http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 지순임(Chee Soon-Im) (검색결과 24 건)
- 무료
- 기관 내 무료
- 유료
-
-
지순임 ( Soon Im Chee ) 한국미학예술학회 2002 美學·藝術學硏究 Vol.16 No.-
N/A Ni Tsan (1301~1371) was one of four masters playing an active part at the end of Yu¨an(元) dynasty. He was not only an eminent painter excellent in poems, caligraphy and painting but also was a theorist who left his thought in the books titled qing bi gao ji(청비각집) and Ni Tsan`s Poems. He advocated theory of paintings called as i-pi(逸筆) theory and i-ch`i(逸氣) theory which contained core of this thought. According to this books primary element determining value of painting works was spirit of painting in literary artists thus enlarged meaning of study of oriental aesthetics. Result of studying Ni Tsan`s theory of painting revealed that i-pi(逸筆) was a sort of pi mo(筆墨). With this painting shi chi(士氣) in a form of noble integrity imbibed with self-respect as wen ren shi da fu(文人,士大夫) of the painter should be revealed in the painting and it should contain aesthetic characteristics of tsao tsao (草草) by drawing subject of painting by powerful brush touch of zun jin(遵勁). As contents of shi chi (士氣) i-pi(逸筆) meant aesthetic characteristics which was present in painting as a sort of fragrance from noble character of a scholar which was inimitable. Tsao tsao(草草) meant aesthetic characteristic of works which was created as a result of yi pi hui zhi(一筆揮之), a powerful single stroke of brush work zun jin (遵勁) with meaning of powerful brush touch denoted aesthetic characteristics being created through powerful brush movement which expressed clear and upright moral character of scholars. `I-ch`i(逸筆)` meant cast of mind which was out of this mundane world and it was particularly emphasized in the theory of Chinese Art and such `I-ch`i(逸筆)` could be detected from the works revealing process of internalization of nature and emotion of painter with unique character. As Ni Tsan emphasized `I-ch`i(逸筆)` as expression in painting it was possible to find that more importance was placed on painter`s temperament, emotion and his unique character by turning direction of eyes toward internal world of man by shifting from trend of expressing of likeness of subjects of painting. `Bu giu xing si(不求形似)` meant placing more emphasis in painting on similarity to spirit rather than to drawing likeness of subject of painting. Thus true meaning of painting aspiring to reach to a realm of `shen si(神似)` where spiritual things were embraced while satisfying need of drawing likeness of subjects in painting could be understood. `Liao yi zi mu(聊以自誤)` meant enjoying in a realm of ecstasy and it contained concept of `mo xi` seeking joy through Chinese ink as aesthetical pursuit of joy. This author believes that heritige of such theory of Ni Tsan contributed in creating milieu for people seeking to learn painting in literary artists as one of noble hobbies as a way for cultivtion of mind.
-
지순임(Soon Im Chee) 한국미학예술학회 2000 美學·藝術學硏究 Vol.12 No.-
N/A Tung Ch`i Ch`ang was a scholar-painter who was held in high esteem during the period of Ming Dynasty. Not only did he have a superb discerning eye for ancient paintings and writings; in poetry, literature painting and writing as well he left fine works of art and inherent in his theory of painting is the orthodox aesthetic thought of the Orient. In this article we studied the aesthetic thought developed in his painting theory. Our findings can be summed up as follows: First, Tung Ch`i Ch`ang viewed the relationship between art and nature as the archetype of art, the fundamental proposition of classical aesthetics, and as the basis of its reason for being. The paintings he conceived were to create the artistic beauty loftier than the beauty of nature In other words, the beauty of art was thought to be an expression of the beauty of nature enhanced by the painter`s subjective view and the exquisiteness of brush and ink Second, in Chinese painting, painting and poetry have traditionally been thought of as being in inherent unity, following Su Tung-P`o. Tung Ch`i Ch`ang also upheld the tradition but he took a step forward and discriminated between the two and thereby paved the way for subdividing genres in later years. Third the pictorial mental image of Tung Ch`i Ch`ang`s painting was a developed form of non-ecstasy, the state of painting of Yuan Dynasty, so that the artist`s subjective emotions, feelings and ideas revealed the so-called play of Indian ink which in turn was expressed through the exquisiteness of brush and ink rather than detailed description of natural sights. In brief the mental image of landscape painting was not so much paintings drawn from nature as paintings in the literary artist`s style with much symbolic meaning in them Fourth, Tung Ch`i Ch`ang`s theory of the Southern School can be said to be that of Wen-ten-hua (literary men`s paintings); his view of art which was characterized by its Hua`Gha`n Gi`(畵卷籍), high personality, Cha`o Yi`(超逸), Xie`Yi`(寫意), deviation from actual shapes and natural hobby, advocated simplicity, nature, and Da`n(淡) as the ultimate tenets of art. While following the lines of Chang Ten-yuan`s nature and Huang Xiu` Fu`s i-p`in(逸品), this theory was closely bound up with Zen Buddhism of Na`n Du`n Be`i Jia`n(南頓北漸). Because the Zen as understood by Tung Ch`i Ch`ang is the same Zen of the thought of Chuang Tzu, the delight of Zen he enjoyed was like that of Gi`ng Ta`n(淸談) or Xua`n Ta`n(玄談) and had more in common with play of Indian ink. In conclusion Tung Ch`i Ch`ang`s aesthetics of painting contributed to raising the level of artistic beauty of painting by demanding net only a study of ancient Painters(吉人), heaven and earth(天地), and mountians and streams(山川), but also the well-cultivated aspect on the part of the artist with his outstanding innate talent and the wide range of his reading and experience.
-
지순임(Chee Soon-Im) 한국미술교육학회 2006 美術敎育論叢 Vol.20 No.2
본 연구는 급변하는 현대사회에 적응하느라 마음의 여유가 적어진 청소년들에게 동양의 미 인식을 올바르게 하여 바람직한 정서를 갖게 하기위한 미술 교과 교육 방법론을 제시한 내용이다. 동양에 있어서 미란 외관의 감각적 현상의 미뿐만 아니라 인격적 정신이 내면현상으로 드러나는 인간의 마음까지를 포함하는 미를 말하기 때문에, 동양의 미는 인격도야를 통하여 체득함을 강조한다. 이 아름다움은 유가의 중화(中和), 불가의 중도(中道), 도가의 허실상생(虛實相生)과 같은 실천적 원리를 통해 이룰 수 있는데, 이 실천방안으로 동양회화의 여백을 통해 동양의 미를 바르게 이해시키는 미술 교과수업을 통해 청소년들이 교육적인 체험학습을 할 수 있도록 방법론을 제시하는 연구내용이다. 그리하여 좋은 인성을 함양하여 생활 속에서 여유를 발견하도록 하는 내용으로 초점을 맞춘 세 유형의 여백인식 학습을 통해 미적 체험을 할 수 있도록 연구하였다. This research offers art education methodologies for teaching young adults in a contemporary society where they lack a peace of mind, trying to keep up with the ever-changing times. The accurate understanding of Oriental aesthetics will encourage a healthy emotional development in them. Emphasize that beauty in Oriental aesthetics is acquired through the maturation of personality, because beauty is not just a visual and sensual phenomenon, but also incorporates the human mind that reflects the mental state. The research focuses on providing young adults with an aesthetic experience through art education based on the principles of actual practice for achieving true supreme harmony (中和), moderation (中道), and inter-promotion (相生). Thus, the purpose of the research is to offer a methodology of aesthetic experience in accordance with studying Oriental painting as part of an educational method emphasizing on individuality. The value of a Oriental painting is often determined by ‘graceful liveliness,’ and the works are unique for expressing ‘graceful liveliness’ even in empty spaces. The spacial emptiness is a space of thought for the artist and the viewer, a combination of existence and nothing for it is an embodiment of existence as an actual space for the object, incorporating the practical ideology for acquiring supreme harmony (中和) and interpromotion (相生). Therefore, empty space is the fundamental element of the style of Oriental painting, for it includes the practical ideology for promoting Oriental aesthetics. The plan is to provide an understanding of Oriental aesthetics through the concept of empty space in painting as a creative field for both the artist and the viewer, and an open concept including both the non-existing and existing space, and that both spaces are in an inter-promotional relationship. The 1st education plan concerns the empty space of a painting which nothing painted on the entire half portion of the surface, and is intended to promote aesthetic vision, artistic expression, aesthetic writing skills, contemplative ability, and team work through appreciating art and understanding that the empty space is a space for thought and an open concept. The 2nd education plan is an art appreciation study to understand that the spaces of nonexistence and existence are one through the example of the depiction of water in painting by painting nothing on where the water should be, yet still expresses water. The students will discuss the idea of stylishness in Oriental life and combine it with music, nature, and literature education. The 3rd education plan allows the students to think for themselves while discussing the ‘all is right’ idea of Minister Hwang Hui, and understand that the painted and un-painted sections of a painting appear to contradict each other, but actually are in an inter-promotional relationship. The above-mentioned art education plans are significant as a first-time attempt on its field based on Oriental education methodologies.
-
지순임 ( Soon Im Chee ) 한국미학예술학회 2006 美學·藝術學硏究 Vol.24 No.-
Folk paintings imply Koreans` aesthetic sense, emotion and a world view of the basic culture. The artistic style of folk paintings go back to the murals of Goguryeo tombs, and after the 18th century, it influenced to the other areas such as architectures and crafts. However, it is hard to study for there are not many information left about artists nor specific dates of folk paintings. In this reason, academically, there are few researches carried out about the artistic value of folk paintings. This paper is to find out the artistic value of folk paintings through expressions of pattern types, material symbols in picturesque context and analysis the formation of the expression rather than its artists and periods. To classify the folk painting types are as follows; firstly, they are based on folk believes such as the symbolism of longevity, of good-luck, of drive away evil spirits, of well-education, of nation and of a life after death. And then considered in its subject symbolism of the main motif. Secondly, analyzed by its formations and expression contexts, there are five different types of art works: repetition of motifs, ignorance of the perspective, simplification and complanation of objects, usage of the colors for the five directions in objects, and comtemporary expression without time concepts. Folk paintings are differ from general paintings and based on complanation theory which are focused on incantation and transmission of meanings. Moreover, they are ideological paintings that can transmit the reality and properties of each objects and easy to deliver the symbolism. Therefore, the expression formation implies the 20th century western contemporary painting styles, such as repetition of formation, symmetry formation and various visual points in cubism. They are not by professional artists who work on the formation concepts, but full of bright, liberal, exciting and cordial fantasies. Furthermore, they are a genre of freedom and imagination without captured in certain form and show us the optimistic characteristic of Koreans` life style. In conclusion, the artistic values of folk paintings are as follows: firstly, they contain wishes and aesthetic consciousness of the social group, secondly, they present it with an honest, boldness and hearted skills and finally, they were drawn excitedly by repeating the picturesque constituents which inspires its vitality.
-
-
-
-
-
KCI연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
