• 조형예술학연구
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• 제3권
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• pp.145-177
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• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

• 한국자원식물학회지
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• 제22권2호
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• pp.116-122
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• 2009

주걱쑥부쟁이(Heteropappus arenarius Kitam.)는 들국화에 속하는 가을 개화성 이년초로 한국의 남동부 해안지대와 제주도에서 자생한다. 본 식물은 대규모 조경지역 특히, 척박한 토양이나 비탈면 언덕에 유용한 지피식물로서 개발 가능성이 높다. 본 연구는 주걱쑥부쟁이 종자의 지역계통과 수확시기에 따른 최적 발아온도를 선정하기 위해 최초로 수행하였다. 지역별 온도에 따른 종자발아 반응은 다음과 같다. 최종발아율(FG)은 구룡포산(産)(89.7%)이 4개 지역계통 중에 가장 높았고, 다음으로 구좌산(産)(87.3%), 감포산(産)(87.3%), HKNU-I (71.5%) 순이었다. 지역별 평균 $T_{50}$은 구좌산(産)(3.6 일)과 구룡포산(産) (4.0일)이 타 지역에 비해 짧았다. 온도별 평균 FG와 $T_{50}$은 $20^{\circ}C$에서 각각 76.2%와 3.6일로 가장 우수하였다. 그 다음으로 $30^{\circ}C$, $25^{\circ}C$, $15^{\circ}C$순이었다. 그러나 구좌산(産)의 경우, FG과 $T_{50}$이 $20^{\circ}C$와 $15^{\circ}C$에서 우수하였다. 수확단계 및 온도관계에서 수확단계별 평균 FG는 Stage III (90.7%)와 Stage IV (88.6%)가 Stage II(35.7%)와 Stage I(26.0%)에 비해 월등히 높았다. 수확단계별 평균 $T_{50}$은 Stage IV (3.7일)과 Stage III (4.3일)로 FG값이 50%이하를 보여준 타 수확단계에 비해 짧았다. 그럼에도 불구하고 주걱쑥부쟁이 종자는 모든 단계에서 발아할 수 있었기에 종자 수확 가능범위는 Stage I 에서 IV까지였다. 결론적으로 주걱쑥부쟁이 종자발아의 최적 온도와 적정 수확단계는 $20^{\circ}C$ 조건에 Stage III에서 IV 까지이었다.