• 조형예술학연구
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• 제10권
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• 호스피스학술지
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• 제8권1호
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• pp.13-28
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• 2008

목적: 본 연구는 학령기 아동의 죽음인식에 대한 탐색적 연구를 통하여 그들의 죽음인식에 대한 주관적 구조와 유형을 탐색하여 학령기 아동에게 죽음인식을 이해하며 효과적인 죽음준비교육 프로그램을 개발 시행하기 위한 기초자료를 제공하고자 시도하였다. 방법: 학령기 아동의 죽음인식에 관한 주관적인 구조와 유형을 탐색할 수 있는 Q방법론을 사용하였다. Q-모집단은 학령기 아동 20명을 대상으로 중립적 면담과 개방형 질문지를 이용하고 문헌연구를 통하여 총 132개의 진술문을 수집하였으며. Q표본은 비 구조화된 방법을 통해 23개의 진술문(Q-표본)을 도출하였다, P표본은 학령기 아동 31명(8세-13세)이었으며 Q카드를 이용하여 Q-분류를 실시하였으며, 수집된 자료는 PC QUANL 프로그램을 사용하여 분석하였다. 결과: 학령기 아동의 죽음인식 유형은 5개의 유형으로 분류되었다. 제 1 유형은 기능적형으로 죽음의 구성요소인 비역행성, 보편성, 비기능성, 인과성에 대한 주관적 인식이 두드러진 유형이었다. 제 2 유형은 사후 세계형으로 기독교의 종교적 배경을 가진 아동들과 직계가족의 죽음을 경험을 했으며 사후세계에 대하여 강한 내세 중심의 죽음인식이 두드러진 유형이었다. 제 3 유형은 종교형으로 죽어서도 가족과 친구들을 지켜볼 수 있다는 믿음이 강하기 때문에 사후세계에 대한 긍정적인 믿음이 확실한 유형이었다. 제 4 유형은 공포형으로 죽음에 대한 공포가 타 유형에 비하여 강한 유형이었다. 제 5 유형은 현실형으로 좋은 죽음에 대한 인식에 강한 긍정적인 동의를 보이는 유형이었다. 결론: 본 연구결과가 주는 간호학적 의의는 다음과 같다. 간호실무면에서 학령기 아동의 죽음인식의 주관성을 이해하는데 있어서 기존의 문헌이나 연구에서 중점적으로 제시하고 있는 죽음의 구성요소에 대한 이해의 차원에서 좀 더 확대되어 학령기 아동이 인지하는 죽음의 정의, 사후세계, 좋은 죽음에 대한 인지수준을 이해하고 유형별 특성에 따라 학령기 아동들의 효과적인 죽음준비교육 프로그램을 개발하는데 유용한 자료로 사용하여, 청소년기에 나타나는 죽음 경시풍조 및 만연된 자살을 예방하고 올바른 삶을 살아갈 수 있도록 밑거름이 되는 역할을 담당 할 것이다. 간호이론 면에서 학령기 아동의 죽음인식의 주관적 구조와 유형별 특성을 규명하고 탐색함으로써 학령기 아동의 죽음인식 모델 구축과 나아가 생명존중의 유용한 자료로 활용될 수 있다. 간호연구 면에서 학령기 아동에게 유형별로 긍정적인 죽음인식과 더 나아가 생명 존중의 측면에서 심리사회적 간호를 제공하기 위한 도구의 개발과 간호중재 전략의 효과를 규명하는 연구에 기여할 수 있다.