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ÀúÀÚ : ÀÌÁÖ¿ø, ±è¼±¾Æ, ±è¼±¿µ
¹ßÇàÇÐȸ : Çѱ¹Á¶Çü±³À°ÇÐȸ [Society for Art Education of Korea]
¹ßÇàÁ¤º¸ : Á¶Çü±³À° Á¦ 42±Ç È£ pp.143-163(21 pages)
¹ßÇà³âµµ : 2012
ÀúÀ۽ñâ : 2012³â
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2. ¾î¸ù·æÀÇ ¿ù¸Åµµ(êÅØÞÓñ)
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V.°á·Ð
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¡Ø ABSTRACT
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È¸È ¾ç½Ä¿¡ ÀÖ¾î ¼±¸ÀûÀÎ ¾ç°¨ ȤÀº °ø°£ Ç¥Çö¿¡ Àͼ÷
ÇÑ °æ¿ì, ÈçÈ÷ ¿ì¸® ÀüÅë¹Ì¼ú¿¡¼ ºûÀÇ Ç¥ÇöÀÌ Á¶ÇüÀûÀ¸·Î ¹èÁ¦µÇ¾î Àְųª º°´Ù¸¥ Àǹ̸¦ °®Áö ¸øÇÑ´Ù°í ´ÜÁ¤Áþ´Â °æÇâÀÌ ÀÖ´Ù. ÀÌ´Â ±¤ÇÐÀû ºÐ¼®¿¡ ÀÇÇÑ »ç½ÇÀûÀÎ ÀçÇö¸¸À» ºûÀÇ Ç¥Çö¿µ¿ªÀ¸·Î °£ÁÖÇϰųª, ÀüÅëÈ¸È ¼Ó¿¡ ³ªÅ¸³ ºûÀÇ ¹®ÇÐÀûÀÎ ÀÇ¹Ì¿Í »ó¡¼º¿¡ °üÇÑ ÃæºÐÇÑ ÀÌÇØ°ú ÀνÄÀÌ ºÎÁ·ÇÏ¿´±â ¶§¹®ÀÏ °ÍÀÌ´Ù. ÀÌ¿Í °°Àº ¹®Á¦ÀǽĿ¡¼ Ãâ¹ßÇÑ º» ³í¹®Àº ÀüÅë È¸È ¼Ó¿¡ ÀçÇöµÈ ºû¿¡ °üÇÑ ¿¬±¸·Î, º¸´Ù ¼¶¼¼ÇÏ°í ½É¿ÀÇÑ ºûÀÇ Àǹ̸¦ Ž±¸ÇÏ°íÀÚ ´Þºû¿¡ °üÇÑ »ó¡¼º°ú Á¶ÇüÀû Ç¥Çö¿¡ ÃÊÁ¡À» µÎ¾ú´Ù. µ¿¾ç¿¡¼ ´Þºû¿¡ °üÇÑ »ó¡Àº »ç»ó°ú ¹®ÇÐ, ¹ÌÇп¡ °ÉÃÄ ¿À·£ ½Ã°£ µ¿¾È ½Éµµ ÀÖ°Ô ´Ù·ç¾îÁ® ¿ÔÀ¸¸ç, µ¿½Ã¿¡ ´ÞºûÀÇ ±¤ÇÐÀûÀÌ°í Çö»óÀûÀÎ ºÎºÐµéÀ» ¹ÌÀû Ç¥Çö¿¡ ÀÌ¿ëÇß´ø ÀÚÃë¿Í ±â·Ïµé ¶ÇÇÑ µ¿¾ç¹ÌÇаú ÀüÅë È¸È ¼Ó¿¡ ±¤¹üÀ§ÇÏ°Ô ³²¾ÆÀÖ´Ù.
The purpose of this study is
to broaden the understanding of traditional art
and to draw the implications
for traditional art appreciation by investigating the
symbolic meanings of moonligh
t through oriental philosophy, literatures, and
paintings. In oriental art, t
here had been a long tradition of searching ways to
reveal the artist's thoughts
and spirituality. The light as an art element was used
to uncover the essence of the
object and to reflect the artist's inner self.
Especially, moonlight was def
ined as ¡®transluscent Gi(Ѩ)¡¯. This philosophical
approach to light surpasses t
he notion of light as a mere art and design elements.
The implications of this stud
y for art education are two-fold. First, as visual
culture art education emphasi
zes, in traditional art symbolic images are understood
as an important medium which
embodies thoughts, sensitivity, and spirituality of
the artist. The examination o
f moonlight represented in traditional paintings could
be a good example that illust
rates how we can interpret and understand symbols
in traditional art. Second, t (ÀÌÇÏ »ý·«)
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