美國黑人文學에 나타난 同化主義와 黑人種族主義

金元東(Wondong Kim) 啓明大學校 人文科學硏究所 1974 東西文化 Vol.7 No.-

강원도 폐광지역의 쟁점과 미래 전망 그리고 대응전략

김원동(Wondong Kim) 강원대학교 사회과학연구원 2010 사회과학연구 Vol.49 No.2

이 글의 목적은 강원도 폐광지역의 사회경제적 쟁점과 폐특법의 재연장 문제에 대한 전망 및 미래의 대응전략을 강원랜드와 폐특법에 초점을 맞춰 검토해보는데 있다. 주요 연구결과는 다음과 같다. 첫째, 강원도 폐광지역인구는 지속적으로 감소해 왔고, 주민들은 매우 열악한 교육, 의료, 주거환경에서 아쉬움과 체념 속에 이를 감수하며 살고 있다. 둘째, 강원랜드와 폐특법은 강원도 폐광지역의 어제와 오늘을 이해하고 내일을 전망함에 있어 핵심적인 준거로서의 의미를 갖는다. 셋째, 강원랜드와 폐특법이 강원도 폐광지역에 미친 사회경제적 영향에 대한 평가는 영역에 따라 다소 차이가 있다. 고용창출과 같은 부문에서는 우호적 평가가 지배적인가 하면 또다른 부문들에서는 크고 작은 사회적 쟁점의 소지를 내포하고 있다. 넷째, 강원도 폐광지역 주민들은 폐특법 재연장의 필요성을 절감하고 있으면서도 재연장의 전망을 그리 밝게 보지 않는 분위기가 지배적이다. 다섯째, 지역사회의 향후 대응 방향은 폐특법의 재연장에 초점을 맞추어 이를 강력하게 정당화하고 뒷받침할 수 있는 객관적인 논거들을 만들어가는 한편, 재연장이 불가능할 수도 있다는 전망 아래 그에 따른 대응책들도 함께 모색하는 것이어야 한다. This paper aims at exploring socioeconomic issues in abandoned mine areas in Gangwon-Do province, prospects and strategies for re-extension of ‘a special law on the development of abandoned mine areas’ with focusing on Kangwonland and the law. Major findings in this study are as follows: Firstly, population in abandoned mine areas in Gangwon-Do province has continuously decreased. Moreover, residents put up with the poor education, medical treatment, and living conditions with disappointment and resignation. Secondly, Kangwonland and a special law on the development of abandoned mine areas have meaning as a main reference for analyses and discussion, when we try to understand and prospect the past and present and future of the areas in Gangwon-Do province. Thirdly, the socioeconomic effects of both Kangwonland and the law are evaluated somewhat differently per sectors. While there are mainly favorable responses in some parts such as job creation, several social issues still remain in another many parts. Fourthly, even though residents in the abandoned mine areas long for re-extension of the law, dominant atmosphere in that local community seems to be negative. Fifthly, agents in the community should make efforts to get objective bases which can legitimate and support re-extension of the law strongly. At the same time, they have to prepare for another countermeasures in a negative prospect on its re-extension.

元代陶磁文樣에 관한 硏究 : -with Particular to Celadon Wares from Sinan

金元東 대구효성 가톨릭대학교 1994 연구논문집 Vol.48 No.1

This paper deals with the decorative designs of the Yuan Period wi particular reference to the sources and symbolism of those designs on the celadon wares excavated from the seacoast near Sinan, Korea. Unlike the Song potters who were primarily concerned with elegance of shape and excellence of glaze, the Yuan potters showed a great interest n the surface decoration. The drastic change from the Song tradition was undeniably demonstrated in blue and white wares around the middle of the fourteenth century. As far as the decorative motifs of the celadon vessels from Sinan are concerned, the Yuan potters inherited most of the Song repertoire of decorative motifs which include peony, lotus, chrysanthemum, prunus, fish, dragon, key-fret etc. from various sources of Song ceramics, particularly from Ding, Cizhou and Northern celadon wares. This makes an interesting contrast with the decorative motifs of blue and white wares which the Yuan potters accommodated the non-Chinese designs to a significant extent. The apparent changes, however, began to emerge during the Yuan period in designs as well as in technique of decoration and manner of execution. A significant change in designs is noticed by the fact that Yuan potters hardly used mallow, phoenix and combed patterns which were very popular in Northern celadon and Ding wares during the Song period. On the other hand, they introduced the flowers of the four seasons, the eight trigrams and the eight treasures, all of which were rarely use during the Song period. At any rate, the majority of the decorative motifs of the Chinese celadon wares excavated off Sinan seacoast are derived from the flora and fauna of China. Floras include peony, lotus, chrysanthemum, prunus, orchid, plantain, camellia, litchi and other plant scroll designs : the faunas include fish and crane. Besides the native flora and fauna, lions were introduced as decorative motifs, probably through China's Buddhist contact with India. Two imaginary animals, the dragon and the phoenix, are also used, although the phoenix design only appears in the celadon wares in the handles of some mallet-shaped vases. As religious symbols, the eight trigrams, eight treasures and swastika are popular motifs on the Sinan celadon vessels. The symbolism associated with these designs represents their wishes for longevity, wealth, health, fame, nobility, fertility, prosperity of descendents etc. As far as the symbolism of the motifs is concerned, each motif has an already well established symbolism by tradition based on its unique charactenatics or qualities, its homonyms or literary associations. For example, the peony traditionally symbolizes wealth, as it is often called fuguihua(富貴花). The lotus was closely associated with Buddhism as a symbol of purity, although its religious significance faded considerably during the Yuan period. Plantain symbolizes self-education on the basis of a legend that a poor student used the plantain leaves to writs on for want of better material. The dragon which is one of the oldest decorative designs signifies many different things such as the genius of strength and goodness the spirit of change, the productive force of moisture or rain, the emperor and the emperial authority, fertility and fame. Fish often symbolizes fertility and regeneration among other things, owing to the extraordinary reproductive powers. On the basis of the legend that the crane can live as long as one thousand years, it is associated with longevity. The symbolism of some motifs is based on the association of homonyms. In the case of fish, the Chinese pronunciation yu 魚 "fish" sounds exactly the same as another word, yu 餘 which means abundance, leisure or wealth. Therefore fish are also represented as a symbol of wealth or abundance. In case of eight treasures and eight tirgrams, each of these emblems represents the auspicious religious or philosophical significance. In this paper, the sources, variety and symbolism of these decorative motifs are discussed in detail with the specific examples of Sinan celadon wares which show these motifs. The discussion of the specific examples includes the variety of the given decovative motifs and the method of execution accompanied with plates and figures of the concerning designs. another significant aspect of the celadon vessels from Sinan is that the Yuan characteristics are demonstrated in their new explorations with surface decoration in biscuit and iron-oxide or copper-oxide spots, robust shapes, heavy potting, and the large size of vases and plates which were primarily intended for the export markets. Especially due to the freedom from the fastidious prescription of patrons and emergence of mass-production, the Yuan potters eventually broke away from the traditional Song conons of taste. They explored the new direction of surface decoration with a sense of spontaneity and strength, using various methods of execution.

中國 江蘇省 宣興陶器에 관한 考察

金元東 대구효성가톨릭대학교 1998 연구논문집 Vol.58 No.1

Yixing wares have been produced at the kilns on the sloping hills near Lake Taihu in Yixing-xian, Jiangsu-sheng as one of the major centers of Chinese ceramics. The dominant number of Yixing wares catered to the increasing demand of teapots and other vessels related with tea-drinking habit of Chinese people in general. Unlike the products of other prestigeous official kilns, Yixing wares were primarily min-yao, unofficial kilns, which produced ceramics for common people. The geographical location of Yixing wares is closely related with the fact that Yixing has not only been noted for the cultivation of tea high quality, but also been rich with the deposit of particular kinds of clay for Yixing wares. One of the unique features of Yixing wares is the fact that many literati have actively participated in the production by means of designing shapes, writing inscriptions or carving seals on the surface of vessels. In that sense, they also reflect the more elegant and cultured life of literati class rather than the crude tableware of ordinary people. As far as historical records are concerned, the dark purplish wares, another name for Yixing wares, can be traced back to Song dynasty. In the summer of 1976, archeologists excavated old kiln sites at Yangjia-shan, Dingshu-zhen, Yixing-xian which can possibly be datable around Song period, but the definite relationship with Yixing wares of the later period has bot been confirmed yet. Neverthless it is very clear that Yixing wares were flourished during Ming dynasty. It is recorded that the legendary Yixing potter, Gongchun, has mastered the technique of making teapots by the guidance of a monk from Buddnist temple Jinshasi during the reign of Zhengde (1506-1521). Another record says that a Buddhist monk from the temple of Fuyuansi near Yixing began to make Yixing wares during the reign of Wanli (1573-1620). As regards to datable Yixing wares, the earliest one, a Yixing teapot with overhead handle, was excavated from the tomb of Wu Jing along with an epitaph with the date of the twelfth year of Jiajing (1533). Potters who were active during the reign of Jiajing (1552-1566) and Wanli (1573-1620) include Shi Peng, Dong Han, Zhao Liang, Yuan Chang and Shi Dabin. The most famous among these potters was Shi Dabin, the son of Shi Peng, whose pieces were characterized by teapots with simple shapes and elegant flavor during his rather long career as a potter at least from 1596 till 1629. During Qing period the quality of Yixing wares has been deteriorated, losing the elegant features of Ming pieces. Nonthless Chen Mingyuan was an exceptionally talented potter who produced the pieces of high quality based on the motifs of animals and plants of nature. Under the supervision of Chen Mansheng and Yang Pengnian, many literati were actively involved with the designing shapes and writing inscriptions and carving seals. After the death of Chen Mansheng, Yixing wares tended to be more concerned with extraordinary shapes and excessive decoration rather than elegant shapes and refrained decoration of the previous period. some later Yixing wares were geared to the export market with enamel decoration of European flavor. The shapes of Yixing wares can be roughly classified into three major types. The shapes of the first type of Yixing wares were primarly based on the various motifs of fauna and flora. They include pumpkins, gourds, lotus, prunus, bamboo, pomegranate among plants and rabbits, elephants and squirrels among animals. The first type of Yixing wares were flourished especially from the seventeenth century to the middle of eighteenth century. The second type is represented by ribbed shapes which are vertically carved out leaving the concave rib-like forms in regular distance. The second type was mostly produced from the late Ming to the early Qing period, i.e., mostly produced from the late Ming to the early Qing period, i.e., mostly the seventeenth century. Shi Dabin played a leading role as the most accomplished potter as far as the second type was concerned. Geometric shapes represent the third type which can be, by and large, classified into two categories, one with curvilinear contour and the other with rectangular contour. Those with curvilinear contour include various shapes of sphere, hemisphere, and cylinder on one hand and others with rectangular contour are represented by various shapes of hexahedra or octahedra of which cross sectional views show a regular square, a rectangle or a hexagon. The third type was flourished from the early nineteenth century to the middle of nineteenth century under the leadership of Chen Mansheng.

P'u-ming's Ink Orchids

Kim, Wondong 대구효성가톨릭대학교 1984 연구논문집 Vol.29 No.1

普明은 中國元代의 僧侶 畵家로 당시의 文人들과 넓게 交遊하면서 文人畵의 傳統을 繼承하였고 현재 傳世되고 있는 有作中 특히 日本王室 所藏인 墨蘭四點 등은 中國繪 史上 文人畵家로서 普明의 獨步的인 位置를 確認해 주고 있다. 本稿에서는 첫째로 普明이 江南의 蘇州地方에 위치하고 있던 承天寺등에서 머물던 시절을 중심으로 當代 文人들과의 交遊관계등 普明의 畵家로서의 生涯를 簡略하게 살펴보고자 했다. 그리고 圖畵寶鑑의 著者인 夏文彦과 普明에 匹敵하던 當代의 僧侶畵家인 栢子庭이 언급한 普明에 대한 否定的인 評의 意味를 고찰하고 그 緣由를 추적해 보고자 했다. 둘째로는 普明의 遺作으로 傳世�鳴�있는 여덟 作品을 選定하여 筆法, 書體, 構圖等을 中心으로 하여 俱體的인 鑑識上의 문제를 다루어 眞作과 僞作을 구분하고 그 이유를 지적하려고 했다. 論議 對相이 된 여덟 作品은 日本王室所藏品인 軸 형식으로 된 墨蘭四點과 Seattle 美術館에 있는 墨蘭軸, 아사노 所藏인 蘭石圖, New York 市 Brooklyn 美術館에 있는 蘭竹圖, Cleveland 美術館 所藏인 風竹등이다. 셋째로는 普明이 畵題로 즐겨 사용한 蘭, 竹, 古木등에 나타난 樣式上의 特性을 가지고 普明의 當代 및 그 이전의 文人畵家들과 比較하여 連綿하게 이어지고 있는 文人畵의 脈絡을 살펴보고자 했다. 普明의 畵題로 代表格이라 할수 있는 蘭은 趙孟堅, 鄭思肖, 趙孟 의 것과 비교 대조해 보았고, 普明의 作品에 나오는 古木은 王庭筠, 趙孟부, 李 과 類似點이 많은 것을 지적했고, 대나무는 檀芝瑞, 趙孟부, 李 과 脈絡이 닿음을 살펴 보고자 했다. 끝으로 普明이 元代 文人畵에 기여한 몇가지 매우 獨創的이고 個性的인 繪 樣式上의 특징을 고찰하고자 했다. 普明은 당시 文人畵의 搖籃이었던 蘇州地方의 指導的인 僧侶에, 元代라는 文人畵의 급격한 전환기 내지 "革命期"에 즈음하여 書藝家로 훈련 받은 그의 流麗하고 穩健한 筆法을 통하여 畵家로서 個性的이며 創造的인 面貌를 유감없이 發揮할 수 있었다. 普明의 個性은 첫째 效果的인 對角線 構圖를 통하여 잘 나타나 있다. 趙孟부. 李 등의 作品에 나타난 中心軸을 起線으로 한 左石對稱的인 構圖뿐만 아니라, 趙孟부의 水平的인 近接構圖와도 다르다. 普明은 蘭, 竹, 古木, 가시나무 등의 몇가지 특색있는 主題를 對角線의 構圖위에 적절히 配列함으로서 한편으로는 視角的 堅張感을 부여하고 다른 한편으로는 가벼운 遠近感을 效率的으로 나타내고 있다. 個性的인 對象物의 描寫에도 불구하고 筆法上의 두드러진 특징은 極端에 흐르지 않는 穩健性과 流麗한 筆線이다. 특히 筆線의 流麗함은 비단 난초잎의 描寫에만 그치는 것이 아니라, 대, 고목, 가시나무 등 다른 主題의 描寫에도 마찬가지이다. 脫俗한 氣品의 反影이라고 볼 수 있다. 그리고 當時의 文人畵가 흔히 범하던 過誤로서 예컨대 지나친 文學的인 暗示性이라던가, 主題가 지니고 있는 象徵性에 依存하는 일등 非繪畵的 要素를 普明은 분명히 脫退하고 있다. 文人畵家로서 普明의 가장 큰 관심사는 철저하게 繪畵的인 것으로서, 主題의 視角的인 調和와 生動感 넘치는 對角線 構圖와 律動的인 筆法에 있음을 그의 遺作을 통하여 具體的으로 指摘하고자 했다.

The Twelve Leaf Landscape Album in Boston : Synthesis and Transformation of Shih-t'ao's Art

Kim,Wondong 대구효성가톨릭 대학교 1983 연구논문집 Vol.27 No.1

石濤는 淸初의 僧侶畵家로 그의 獨創的이며 個性이 强한 畵風은 中國繪畵史上 그 類例가 稀貴할뿐 아니라, 多數의 傑作品이 中國 및 歐美의 美術館에 收藏되어있다. 더구나 畵語錄등 畵論에 관한 斬新하고도 理論整然한 그의 글은 理論家로서 그의 貞越한 面貌를 여실히 보여 荊沼, 郭熙, 董其昌등과 더불어 理論과 技倆을 兼備한 歷代의 大家로 알려져 있다. 本稿에서는 그의 六十二세 때의 晩年作에 속하는 보스톤 山水畵帖이 지니고 있는 問題點으로 畵風과 書法이 다양하고 相異한 점, 畵家의 字號와 印章이 여러가지인 점을 指摘하고, 作品의 眞僞에 대한 判定, 石濤自身의 다른 作品 및 同時代의 다른 畵家등과의 相關關係, 畵帖製作年代의 問題點등을 아울러 檢討하고 있다. 현재 로스안젤스 카운티 美術館에 收藏되어 있는 1694의 年紀가 있는 石濤의 또 다른 山水畵帖 E 帳에 記錄되어 있는 石濤自身이 쓴 다섯가지 畵風 卽 高古, 淸逸, 乾瘦, 林�奇古, 豪放等의 特性과 이와 關聯하여 그가 指摘한 당시 畵家들의 畵風을 보스톤 山水畵帖의 多樣性을 分析하는 方便으로 매우 適切한 것으로 생각하고 이를 樣式分類의 편리한 基準으로 삼았다. 열두장의 山水畵帖 가운데서 第一帳은 淋�, 第三帳은 淸逸, 第九帳은 豪放의 氣風이 강한 것으로 보고, 따라서 이러한 畵風과 관련하여 石濤가 언급한 當代 畵家등이 실제로 어떠한 影響力을 미칠수 있었는지 그 可能性을 圖版의 例를 들어 筆法, 構圖, 畵題 등으로 나누어 설명하고, 이와 관련된 文獻에 남아있는 資料도 함께 소개하고자 했다. 보스톤 畵帖 중에서 第四帳과 第十帳은 다른 畵家의 作風과는 전혀 判異한 石濤자신의 가장 獨創的인 畵風으로 간주되며 나머지 帳들은 다소의 差異는 있지만 대체로 石濤가 평소에 강조해온 乾瘦의 畵風이 支配的이라 본다. 이와 반면에 六十二세경의 晩年作인 보스톤 山水畵帖에서는 다른 화가의 影響力보다는 自由奔放하고 實驗的인 畵家로서 크게 활약했던 1680年代와 1690年代에 石濤가 보여준 지극히 獨創的이고, 實驗的익면서 個性이 강하게 表出된 多樣한 畵風이 醇化되고 中和되는 경향을 관찰할 수 있다. 이러한 점은 스미토모 所藏 黃山八勝을 포함하여 미국인 섹크러씨 소장 山水畵帖등 日本 및 歐美美術館에 현재 所藏되어 있는 石濤의 다른 作品과 筆法, 畵題, 構圖 등에 主眼點을 두고 比較, 對備함으로서 그 變遷過程을 槪觀하고자 했다. 끝으로 1703年이란 製作年代에 관한 問題는 비슷한 時期에 製作된 石濤의 다른 作品과의 樣式上의 比較, 題跋의 書體, 印章 및 字號의 相互比較를 통하여 볼때 1703年이란 第十二帳에 明記된 年代를 畵帖의 製作年代로 별 異議없이 받아들일 수 있다. 전체적으로 가장 현저한 特徵은 一見多樣한 樣式과 畵題에도 불구하고 열두장 山水畵帖에 一關된 그의 穩健하고 調和를 잃지않은 作意가 具體的으로 筆法과 構圖를 통하여 反影되었다는 점이다. 前代大家들에 대한 屈從的인 模倣을 叱?하고 이른바 "無法"의 旗幟를 높이 들었던 中國繪畵史上 類例가 드문 個性的인 作家의 自由奔放한 樣式이 畵家로서의 晩年期에 접어들자 中和 變遷되는 過程을 보스톤美術館에 所藏되어 있는 山水畵帖 이상으로 證言해 주는 石濤으 遺作은 드물다고 할 수 있다.

Writings on Sung Painting

Kim,Wondong 대구효성가톨릭대학교 1990 연구논문집 Vol.41 No.1