오지호 <남향집> 제작연도에 관한 실증적 연구

오병희(Oh Byung hee) 한국조형디자인학회 2017 조형디자인연구 Vol.20 No.2

<남향집>은 1930년대에 한국의 자연에 바탕을 둔 한국적 인상주의의 완성한 오지호의 대표작이다. 그리고 <남향집>은 오지호가 1935년부터 1944년까지 거주했던 개성 초당집의 사랑채와 앞뜰의 대추나무를 그린 작품으로 등록문화재로 지정되어 있다. 본 연구는 <남향집>이 1947년경 제작되고 1960년대 후반에 제작되거나 보필되었다는 연구에 관해 반론을 제시하였다. 각종 문헌과 아카이브 자료, 보고서를 근거로 <남향집>이 1939년 빛을 바탕으로 한국인의 정서를 담아 그린 근대미술작품임을 증명하였다. 또한 1948년 오지호 개인전에 사양(斜陽, 25호)으로 출품된 <남향집>에 관한 오지호의 작품 설명을 분석하여 작품을 제작한 계절과 시간, 작품 속 소녀에 관해 밝혀보았다. 이러한 연구를 통해 <남향집>이 1947년경 제작되고 1960년대 후반 재제작되었다는 주장에 대한 반증으로 작품에 대한 사실을 밝혀 보고자 하였다. 먼저 <남향집>이 일제강점기 개성 초당집 사진의 구도, 기물 등과 일치하지 않다는 주장에 관해 개성집 초당집 사진과 <남향집> 작품을 유족의 증언을 토대로 비교․분석하여 일치함을 증명하였다. 그리고 <남향집>의 소재가 전남 화순 동복의 오지호집이라는 주장에 대해 오지호 동복집은 기와집으로 기와집을 초가집으로 바꾸어 <남향집>을 그릴 수 없다는 근거를 제시하였다. 보존상태가 양호하여 해방 후 재제작 되었다거나 앞, 뒷면이 달라 보필하였다는 주장에 대해 1948년 오지호 개인전을 도운 김은수의 회상의 글을 근거로 당시 개성시기 현존하는 작품이 완벽한 상태였으며 1955년 오지호가 목조로 지은 작품 친화적인 오지호 화실을 통해 반증하였다. 그리고 국립현대미술관에서 2008년 오지호 작품 27점을 과학적 분석한 자료를 토대로 해방 후에 오지호가 작품을 덧칠하거나 재제작 했을 가능성이 희박함을 밝혔다. 본 연구의 <남향집>의 제작시기, 재료분석, 작품분석을 통해 한국적 인상주의를 완성한 오지호와 <남향집>에 관해 정당한 평가를 받을 수 있을 것이다. South Facing House is considered a seminal work by Oh Ji-ho who works in a kind of Korean-style Impressionism based on Korean nature. This painting features Sarangchae, a detached building of a residence used as a reception room for male guests, and a jujube tree in Chodangjip in Gaeseong where Oh resided from 1935 to 1944. This residence has been designated as a registered cultural property. This study raises an objection to an assertion that South Facing House was painted and complemented in 1947 or in the late 1960s. This study has verified that this work is a modern artwork painted in 1939 on the basis of literature, archived materials, and survey reports. It has also tried to elucidate the season and time of this painting and the girl appearing in this work based on the description of South Facing House that was on show at Oh’s 1948 solo exhibition under the title The Declining Sun. This has also verified the assertion that this work was not painted after Korea’s liberation from Japanese colonial rule. First of all, it has been proved that the setting of furniture and house hold items in South Facing House matches up with that of the photograph featuring Chodangjip through a comparative analysis on the basis of the bereaved family’s testimony. As to the assertion that South Facing House is a depiction of Oh’s house in Dongbok, Hwasoon, Jeonnam, this study provides evidence that the that thatched-roof house in South Facing House could not have been painted from the roof-tiled house in Dongbok. It has also proved its opposition against the assertion that this work was produced after liberation in consideration of its preservation and material, based on an essay by Kim Eun-soo who assisted at Oh’s 1948 solo exhibition. This study has revealed that the possibility of this work being repainted or reproduced by Oh after liberation is extremely low based on the materials of 27 pieces which the National Museum of Modern and Contemporary Art, Korea scientifically analyzed. A reasonable evaluation of Oh Ji-ho s Korean-style impressionism and his work South Facing House can be made through an analysis of the production period and materials.

커넥티드 자율주행 미래 자동차의 HMI 트렌드와 아젠다

오병희(Byung Hee Oh) 한국자동차공학회 2018 오토저널 Vol.40 No.12

승모판 협착증 환자에서 이중풍선도자법을 이용한 경피적 풍선판막성형술

오병희(Byung Hee Oh),현민수(Min Su Hyon),김명아(Myung A Kim),김덕경(Duk Kyung Kim),손대원(Da Won Sohn),이명묵(Myoung Mook Lee),박영배(Young Bae Park),박재형(Jae Hyung Park),최윤식(Yun Shik Choi),서정돈(Jung Don Seo),이영우(Young Woo 대한내과학회 1989 대한내과학회지 Vol.37 No.6

N/A Percutaneous mitral valvuloplasty (PMU) with a double balloon technique was performed in 41 patients with moderate to severe mitral stenosis from September 1988 to April 1989. Magnetic resonance imaging (MRI) as well as echocardiographic examination was performed before PMV in all the patients with atrial fibrillation and in most cases with sinus rhythm in order to detect left atrial thrombi. There were 31 women and 10 men with a mean age of 37 years (range:17 to 71 years). Successful PMV (mitral valve area > 1.0 cm², increase in mitral valve area>25%, and mean diastolic mitral pressure gradient<10mmHg) was performed in 39 patients (95.1%). Causes of unsuccessful PMV were hemopericardium not requiring drainage and ineffective dilatation despite an uneventful procedure, PMV resulted in increased mitral valve area (1.07±0.33 vs. 2.40±0.85 cm², p<0.001) and decreased mean left atrial pressure (24.0±8.2 vs. 7.3±3.1mmHg, p<0.001), mean diastolic mitral pressure gradient (21.8±7.2 vs. 5.7±2.5mmHg, p<0.001), and mean pulmonary arterial pressure (39.3±17.9 vs. 18.5±9.3mmHg, p<0.001), New or increased mitral regurgitation was noticed in 10 patients (24.4%) on contrast left ventriculography after PMV. Major complications such as death, cardiac tamponade requiring drainage, severe mitral regurgitation over III/IV and systemic embolism have not developed in our cases. Therefore, percutaneous mitral valvuloplasty using a double balloon technique seems to be a safe and effective method of treatment in selected patients with symptomatic mitral stemosis.

도시 하천의 자정능력향상을 위한 수리학적 특성 연구

오병희(Oh Byung Hee),박성천(Park Sung Chun),김용구(Kim Yong Gu) 대한토목학회 2002 대한토목학회 학술대회 Vol.2002 No.11

근현대 남도 남종화의 유교미학적 요소에 관한 연구

오병희(Oh Byung hee) 한국조형디자인학회 2017 조형디자인연구 Vol.20 No.1

남종화는 동아시아 사상과 정신을 담은 작품으로 남도는 조선후기 이후 남종화 전통이 현재까지 계승ㆍ전개된 지역이다. 근현대 화단에서 허백련은 한국 남종화의 맥을 계승하였으며 단아하고 깊이있는 운필을 통해 남종화를 법고창신하였다. 또한 허백련의 제자들은 남종화의 정신과 기법을 바탕으로 사경산수와 채색을 통해 남도 남종화를 새롭게 전개해 나간다. 본 연구는 근현대 허백련과 제자들이 사의를 추구한 남종화와 삶과 실경을 도입하여 그린 남종화를 연구하는데 성리학과 양명학 등 유교철학으로 작품을 연구하였다. 남도 남종화를 유교철학으로 살펴보면 순수하고 완벽한 이(理)를 추구한 사의와 인품을 추구한 남종화가 있으며, 남종화를 근본으로 남도의 풍경과 정감을넣어 그린 남종화가 있다. 또한 실경과 사람들의 삶을 소재로 한 사경산수는 양명학의 자아의식과 개성을 강조한 작품으로 조선후기 진경산수와 연관된다. 근현대 남종화의 보편적인 정신을 근간으로 풍경과 정서를 담은 작품은 남도만이 가진 독창적인 양식이다. 또한 남도 사경산수는 산과 나무, 물 등 실경에 대한 느낌과 감성을 표현한 개성 있는 작품이다. 이와 같이 남도의 남종화가들은 남종화의 기법과 정신을 바탕으로 남도의 실경과 정서를 담은 개성적인 작품을 그렸다. Southern School Painting, or namjong-hwa, has captured East Asia s spirit and philosophy; and its tradition has continued since the late Chosun era to this day, in Jeollanam-do Province. Heo Baek-ryeon succeeded the lineage of Korea s Southern School of Painting, profoundly innovating the Southern School s style through graceful and exquisite brush strokes. Also, Heo s disciples introduced fully imagined landscapes and colors into Jeollanam-do namjong-hwa while preserving the style s spirit and techniques. Through Confucian philosophy, including Neo-Confucianism; this study examines the namjong-hwa of Heo Baek-ryeon and his disciples, who pursued an original spirit, and Southern School Painting representing life and actual, or true view, landscapes. The Southern School of Namdo painting is classified into two types based on these Oriental philosophies: Namjonghwa seeking perfect, pure “I” (이, 理)(Chinese “li”) as the foundational forces of the universe, saui (사의, 寫意)(expressing the meaning of painting or the spirit of a painter) and personality, and Namjonghwa featuring Namdo’s scenery and emotion. Real-view landscape painting addressing actual landscapes and aspects of actual quotidian life are associated with true-view landscape paintings of the late Joseon Dynasty representing national self-consciousness. Works that feature landscapes and emotions, based on the universal spirit of modern and contemporary Southern School of painting are ingenious paintings unique to Namdo. Also, Namdo’s true-view landscape paintings are distinctive works representing feelings and emotions of realistic landscapes with mountains, trees, stones, and water. Works by Jeollanam-do s namjong-hwa painters embodying local sentiments and representing Jeollanam-do s landscapes painted from life, following the artists complete mastery of Southern School Painting techniques and spirit, require critical evaluation.

우리 나라 농어촌지역 성인의 고혈압 유병률

오병희(Byung Hee Oh),김창엽(Chang Yup Kim),이건세(Kun Sei Lee),강영호(Young Ho Khang),이영조(Young Jo Lee),강위창(Wee Chang Kang) 대한내과학회 1999 대한내과학회지 Vol.56 No.3

N/A Objectives : To establish prevalence of hypertension in rural area of Korea, we surveyed adult residents older than 30 years, based on the recommendation and classification of JNC-5(Joint National Committee on Detection, Evaluation, and Treatment of High Blood Pressure). Methods : From December 1996 to February 1997, we studied 4,209 persons in 41 rural areas purposely sampled nationwide. Blood pressure was checked twice at the time of the first visit and again checked twice after one week later for the person fell under hypertension criteria at the first visit. Persons fell under hypertension criteria at the first visit without second visit for recheck were categorized as suspected hypertension. For the suspected hypertension, we predicted whether fell under criteria by logistic regression model. Results : 1) The distributions of blood pressures show unimodal curve, skewed to the right. The peaks of the systolic blood pressure was between 120∼129㎜Hg, tending to move to the right for the age of 50-and-over in male, 70-and-over in female. But peaks of the diastolic blood pressure were consistent between 80∼84㎜Hg in both sexes. The distributions of blood pressures for male were slightly deviated to the right compared with those of the female. 2) The crude prevalence rate of hypertension, defined as systolic blood pressure ≥140㎜Hg or diastolic blood pressure ≥90㎜Hg or taking anti-hypertensive medication, was 25.94%. And the prevalence rate of suspected hypertension was 5.54%. Through the logistic regression model, the prevalence of hypertension was estimated as 29.94%. Age-sex-adjusted prevalence rate for the rural area-Myon regions- was 25.94%, if adjusted to the age-sex composition of the 1995 national census population. 3) Prevalence rate was 27.76% in male and 30.03% in female, if adjusted to the age-sex composition of the base population of this study. Prevalence rate progressively increased with age, higher in men than women before about age 60. 4) Prevalence rates among eight Provinces(Do) was different. Unadjusted rates for Kyonggi Province was 24.74%, and rates for Chonnam Province was 34.18%. But there was no significant differences of the prevalence rate between inland and seaside. 5) By logistic regression model, 65.39% of stage 1 hypertension and 75.51% of stage 2 hypertension at the first visit were estimated as to be included in hypertension criteria. 6) By the JNC-5 classification, only 22.33% of the patients taking anti-hypertensive medication was being controlled. Conclusion : The prevalence rate of hypertension by classification of JNC-5 at rural area was 25.94%. We could not find significant differences of prevalence rate between inland and seaside. Follow-up measurement of blood pressures will be needed to establish more valid prevalence rates of hypertension.

광주화단의 모더니즘 추상미술 전개에 관한 연구

오병희 ( Oh Byung Hee ) 한국기초조형학회 2017 기초조형학연구 Vol.18 No.1

본 연구의 목적은 광주의 모더니즘 추상회화의 흐름을 통해 광주에서 앵포르멜 추상이 시작되었으며 1960년대 이후 추상 모더니즘을 지향한 독창적인 예술가들이 다양한 양식의 작품을 창작한 한국 추상미술에서 광주가 중요한 지역임을 고찰하는데 있다. 광주사범학교 교사인 강용운과 양수아가 전개한 앵포르멜은 광주를 비롯한 현대적 의미의 우리나라 현대추상운동의 시작으로 볼 수 있다. 강용운은 1940년대 후반부터 1950년대 초 앵포르멜 영향을 받은 추상 작품을 그렸으며 양수아는 1948년 광주미국공보원에서 추상화전을 열었다. 광주의 앵포르멜 추상은 박서보, 하인두보다 빠르며 강용운의 <봄>(1947)까지 고려하면 우리나라 모더니즘 추상운동의 시작으로 볼 수 있다. 이 후 광주의 모더니즘 추상운동은 광주사범학교에서 강용운, 양수아에게 수업을 받은 정영렬, 최종섭, 우제길, 최재창, 장지환 등이 주도한다. 이들은 1964년 설립된 모더니즘 추상미술 단체인 에뽀끄를 중심으로 광주화단에서 활발히 활동한다. 1970년대 광주 추상화가들은 회화의 평면성을 확보하면서 객관적, 분석적으로 화면을 재구성한 모노크롬 추상을 중심으로 다양한 경향의 추상 작품을 제작한다. 1980년대 이후 최종섭, 김종일, 우제길 등 광주의 추상 모더니즘 작가들은 독창적인 화풍의 작품을 창작했다. 최종섭은 우리 정서와 문화를 한지의 물성으로 표현한 단색 위주의 모노크롬 추상회화 <코리아환타지> 연작을 제작한다. 김종일은 1970년대 그린 검정 모노크롬 회화에서 1980년대 이후 검정에 색을 넣은 작품을 그렸다. 우제길은 빛에 의해 발현된 물체와 색을 바탕으로 물질의 본질을 연구하고 실험하였다. 1995년 광주비엔날레 개최 이후, 추상회화와 함께 포스트모더니즘미술 등 미술의 다양화를 가져왔다. This study is an inquiry into the fact that Informel in Korea first started in the Gwangju area and Gwangju was a significant region in Korean abstract art where creative artists who practiced abstract art of the 1960s produced works through which they experimented with a wide range of styles and explored their identities. Informel in Korea initiated by Kang Yong-un and Yang Su-ah, teachers at Gwangju Teachers` School, was the departure point of the modern Korean abstract art movement. Kang produced paintings influenced by Art Informel from the late 1940s to the early 1950s while Yang held his solo show of abstract paintings at the United States Information Service in Gwangju in 1948. Gwangju`s abstract Informel art was ahead of that of Park Seo-bo and Ha In-du. It can be seen as a progenitor of Korean modernism and abstract art if we consider Kang Yong-un`s Spring (1947). Gwangju`s abstract art movement was led by Jung Young-ryeol, Choi Jong-seob, Woo Je-gil, Choi Jae-chang, Jang Ji-hwan, and others who studied under Kang Yong-un and Yang Su-ah at Gwangju Teacher`s School. They actively worked in the Gwangju art community with Epoque, a modern abstract art organization founded in 1964. The Gwangju abstract art scene of the 1970s produced abstract works of great diversity, concentrating on monochrome art in which images are objectively and analytically shaped while attaining a painting`s two-dimensional trait. After the 1980s, Gwangju`s abstract artists such as Choi Jong-seob, Kim Jong-il, and Woo Jae-ghil created works of art in their ingenious styles. Choi Jong-seob produced the serialized work Korean Fantasy, including monochrome abstract paintings in which the artist represented our emotion and culture with the material property of hanji, traditional Korean paper. Kim Jong-il worked on black monochrome paintings in the 1970s and works adding additional colors in the 1980s. Woo Jae-ghil studied and experimented with the nature of material based on matter and color emerging through light. As the Gwangju art scene underwent a great change after the 1995 Gwangju Biennale, young artists pursued abstract art mainly with Epoque and produced works of post-modern art.

제48차 대한내과학회 추계학술대회초록집 : 심포지움 ; 급성심근경색 : 급성 심근경색에서의 저혈압과 심인성쇽

오병희 ( Byung Hee Oh ) 대한내과학회 1996 대한내과학회지 Vol.51 No.-

제48차 대한내과학회 추계학술대회초록집 : 심포지움 ; 급성심근경색 : 급성 심근경색에서의 저혈압과 심인성쇽

오병희 ( Byung Hee Oh ) 대한내과학회 1996 대한내과학회지 Vol.51 No.2S

근대미술의 선구자 고희동의 회화세계 연구 서양화 - 요소를 절충한 한국화를 중심으로

오병희 ( Oh Byung Hee ) 한국기초조형학회 2017 기초조형학연구 Vol.18 No.1

우리나라 최초의 서양화가 고희동은 서화협회의 창설에 주도적인 역할을 하였으며 도화교사로 후학을 가르친 교육자, 서양화로 삽화를 처음 그린 근대화단의 선구자이다. 또한 새로움과 도전을 바탕으로 서양화와 한국화에 있어 한국화단에 영향력을 준 근현대미술사에서 중요한 인물이다. 고희동의 서양화 작품인 자화상 3점은 정자관을 쓰고 두루마기를 입은 한국인임을 나타냈으며 외광파 영향을 받아 어두운 배경에 빛의 효과를 강조하였다, 『청춘』창간호에 게재된 <공원의 소견>(1914)은 공원 벤츠에 앉아 책을 읽고 있는 젊은 조선청년을 그린 작품으로 청록색의 나무와 공원의 잔디가 어두운 색조로 그려 외광파 영향을 받았음을 알 수 있다. 구한말부터 작고 할 때까지 주로 그린 작품은 한국화로 고희동 작품의 많은 부분을 차지한다. 고희동이 한국화를 배운 시기는 1907년 심전 안중식과 소림 조석진 문하에 들어가면서부터이다. 이후 일본에서 서양화를 배우고 귀국 한 후에도 전통회화를 바탕으로 남종화의 정신을 담은 작품을 그렸다. 이 시기 고희동은 동양화의 발전을 위해서 서양화를 알아야 한다고 주장하면서 한국화에 서양화 기법을 도입하여 작품을 그렸다. 그리고 정선을 진경산수화의 시작으로 삼았으며 실경을 바탕으로 서양화법을 적용한 <진주담도>, <금강산 천선대>, <금강산도> 등의 진경산수를 그렸다. 이처럼 고희동은 전통화풍을 근간으로 서양화법을 절충한 작품, 한국화에 서양화 요소를 혼성한 개성적인 진경산수화, 채색화 등 다양한 양식의 작품을 그린 한국화단의 선구적인 역할을 한 예술가이다. 서양화 기법을 사용한 고희동의 전통화와 진경산수는 동양의 정신과 서양의 감각을 혼성해 그린 독창적인 한국화이다. Korea`s first Western-style painter, Go Hui-dong is a progenitor of the Korean modern painting scene who led the establishment of the Korean Calligraphy and Painting Association, taught students as an art teacher, and produced illustrations in a Western-style manner. He is also a key figure in modern and contemporary Korean art who influenced both Korean-style and Western-style paintings through his innovation and defiance. The artist`s three self-portraits feature traditional Korean clothes and a special light effect. In these self-portraits he dons a jeongjagwan (a headgear usually worn by scholar-officials) and durumagi (a man`s long overcoat with wide sleeves) to showcase that he is Korean. Influenced by a school of painters engaging in open-air painting (known as pleinairisme), he underscored the light effect in the dark background. An example is A Brief View at a Park printed in the first issue of Youth in which a young man is reading a book on a bench in a park with bluish green trees and grass depicted in dark shades. This portrayal intimates that he was influenced by pleinairisme. From the latter period of Joseon until his death, Go Hui-dong mostly worked on Korean-style paintings. In 1907 Go began learning Korean-style painting under Ahn Jung-sik and Jo Seok-jin. Afterwards, he learned Western-style painting in Japan. After his return from Japan, he executed paintings that held the spirit of the Southern School of painting based on traditional painting idioms. In this chapter of his career, Go worked on Korean-style paintings embracing Western painting techniques, asserting that Joseon painters had to know about Western-style painting in order to evolve Oriental painting. Considering Jeong Seon a progenitor of true-view landscape painting, he executed true-view landscapes such as Pearl Pond, Geumgangsan Cheonseondae, and Geumgangsan to which Western painterly idioms were applied based on traditional painting language. He played a leading role in the Korean art scene with his wide array of works including color paintings, paintings created with Western painting styles anchored in traditional idioms, and distinctive true-view landscape paintings made through a fusion of Korean-style painting elements and Korean-style painting. His traditional paintings and true-view landscapes done with Western painting techniques are ingenious works that manage to integrate the Eastern spirit into Western senses.