• 한국지형학회지
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• 제27권4호
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• pp.53-70
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• 2020

Silgyeong sansuhwa (Realistic landscape paintings) are drawn in Korea since 17th century. It has characteristics of more realistic description of landscape than painting from previous periods. Kim Hong Do's 'Haedong Myeongsan docheop (The album of paintings of famous mountains in Korea)' has been recognized as fine example of realistic description of geomorphic landscapes. Kim Hong Do and Kim Eung hwan did official travel to Gwandong and Geumgangsan area by order of King Jeongjo in 1788. As a result of that travel they draw about 100 piece of landscape painting. About 60 pieces of the paintings are still remaining. These are open to public by Korea National Museum in 1996. 14 pieces of painting, Daegwanryeong and Gangneung, Gyeongpo-dae, Hohae-jeong, Gahak-jeong, Cheonggan-jeong, Mun-am, Mangyang-jeong, Wolsong-jeong, Neungpa-dae, Naksan-sa, Mureung-gye, Gyejo-gul, and Hyeonjong-am, are analysed in this study. Coastal depositional landforms, like lagoon, sand beach and spit or barriers, erosional forms, like sea stack, sea cliff and sea cave, depicted in the paintings are analysed. In addition, structural landforms, colluvial landform and bedrock incision form by the running water in mountain area were analysed and weathered forms of granite and excursion to karst cave also discussed. It is found that sea arch in the printing destroyed since 1788, though exact position and reason is still unknown. There are strong need for discovery and identification of geomorphic landscape resources, for applied geomorphological studies and for prepare educational materials for non-face-to-face education. It also be emphasized that it can be used of the course work materials for future education using augmented reality and virtual reality technology.

• 미술자료
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• 제97권
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• pp.87-104
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• 2020

산률(山律) 선우영(鮮于英)(1946~2009) 필(筆) <금강산 묘길상도>(2000)는 국립중앙박물관이 소장하게 된 최초의 북한 화가 작품이다. 지금까지 알려진 <묘길상도> 가운데 가장 큰 종축(縱軸) 형식으로 크기가 세로 130.2cm, 가로 56.2cm에 이르는 지본수묵진채(紙本水墨眞彩) 그림이다. 선우영에 관하여는 최근 우리나라에도 수차례 개최된 전시회에서 비교적 잘 알려졌다. 그는 1989년 공훈예술가, 1992년 인민예술가 칭호를 받는 등 이른바 '진채세화(眞彩細畫)'의 대가로서 북한을 대표하는 화가가 되었고, 60여 점의 작품이 북한 국보로 지정되었다. 이 그림의 주제인 <묘길상> 마애불은 금강산 내금강 지역에 있는 만폭동 골짜기의 높이 40m 벼랑 아래에 15m 정도 크기로 새겨진 고려시대의 마애불이다. 이 마애불의 명칭은 마사연(摩詞衍) 동쪽에 있었던 묘길상암(妙吉祥庵)에서 유래한다. 마애불의 오른쪽 옆 바위에는 직암(直庵) 윤사국(尹師國)(1728~1709)이 쓴 '묘길상(妙吉祥)'이라는 큼직한 음각의 글씨가 새겨져 있다. 필자는 불상의 수인(手印)을 오른손과 왼손이 모두 엄지와 약지(藥指)가 만나는 하품하생인(下品下生印)과 비슷하지만 왼손이 아래를 향하고 있지 않고 오른손과 거의 직각을 이루며 복부에 놓여있으므로 설법인(說法印)으로 보았다. 즉 이 불상은 설법인을 결하고 있는 석가상(釋迦像)이라고 결론지었다. 선우영의 <금강산 묘길상도>는 조선시대 같은 주제의 그림들과 비교하면 불상의 자연 환경, 즉 벼랑 아래 감실에 새겨진 불상이라는 점과 불상이 인간의 모습이 아닌 암각상임을 수묵진채로 표현한 유일한 그림이다. 구도와 색감이 자아내는 초현실주의적 분위기 또한 이 <금강산 묘길상도>의 특징이라 하겠다. 이 그림을 포함한 선우영의 대부분 작품이 진채로 바위 질감을 사실적으로 표현한 그림이지만 그의 만년작 <파도>(2008)와 같이 전통적의 수묵화에 가까운 그림도 그렸던 폭넓은 작품 세계를 보여주는 화가이다.

• 대한조선학회 특별논문집
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• 대한조선학회 2009년도 특별논문집
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• pp.18-23
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• 2009

After the installation of electric cables at block, PE(pre-erection) and hull stages, the coating stains on the electric cable sheath were unavoidably occurred by additional painting process. According to class rules paint or coating applied on the electric cables shall not adversely affect the mechanical, chemical of fire resistant characteristics of the electric cable sheath. However, there has not been quantitatively studied about the effect of coating stains on properties of sheath materials. In this study, we tried to investigate the effect of coating stains on the performance and deterioration of sheath materials by using FTIR, SEM analysis, flame retardant, high potential voltage and tensile test. The results sowed that coating stains, which were occurred during painting work on site could not adversely affect on the performance and deterioration of sheath materials.

• Acta Via Serica
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• 제3권1호
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• pp.119-138
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• 2018

The dragon of the East was an object of worship and an authority to make rain, unlike the West. The dragon image, one of the positively accepted Chinese motifs with the blue-and-white porcelain of the Ming dynasty by the Ottoman Empire in the 16th century, was combined with gigantic saw-edged leaves to create a genre in Saz style. By combining Eastern dragons with plant motifs instead of clouds, dragons were no longer accepted as authority and nobility but as symbols of life and longevity. Unlike Iran and other countries, the image of dragons in Turkish miniature paintings has evolved into a unique style using Turkish calligraphy. The stylistic feature is that a thick black line that gives the impression of calligraphy forms the dragon's back or a huge saz leaf stalk and forms the axis of the screen. Most of the work was black ink drawing, not painting, and partly lightly painted. In the development stage, the dragon appears as a protagonist on the screen of the early works, but the dragon retreats to the latter half and the saz leaves play a leading role on the screen. A common feature in all paintings, whether early or late, is that they have a militant character and create tension on the screen. From the viewpoint of comparative culture, Turkish dragon miniature drawings of the 16thcentury Ottoman period and the Joseon dynasty are somewhat similar in that they are based on calligraphic character and desire for longevity and loyalty, and are drawn according to certain iconic principles.

• 미술이론과 현장
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• 제8호
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• pp.185-215
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• 2009

In Malaysia, figurative painting has increasingly become a means for artists to pose questions about presumptions of power and assumptions of history. The body, its potentially breached boundaries and defenses, forms an integral component of the battle for political influence. The degree of control over one's own and other people's bodies has become a measuring stick to determine the power of potential political leaders. Anxiety about boundaries and access to powerful bodies is intertwined with the questions of who has the right to hold power; the relevance of moral bodies and of what comprises an ideal self or selves. These questions are raised in intriguing ways in contemporary Malaysian art. While eschewing a direct take on current politics, Malaysian artists have increasingly turned to the body to address issues in Malaysian history, culture and the distribution of power. This paper will explore some works by three artists in particular, Wong Hoy Cheong, Nadiah Bamadhaj and Ahmad Fuad Osman use the figure to problematise dominant narratives in Malaysian history. Their work variously challenge political, racial and gender hierarchies and in so doing, reveal them as social constructions.

• 한국산업보건학회지
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• 제10권1호
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• pp.74-92
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• 2000

This study was performed to evaluate the working conditions In construction workers through measurements of working environments and to improve the working conditions and to design the appropriate environmental and health management system. The results of measurement for working environments in construction work are as following: 1. The excess rate of noise and dust concentration in express highway construction, road construction, building construction and interior painting was 28.6% and 24.5% respectively. 2. The excess rate of mixed organic solvents concentration in interior painting was 39.3%. 3. The chain type bulldozer has the highest level of vibration; the excess rate was 85.7%, and among the vibration instruments, the level of left hand's vibration of all vibrators exceeded the criterion and in the case of drilling all the level of vibration exceeded the criterion in both hands. On the basis of the results in this research the environmental and health management system for construction workers must be considered. Therefore, it is necessary to be introduced the special medical examination and measurement of working environments in construction industry. In defining "the working place" of Article 39 of Enforcement regulations of industrial safety and health act, the word "indoors" should be deleted. Then the eligible industry for measurement of working environment must be extended. And it is also necessary for construction industry to be performed group health management service by agencies such as other manufacturing industry.

• 한국산업보건학회지
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• 제9권1호
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• pp.73-86
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• 1999

This study was performed to find out factors affecting degree of satisfaction with workers' working environment. The study subjects were 165 workers who were working at painting process of twelve furniture manufacturing factories in Incheon area. We used self-administered questionnaire containing general characteristics, working conditions, the degree of satisfaction with working environment, and the degree of satisfaction with working condition. In addition, we measured the exposure levels of occupational hazardous agents. The results were as follows; 1. Correlations between the degree of satisfaction with workers' working environment and the measured of occupational hazardous agents did not affect the degree of satisfaction with workers' working environment. 2. Factors affecting the degree of satisfaction with workers' working environment were not the exposure levels of occupational hazardous agents, but the degree of satisfaction with working condition, size of industry, health status, and types of ventilation system. As the degree of satisfaction with working condition was increased, the degree of satisfaction with working environment was increased. Also, for the workers who had good health status, the degree of satisfaction with work environment was appeared to be high. To increase the degree of satisfaction, with workers' working environment, firstly, effective work management and production control are required. Also, the worker's effort to negotiate continuously with top manager on improving working conditions is required. Secondly, developing heath promotion program to be appropriate for the characteristics of worksite is required. Moreover, leading worker's participation in health promotion program is very important to increase the degree of satisfaction with workers' working environment.

• 한국안전학회지
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• 제21권2호
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• pp.138-142
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• 2006

직업성 천식은 시안화물의 폭로에 의해 발생되는 것으로 알려져 있다. 남호주에 있는 가구산업에서는 일반적으로 목재판 위를 피복하기 위해 이중분사도포를 할 때 이소시안화물 도포제가 사용된다. 이 연구는 이와 관련 된 분야의 자료부족으로 관련 산업에서의 환경 및 피부와 안구폭로에 대한 모니터링을 위하여 수행되었다. 이 연구결과에 의하면 저압다량(HVLP)의 분사기 사용, 페인트 용액중의 저농도 경화제 및 전면 호흡보호구와 같은 적절한 보호구의 사용시에는 대기로부터 오염물질의 유입은 거의 없었고, 분사실 주변의 일반적인 작업범위에도 HDI 가 거의 감지되지 않았다. 페인트분사시의 일회용 장갑착용으로 피부폭로는 발견되지 않았으나, 칼라 모니터링에 의하면 장갑을 착용하지 않거나 청결하게 관리할 수 있는 공정이나 안전한 장소에 보관하지 않으면 작업장으로부터 피부폭로가 있었다. 페인트분사로부터 눈의 오염은 감지되지 않았고, 호흡기, 피부 및 안구에도 폭로되지 않았으며 유입과 가장 관련성이 있는 것은 작업형태이다.

• 미술이론과 현장
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• 제3호
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in

• 한국건축시공학회지
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• 제22권5호
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• pp.497-506
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• 2022

최근 전문건설업종의 대공종화/대업종화가 진행되고 있으며, 건설공사의 기술적인 전문성을 고려하지 않은 채 전문건설 업종을 편리에 따라 통합·신설하고, 고유의 업종을 폐지하는 방향으로 추진하고 있어서 건설산업 생산구조에 혼란을 초래하며, 업종 단순화만을 목표로 하여 설득력이 떨어지므로 전문건설업의 세부 공종 특성에 따라 재편 방안을 검토하는 것이 바람직하다고 판단된다. 본 연구에서는 전문공사업의 전문성에 대한 특수성을 고려한 합리적인 분류체계의 개편을 검토하기 위하여 도장공사, 조경공사의 사례를 대상으로 공사의 구분, 주요 업무내용 및 특성, 기술적 전문성, 대업종화에 대한 문제점을 분석하였다. 이를 바탕으로 현행 전문건설업 업종분류체계 개편 시 고려하여야 할 사항을 도출하고 합리적인 업종별 개편방안을 제시하고 한다.