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        미술사와 인문학적 가치 -한국미술사의 ‘20세기 구미 미술사 이론’의 수용과 전개-

        권영필 한국미술사학회 2010 美術史學硏究 Vol.268 No.268

        This paper, written for the occasion of the 50th anniversary of the Association of Korean Art History, is a review of major methodological issues in Korean art history from the perspective of humanities‘. Korean art history,’here, should be understood as the history of traditional Korean art. Meanwhile, the papers examined here are mainly those that were presented at the Association of Korean Art History, but, in some cases, papers from other fields were considered as well. This essay discusses how, pioneered by Mun Myeong-dae who emphasized the importance of methodology in art historical studies, methodology has been continuously discussed over the past fifty years, as an area of research in its own rights, and how the application of stylistic analysis has become common since the 1970s,championed by An Hwi-jun. The discussion of methodological evolutions also includes iconology, popularized by Erwin Panofsky’s works. Iconology has been prominent in the field of Korean art history since the 1990s. Iconology is particularly widely applied in the study of Buddhist art, as can be seen in papers by Choe Seong-eun and Kim Jeong-hui. To draw attention to the overlapping characteristics between art history and other disciplines in humanities, I quote extensively from Panofsky’s discussion of humanistic art history, examining also the influence that Panofsky has had on American art history. I, then,turn to works by the US art historian V. H. Minor, published in the 1990s, proving that the influence of stylistic analysis in the field of art history remains undiminished. Examples from Japan, such as research by Nagahiro Toshio, attesting to the dominance of stylistic analysis and formalism and other European methodologies among researchers of Asian art,are cited as well. As Max Loehr famously said tha“t art exists not to express its time but to give content to its time,”art cannot be properly assessed without considering its humanistic roots. Interpreting and assessing paintings by Jeong Seon(1676-1759), to take an example of a Joseon painter, cannot be accomplished meaningfully without considering their humanistic context and subtext. Korean art history as a humanistic discipline could be especially useful for building a theoretical foundation for what we can call“Korean beauty or“Korean aesthetics.”Korean aesthetics, as a subject with humanistic values, can be mostly readily understood in art works. Art history and aesthetics, in my opinion, are two inseparable and mutuallycomplementary fields. As is well-known, the methodological framework of art history in Europe is greatly indebted to modern aesthetics. Meanwhile, due to the dearth of historical records dating from before modern times, one is forced to rely on art history in order to study Korean aesthetics. Finally, to predict future methodological directions, I turn to related phenomena in Western art history. For example, I value the viewpoint that Da Vinci’s sfumato is interpreted as an inclusive gesture toward uncertainty and argue that art plays a reconciliatory role in the history of civilization. I also argue that Western aesthetics such as the aesthetics of reception have proved useful to an extent as a basis for Korean art historical interpretations. The guiding principle, as we search for a new methodology, should be finding a place for Korean art history in the history of world art, while not sacrificing its specific nature. 이 글은 한국미술사학회 50주년 기념에 즈음하여 한국미술사에서의 방법론의 문제를 인문학의 관점에서관찰하고자 하는 데에 목적이 있다. 여기에서의 ‘한국미술사’는 한국의 전통미술을 의미한다. 또한 분석 대상의 논문들은 한국미술사학회에서 발표된 것을 줄거리로 잡되, 필요에 따라 그 외의 것들도 포함시켰다. 문명대가 방법론을 강조한 것을 필두로 지난 50년 동안 방법론 자체가 지속적으로 연구되었음을 확인하는일면, 그 동안 발표된 논문에서, 예컨대 70년대의 안휘준의 논문을 비롯하여 ‘양식론’ 적용이 보편화되었으며, 90년대 이후부터는 파노프스키의 도상해석학이 강세를 보이며 등장한 사실을 파악하게 된다. 최성은,김정희의 논문에서 보듯, 도상해석학은 불교미술에서 이용도가 두드러진다고 하겠다. 특히 이 논문에서는 미술사의 인문학적 특성을 피력하기 위해 파노프스키의 인문학적 미술사론을끌어들였다. 이 국면에서는 미국 미술사학계에서의 파노프스키의 영향을 아울러 검토하였다. 또한 미국의마이너(V.H.Minor)는 그의 90년대의 저서에서 양식론의 위력이 아직도 건재함을 입증하고 있다. 일본의 경우도 나가히로 도시오(長廣敏雄) 등에서 보듯이 동양미술사 연구자들이 유럽의 양식론을 비롯한 서구 방법론에 주력하고 있음을 보게 된다. “미술이 시대를 표현하려고 존재하는 것이 아니고, 시대에 내용을 부여하려고 존재한다”는 뢰어(M.Loehr)의 명제는 인문학으로서의 미술사의 입장을 더 깊이 있게 만든다. 궁극적으로 겸재 회화의 평가도 이런 각도에서 이루어져야 할 것으로 판단된다. 인문학으로서의 ‘한국미술사’는 ‘한국미’와 ‘한국미학’의 이론적 기반을 이루는 데에도 효용가치가 있다고 하겠다. 한국미는 인문학적 가치를 지닌 주제로서 무엇보다도 미술작품에서 그것의 본질을 발견할 수있다는 점에서 그러하다. 필자는 미술사와 미학의 관계를 상보관계로 본다. 알려져 있듯이 미술사의 방법론 정립은 근세 이래 미학으로부터 많은 빚을 지고 있다. 한편 ‘한국미학’은 근세 이전의 경우 문헌사료가 영성하여 미술사에 의존할 수 밖에 없는 사정이다. 방법론의 전망에 대해서는 서양미술사에 나타난 현상을 차용하여 풀어 보았다. 예컨대 다빈치의 ‘스프마토’를 ‘불확실성에 대한 포용력’으로 해석한다든가, 미술이 문명사에서 ‘화해자(和解者)의 역할을 한다는 등의 관점을 제시하였다. 또한 한국미술사 해석을 위한 기초로서는, 예컨대 ‘수용미학’ 같은 서양미학이어느 정도 값어치를 발휘할 것으로 본다. 무엇보다도 한국미술사의 고유성을 지키면서 세계미술사 속에 자리매김 되는 방법론을 찾아야 할 것이다.

      • KCI등재
      • SCOPUSKCI등재

        고속 평면제트에 의한 쐐기음의 특성 연구

        권영필,이근희,장욱,김욱,Kwon, Young-Pil,Lee, Geun-Hee,Jang, Wook,Kim, Wook 대한기계학회 2001 大韓機械學會論文集A Vol.25 No.12

        The impinging tones by high-speed plane jets are experimentally investigated to study the edgetone characteristics. Experiment used a slit nozzle and a wedge system to generate edgetones. The jet in the experiment is varied from low to high subsonic speed to obtain the effect of the speed on the frequency characteristics of impinging tones. The experimental data obtained previously fur edgetones and platetones by various nozzles are compared with the present edgetone data. And the condition of tone generation, the frequency ranges, the effective source point and the sound pressure level are compared and discussed. It is found that the jet speed has no diect influence on the impinging tone characteristics. Regardless of the jet speed, the effective source point is about a quarter wavelength downstream from the edge tip. With increase in jet speed, the influence of the nozzle configuration is decreased and the operating frequencies show good coincidences by normalized parameters based on the slit thickness.

      • KCI등재

        “The Aesthetic” in Traditional Korean Art and Its Influence on Modern Life

        권영필 한국학중앙연구원 한국학중앙연구원 2007 Korea Journal Vol.47 No.3

        It was during the 1920s that the study of the Korean aesthetic found intraditional art began. This research has continued to the present day,and the discovery of Korean aesthetic characteristics identified from thisstudy contributes to understanding the identity of Korean culture. Classic beauty in architecture and sculpture is defined by Eckardtas having symmetrical structure, balance, and impartiality, and asense of serenity, while revealing a distinct artless naivet accompaniedby moderation without excessive decoration. Yanagi Muneyoshis con-cept of the aesthetics of sorrow and folk art has been positivelyevaluated, and Ko Yu-seops planless planning illustrated by the useof natural timber can be called a pursuit of naturalness. Choe Sun-uargues that the Korean aesthetic is marked by plain colors and clothingand restrained expression. Cho Yo-han emphasizes the shamanic fea-tures represented by nonghyeonseong (freely vibrating without adher-ence to formality). Humor in Korean art as an aesthetic category hasalso gained wide recognition from many scholars.It would be unfair to say that one alone among these defines theKorean aesthetic. The Korean aesthetic is characterized by the classicalconcept of unification in diversity, as found in the works of Lee Ufan,Kim Hwan-gi, and Kim Chang-ryeol. In contemporary craft and industri-al production, traditional Korean colors can easily be applied to modernclothing, works of art, daily necessities, and household electronics.

      • KCI등재
      • KCI등재후보

        韓國佛畵에 나타난 山水要素의 源流와 그 發達(上)

        권영필 국립중앙박물관 1984 미술자료 Vol.- No.35

        It is meaningful to study characteristics of Korean paintings infields oher than the orthodox paintings patronized and encouraged by the ruling class . I intend to abstractes the tics ensibilities of the Korean people by examining characteristics of Buddhist paintings. Buddhist painting sin this paper include painting element sappearing in ornaments of Buddhist motif such as tiles and stone pieces of the Three Kingdoms and Unified Silla periods. " Landscape elements" in the Buddhist paintings will be studied to establish its origin and to present its development. This paper will printed in two installments. In the first installment , the origin wil l be discussed . With the premises that the origin can be traced to Central Asia , especially Tun-huang murals , I will analyze materials in terms of styles. The Tun-huang landscape elements can be grouped into : Thunder- shaped - Hill designs, Cloud-and-Mountain designs, and Human- under- the-Tree designs. ⅰ) The zigzah Thunder-shaped- Hill designs include those which describe the inner surface (the lake) and those describing the outer surface (the island.) The former was completed by the mid-8th century A . D . By late 8th century and early 9th century ( e . q . Cave No . 257 , Illustration 8 ) they became geometric patterns . In fact , the geometric patterns of the designs were so popular in the 9th century that they appeared in Wan -fo-sha in Tun -huang area (Ⅲ. 11). The latter was first seen around 9th century (Ⅲ. 3), and has been handed down even to the 20th century in the paintings of immortals ( Ⅲ. 1 3 ) . ⅱ) Stylized Cloud- and- Mountain designs are for medin the 7th century A . D . Its primitive form was seen on sarcophagus of Northern Wei of China. As illustrated by the painting sin the Cave No . 209 (Ⅲ.14) mountains are represented by triangular dot sand Clouds by straight lines . By the 9th century the se designs became more simplified . (The Cave No. 159 . Ⅲ.18) There is a view (M.Sullivan) that trend of simplification. I, however, think that simplification is one of the essential charac - teristics of Central Asian art. ⅲ) The theory that "Human-under-the- Tree " design originated in Iran or India (Kei Suzuki) is generally accepted. This design was popular in Tun-huang murals in Sui and early T'ang periods . It hink the simultaneous popularity of pearl- shaped pattern of sassanid period and the tree design sin Tun- huang is suggestive that the two might have had close connex icon . In other words , I believe that the tree patterns of Tun- huang originated in Iran. I am of the opinion that the stylizing and simplifying of descriptions (designs and patterns) o f T u n- huang murals reflected painting characteristics of northern races

      • KCI등재후보

        韓國佛畵에 나타난 山水要素의 源流와 그 發達(下)

        권영필 국립중앙박물관 1985 미술자료 Vol.- No.36

        Korean Buddhist paintings reflect such landscape elements originated in Tun - huang as Thunder-shaped-Hill design, Cloud -and-Mountain design, and Human -underthe- Tree design. Thunder -shaped-Hill design had longest life and was reflected even in the paintings of late Chos?n period, while Cloud -and-Mountain design and Human-under-the-Tree design were seen during the Unified Silla era only. That these Northern-style designs were used for Korean Buddhist paintings had something to do with the Korean temperament. In addition to the landscape elements favorite expressions by professional painters of the time and folk elements expressive of the feeling of the common people were the dominant elements of styles in Korean Buddhist paintings. In short, the origin of landscape elements in Korea Buddhist paintings had close connection not only with foreign elements but also autogenous ones. Korean Buddhist paintings, therefore, may be said to reflect esthetic sense of a period as well as traditional beauty at the same time. In this paper I intended to make observation through the motif of landscape element how Korean Buddhist paintings begun with foreign iconography has developed - and what role Korean uniqueness and creativity have played in the development. Comparative art historical approach is thought most desirable to identify this Korean creativity contributing to the development of Korean Buddhist paintings, because creativity is best identified by comparison with foreign -imported original techniques, styles, and designs.

      • KCI등재

        탄화규소 불투명화재와 세라믹섬유가 Fumed 실리카 단열재의 열전도도에 미치는 영향

        권영필,권혁천,박성,이재춘,Kwon, Young-Pil,Kwon, Hyuk-Chon,Park, Sung,Lee, Jae-Chun 한국세라믹학회 2007 한국세라믹학회지 Vol.44 No.12

        The thermal conductivities of nano-sized fumed silica-based insulation media were investigated by varying a mean particle size of the silicon carbide opacifiers and ceramic fiber content. Opacifying effect of ceramic fiber and silicon carbide powders was discussed in terms of their content and the mean particle size of them. As the fiber contents increased from 10 wt% to 30 wt% in a material, its thermal conductivity at temperatures of about $620^{\circ}C$ decreased from 0.171 $Wm^{-1}K^{-1}$ to 0.121 $Wm^{-1}K^{-1}$. Meanwhile, the thermal conductivity at temperatures of about $625^{\circ}C$ decreased from 0.128 $Wm^{-1}K^{-1}$ to 0.092 $Wm^{-l}K^{-1}$ as the mean SiC particle size decreased from $31{\mu}m$ to $10{\mu}m$.

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