17-19세기 한국화가의 중국 도시 인식과 그 표현

朴孝銀 ( Park Hyo-eun ) 명청사학회 2016 명청사연구 Vol.0 No.46

This study examines how urbanism is represented in paintings by investigating the urban landscapes of Chinese cities executed by Joseon-era painters. The primary and secondary capital cities of Ming and Qing, namely Beijing and Nanjing, were depicted as the imperial cities and capitals of politics, economy, and culture, in Joseon paintings of the seventeenth to nineteenth centuries. Following the production practice of documentary paintings, Joseon court painters of Dohwaseo (government office of painting) were dispatched to China and painted the Chinese imperial cities. Examples of these include urban landscapes featured in the paintings of Sea Passage to Ming (航海朝天圖, 1624), Sites of Shenyang (瀋陽館圖帖, 1761), Travelling to China (中國紀行帖, 1784), Joseon Envoys to Beijing (燕行圖, 1790?), and Sketching Albums of Yi Sinwon (李信園寫生帖, 1812). Their dominant impressions of the cities portrayed in the paintings feature palaces and government buildings within the fortified grand city walls and gates, organized streets, bridges, and paifang gateways, among others. Beijing, the capital of Ming and Qing, where the Joseon envoys continuously visited, were filled with imperial buildings, and Confucian, Buddhist, and Taoist architectural monuments. In addition, the capital was a complex city with much to explore and newly determine on the famous sites, and booming with new interest in developing into a commercial society at the same time. On the other hand, Nanjing, the southern metropolis, where the late-Joseon envoys had never visited, was envisioned as a capital of the early Ming Dynasty through the images of different media such as woodblock prints and scroll paintings. In the painting of Joseon Envoys Departing China (送朝天客歸國詩章圖), attributed to the post-seventeenth century era, Nanjing is portrayed as the stage where descendants of former visitors to the imperial capital were provided with an opportunity to claim their social positions and the justification for being loyal to the Ming Dynasty (崇明事大). Additionally, it is extremely interesting that the eight-fold screen titled The City of Supreme Peace (太平城市圖), attributed to the last decade of the eighteenth century or the early-nineteenth century, shows an idealized dynastic urbanism. It was painted referring to other sources of media depicting the prosperity of commercialism of Beijing, Nanjing, Kaifeng, or Suzhou, and represents a virtual space where figures clad in Tang, Song, or Ming style costumes inside the Qing-style buildings sometimes used the Joseon-style objects. Chinese cities had thus been the subject of Korean painters’ documentary paintings and eventually later became the background of urban genre paintings in the process. I believe that studying such representations of capital cities will lead to closer scrutiny of the dynastic urbanism of the seventeenth and nineteenth centuries where multiple facets coexisted in East Asia.

긍정적, 부정적 쇼핑감정이 쇼핑가치와 인터넷 의류 쇼핑사이트 접근행동에 미치는 영향

박효은(Park Hyo-Eun),여은아(Yoh Eunah) 한국유통학회 2010 流通硏究 Vol.15 No.2

본 연구에서는 인터넷 쇼핑 사이트를 이용하여 의류 구매시 느끼는 긍정적, 부정적 감정이 쾌락적, 실용적 가치지각에 미치는 영향과, 이러한 쾌락적, 실용적 가치지각이 점포접근 행동에 미치는 영향관계를 연구하였다. 이 연구를 위하여 Babin and Attaway가 오프라인 쇼핑 사이트 연구에 활용한 연구모형을 인터넷 쇼핑상황에 적용하여 연구모형을 제시하고 실험자료를 통하여 검증하였다. 인터넷 쇼핑몰을 통해 의류상품을 쇼핑하는 과업을 수행하고 제시된 설문 문항에 응답하도록 하는 실험을 실시하여 278명의 결과가 통계분석에 이용되었으며 탐색적/확인적 요인분석과 Amos 6.0을 활용한 구조방정식 모형 검증을 실시하였다. 구조방정식 모형검증 결과 인터넷 의류 쇼핑 사이트에 대해 부정적인 감정을 많이 느낄수록 사이트에 대한 쾌락적, 실용적 가치지각이 낮았으며, 긍정적인 감정을 많이 느낄수록 사이트에 대한 쾌락적, 실용적 가치지각이 높았다. 이렇게 지각된 인터넷 의류쇼핑 사이트의 쾌락적, 실용적 가치는 태도에 긍정적인 영향을 미치나, 재방문의도에는 실용적 가치만이 긍정적인 영향을 미쳤다. 본 연구결과를 바탕으로 이론적, 실무적 시사점들이 제시되었다. In this study, it is explored whether positive and negative emotions affected hedonic and utilitarian values experienced while shopping apparel in the Internet. In addition, the effect of hedonic and utilitarian shopping values on store approach behaviors was explored. For this study, Babin and Attaway's research model that was used for off-line shopping malls was adopted to investigate the relationships among research variables. Data obtained through experiments with 278 female college students were submitted for an analysis. Exploratory and confirmatory factor analysis and structural equation modeling with AMOS 6.0 were used to analyze data. Based on the model test, negative emotions negatively affected hedonic and utilitarian shopping value perception while positive emotions positively affected hedonic and utilitarian shopping value perception for the Internet apparel shopping site. Hedonic and utilitarian shopping values positively influenced attitude toward the Internet shopping site while only utilitarian shopping value affected revisiting Internet apparel shopping site. Managerial and academic implications were generated based on results.

3D 가상현실을 활용한 건축물 가변성에 따른 가상현실 구축에 관한 연구

박효은(Park, Hyo-Eun),박지영(Park, Ji-Young) 대한건축학회 2015 대한건축학회 학술발표대회 논문집 Vol.2015 No.-

시간의 틈새

박효은(Park, Hyo-eun) 숭실대학교 한국문학과예술연구소 2017 한국문학과 예술 Vol.21 No.-

본고는 명·청대 중국과 조선시대 한국에서 그려진 설경화의 공통되는 주제적 단층을 검토해 이전의 회화전통을 의식한 復古主義와 唐代 畵家 王維와의 연합이 16-18세기 설경화 제작의 주된 배경이었음을 밝힌 것이다. 19세기 화첩인 <畵苑別集>에는 조선 초기와 중기, 후기의 설경화 5폭이 수록되어 있는데, 각각은 경관재현적 범주, 서사적 범주, 방고적 범주를 포괄하는 주제적 단층에 속한다. 당 이후 수묵화 전개의 흐름을 의식한 復古主義는 그 단층의 분화에 기여했고, 16세기 강남에서 부상해 17-18세기 동아시아 전체로 확대된 사회문화적 조류는 한 · 중 · 일 모두에 그 단층이 공유되는데 기여했다. 그 결과 주제 · 화풍 · 화법의 기원 모두 중국에 있던 <화원별집>내 설경화 5폭이 조선화가에 의해 그려져 한국회화 전통의 일부가 되었다. 한편 그런 설경화 각 폭의 주제와 의미, 표현적 기원에서 발견되는 ‘당대 화가 왕유’는 원 · 명 · 청대 설경 표현의 기법 · 도상 · 방식의 비약적 발전을 자극했고, 인간의 사고와 의지와 감정을 표출하는 장으로 회화의 표현가능성을 확장시키는데 기여했다. 그러한 왕유 인식이 역사적 사실이기보다 蘇軾을 중심으로 한 북송 문인이나 명대 서위 · 문징명 · 동기창 · 석도 같은 이들의 詩的 · 禪的 발상과 文人的 現想 추구의 결과인 점, 그 창의적인 회화 주변에 상인집단, 특히 휘상이 자리잡고 있는 점은 매우 흥미로운 현상이다. 본고는 회화작품이 기후나 환경의 반영이기보다 정치 · 경제와 같은 인간활동에 의해 조성된 사회문화적 시간의 구조에서 파생된 인문학적 산물이라 보았다. 그 구조는 대항해시대 유럽-동아시아의 도시 간 연결과 도시문화의 상호교류가 회화에 미친 작용력을 설명하거나 겨울이 배경인 회화를 애호한 개인의 성향을 부각시킬 이론적 근거가 될 수 있다. 그것은 다양한 접근과 사례 분석으로 신중히 탐색되고 검토돼야 할 상이한 단층의 합인 것이다.

가변성 중심의 국외 오픈하우징 계획 요소

박효은(Park, Hyo-Eun),박지영(Park, Ji-Young) 대한건축학회 2016 대한건축학회 학술발표대회 논문집 Vol.36 No.2

손발톱거침증 환자에서 경구 알리트레티노인의 치료 효과

박효은 ( Hyo Eun Park ),유승아 ( Seung Ah Yoo ),박현정 ( Hyun Jeong Park ),김미리 ( Miri Kim ) 대한피부과학회 2020 대한피부과학회지 Vol.58 No.5

Background: Trachyonychia is a condition characterized by longitudinal ridging, pitting, and roughness of the nail surface. It tends to be resistant to various treatment modalities, often leading to a clinically unsatisfactory outcome. Alitretinoin (9-cis-retinoic acid; Alitoc Capsule) is approved for patients with severe chronic hand eczema and has been shown to be effective for other skin diseases. However, only few studies have demonstrated the efficacy of oral alitretinoin for the treatment of trachyonychia. Objective: We aimed to evaluate the efficacy and safety of oral alitretinoin therapy for the treatment of trachyonychia. Methods: We reviewed the medical records and clinical photographs of patients with trachyonychia who were treated with oral alitretinoin therapy between January 2016 and December 2019 in the Department of Dermatology of Yeouido St. Mary’s Hospital. Photographs of the lesions were taken and evaluated at 0, 1, 3, 6, and 12 months. The severity of trachyonychia was assessed into 5 grades according to the roughness of the nail and the distribution of affected areas. Results: Thirty patients (male: 12, female: 18) with a mean age of 51.5±11.1 years were included in the study. After treatment with oral alitretinoin at a dosage of 10∼30 mg/day, the severity of trachyonychia tended to decrease as the number of treatment sessions increased. The mean treatment duration was 6.9±4.1 months. The therapeutic effects were as follows. After 3 months of treatment, 88.0% of the patients showed partial remission, and all the patients showed improvement after >6 months of treatment. After 12 months of treatment, 20.0% of the patients achieved complete remission. Conclusion: Oral alitretinoin therapy may be an effective and safe treatment option for trachyonychia. (Korean J Dermatol 2020;58(5):299∼304)

금강산의 디지털 재현, 메타버스 가능성

박효은(Park, Hyo-eun) 한국미술사교육학회 2023 美術史學 Vol.- No.45

이 글은 한국미술사의 주요 연구대상인 금강산을 21세기의 대표적인 디지털콘텐츠로 설정하여 새로운 메타버스 개발가능성을 모색하고자 한 것이다. 우선 디지털콘텐츠 산업 발전의 역사적 맥락에서 메타버스의 의미를 살펴본 후, 금강산의 디지털콘텐츠화 양상을 디지털데이터 축적과 디지털화된 전시콘텐츠로 나누어 소개하고, 실현가능한 금강산 메타버스의 면모를 검토해 보고자 한다. 이러한 작업을 통하여 메타버스를 활용한 전시기획과 교육에 대한 관심이 급증한 최근의 추세에 부응하고자 한다. 메타버스는 증강현실, 일상기록, 거울세계, 가상세계가 모두 통합된 ‘웹 기반 사용자 참여 3D 디지털세계’이다. “가상 같은 현실세계”와 “현실 같은 가상공간”의 융복합 범주를 뜻하는 메타버스는 VR·AR·MR·XR을 비롯해 인공지능, 빅데이터, 사물인터넷, NFT 등 최첨단 정보통신기술의 총합을 이루며, 1980-90년대 이래의 전산화, 2000년대 이래의 디지털화에 이어 디지털 대전환의 시기에 접어든 최근에 디지털콘텐츠 산업의 새 장을 이끌고 있다. 따라서 금강산 메타버스의 청사진을 그려보고자 한 이 글의 시도는 디지털 대전환 시기에 적합한 제안이라 할 수 있다. 조선시대 문화예술과 국가문화유산에 대한 정보가 단기간에 전산화, 디지털화된 데는 2000년대를 통한 국가지원 연구과제나 국가기관의 정책적 사업수행이 크게 기여하였다. 그중에서도 금강산 관동팔경을 브랜드로 내세운 국립춘천박물관은 연구조사, 전시기획, 온라인전시관으로 디지털 금강산의 내용을 채우면서 한국의 역사와 문화에서 금강산이 갖는 의미를 소개해왔다. 기초자료를 전산화하고, 그 데이터를 전시를 통해 시각화하며, 그 결과를 온라인전시관에 아카이빙해 누리집 자체를 플랫폼화한 일련의 사업수행은 거울세계 메타버스에 근접하는 효과를 낳았다. 더불어 전시에 대한 관람객의 이해와 참여를 높이고자 한 전시기법과 전시마케팅은 증강현실, 일상기록의 메타버스와도 통하는 것이었다. 관람객 참여와 개인화된 관람경험을 제공하고자 한 전시기획이 디지털콘텐츠 산업의 발전과 만남으로써 자연스럽게 메타버스에 가까워지고 있었던 것이다. 이와 같은 그간의 동향에서 더 나아가, 이 글은 전시콘텐츠로서 디지털금강산의 대부분이 영상이고, 전시보조영상과 실감영상 모두가 CG에 기반해 21세기적 형상화를 낳았다는 점에 착안해 새로운 금강산 메타버스를 구상해보았다. 국립박물관의 다수 동시체험형 실감콘텐츠 상영관에서 볼 수 있는 실감영상에 구현된 몰입도 높은 3D 가상세계는 금강산 메타버스의 배경경관으로 삼기에 충분하다. 여기에 거울세계 금강산과 옛그림의 재현방식을 연결해 새로운 3D 경관 제작을 모색하고, 이를 VR·AR·MR·XR을 활용한 3D 디지털문화유산 기술과 결합하여 옛그림 속 개별명소와 유형문화유산을 복원하는 방안을 제안해보았다. 그중에는 아바타의 금강산 유람과 금강산도 감상 및 관련 정보 검색 등 사용자 참여와 소통을 꾀하는 부분이 포함되어 있다. 전반적으로 웹상에 3D 기반의 금강산 메타버스를 구현한다는 발상이 기술적으로 충분히 가능함을 확인할 수 있었다. 이상의 고찰에 기반해 17-18세기 동아시아 회화사에서 중국의 황산, 일본의 후지산과 유사하게 기능한 금강산의 위상을 되찾고 북한과 안전하게 협력할 돌파구이자 통일한국의 평화적인 교두보로 기능하게 될 금강산 메타버스 조성을 제안한다. 풍부하게 연구된 디지털금강산에 기반하는 21세기 디지털콘텐츠로서의 금강산 메타버스는 북한과 공동으로 유네스코 세계유산의 문화유산에 금강산을 등재하는 데에 크게 기여할 수 있을 것이다. This paper explores the Metaverse developmental possibilities of Geumgangsan Mountain – a major research subject in Korean Art History – as representative 21st century digital content. After exploring the meaning of the Metaverse from the developmental history of the digital content industry, Geumgangsan Mountain’s digital content aspects will be addressed in terms of its digital data accumulation and digitized exhibit contents. Then, the aspects of Geumgangsan Mountain that can be materialized in the Metaverse will be examined to meet today’s rapidly increasing interest in Metaverse-inclusive exhibition planning and education. Metaverse is a convergent 3D cyber-world in which web users participate in four different categories: augmented reality, life logging, mirror worlds, and virtual worlds. It is an integrated category for virtually enhanced physical reality and physically persistent virtual spaces, which can also be said to be a collection of cutting-edge advances in information and communication technologies including VR, AR, MR, and XR, as well as Artificial Intelligence, Big Data, Internet of Things, and NFT, etc. After the beginning of computerization in the 1980s and 1990s and digitalization in the 2000s, recently, the Metaverse is leading the way for the modern digital content industry and the digital transition trend. It can thus be said that this paper’s intent to draft a blueprint for the Geumgangsan Metaverse is appropriate for the ongoing digital transformation era. The computerization and digitalization of Joseon Dynasty cultural art and national heritages in such a short time is in no small part due to the substantial contributions of government supported research and governmental institutional policies. For instance, the Chuncheon National Museum established the digitization of the brand of Geumgangsan Mountain and The Eight Scenic Sites of Gwandong with the purpose of embodying a wide collection of research, exhibition planning, and online exhibitions detailing the meaning of Geumgangsan Mountain in Korean culture and history in a digital format. This series of base data computerization, data visualization through exhibitions, and archiving these results through an online exhibition hall generated a platform-like cyberspace of the museum’s website itself, which had an effect of nearly actualizing a mirror world Metaverse. Additionally, the exhibition marketing and display techniques used to increase exhibition visitors’ understanding and participation were found to be in near concordance with the augmented reality and life-logging aspects of the Metaverse, as well. The personalized exhibition experience and visitor participation intentions of the exhibition planning were a hand-in-hand development of the digital content industry and enabled one more step to be taken toward a natural manifestation of the Metaverse. As an extension of those same efforts, this paper attempted to establish a new Geumgangsan Metaverse. The majority of Geumgangsan Mountain’s digital content was in video form, and CG-based exhibition auxiliary imaging and immersive digital video were also created to capture a more modern, 21st century atmosphere. These digital videos on display at national museums’ immersive content experience theaters are sufficient to become a background for the Geumgangsan Metaverse. Then, a combination of a Mirror World rendition of Geumgangsan Mountain and depictions of the mountain in old paintings was added to these videos, and this was combined with 3D digital cultural heritage technology, including VR, AR, MR, and XR, to suggest a possible way of restoring attractions and tangible cultural assets seen in old paintings. Also included are aspects designed to entice user participation and communication, including sightseeing of Geumgangsan Mountain, viewings of paintings of the mountain, and access to related information search features from the perspective of the avatar. Overall, it can be co

가변성을 고려한 1인 가구 거주실태 및 요구도

박효은(Park, Hyo-Eun) 한국주거학회 2017 한국주거학회 학술대회논문집 Vol.29 No.1

청년 1인 가구의 특성을 고려한 모바일 기반 가구 공유 방법

박효은(Park, Hyo-Eun),이상홍(Lee, Sang-Hong) 한국주거학회 2019 한국주거학회 학술대회논문집 Vol.31 No.1

18세기 朝鮮 文人들의 繪畵蒐集活動과 畵壇

朴孝銀(Park Hyo-eun) 한국미술사학회 2002 美術史學硏究 Vol.- No.233·234

The trend of collecting and appreciating antique and beautiful artifacts was prevalent amongst the literary men of Seoul-Gyeonggi areas in the 18th century Joseon, and this resulted in the appearance of a lot of individual collectors, They included a wide range of gentlemen from noble families to middle class families who shared a consciousness of literati, Many studies have been conducted about it as they were influential to their contemporary painters as patrons. However, there is no explanation as to how they patronized the painters. This study traces and presents the collector' s painting collections and examines their collecting methods in order to investigate the relationship between collectors and painters. Based upon it, this paper also examines how the 'great collectors of the 18th century' namely Yi Byeong-yeon (李秉淵), Yi Ha-gon (李夏坤), Kim Gwang-su (金光遂), and Kim Gwang-guk (金光國) patronized the contemporary painters through their collecting activities. This will further the investigation of characters of the collectors as patrons and see their influence on painters and their works in the 18th century in details. Collectors from the gentry literary men had some aspects in common: they were members of noble families which had established the physical grounds for political, economical and social development since Seonjo (宣祖)' s reign: landowners whose ancestors held posts of high ranking central government officials in the 17th century: elite literary men who were brought up in the environment where they had easier access to the products of Chinese culture. Many of them, however. pursued the recluse life style and gave up successful official careers. They enthusiastically practiced collecting, appreciating and criticizing beautiful artifacts in private sectors such as sarangbang, gentlemen's studies and poetry gatherings. It was considered the ideal path of a literati' s life and was regarded as the elegant way towards valuable friendships. The middle class literary men who took part in the above circles shared the taste of the gentry literary men and eventually identified themselves as the successors of Joseon literati culture. This consequently produced collectors from the class. Kim Gwang-guk was a medical official from the family who practiced medicine for generations and became an outstanding collector whose wealth was accumulated through his career as well as trade activities in China. The painting collections of the literati collectors in the 18th century mostly consisted of old and modem paintings from Korea and China. However, Japanese and Western paintings were sometimes found as well (see table 1-4). Literati men and painters observed the ample collection of Chinese paintings from Tang to Qing dynasties, and they were attracted to the works of the great masters of Southern School such as Tung Yuan (董源), Mi Fu (米?), Huang Kung-wang (黃公望), Ni Tsan (倪瓚), Shen Chou (沈周) , Wen Cheng-ming (文徵明), and Tung Ch' i-ch' ang (董其昌). It was also possible to enjoy the works of Nanking school, Anhui school. Orthodox school, and Individualist school in the late Ming and early Qing. It is believed that these Chinese paintings played a significant role in the painters' understanding of Chinese literary painting style along with that of all sorts of wood block prints. This at the same time initiated the painters to deal with various subject matter than they did before. On the other hand, Kim Gwang-guk mainly collected Joseon paintings and compiled them into a set of album, Seoknonghwawon (石農畵苑). Although the album has been divided and scattered, it still maintains the systematic form of the three perfections-prosaic writing, calligraphy and painting. This unique, completed form of the album which he intended for suggests that he was a genuine collector and an enlightened conservationist. Such paintings came into the hands of collectors through either inheritance in the family or purchase or commission in the 18t