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르 코르뷔지에 후기회화를 통해 본 롱샹성당의 조형적 의미에 관한 연구
전영미 ( Young Mi Jun ),구자홍 ( Ja Hong Koo ) 한국기초조형학회 2011 기초조형학연구 Vol.12 No.1
르 코르뷔지에의 초기 순수주의회화가 근대적인 공간디자인을 형성하는데 영향을 주었다면, 후기회화에 묘사된 중첩된 기호와 모티프 역시 후기공간작품을 구성하는 원리와 동일한 위상을 지닌다. 초현실주의 화풍으로 그려진 후기회화의 모티프는 詩적 반응을 주는 대상, 사회풍자, 자연과 영적인 대상, 그리고 신화적인 것으로서 그의 내면세계를 표현하는 기호와 같은 역할을 한다. 이렇게 모티프에 담긴 상징적인 의미와 예술적 감성은 르 코르뷔지에의 민감한 지각놀이에 의해 롱샹성당에서 새로운 조형으로 창조된다. 그는 건축을 ``민감한 지각의 놀이를 통해 감동을 주는 것``으로 정의하면서, 롱샹성당을 시각과 촉각, 청각과 관련된 감각적인 것을 공감각으로 느껴지는 ``형언 할 수 없는 공간``으로 창조한 것이다. 본고에서는 롱샹성당의 건축적인 분석보다, 후기회화의 모티프에 표현된 상징적 의미와 그의 내면세계를 분석하여 형언 할 수 없는 공간에서의 시각적 조형, 촉각적 조형, 청각적 조형을 분석한다. 이를 바탕으로 회화, 조각, 음악과 같은 분야가 통합되어 롱샹성당에서 종합예술로 부각되는 조형적 의미를 연구한다. If the Le Corbusier`s Purism painting of the early times affected in formation of modern space design, then the nested symbols and motifs expressed in his late painting has the same phase as the principles that configure the review space. The motif drawn in a surrealist painting are a poetic response to the target, and social satire, the natural and spiritual destination, and the mythical one so it acts as a symbol representing his inner world. The symbolic meaning and artistic sensibility embedded in the motifs of late painting are created into a new art at the Ronchamp Chapel through the sensitive perception play of Le Corbusier. He defined architecture as ``the things that impresses us through conscious perception of play`` and created the Ronchamp Chapel as space that can`t be described (l`espace indicible) through expressing the visual and tactile, auditory and sensory related matters into synesthesia. In this paper, rather than architectural analysis of Ronchamp Chapel, the symbolic meaning expressed in the motif of his late painting and inner world are analyzed to analyze the spatial modeling of visual, tactile modeling, and acoustic modeling that cannot be described. Based on this, through the sectors of painting, sculpture, and music combine with space, we study the figurative meaning which embossed as synthetic art in Ronchamp Chapel.
르 코르뷔지에의 회화를 통해 본 여성의 몸에 대한 사유
전영미(Jun, Young-Mi) 한국실내디자인학회 2014 한국실내디자인학회논문집 Vol.23 No.6
This study is intended to identify various reasons on the ‘body’ of women described in the paintings by Le Corbusier. As a great artist in the field of modern architecture, various figures of ‘body’ of women he painted were not a mere physiological body of a woman but a meaningful figure combined with many different types of concept in the social and cultural context. In the field of art, body is recently seen as a ‘tool for thinking’ that studies dealing with it are being actively conducted. Seen in this context, it is feasible to read the situations and causes at that time through movement and changes in the figure of women’s bodies described in his painting. Even if it was a speculative inference, this study aimed examining what reasons and perspective Le Corbusier had when painting women’s bodies and what massage he intended to convey. Reasons on the ‘bodies’ of women derived in this study serve as an essence of mentality in understanding the spatial design that was constructed around the time of period. Adopting a different view from many of previous studies in the aspect of skills and spaces, it was intended to study changes in the complex and integrated causes in both spatial design and painting and re-interpret an essence of mentality of the spatial design in the humanistic approach according to the notions in society and culture.
전영미 ( Young Mi Jun ),안윤수 ( Yoon Soo Ahn ),김미희 ( Mi Heui Kim ),안옥선 ( Ok Sun An ) 한국농촌지도학회 2008 농촌지도와 개발 Vol.15 No.1
The purpose of this study was to analyze intellectual property right status and brand origin of traditional liquor. The data were derived from the brand of 385 traditional liquor species in Korea. The major results of this study were as follows: 1) The management types of traditional liquor were classified into three categories, namely; individual 27(0.74)%, stock company 304(78%) and corporation or union 38(9.8%). 2) Among 385 traditional liquor species, 102(26%) got the trademark registrations and 129(34%) were in the process of trademark applications, while 154(40%) were unregistered brands. 3) The origin of 187(48.6%) brands used the material names such as fruits, rices, trees, roots and flowers, while 176(45.6%) brand used proper noun such as mountain, distinction, rivers etc.. 4) The designation certification status of traditional skill possessor according to national and local autonomous entity were; intangible cultural assets 42 people, master craftsman 28 persons, and provincial intellectual property 16 persons.