민화와 경제

하수경(Ha Soo-kyung),진준현(토론자) 비교민속학회 2004 비교민속학 Vol.0 No.27

This paper aims to analyze the mutual relations between the widely distributed falk paintings and economic conditions in late Chosun dynasty. Although we could guess the phenomenon of this wide distribution of falk paintings was due to the political stability and economic development during the period of 18th to 19th century, we had difficulties in getting tangible written materials and previous research works on this subject. This study, therefore, was carried on the basis of the assumptions that these widely distributed falk paintings could be considered as a substantial evidence and certainly have some connections to the contemporary economic situation and that the analysis of demand and supply of these paintings could give a due to the effects of them on the contemporary economy and vice versa. The demand of falk paintings had mainly been formed to decorate folding screens or walls in traditional Korean-style houses showing some falk beliefs and teachings of the code of conduct, or being a mere ornament. The faa that the consumers varied from Yangban to commoners means the purchasing power of commoners had been grown. The supply of the paintings had been taken either directly by the painters themselves or through the agents. Popularization of the falk painting as a commodity triggered the promotion of material production which activated the economic development. Multi-production of material led to the way by which the painters could get the good-quality material with cheaper price. The increase of production and sales created new jobs and employment. In consequence with this, the guild of commercial painters was organized and the division of labor in production line was introduced.

초등 도덕교과에서의 감정교육 방법

하수경 ( Soo Kyung Ha ),노희정 ( Hui Jeong Noh ) 한국초등도덕교육학회 2014 초등도덕교육 Vol.0 No.44

본 논문은 초등 도덕교과에서 실행해야 할 감정교육의 방법에 대해 탐구한다. 전통적으로 감정은 이성과는 무관한 것으로 간주되어 그 역할이 축소되거나 부정되었으나 최근 그 중요성이 부각되고 있다. 특히 자긍심, 공감, 동정심, 존경, 감사 등 도덕과 관련된 감정은 도덕적 규범과의 관련 속에서 자아와 타자에 대한 반성이나 평가의 기초로 작용하고 있다. 초등 도덕교과에서의 감정교육은 이러한 감정이 인지적 능력과 더불어 생겨나고 도덕적 행위의 동기로서 작용한다는 통찰에서 출발한다. 그래서 초등 도덕교과에서 감정을 다루는 수업은 학생이 자신의 감정을 정확히 인식하고, 그것을 진솔하게 표현하며, 상대방과 서로 소통하는 과정에서 적절하게 조절할 수 있도록 도와주는 방향으로 진행되어야 한다. 이를 위해 교사는 대표적인 수업 기법이라 할 수 있는 포토 스탠딩, 스토리텔링, 피라미드 토의, 타블로 기법 등을 활용할 수 있 을 것이다. This paper explores moral education methods in elementary moral subject, Traditionally, feeling was considered to be unrelated with reason, its role came out negative, But its importance has been highlighted in recent years. Moral feelings, such as, pride, empathy, compassion, respect, gratitude work on the basis of reflection and evaluation about the self and the other in relation to moral norm. Elementary moral education starts from insights that feelings spring with cognitive capacities, act as the motivation of moral behaviors. So elementary students ought to know their feelings clearly, learn how to represent those honestly and to regulate those properly in the course of interaction with the other party through moral lessons. To do this, the teacher need to use photoscanding, storytelling, pyramid discussion, and tableau technique, and so forth.

친환경 건축물을 위한 준불연 샌드위치 복합 단열재의 기계적 물성에 대한 실험적 연구

하수경(Ha, Soo-Kyung),최기선(Choi, Ki-Sun),오근영(Oh, Keun-Yeong),류화성(Ryu, Hwa-Sung) 한국콘크리트학회 2021 한국콘크리트학회 학술대회 논문집 Vol.33 No.2

본 연구에서는 준불연 샌드위치형 복합 외단열 시스템과 그 구성재들의 밀도, 압축, 휨, 인장, 그리고 전단성능을 시험한 결과를 검토하였다. 복합단열재와 그 구성재들의 기계적 성능은 규격(KS M ISO 4898, ETAG004)에서 요구하는 성능을 상회하였다. The results obtained in the test of density, compressive, flexural, tensile, and shear properties of Quasi-non-combustible sandwich exterior thermal insulation composite system and its components are presented. The mechanical properties of the thermal insulation composite system and its components exceeded the performance required by standards(KS M ISO 4898, ETAG004).

제작동기로 보는 한국민화의 특성

하수경(Ha Soo-kyung) 비교민속학회 2000 비교민속학 Vol.18 No.-

한국민화의 윤리 문자도의 상징과 표현 읽기

하수경(Ha Soo-Kyung),김대열(토론자) 비교민속학회 2003 비교민속학 Vol.25 No.-

This study is focused on the symbolism, function and presentation style of Ethics Character Picture of the Chosun Dynasty. The form of Ethics Character Picture is the presentation pattern harmonizing house decorative art and the 8 characters symbolizing the ethics that people should follow in their daily life. The symbol and function of Ethics Character Picture lies in ethical education. The eight ethics characters are: 'Hyo(Filial piety)', 'Je(Brotherliness)', 'Choong(Loyalty)', 'Shin(Faith)', 'Ye(Courtesy)', 'Eu(Justice)', 'Yeom(Honor)', and 'Chi(Shame)'. Living according to these ethical guiding principle means that one should tend one's parents with Filial piety, be friendly with neighbors, love one's nation and people, keep one's faith, be courteous and thrifty, and have a sense of honor. Ethics Character Picture are usually presented on an eight-fold screen. Each of the eight characters takes up one-fold. The frame of each screen is composed of a Chinese character and a picture of a symbolic object, Each picture shows the object which symbolizes the meaning of each character. Ethics characters and objects are unique, both representing different meanings. For example, the character 'Hyo' has the meaning of filial piety and is symbolized objects such as a carp, bamboo shoot, fan, orange, and a six-string Korean harp. The presentation pattern of ethics character shows four distinctive features. The first feature is the clear stroke of each character. The second feature is the limited presentation of a symbolized object with a wide stroke of the character. The third feature is that the image is drawn inside and outside of the stroke of the Chinese character. The fourth feature is that the character is transferred into the picture, though partially remaining. Among those character pictures produced in the 20th century, many include overly decorative features and images. This made it very difficult to determine the original character. That's why the existing educational purpose of ethics character became weak and the practical purpose of house decoration was emphasized. The formative features of the character picture are represented by moderate shading, contrasting primacy colors, and symbolic description from high level saturation. These techniques created an on optical collision by combining concrete and abstract elements. The artists who draw the ethics picture were wandering painters that provided the monks with the pictures needed for decorating temples. During the late Chosun Dynasty, commercial artists took charge of it.

노작 홍사용 문학관

하수경(Ha, Soo-kyung),신구호(Shin, Goo-ho) 현대건축사 2008 월간 CONCEPT Vol.- No.111

기원을 위한 무신도

하수경(Ha soo-kyung) 비교민속학회 2001 비교민속학 Vol.21 No.-

Shamanism is one of our racial minds deeply rooted in our people. Regardless of our belief in it, Shamanism is located in our traditional, cultural experiences. This paper is to examine how the paintings of shaman reflect the Korean's view on God, Man, and Nature. The shaman gods are divided into two groups, those on nature and those on man, but all the shaman gods are supposed to have human body. The number of shaman gods is over 300, and the paintings of them are estimated over 90. The number of paintings in a female shaman's room varies from 15 to 20, and their size is not irregular, varying from 65㎝ to l00㎝. The shaman prays every day and night her wishes for divine ability, before dean water, in the face of the paintings hung on the walls. Therefore, the paintings of shaman stand for her wishes to be united with gods. The paintings have a function as the object of her wishes to revive her religious, mystic experiences, to fulfill her religious satisfaction, and to rely on strong, divine power. A painter listens to the shaman's story on her gods and represent them through his imagination and artistry. In this process shaman's order plays an important role, but the result is from the painter's imagination and formative ability. The existing paintings, according to the painters, reveal the varieties in shape and technique. There is no same paintings. In late period of Yi Dynasty the painters of shaman might be well-trained painters, or Buddist painters. The shape of gods in these paintings is abstract rather than realistic in the view of the features of the face and the proportions of the body. Most of shaman gods sit in the right position without activity, and the canvas is structured symmetrically, Exceptional is the shape of Changbu goddess who loves music and play. It shows more activity, and is represented more rhythmically. The color consists of the five elemental colors which contrast in color and darkness to be mellowed into the harmonized beauty. The paintings after the liberation are more spectacular and more contrasting in color compared with the earlier ones. Descendants search for a different color harmony from the harmonized beauty of the ancestors. Nowadays the copy of the paintings of shaman is used as a stage property, and the actress plays the role of shaman on the stage. They think they can make use of the shaman's playful characteristics. The copy of the paintings is hung even in the shaman's room, because it is cheaper and more convenient to get. The fact implies the change of shaman's consciousness in the modern world. Soon the traditional paintings of shaman will be replaced into new ones in the cyber world.

단기 하중을 받는 준불연 샌드위치 복합 단열재의 인장 거동

하수경(Ha, Soo-Kyung),최기선(Choi, Ki-Sun),오근영(Oh, Keun-Yeong),박금성(Park, Keum-Sung),류화성(Ryu, Hwa-Sung) 대한건축학회 2022 대한건축학회 학술발표대회 논문집 Vol.42 No.2

한국민화의 조형원리 찾기

하수경(Ha Soo-kyung),권기윤(토론자) 비교민속학회 2002 비교민속학 Vol.23 No.-

The purposes of this study was to analyze the ideological basics and plastic elements to illuminate the principles of aesthetic expression in various Korean folk paintings. Korean folk paintings are used for the interior decoration in the consideration of a pure color beauty. The contents of painting ate health life & longetivity, prosperity of descendents, wealth & fame, and prevention of caramity. People induce the incantational thinking principle model that they could acquire the same expectations as the contents of folk paintings by seeing and percepting repetitiously in their homes decorated with folk paintings. The forms of folk painting are hanging paintings, long wall paintings, and folding screens. The forms and contents of folk paintings are determined according to the usages and hanging places. Folk paintings are drawn as a couple and wall hanged, or used as a folding screen of 6 - 8 scenes according to contents. When people papered their homes every several years, they usually substituted old folk paintings with new ones for interior decoration. The place of displaying folk paintings according to their contents are related with the function of a living space and a conscious structure formed from the private faith. The space structure of folk paintings are expressed according to the consistant structural principles to be faithful to the intention and the theme of the folk paintings, not to be inclining to the formal aesthetics. The characteristics of folk paintings are complexity of unrestricting view point(=multi view points) which front, back and side of a subject were positioned on a same space to express the subject perfectly, reiteration of the subject and theme, repetition of theme and expression, and symmetrical compressive expression. The shapes of a subject in folk paintings are conceptual with realistic and simple outline. The shapes are recalled in the memory, not restored through sketching. The shapes are a kind of a code which ventilates the experienced world by the tradition collectively through the shapes of a well known subject and a theme, not restored from a painter's memory. The outline follows the brush line of a tint or an ink-stick, and expresses the structure, pattern, color which show the characteristics of a subject, not the harmony of the shapes. This painting method is an open-plane of 2 dimentional, not 3 dimentional. The color structural method of folk painting shows a strong color contrast of 3 basic colors, and is characterized a parallel mixture of midway combination method to maintain the original color purity. This is because a folk painting intends to express the shapes of a subject completely, not to depend on the perceptual aestheics of eye-sight as general paintings. It shows a bright and cheerful atmosphere through a harmony of distinct color values and color areas, not a strong basic color combination of an apparel of stripes of many colors and a temple picture of many colors and design. This kind of bright and cheerful color usage is the distinct color scheme of folk paintings. We cannot find a snow scene in any folk paintings. Also, this shows the aesthetics of lifestyle and decoration of our ancestors who persuited luxury colors, and tried to decorate their interiors brightly and cheerfully. The visual characteristics of folk paintings are practical, religious, educational functions. Because folk paintings are the expression of accomplishment for instinctional needs of human beings, we can find an aesthetics of association in the folk paintings which are stereo-typed in the process of repetition, transmission, and search for the proper plastic method. If folk paintings follow the proper plastic principles which can express the beauty of contents of a subject completely, they are said to have a highly valued artistic influences which can impress the moderns as artifacts with unified contents and forms.

한국 무신도의 조형원리와 미적 특질과의 상관관계에 대한 연구

하수경(Ha, Soo-Kyung) 비교민속학회 2011 비교민속학 Vol.0 No.45

본 연구는 한국의 무신도를 한국 종교화의 한 패턴으로 보고 그것의 조형원리와 미적 특질을 고찰하려는 하나의 시도이다. 첫째 과제는 무신도의 원형을 찾아보는 일로 조선시대의 초상화 및 고승진영의 회화양식과 무신도의 조형방식이 어떤 관련성은 없는가 하는 것이고, 둘째는, 현재를 기점으로 현재의 무신도와 과거의 것 사이에는 시대적 변화를 수용하는 화법의 변천 과정을 갖고 있는가 하는 것이며, 셋째는, 무신도가 초자연적인 신격에 대한 한국인의 사고를 어떻게 투영하고 있는가 하는 것이다. 이러한 문제의 탐색을 통하여 한국 무신도의 조형원리와 그 속에 담긴 미적 특질이 무엇인지 밝히고자 하였다. 한국의 무신도는 관념적인 신격을 유형적으로 시각화한 신의 초상화로서 초자연적인 정령의 힘에 의존하는 모호하고 추상적인 무속의 신을 시각적으로 보여준다. 마을의 안녕과 번영을 기원하는 마을 굿을 구성하고 있는 요소들 즉, 마을을 수호하는 신령과 제의를 주관하는 무당과 마을 사람들의 집단적 사고방식이 무신도에 투영되어 시각문화를 형성하였고 가치관의 바람직한 상징과 미의식을 공유하게 된다. 무신도는 과거 한강이북의 강신무들이 섬기는 신의 화상이므로 신령의 초상화이다. 본 연구는 한국무신도 화보들, 현재 서울의 마을굿이 연행되고 있는 부군당의 무신도, 현재 만물상에서 팔고 있는 무신도 간의 화풍의 변화를 살폈다. 진전, 사당, 영당 및 서원에 봉안하고 향사할 대상으로서 제작된 조선시대 초상화와, 사찰에 봉안하고 경배의 대상이 된 고승진영도 비교 대상이 되었다. 현재 한강유역의 부군당에 봉안된 무신도를 자료로 유형별 신격의 화법을 살피고 출간된 화보의 자료를 종합적으로 분석하여 무신도의 조형원리와 미적 특질을 고찰하였다. This study attempted to examine the formative principles and aesthetic characteristics of Korean shaman paintings. First, it searched for a prototype of the shaman paintings focusing a formative relations with the painting style of general portraits and monk portraits of the Chosun Dynasty. Second, it endeavored to map out the progressive historical changes in painting styles which seemed to accommodate the modern shaman painting styles with the traditional styles. Third, it analyzed the methods in which shaman paintings reflected Korean’s philosophy about supernatural divinity. Finally, this study attempted to identify the aesthetical characteristics of Korean shaman paintings with regard to formative principles. Korean shaman paintings, in the context of portraits of the gods can be defined as visual embodiments of conceptual divinity, physically displaying the vague and superficial shamanist gods. The shaman paintings include all elements which can be seen in Guts, which are Korean shamanist rituals reflects, such as godheads who protect that districts, exorcists who supervise Guts, and collective philosophy of dwellers. The shaman paintings represent the portraits of gods worshipped by spiritualistic shamans in north of Han River. A variety of sources such as the pictorial Korean shaman illustrations edited by Taegon Kim, pictorial books published by various museums, shaman paintings in a guardian shrine in Seoul where Guts are currently held, and a wide variety of paintings being currently sold at religious shops were reviewed in this study. This study also conducted a comparison between Chosun human portraits enshrined and worshipped in royal portrait halls, shrines and galleries, or in memorial halls. A study has also been made of the portraits of monks, which were kept and worshipped in the temple. Following this comparison, the painting techniques of shaman portraits are examined using examples such as the paintings depicted within the guardian shrines around the River Han. The study then carried out comprehensive research on the artwork using a wide variety of currently available pictorial books to ascertain their formative principles and the Aesthetic characteristics.