또한 당시 묵란화는 화면구성과 포치, 난엽, 난화, 화심 등이 유사해 譜本에 의해 제작되었을 가능성이 많아보였다. 그밖에 군자를 상징하는 蘭竹이 짝이 되게 그려지는 것, 병풍으로 꾸며지는 것 등 역시 이 시기 묵란화의 특징이다. This thesis is a study about the Ink orchids(墨蘭畵) in the Early of Joseon Dynasty. There are twenties pieces of Ink Orchids that was painted in the early Joseon Dynasty. The plants characteristics of a orchids is the pesticides and the smell. Because, From ancient times, orchids was the object of worship. Therefore, the orchids by Confucius(孔子) and Ch`u Yuan(屈原) became a symbol of gentleman(``君子``). A literati gentleman of the Song Dynasty and Yuan Dynasty were interested in the meaning and significance as material of the painting. So they were utilized the material of painting took advantage pine, bamboo, plum, orchids, old tree, stone a symbol of a gentleman. A literati gentleman interested in these subjects had a picture. So that was published several texts and pictorial. Consequently, A literati gentleman of in the Yuan Dynasty were drew pictures as the subject ``gentleman``. Ink bamboos and Ink orchids of our country`s were portrayed in the middle Joseon Dynasty and in the late Joseon Dynasty as much that were highlighted ``loyalty`` and ``gentleman`s virtues``. Therefore, Ink orchids from the late Goryeo Dynasty to the early Joseon Dynasty were painted by the gentry. Korea, Unified Silla Dynasty, which has been recognized from the orchids. And foreign exchange through in the Yuan Dynasty with orchids and ink orchids interest has increased. Consideration of the record for in the early of Joseon Dynasty, Contemporary, The royal family and a literati gentleman is shown love of Ink Orchids for Bo Myeong(普明) monk painter Yuan Dynasty and Jo Maeng-Gyeon(趙孟堅), Jeong Sa-Cho(鄭思肖) of in the of Southern Song Dynasty. Therefore, if we investigate Ink orchids that were painted by the gentry in the early Joseon Dynasty, we will understand their Confucian consciousness.

이광수의 역사소설

강영주 ( Young Zu Kang ) 일지사 1985 韓國學報 Vol.11 No.2

雪窓 普明의 ‘雪窓蘭’과 「畵蘭法」 연구

강영주(Kang Yeong-ju) 한국미술사학회 2015 美術史學硏究 Vol.288 No.288

혜사(慧史) 문명대 교수 정년퇴임 기념 논문집 : 미술사의 작가와 유파 ; 일반회화 : 운미(芸楣) 민영익의 서예

강영주 ( Yeong Ju Kang ) 한국불교미술사학회 ( 구 한국미술사연구소 ) 2006 강좌미술사 Vol.26 No.2

국학자 홍기문 연구 4

강영주(Kang, Young-zu) 역사비평사 2013 역사비평 Vol.- No.102

This article describes and assesses the activities of Hong Ki Moon from Korean Independence in August 1945 until he moved to North Korea in August 1948. During the period of late Japanese occupation (1940~1945), Hong Ki Moon secluded himself in academic research. Once Korea gained independence, he resumed his activities as scholar, journalist, and politician. During the politically turbulent time immediately after Korea gained independence, Moon worked for several important publishing establishments including Editor-in-Chief and Executive Editor at the Seoul Shinmun. Nevertheless, his wish was to pursue his academic interests; he published continuously, including his major book Jeongeumbaldalsa and various journal papers related to Korean language and history, while lecturing at Seoul National University and Kim Il Sung University. However, when his father Hong Myung Hee, as a moderate political leader founded the Democratic Independence Party and organized the South-North Joint Conference, Hong Ki Moon also joined the party and moved to North Korea.