사이버상에서의 개인권익의 침해와 구제방안

한진만 언론중재위원회 2007 言論仲裁 Vol.104 No.-

산수화의 수파준법(수파준법)

한진만 홍익대학교 산업디자인 연구소 2004 미술디자인 논문집 Vol.- No.9

Water painted in the early stage of Oriental landscapes was that set characters and mountains off. As Oriental philosophers commented on the attribute of water, and landscape painters and art commentators presented the nature of water and its expression, the painting of water had become the center of interest. Water passes off by evaporation heat, and the vapor composes the clouds. At last, it falls on the mountains and valleys with the forms of rain, and it again finds its way to the river and sea. Likewise, as to environment and climate, water vertically falls with the form of fall. Sometimes it forms bubble like surge and sometimes it flows leisurely along the streams. At times, it raises quickly due to a strong wind or it turns round like a whirlwind. Such forms and activities of water functions as the blood vessel of mountains, that invigorates to those. Water is the sign of softness and strength; at the same time, it comes under a property that can be expressed through perceiving nature like the clouds and mist. Hereupon, as the expression technique of water wave has been diversified and materialized, it has been functioned as the expression of metalism. In addition, water has been commented its volume and color as to each season, and it has been recognized as a factor containing calmness and dynamic simultaneously. Water is also shifted its form to wave by the influence of wind, and shifted to the bubble of waterfall by itself; besides, it fill up the space of Original landscapes with the space of mentalism. In order to properly represent the form of water, it should be painted in an instant after being painted its tip similar to the painting of literary men. In such a case, its fluidity can be rightly represented. Also, its shallowness, depth, dynamical nature, etc.; even handling of brush, i.e., softness and strongness, has been materialized. As previously mentioned, various expression techniques of water waves have been presented, but it is incomplete compared with those of mountain. Thus, in this paper, I compared Korean expression technique of water waves with Chinese expression technique of those, and classified as follows: First, whirlpool-shaped technique, second, ∧-shaped (triangle-shaped) technique, third, -shaped(wave-shaped) technique, forth, -shaped (thread skein-shaped) technique, fifth, short or long leveling technique, sixth, waveless technique, seventh, - shaped and -shaped technique as to upwards and downwards visual angles, eighth, C-shaped technique that represents the downstream of a valley, ninth, m and n-shaped (waterfall-shaped) technique. Besides, there are jar-shaped and palm-shaped wave technique that Jin Hong-soo, an artist who lived in the Ming Dynasty, showed in 「Japhwadochaekj」. The palm-shaped technique means the expression method that gradates the surroundings of waterfall. Jung Sun, an artist who lived in the Chosun Dynasty, represented m and n-shaped wave referring to the preceding technique; afterwards, Jo Jeong-gyu and Byun Gwan-shik applied the technique. And tenth, there is river and sea-wave technique mixed with C-shaped, spring-shaped and shoes-shaped techniques. It was represented by Mawon, an artist who lived in the Southern Song Dynasty, and it is being carried in 「Sonhgansangumdo」. Afterwards, the technique was somewhat changed by Jung Sun, Shim Sa-jung, Kim Hong?do, etc., artists who lived in the Chosun Dynasty. In addition, there are various other expression techniques of water waves, but the rest may be mentioned later. Korean traditional landscape painters had been sometimes applied the creative expression techniques of water waves containing extreme tense atmosphere and formative arts, though they were influenced by Chinese painting. Jung Sun's river and sea and Hong Se-sup's wave painting based on bird's eye view are cases in point. The water expression in Oriental landscape painting was originated from drawing the pattern of clouds. After that, it has been diversified by various painters and commentators. Nevertheless, it has not been closely represented, because it is difficult to instantaneously capture the flow of water or its wave. For this why, creative representations should be more studied and produced, based on penetration on water.

토론: 학부 활성화가 우선돼야

한진만 강원대학교 1994 學生生活硏究 Vol.14 No.1

지상파 텔레비전 방송의 낮 방송시간 확대에 따른 편성의 변화

한진만 순천향대학교 사회과학연구소 2008 순천향 사회과학연구 Vol.14 No.1

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한국 언론의 주한미군관련 보도에 관하여

한진만 강원대학교 사회과학연구원 2000 사회과학연구 Vol.39 No.-

제1주제 텔레비전 방송사의 편성전략에 관한 연구

한진만 한국방송학회 1994 한국방송학회 학술대회 논문집 Vol.- No.-

RF Magnetron Sputtering법에 의한 FED용 $ZnGa_2$$O_4$형광체의 특성분석

한진만,박용민,장건익 한국전기전자재료학회 2000 전기전자재료학회논문지 Vol.13 No.9

ZnGa$_2$O$_4$thin films were prepared on Si(100) wafer in terms of RF power, substrate temperatures and Ar/O$_2$flow rate by RF Magnetron Sputtering. Photoluminescence(PL) measurement was employed to observe the emission spectra of ZnGa$_2$O$_4$films. The influences of various deposition parameters on the properties of grown films were studied. The optimum substrate deposition temperature for luminous characteristics was about 50$0^{\circ}C$ in this investigation. PL spectrum of ZnGa$_2$O$_4$ thin films showed broad band luminescence spectrum.

지역방송의 미디어렙 분석 및 대응에 관한 연구

한진만,이수범,변상규,정재욱 한국방송학회 2009 한국방송학회 세미나 및 보고서 Vol.2009 No.5

수목(樹木)의 표현방법

한진만 홍익대학교 산업디자인 연구소 2002 미술디자인 논문집 Vol.- No.7

In the successive generations of Chinese paintings, brushing techniques used to express trees can be classified into two broad categories: Baekmyobup(contouring method) and Balmookbup (blurring technique). In Baekmyobup technique, Ku k'ai-chin dynasty from East Chin dynasty showed concise lines, Wu Tao-tzu from Tang dynasty created sharp edge like a sword using strong and weak points of lines and was completed in Five dynasties by Ching Hao by his wrinkle expression. Especially, there is a record that Ching Hao researched pine trees and oriental arborvitaes natural characteristics prior to his work hence spirit is immanent in his work. Mi Fu from Northern Sung dynasty portrayed pine tree like a fan shape in 'Spring Mountains Ringed with Pines' and left a mold. On the contrast Liang Kai from Southern Sung dynasty used stems and branches of trees to evoke emptiness and sense of space in his work titled 'Two Birds in Autumn-Trees'. In addition, during Ming dynasty, Ch'en Hung-Shou used stems to resemble horses teeth and piled up leaves to standardization and created a world of Utopia. It is only known through records that Balmookbup technique was started in Dang dynasty by Zhang Zao, Wang Mo and Xiang Ring but actual piece of work is not handed down. Balmookbup technique appeared in Yuan dynasty by Huang Kung-Wang's work 'Dwelling in the Fu-ch'un Mountains'. Since then, it appeared at of Ming dynasty by artists like Tung Ch'i-Cha'ng, Shih-t'ao from Ching dynasty and Pa-ta shan je^n that style of painting where emphasis on the inner spiritual world rather then external form of style painting flourished. The distinguishing characteristics of works mentioned above are that various brushing techniques, like dotting methods combined with one stroke brush is painted with a dampness and concisely which then is expressed clearly without a flaw. These kinds of expressions are possible only when an artist does not miss the moment that he himself becomes the tree. Tree expression techniques in Korean paintings appeared outstandingly in landscaping from Chosun dynasty. In the beginning of Chosun dynasty Korean paintings were still influenced by Chinese landscape paintings but pursued its own path and came into its own. Precisely, Yi In-Sang's 'Snow-Clad Pines' shows detailed strokes of brush to create rise above this world. Chong-Son's 'Chongpung-gye Valley' and 'Mt. Inwang in Clearing Mist' uses of larger dots seems as though it is holding wind and cloud and generates the energetic force. All of Kim Hong-Do's work has penetrating taste as though it was sketched from nature. Also Kim Chong-Hee and Chon Ki used dry lines to draw trees to hold upright characteristics and integrity which can be called the essence of Korean literary style. Method to bring out the inner spiritual world rather than just the external form is possible when an artist has a grasp of subjects true nature and distinguishing features and feel heartily. Then he can gradually or spontaneously let it out on a canvas. When an artist recognizes that the a tree resembles our lives he then can attain state of perfect self-effacement.. At this point, an artist can harmonize empty space with trees while considering the golden section space. If these procedures are ignored and emphasis only on the external form, then one can not escape from the reality. If there is an artist who wish to be free from reality, he has to completely understand external from of tree and various methods of positioning and also acquire various uses of leaves. An artist who apprehended these process will be able to create a piece of work from one's innermost feelings.

지상파 텔레비전 방송의 낮 방송시간 확대에 따른 다양성 변화

한진만 한국방송학회 2007 한국방송학회 학술대회 논문집 Vol.- No.-