• 헤리티지:역사와 과학
• /
• 제53권3호
• /
• pp.62-79
• /
• 2020

강화 보문사 마애관음보살좌상은 일제강점기였던 1928년에 조성된 거대한 규모의 마애불상으로 한국 근대 불교 조각사에서 중요한 위치를 차지하는 기년명 불상임에도 불구하고 그동안 근대 불교 조각에 대한 연구 부진으로 심도 있는 논의가 이루어지지 못하였다. 본고에서는 보문사 마애관음보살좌상이 근대기 불상으로서 갖는 의미를 다양한 측면에서 살펴보기 위해 마애불 주변에 있는 명문을 판독하여 조성 연대와 제작자 및 후원자를 확인하였으며, 바위의 형태와 지형이 불상의 조형성에 어떤 영향을 끼쳤는지 알아보기 위해 제작자와 참배객의 시점(視點)을 비교 분석하였다. 또한 제작자 후손들과의 인터뷰를 통하여 불상 조성 당시의 구체적 정황을 파악해 보았다. 보문사 마애관음보살좌상의 제작에는 금강산 승려 이화응(李華應)이 화주(化主)겸 화사(畫師)를 맡았고, 불상 조성이 시작되는 1928년에는 100여 명이 넘는 시주자가 공동으로 후원하였으며, 1937년 참배공간을 확장할 때는 간송 전형필(澗松 全鎣弼)이 단독 후원하였다. 이 마애불 조성을 계기로 강화 보문사는 양양 낙산사, 남해 보리암과 더불어 우리 나라 3대 관음 도량으로 손꼽히게 되었다. 불상의 제작 기간은 약 3개월이 소요되었으며 초(草)는 화주를 맡았던 이화응이 그리고 조각은 운송학(雲松學) 등 다섯 명의 강화 지역 석수가 참여하였는데, 화승이 그린 초를 바탕으로 조각이 이루어졌기 때문에 마애불 곳곳에서 선묘적 기법이 발견된다. 화사로서 이화응의 면모가 밝혀짐에 따라 석옹철유(石翁喆有)-화응형진(華應亨眞)-일옹혜각(一翁慧覺)으로 이어지는 화맥의 단초를 확인할 수 있게 되었다. 보문사 마애관음보살좌상은 보관을 쓰고 정병을 든 전형적인 관음보살로 방형의 큰 얼굴에 목이 짧고 전체적으로 투박하여 경직된 인상을 준다. 제작자는 높이 10m에 40°가량 기울어져 있는 바위에 마애불을 왜곡 없이 보이기 위해 최대한 동작을 절제하고 대칭성을 강조하여 세부 표현을 생략하였고, 머리와 신체 비례는 1:1에 가깝게 조정하여 시각적 왜곡 문제를 해결하였다. 특히, 본고에서는 보문사 마애관음보살좌상처럼 별도의 불단을 만들지 않는 '불상과 불단의 일체화'된 형식을 근대기 불교 조각의 특징으로 상정하였다. 그 외에 광배에 새겨진 6글자의 범자(梵字)를 그동안 육자대명왕진언(六字大明王眞言)으로 해석했으나, 정법계진언(淨法界眞言)과 사방진언(四方眞言)이 조합된 것임을 새롭게 밝혔다. 아울러 처마 바위에 박혀 있는 3개의 쇠고리는 제작 과정에서 다림추를 달아 초를 그릴 때 기준점으로 활용하였고, 이후에는 고리에 풍탁을 달아 보살상을 장엄하는 용도로 사용한 것을 확인하였다.

• 한국산업보건학회지
• /
• 제30권2호
• /
• pp.134-152
• /
• 2020

Objectives: The objective of this study was to evaluate volatile organic compounds (VOCs) and toluene diisocyanates (TDIs) exposure among polyurethane waterproofing workers in the construction industry. Methods: Task-based personal air samplings were carried out at seven construction sites using organic vapor monitor for VOCs (n=88) and glass fiber filters coated with 1-(2-pyridyl)piperazine(1-2PP) for TDIs (n=81). The concentration of VOCs and TDIs were shown for four different work types(mixing paint, primer roller painting, urethane resin spread painting, painter assistant) at five different worksites (rooftop, ground parking lot, piloti, bathroom, and swimming pool). The two TDI sampling methods (filter vs impinger) were evaluated in parallel to compare the concentrations. Results: The geometric mean(GM) concentration of VOCs Exposure Index (EI) was highest for primer roller painting (1.4), followed in order by, urethane resin spread painting (0.85), mixing paint (0.53), and painter assistant (0.35) by work types. The GM of VOCs EI was highest for bathroom (1.4) followed in order by, swimming pool (0.85), piloti (0.89), ground parking lot (0.82) and rooftop (0.57) by worksites. The GM of 2,4-/2,6-TDI concentration was 0.052 ppb and 0.432 ppb each. There was no statistical difference in TDIs concentrations among worksites. The concentration of 2,6-TDI was ten times higher than that of 2,4-TDI. The concentration of 2,6-TDI by impinger method was 5.7 times higher than that by filter method. Conclusions: In this study, we found 38.6% of the VOCs samples exceeded the occupational exposure limits and 19.8% of the 2,6-TDI samples exceeded 1 ppb among polyurethane waterproofing workers. The most important determinants that increase the concentration of VOCs and TDIs was indoor environment and primer painting work.

• 한국산업보건학회지
• /
• 제33권3호
• /
• pp.317-331
• /
• 2023

Objectives: Construction workers are exposed to various hazardous substances simultaneously. However, little is known about the exposure hazards in construction industry. This study was aimed at identifying the risk of exposure hazards among construction workers. Methods: The expert survey (n=29) was conducted, including construction industry health managers (n=11) and work environment monitoring experts (n=18), on exposure probability, intensity and risk of hazardous substances by construction occupations Results: The exposure hazards of 30 construction occupations were identified and summarized through a literature review and expert survey. The most prevalent hazards were in order of noise, awkward posture, heat/cold, crystalline silica, cement/concrete dust, metal fumes, and volatile organic compounds. The hazards with highest risk score(over seven points) at construction occupations were noise(formwork carpenter, concrete finisher, rebar worker, demolition worker, driller/rock blaster), hazardous rays(welder), heat/cold (earthworks, formwork carpenter, rebar worker, concrete placer, scaffolder), awkward posture(bricklayer, caulker/tile setter, rebar worker) and heavy lifting(bricklayer, rebar worker). Among construction workers, the job types with the highest risk of exposure to carcinogens, and in which occupational cancer has been reported, were in order of stonemason, concrete finisher, rock blaster, welder, insulation installer, painter, scaffolder, plant worker and earthworks in order Conclusions: Systematic research and discussion on occupational disease among construction workers and its various hazardous factors are needed to establish job exposure matrix for facilitating standard for promptly processing the workers' compensation.

• 한국건축시공학회지
• /
• 제3권1호
• /
• pp.107-114
• /
• 2003

This study aims to find methods that prevents aging of buildings paint coating and that limits defects in construction. Defects in painting can occur in four stages: pure paint, during painting, after the paint coating has dried, and after some period of time has passed after coating. Paint may become bad due to precipitation of pigments, formation of membranes, and seeding during manufacturing. Therefore, it is important that the paint is well mixed and kept airtight at a cool, dark place. Indents, paint brush strokes, orange peel, separation of colors, and paint running and spreading during the paint work process can be prevented by using high quality materials and applying a high-level of construction method. After the paint coating has dried, boiling, yellowing, poor drying, poor bonding, and/or glen deficiency may occur. These are influenced by the levels of cleanness of the dried product, drying temperature and hydration. Then, when the coating has been left dried for some period of time, cracking, peeling, scaling, swelling, discoloring, and/or rusting may develop due to the ultraviolet and contaminants in the air. Since these defects occur due to inappropriate construction schedule and/or hot and humid condition, one must use weatherproof materials. Furthermore, poor paint color may be caused by contamination in the sample plate, discoloration, and/or discrepancies in colors which are due to material differences, level of glossiness, degree of dispersion, dual color property of metallic colors, precipitation of pigments, etc. One should achieve reduction in construction cost and effectiveness in paint work by limiting contaminations in the construction site and strictly observing to construction regulations.

• 건축역사연구
• /
• 제7권3호
• /
• pp.9-26
• /
• 1998

Architectural Drawing has been settled down the very effective means of exchanging their architectural ideas and data on the construction process. However, it was not easy to conserve the original drawings, which aims had been accomplished, at the same time, building was built. The same phenomena were occurred in our traditional architectural construction project, especially before pre-modern age. And do not understand soundly building documentation accepted by craftsmen in the period of earliest Chosun dynasty and how to present their idea and information of architectural as means of sketches and drawings. So, this paper aimed to clarify the drawing occurrence and the development steps of their rendering, representation methodology in the construction process in Sannungdogam-Uuigue, which were the construction documents of government based on the royal family's tomb and building projects in the late Chosun Dynasty. There are three development stages of architectural space representation, pre-drawing stage, drawing occurring stage and drawing settlement stage, They had been adapted unique drawing presentation method which were drawn by artisan, so called Doseol(圖說)and Painter Hwawon(畵員) The results are 1. In the Pre-drawing stage, they had been used the systematic explanation method of character 2. Do not have the evidence of adapting drawing before 17th centry, it was originated in early 17's century started with Onga(甕家). Onga's Drawing was drawn very elementary skill, and became development, settlement and standardization of their drawing representation around 19th century 3. The drawing presented by client's recognition view of space and building, integrated data within a sheet of drawing with practical and hierarchy and using graphic and description.

• 미술자료
• /
• 제97권
• /
• pp.14-54
• /
• 2020

용주사 <삼세불회도>에 대한 연구는 연대 추정과 양식 분석, 작가 비정, 문헌 해석의 네 가지 핵심 사항이 실증적인 근거와 일관된 논리 아래 모두 일치되도록 정합적으로 설명해야 한다. 그러나 최근의 용주사 <삼세불회도> 연구에서 제기된 19세기 후반 화승 제작설과 1790년에 제작된 원본을 1920년대에 일반화가가 서양화법으로 개채한 것이라는 소론은 실증성과 논리성이 결여되어 성립되기 어렵다. 현존 <삼세불회도>의 축원문(祝願文)은 세자(世子) 책봉을 받지 않은 원자(元子)만 있던 시기였음에도 불구하고 당시의 관습대로 의례적인 삼전(三殿) 축원문을 썼다가 이를 주사로 지우고 다시 "주상전하수만세(主上殿下壽萬歲), 자궁저하수만세(慈宮邸下壽萬歲), 왕비전하수만세(王妃殿下壽萬歲), 세자저하수만세(世子邸下壽萬歲)"라는 특별한 내용과 예외적인 순서로 개서(改書)했는데, 이는 조선후기 불화의 축원문 형식과 내용을 광범위하게 조사하고 정조대 왕실의 전례(典禮)를 면밀히 분석해 볼 때, 현존하는 <삼세불회도>가 1790년의 창건 당시에 그려졌던 원본 진작임을 말해주는 가장 확실한 객관적 근거라고 할 수 있다. 삼세불회도의 형식(形式)과 도상(圖像), 양식(樣式), 미감(美感), 화격(畫格) 등을 18~19세기 불화나 궁중화원 양식과 다각도로 비교분석해 보면 용주사 <삼세불회도>는 1790년경 전후에만 나타나는 특징이 많이 보이기 때문에 축원문(祝願文)에 대한 분석 결과와 일치한다. 특히 18세기 전반까지만 해도 종교적 위상에 따라 존상의 크기가 결정되고 화면 구성도 근하원상(近下遠上)의 고식(古式) 원근법에 따라 관념적, 평면적 조형 위주로 이루어져 왔으나 이 <삼세불회도>는 투시법적 원근법의 논리에 따라 구축된 입체적 공간 속에 존상들을 매우 체계적으로 배치한 뒤 서양화(西洋畫)의 음영식(陰影式) 명암법(明暗法)을 적극적으로 구사하며 흰색 하이라이트와 그림자까지 표현함으로써, 마치 삼세불회(三世佛會)의 장엄한 세계가 눈앞에 실제로 펼쳐져 있는 것 같은 느낌을 준다. 이 투시법적 원근법의 내적 질서와 음영식 명암법의 외적 착시는 골육합체(骨肉合體)처럼 내적으로 긴밀히 연결되어 있는 것이기 때문에 흰색 하이라이트만 떼어내서 후대에 개채된 것이라고 볼 수 있는 것이 결코 아니다. 더구나 이 <삼세불회도> 같은 고도의 서양화법과 높은 화격(畫格)의 창의적 융합은 조선후기 회화사상 김홍도와 이명기, 김득신 같은 정조대의 궁중화원만이 이룩할 수 있는 고도의 양식이자 화격이다. 용주사 주지 등운(等雲)이 창건 이래 용주사에 전해져온 기록을 토대로 『용주사사적(龍珠寺事蹟)』을 정리하며 김홍도가 <삼세불회도>를 그렸다고 기록한 것은 이것이 당시의 역사(歷史)이자 실상이었기 때문이다. 조정의 공식 기록인 『일성록(日省錄)』과 『수원부지령등록(水原府旨令謄錄)』에는 김홍도와 이명기, 김득신이 감동(監董)했다고 기록되어 있지만, 이는 의례 화승(畫僧)들이 그려왔던 불화를 관원 신분의 화원에게 그리도록 하는 것이 엄격한 관직 체제나 운영상 부당한 것이기 때문에 정치적 부담을 피하기 위해 명분상 감동으로 발령한 뒤 실제로는 불화를 직접 그리도록 했던 데서 나타난 결과였다. 영정조대의 어진(御眞) 도사 과정에서 감동으로 불러들인 문인화가 조영석(趙榮祏)과 강세황(姜世晃)에게 국왕이 직접 그릴 것을 요구했던 사례에서 볼 수 있듯이, '감동(監董)'과 '집필(執筆)'은 경우에 따라 경계를 넘나들 수 있는 개념으로서 '감동'이 '집필'을 완전히 배제하는 것은 아니며 겸할 수도 있는 것이다. 그런 점에서 『용주사사적』의 기록은 『일성록』이나 『수원부지령등록』은 물론 황덕순의 「닫집 원문」 기록과도 모순되는 것이 아니라, 행간의 의미를 찾아 복합적으로 읽으면 각각의 맥락과 필요에 따라 동일한 내용의 표리를 다르게 기록해 놓은 것임을 알 수 있다. 이렇게 해석할 때 우리는 용주사 <삼세불회도>의 연대 추정과 양식 분석, 작가 비정, 문헌 해석의 네 가지 핵심 사항을 모두 실증적인 근거와 일관된 논리 아래 정합적으로 설명할 수 있을 것이다.

• 한국보육지원학회지
• /
• 제12권3호
• /
• pp.99-119
• /
• 2016

The purpose of this study is to develop art activities using famous painting parodies in hopes of enhancing the creativity of 5-year old children. A total of 11 program activities were developed consisting of a preliminary activity (understanding the notion and ideas behind parody), introduction (view and analysis of famous paintings), development (theme selection, idea construction, and parody production), and conclusion (view and review of parody). Participants were 50 (24 in the experimental group and 26 in the comparative group) 5-year old children from a kindergarten located in G city. TTCT of Creative Thinking (TTCT: Figure A and B) was used as a research tool, and the listening abilities paintings test tool was applied to teachers of the groups. First, excluding accuracy, which is considered to be an unimportant factor in determining one's creativity, results showed positive effects on fluency, originality, abstractness, and persistence. Second, the program also showed positive effects on children's overall ability in appreciation of paintings as well as the sub factors including observation and expression, understanding painter's intention, atmosphere, materials and techniques, art elements, and attitude towards art piece.

• Safety and Health at Work
• /
• 제7권1호
• /
• pp.63-71
• /
• 2016

Background: Construction painters have not been studied well in terms of their hazards exposure. The objective of this study was to evaluate the exposure levels of total volatile organic compounds (TVOCs) for painters in the construction industry. Methods: Activity-specific personal air samplings were carried out in three waterproofing activities [polyurethane (PU), asphalt, and cement mortar] and three painting activities (epoxy, oil based, and water based) by using organic-vapor-monitor passive-sampling devices. Gas chromatograph with flame ionization detector could be used for identifying and quantifying individual organic chemicals. The levels of TVOCs, by summing up 15 targeted substances, were expressed in exposure-index (EI) values. Results: As arithmetic means in the order of concentration levels, the EIs of TVOCs in waterproofing works were 10.77, 2.42, 1.78, 1.68, 0.47, 0.07, and none detected (ND) for indoor PU-primer task, outdoor PU-primer task, outdoor PU-resin task, indoor PU-resin task, asphalt-primer task, asphalt-adhesive task, and cement-mortar task, respectively. The highest EI for painting works was 5.61 for indoor epoxyprimer task, followed by indoor epoxy-resin task (2.03), outdoor oil-based-spray-paint task (1.65), outdoor water-based-paint task (0.66), and indoor oil-based-paint task (0.15). Assuming that the operations were carried out continuously for 8 hours without breaks and by using the arithmetic means of EIs for each of the 12 tasks in this study, 58.3% (7 out of 12) exceeded the exposure limit of 100% (EI > 1.0), while 8.3% (1 out of 12) was in 50e100% of exposure limit (0.5 > EI > 1.0), and 4 tasks out of 12 were located in less than 50% of the limit range (EI < 0.5). Conclusion: From this study, we recognized that construction painters are exposed to various solvents, including carcinogens and reproductive toxins, and the levels of TVOC concentration in many of the painting tasks exceeded the exposure limits. Construction workers need to be protected from chemical agents during their painting works by using personal protective devices and/or work practice measures. Additional studies should focus on the exposure assessment of other hazards for construction workers, in order to identify high-risk tasks and to improve hazardous work environments.

• 복식
• /
• 제61권6호
• /
• pp.113-130
• /
• 2011

Post-Modern Multiculturalism is spreading in many ways and other cultural interest has led to the Latin American culture, which has steadily appeared as the main fashion concept of the international collection. Frida Kahlo(1907-1954), a representative of Latin American culture and a Mexican female surrealistic painter, who gives us some inspiration for contemporary fashion design. The purpose of this study is to have a correct understanding of and research on Latin American culture and to expand the expression of fashion design. In the process, this article examines the costume of Mexico belong to the Indio culture which had been regarded as the Other for a long time and understands Frida Kahlo's fashion style: Tehuanas costume and her masculine style. The Tehuanas costume is a traditional style of the city, Tehuantepec, located in the southeast of Mexico, which is characterized by colorful floral patterns and a long skirt. Three fashion concepts were derived from her fashion style: tradition & modern, love & farewell, and masculine & feminine. The scope of this study investigates the Haute Couture and the Pret-a-porter women's wear collections and photos from 1998 to 2010 in Europe, USA and South America. From classifying the collected photos into each concept, three styles such as ethnic, romantic and androgynous style were derived. These fashion styles were analyzed through the formative elements of dress, color, silhouette, pattern, material and clothing construction in order to figure out how costumes of other cultures influenced on contemporary fashion. As a design inspiration, Frida Kahlo extends her influence into innerwear, accessories and hairstyles, as well as women's wear. These inspirations emerge steadily from the past and far into the future as an expression of a fashion design concept.

• 한국안전학회지
• /
• 제20권3호
• /
• pp.134-142
• /
• 2005

This study is to find out how organic solvent will be propagated from painting inside the steel box girder of bridge. $2.9m{\times}3.0m$ of inside size of steel box girder is not suitable for painters to do his work comfortably and hygienically. Substance density(ppm)inside the space of the box unsatisfactory hygienical condition. Most of organic solvent(mainly toluene) came down to 0.5m in two minutes and 53sec. But personal protection for painter should be properly kept against flying this heavy organic solvent. longitudinally 27.1m in length is a cell unit of the whole length of bridge. Model XP-3l6A made in Japan is a main instrumentation adjusted to sense organic solvent especially toluene which can be measured up to 10,000ppm. Scenario analysis by computer program, safer release 2.0 has been performed first to estimate how the organic solvent will be propagated. And then actual test was done as a model. This has been measured for approximately five(5) minutes, with 30 sec interval. Actual measurement results showed much higher $10{\sim}20%$ than result analyzed by the computer program, meaning that this painting work can give worse effect to the worker who is painting inside the box girder of the bridge. The first meas urement level over the floor set up at 30cm height from the floor, because organic solvent was estimated to stay at the level. and then, they were measured at 1.0m, 1.5m level respectively, more.