조선 후기 회화에 나타난 鶴의 이미지와 표현 양상

朴晶愛(Park Jeongae) 미술사연구회 2012 미술사연구 Vol.- No.26

The crane, with its elegant figure, has been used to convey a variety of images, including that of a sacred bird symbolizing longevity, good fortune and the world of immortals; and that of a hermit or recluse. The crane has appeared in paintings since the Tang Dynasty and was a favorite motif in both court paintings and scholar paintings during the Ming Dynasty. It was during this period that the combination of a pair of cranes and a pine tree or bamboo became standardized as a form. In Korea, ink paintings of cranes created for pleasure gradually became more prevalent in the mid-Joseon period, with most pictures composed of a solitary crane against a background of pine, bamboo or plum. Several famous artists of the time, including Lee Jing (李澄), Lee Sin-heum (李信欽) and Jo Ji-un (趙之耘), also produced crane paintings. The late-Joseon period can be considered a golden age of crane painting, with cranes appearing not only as exclusive subjects but also as auxiliary sources of scenery in various other genres of painting. Demand for crane paintings is believed to have increased from the 18th century onwards, in conjunction with a growing trend for capturing wild cranes and raising them domestically as pets. Crane paintings from this period can be broadly divided into four categories. Pine-and-crane paintings continued the tradition of earlier years while increasing the proportion accounted for by landscape scenery; “Plantain-and-crane” paintings, which borrowed imagery from the Tangshi Huapu (唐詩畵譜, “Paintings of Tang Period Poems”), also appeared occasionally. The historical “story painting” genre is represented by “setting the crane free” (放鶴圖) works, which take as their theme the retirement of Northern Song poet Lin Bu (林逋). When it came to the “poetry painting” form, Tang poet Li Yuan (李遠)’s Shihe (失鶴, “Lost Crane”) was a favorite subject poem. The “sea rocks-and-cranes” genre emerged as a new form, depicting a view onto a seascape featuring coastal rocks and a herd of cranes. The symbolism projected into these crane paintings is complex, but they are striking for their images of Taoist cranes and hermits. Jeong Seon (鄭敾) and Kim Hongdo (金弘道) can be cited as artists who led a trend of extending the realm of the crane painting through mastery of the abundant resources of the painting world of their time. Kim Hong-do interacted with the poets of the Baektap School (白塔詩派), who were unusually interested in cranes. Kim not only left crane pictures of all kinds but even took the lead in creating new forms of his own. He habitually created an original world in his paintings that hovered on the boundary between free style (寫意) and formal resemblance (形似); his crane paintings, too, serve to confirm this talent. The depiction of the crane in such a variety of ways is thought to have occurred not only under the influence of traditional crane images, but also due to the fact that the crane was considered a familiar creature due to the culture of raising it as a pet.

조선후기 華城 경관의 시각화 양상과 華城全圖

박정애(Park, Jeongae) 한국고지도연구학회 2021 한국고지도연구 Vol.13 No.2

華城 건설은 18세기말 정조의 강력한 의지에 따라 당대 조선 사회의 역량이 총동원된 국책사업이었다. 문헌기록과 현전 작품에 의하면, 1794년에 시작된 준비 단계부터 1796년 城役이 마무리된 이후까지 다양한 종류의 시각자료가 제작, 활용되었다. 특히 화성 일대의 경관을 한눈에 조망할 수 있는 ‘華城全圖’가 많이 제작되었다. 그 중 국립중앙박물관에 소장된 <華城全圖> 2점은 각각 6폭과 12폭의 대형 屛風畵이고 회화적 완성도가 높아 관심을 끈다. 두 점 모두 화면에 동쪽에서 서쪽을 향한 시점으로 포착한 화성 내외의 자연적, 인문적 경관이 재현되었다. 6폭 병풍은 1796년 성역을 마친 직후에 제작된 성역소 계병 중 하나일 가능성이 있고, 관변 행사장면이 포함된 12폭 병풍은 남문과 북문 옹성의 누각이 그려져 있지 않아서 1824년 이전에 제작된 것으로 추정된다. 역사상 유례가 드문 大役事의 결과를 시각화한 일련의 ‘화성전도’는 19세기 이후 증가한 지방 城邑圖의 전개에도 영향을 미쳤다. The construction of Hwaseong Fortress was a state-led project that mobilized the full capacity of Joseon society in the late-eighteenth century, spurred on by the strong will of King Jeongjo. Documentary records and extant works indicate that a variety of visual materials was produced and used from the from the fortress’s initial preparatory stage in 1794 to its completion in 1796. A particularly large number of works titled Hwaseong jeondo(paintings of an overall view of the Hwaseong Fortress) was produced, depicting the scenery of the fortress area. Among these, the two Hwaseong jeondo paintings housed in the National Museum of Korea are large scale works, presented on six- and twelve-panel screens, respectively, and notable for the high standard of their painting. Both works show the natural and human-made scenery in and around Hwaseong from an east-west perspective. Hwaseong jeondo works, visual testimony to the outcome of a historically exceptional major building project, also influenced the development of rural eupseongdo (walled town paintings), which proliferated in the nineteenth century.

朝鮮 後期 關西名勝圖 연구

朴晶愛(Park Jeongae) 한국미술사학회 2008 美術史學硏究 Vol.258 No.258

關西名勝圖는 關西地方, 즉 平安道의 명승을 그린 實景山水畵이다. 그동안 실경산수화에 대한 연구가 상당히 진전되었으나 관서명승도는 그다지 주목받지 못했다. 관서 관련 화적은 平壤만을 다룬 작품이 가장 많지만, 이 글에서는 여러 폭이 한 벌을 이루는 조선 후기 관서명승도에 집중하였다. 조선시대 평안도는 중국과의 접경지대로서 군사와 외교 면에서 특히 중요하였다. 또 使臣들의 노정 인근에 분포한 名勝名所는 文學과 美術의 제재가 되었다. 문헌기록을 통해 15세기 후반-16세기 초에는 관서지역의 거점인 평양명승이 알려졌고 이어서 그림으로도 그려졌음이 확인되었다. 16세기 중반 明宗代 이후에는 瀨翁 李楨(1578-1607)의 傳稱作《關西名區帖》처럼 평양 외의 지역도 화폭에 수렴되었다. 金昌翕(1653-1722)의 「關西日記」나 正祖(재위 1776-1800)의 詩「題關西地圖」는 18세기 들어 진경산수화가 유행하면서 관서명승도가 정형화되는 양상과 연관되는 사료이다. 작화대상과 구성, 화풍이 유사한 일군의 관서명승도는 작자미상의 개인 소장 《關西名勝帖》유형으로 분류할 수 있다. 개인 소장 《관서명구첩》과 국립중앙박물관의 《關西十景圖》는 화면의 크기까지 거의 같아서 정형화된 양태를 잘 보여준다. 그리고 영국도서관 소장 《韓中名勝圖帖》과 서울역사박물관의 《關西八景圖帖》은 《관서명구첩》유형이 저변화된 양상을 반영한다. 이 유형에 적용된 양식은 18세기 말 畵員畵風이 대세를 이루는데, 南宗畵法과 함께 地圖와 版畵의 표현법도 파악되며 檀園 金弘道(1745-1806 이후) 화풍의 특징이 두드러진다. 그러나 개인 소장본의 ‘馥軒’이 해명되지 않았고 국립중앙박물관본의 김홍도 인장이 後落으로 의심되어 작자에 대한 최종 판단은 유보할 수 밖에 없다. 다만 화풍과 인장을 토대로 《관서명구첩》유형의 제작시기와 화가를 추론해봄으로써 앞으로의 연구에 실마리로 삼고자 했다. 김홍도는 1789년 冬至使行을 계기로 관서지역을 방문한 바 있다. 또 정조에게 주청하여 김홍도를 자신의 군관자격으로 동행시켰던 湖隱 李性源(1725-1790)은 平安道觀察使를 지낸 적이 있어 당시 관서명승도를 주문했을 개연성이 있다. 《관서십경도》에 찍힌 ‘貞敬夫人申氏’라는 인장이 이성원 부인의 작호와 일치하는 것도 그의 집안과 연계되는 자취이다. 따라서 현재 전하는 작품들을 김홍도가 그렸다고 확단하긴 어렵지만, 18세기 말 김홍도에 의해 정형화된 저본에서 파생했을 가능성은 충분하다고 생각된다. Paintings of scenic spots of Gwanseo (關西名勝圖) depict the scenic beauty of Pyeongan province. Over the past couple of years there has been considerable progress in the study of Korean true-view landscape paintings, but paintings of scenic spots in Gwanseo area have not attracted much attention. Actually, the majority of paintings of scenes from this area illustrate only the views of Pyongyang city, But this author deals with paintings depicted widely the beauty spots of Gwanseo in this article. During the Joseon Dynasty Pyeongan province was bordering with China and it was therefore a very important area from a military and diplomatic viewpoint. Moreover, as envoys of China and Joseon passed through this province, the well-known scenes of beauty which were located on their route became subjects of arts and literature. According to documentary records, some scenic spots in Pyeongyang City were known in the latter half of the 15th century and the early 16th century, and it is known that they were also painted. From the mid-16th century onwards, other scenes from Gwanseo area were also painted, as exemplified in an album titled Album of Famous Spots of Gwanseo (關西名區帖), attributed to Yi Jeong (1578-1607). Writings such as the Dairy of Ganseo (關西日記) by Kim Chang heup (1653-1722) and the Colophon on Gwanseo Map (題關西地圖) by King Jeongjo (r. 1776-1800) helped bring focus to scenic spots in Gwanseo. As a result, when true-view landscape paintings became popular in the 18th century, well-known beauty spots from this area had already become standardized. A number of the paintings of Gwanseo sceneries with similar subject matters, composition and style can be classified as a type of Album of Famous Spots of Gwanseo. The anonymous album now in a private collection, and Ten Scenic Spots of Gwanseo (關西十景圖) kept at the National Museum of Korea are almost identical, even in their size, thus highlighting the standardization of such types of paintings. The Album of Scenic Spots in Korea and China (韓中名勝圖帖) kept at the British Library in London and the Album of Eight Scenic Spots of Gwanseo (關西八景圖帖) housed in the Seoul Museum of History show broad expansion of the genre. The painting style of these albums shows strong characteristics of the style of Southern school painting as well as court paintings of the end of the 18th century, in particular maps and woodblock prints. At the same time we can see characteristics of the painting style of Kim Hong-do (1745-after 1806). The album in the private collection bears a signature of Bokheon (馥軒) though the identity of the painter is still unclear. The painting in the National Museum of Korea bears a seal of Kim Hong-do but it is possible it was added at a later date. We should reserved final judgment on the identities of the painters for these reasons. This author has attempted to find further ways of studying the paintings based on painting styles and seals. Kim Hong-do visited the Gwanseo area through the occasion of an winter solstice embassy to China which took place in 1789. At that time Yi Seong-won (1725-1790) who allowed Kim Hong-do’s participation in that embassy as qualification for his military escort is recorded as having been a provincial governor of Pyeongnan Province. Therefore there is a possibility that he ordered a painting of Gwanseo area at that time. Besides, a seal called "Jeonggyeoingbuin Sinssy" (貞敬夫人申氏) of the Ten Scenic Spots of Gwanseo is identical to the peerage of the wife of Yi Seong-won. Although it is difficult to say that? works handed down to us now were painted by Kim Hong-do, it is possible that these types of works were painted with reference to the paintings of Gwanseo area which were standardized by Kim Hong do during the end of the 18th century.

미술사 교육의 패러다임 변화

박정애(Park, Jeongae) 한국미술사교육학회 2016 美術史學 Vol.- No.31

이 글에서는 담론분석의 방법을 통해 모더니즘과 포스트모더니즘의 사상적 틀 안에서 미술사교육의 교육목표와 교수·학습 방법에 대해 파악하였다. 이를 위해 이 글에서는 과거 모더니즘과 변화된 포스트모던 체계에서의 미술, 미술사, 그리고 인지이론/해석학을 파악하였다. 모더니즘에서의 휴머니즘, 절대성, 그리고 보편성의 가치는 표현주의와 형식주의 미술, 전수로서의 지식, 반영적·의도적 접근의 해석이라는 담론을 만들었고, 그 결과 오브제 중심의 박물관과 미술사교육을 이론화하였다. 이에 비해 포스트모던 사고에서는 문화가 유동적이며 상호작용의 과정으로 이해되는 맥락에서 상대성, 문화중심을 강조하면서 미술은 텍스트, 상호텍스트성으로 정의된다. 그리고 해석은 감상자에 의한 관계적이며 복수적인 것으로서 구성적 접근으로 정의된다. 그 결과 포스트모던 미술사교육은 감상자 편에서의 복수적 해석을 도모하기 위한 감상자중심을 지향한다. 그 교수·학습 방법은 대화중심이다. 또한 교육 목표는 타자와 감상자 사이의 문화의 유사성과 차이성에 대한 이해를 목표로 한다. 따라서 미술사교육은 문화교육 또는 문화 학습의 맥에 있다. This paper uses discourse analysis to explore the pedagogy of art history education within the frame of modernism and postmodernism. It first examines modernist theory and practice of art, art history, and cognitive theory. As humanism, expressionism, and formalism were the main ideas within the theoretical framework of modernism, the discipline of modernist art history education was formed within this philosophy. Object-centered education mainly aims for the transmission of knowledge. In this context, interpretation is defined as reflective and intentive approach that aims to explain the author’s original idea and intent. In contrast, because postmodern art is defined as text, intertextuality, postmodern art history education promotes multiple interpretations on the part of audience. Consequently, the purpose of postmodern art history education is to understand through dialectical dialogue the similarities and differences of cultures between the artworks and the viewer. For this reason, postmodern art history education is viewer-centered, and its pedagogy is dialogue- centered. This leads to enable us to understand culture as fluid and interactive process. Consequently art history education means culture education to understand the world in which we live.

19세기 京華世族의 學藝性向과 實景圖 향유 양상 - 洪奭周와 韓章錫 가문을 중심으로 -

朴晶愛(Park Jeongae) 미술사연구회 2020 미술사연구 Vol.- No.38

The capital-based aristocracy played a leading role in 19th-century Joseon society. Among them, two extended families, the Hong clan of Pungsan and the Han clan of Cheongju, were closely connected by both marital and academic ties. When Han Pil-gyo became the son-in-law of Hong Seok-ju (1774~1842), literati in the newly-connected families began sharing academic and artist tendencies. Han Jang-seok (1832~1894), in particular, was widely recognized as the academic heir of his maternal grandfather, Hong Seok-ju. The large book collection of the three Hong brothers included a variety of contents related to calligraphy and painting. Hong Seok-ju, aware of the utility of calligraphy and painting, used works that he had produced himself as teaching materials. Hong Hyeon-ju, Seok-ju’s younger brother and a son-in-law of the king, was a particularly enthusiastic collector of books, calligraphy, paintings and antiques. The Hong family used Ming and Qing landscape prints for appreciating scenic spots in China, and also owned paintings of Mt. Geumgang, which became fashionable in the 18th century. Han Pil-gyo and his son Jang-seok, who had easy access to the Hong family’s books and artwork collection, were not particularly active as collectors of calligraphic paintings and antique items. Their own art collection was weighted towards paintings of a didactic nature, revealing their conservative tastes in art. But Han Pil-gyo and his son were also leading producers of real scenery landscape paintings related to their official life. Han Pil-gyo created Sukcheon jea-do (宿踐諸衙圖: Illustrations of My Places of Work), a collection of maps and paintings of official buildings in the counties to which he had been posted as an official, while Han Jang-seok produced poetry and painting albums and painted folding screens depicting scenic spots in Pyeongan Province, where he had been posted during his official career. Han Jang-seok also commissioned and produced several pictures of scenic spots in Hamgyeong Province while serving as provincial governor there. Han Pil-gyo and his son perceived real scenery paintings as vehicles for the pastime of wayu (臥遊: armchair sightseeing) and as records for conveying their profile to future generations. 19th-century capital-based aristocrats thus used a variety of visual materials, in addition to painting itself, for appreciating and consuming real scenery images. These included print illustrations in books, and maps. After the 18th century, this recreational trend became established among provincial officials, and literati-officials began using real scenery paintings and maps as personal souvenirs. The families of Hong Seok-ju and Han Jang-seok can be regarded as prominent capital-based aristocrats in the development of this trend.

한국의 아웃사이더 미술가들 - 다양체의 한국 문화 경계 짓기 -

박정애 ( Park Jeongae ) 한국영상미디어협회 예술과미디어학회 2020 예술과 미디어 Vol.19 No.2

이 글에서는 각기 다른 세 가지 양태를 띤 한국 미술가들의 정체성의 형성 과정을 묘사하고 해석하였다. 첫 번째 양태는 국제적 무대에서 활동하기 위해 성인이 되어 한국을 떠난 미술가들로 확인된다. 이들은 뉴욕 미술계라는 타자의 강요에 의해 자신들의 한국적 문화를 재발견하고 있다. 그들이 재발견한 한국성은 어린 시절의 경험에서 유래한 소재를 새로운 현대 미술의 언어로 배치되면서 현대성을 획득한 것이다. 두 번째 양태의 미술가들은 어린 나이에 부모를 따라 한국을 떠난 경우이다. 이러한 두 번째 양태의 미술가들에게 한국에서의 어린 시절의 기억은 혼종적인 작품을 만들게 하는 강도를 지속시키는 기능을 하고 있다. 세 번째 양태는 한국의 영토 밖에서 태어난 미술가들이다. 이러한 양태의 미술가의 한국적 정체성이 특징은 지형적이라기보다는 문화적이다. 이들 세 가지 양태의 미술가들은 그들이 구사하는 한국어의 사용 능력의 차이에 따라 구분이 가능한 것이다. 그럼에도 불구하고 그러한 언어의 차이는 존재가 하나로 남아 있는 반면에 무수히 많은 존재자들이 존재의 형식적 또는 양태적 구분이라는 들뢰즈의 존재의 일의성이다. 이러한 맥락에서 그들은 한국인의 유목적 분배로서의 복수적 양태들로 해석된다. 이들 한국 미술가들은 다른 문화와의 연결접속을 통해 한국 문화의 경계 짓기를 수행하는 아웃사이더의 기능을 한다. 이러한 방법으로 다양체로서의 한국의 국가적 정체성은 동시에 역사와 전통과 관계하면서 시간을 두고 끊임없이 변화한다. This article describes and interprets three different modes of Korean artists’ identities in order to reveal the complex process through which Korean identity is constructed. This research identifies the first mode of artist as one who left Korea as an adult to act on an international art world. The artist’s Koreanness was one rediscovered by dialectical play with the Other. The Korean nature that rediscovered acquired contemporaneity because the artist used subject matter derived from childhood experiences into a new language of contemporary art. The second mode of artist left Korea at a young age due to parents emigrating to other countries. For this second type of artist, the memories of childhood in Korea have the function of sustaining the intensity to make hybrid artworks. The third mode are the artists born outside the territory of Korea. This artist’s Korean identity is culturally, rather than geometrically and politically related. The difference between these modes is confirmed according to their ability to speak Korean language. Because the numerical distinction between beings is a modal, not a real distinction, the three modes of artists are the plural modes of being as the nomadic distributions of Koreans. These Korean artists function as outsiders who carry out the bordering of Korean culture through connection with other cultures. It is a position in relation to a multiplicity. In this way, Korea's national identity as a multiplicity is constantly changing over time while simultaneously relating to history and tradition.

무연솔더용 Sn-Bi-X계 합금의 연구

박정애(jeongae Park),김성진(sungjin Kim),전흥우(heungwoo Jeon),노재승(Jaeseung Roh),조수정(soojeong Jo),이은영(eunyoung Lee),황운희(unhui Hwang),구기영(Gu, youngho Yun),윤영호(youngho Yun) 제어로봇시스템학회 2011 제어로봇시스템학회 합동학술대회 논문집 Vol.1 No.2

본 연구의 전자제품조립용 Pb free 합금개발에서는 지금까지 사용되어오던 Pb-Sn계와 완전히 다른 합금계로 변경하는 것은 아니라 Sn을 베이스로 하고 여기에 Pb 대신에 다른 원소들을 첨가한 합금을 주축으로 개발하고자한다. Sn을 베이스로 하는 이유로는 Sn이외의 다른 원소들은 대부분 융점이 높고 융점이 낮은 Ga, In등은 고가이며 매장량이 적어 충분한 생산성을 갖고 있지 못한 실정이다. 그러므로 Sn의 장점인 1)환경문제를 전혀 일으키지 않는다 2)자원이 아주 풍부하다 3)전기전도도는 Pb 보다 양호하다는 등의 이점을 충분히 활용하고 약간의 단점인 융점이 232 ℃로 약간 높으나 합금화에 의해 해결 가능 할 것으로 예상되며 이에 해당되는 첨가원소로는 Sb, Ag, In, Bi, Cu 등을 소량씩 단독 혹은 복합 첨가하여 Pb계를 대용할 저가의 Sn계 솔더를 개발하고자 한다.

슬관절 전치환술을 위한 신개념 수술 로봇의 작업영역 해석

박수민(Sumin Park),박정애(Jeongae Bak),김홍민(Hongmin Kim),유성근(Soungkeun Yoo),김제혁(Jehyeok Kim),김종원(Jongwon Kim) 대한기계학회 2016 대한기계학회 춘추학술대회 Vol.2016 No.12

다품종 공정 적용을 위한 형상적응 그리퍼의 설계

서용신(Yong-Sin Seo),이재영(Jae-Young Lee),박찬훈(Chanhun Park),박종우(Jongwoo Park),박동일(Dong-Il Park),서현욱(Hyun-Uk Seo),박정애(Jeongae Bak),송성혁(Sung-Hyuk Song) 대한기계학회 2022 대한기계학회 춘추학술대회 Vol.2022 No.5

문어 다리 구조를 모사한 흡입형 그리퍼의 설계

서용신(Yong-Sin Seo),이재영(Jae-Young Lee),박종우(Jongwoo Park),박찬훈(Chanhun Park),한병길(Byung-Kil Han),박정애(Jeongae Bak),유고 로드리그(Hugo Rodrigue),송성혁(Sung-Hyuk Song) 대한기계학회 2021 대한기계학회 춘추학술대회 Vol.2021 No.11

The suction gripper is popular gripper type in the industrial field due to its simple gripping mechanism. It has an advantage on the gripping flat-shaped object so it is mostly used to transfer the box or plastic bag. However, the general suction gripper has limitation on the gripping complex-shaped object, so it is difficult to extend the gripper to various field. Therefore, we develop the multi-purpose suction gripper to grip complex-shaped gripper by mimicking the structure of the octopus’s leg. Similar to the octopus’s leg, the developing soft suction gripper can adapt various shape of object then realize high gripping force. In this paper, we propose the design of soft suction gripper.