The Strokes of Perception

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the strokes of perception Lee Jung Woong

the strokes of perception Lee Jung Woong

Lee Jung Woong

Ode to Ar t, i n par t n e rs h i p wi t h Caprice Capi tal

the strokes of perception

Lee Jung Woong

the strokes of perception

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Lee Jung Woong

the strokes of perception

the strokes of perception lee jung woong

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Lee Jung Woong

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Lee Jung Woong

For e wor d Jazz Chong Director, Ode to Art

Among the many astute elements of Lee Jung Woongโ€™s perceptive creations, the one that always strikes me is the visual simplicity, in spite of the complex detailing and skill that lies behind it. From my time spent with the artist and his family, I see in his works the gentleness and quiet confidence so characteristic of the artist himself. Each bold stroke of ink is as self assured and determined as its creator, embodying the subtlety and grace of a perceptive artist. A testament to artistic delicacy and the meditative presence of tranquil brushwork, I am proud to present to you- Korean artist Lee Jung Woong and his newest edition of insightful works- โ€˜The Strokes of Perceptionโ€™.

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Born in Korea in 1963. Lee Jung Woong never fails to astound. Using Korean rice paper and Western Oil paint to bring poetic and almost literal life into his subjects of Chinese brushes and ebony ink, his ink splotches, swipes and bleeds showcase dynamism and motion that far surpasses a simple 2 dimensional image-accompanied by gleaming wood and brush hairs that are visible in the coarseness of every individual strand. The amount of detailing renders his works flawless, sometimes causing viewers to lean in, trying to find the brush strokes that created the glossy smoothness of the handles, the soaked transience of the paper and the compliance of every brush hair. โ€˜The Strokes of Perceptionโ€ is a tribute to the sensitivity and insight that are the triumph of his skill. Extending from chaotic

the strokes of perception

splashes of ink to cleansing bold strokes on a background of clarity, the artist instills the inanimate object with emotion and spirituality, using space and altering placing of background and foreground to expatiate the yin and yang he portrays. From vast expanses to crowded canvases, the dynamism of his brush in its hyper realistic manner emanates intangibility that strikes the mind and stirs the soul, adding an amplitude of meaning to the stunning aesthetics- resulting in a perceptive masterpiece of infinite motion. Contrasting colors and spiritual energies is not the end of his elaborate expression, however, as his choice of western style and paint to depict a Chinese object is as much a play on culture contrasts as it is on the artist and his subject. Lee Jung Woongโ€™s works are hence, multifaceted in both meaning and visuals- their magnificence only amplified by the variety of interpretation. Through his veritable array of manners of perception and viewing, the artistโ€™s โ€˜Brushโ€™ series has found success all over the world; and he now makes his way to Malaysia for the first time, Ode to Art is delighted to have the opportunity to share his works. On the event of this occasion, I would like to thank Paul Poh, who has been businessman, art enthusiast, staunch friend and a great personality to our gallery as well as my sincere gratitude to Lee Jung Woong, who has proved not only an exceptional artist but also in his enduring friendship over the years. Together, we invite you to share in this celebration with us, and explore the skill, insight and transience that lie behind the perceptive strokes of Lee Jung Woong. Jazz Chong โ€” Director, Ode to Art

Lee Jung Woong

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Lee Jung Woong

the strokes of perception

For e wor d Paul Poh CEO, Caprice Capital

A staunch believer in the significance and impact of the development of the Arts, Caprice Capital has long been the friend and supporter of dynamic and effectual artistic ventures; and to present an artist of such caliber and his limited edition of works is an illustrious affiliation to our company. As a proud collector and supporter I am pleased to present to you on behalf of Caprice Capital, โ€˜The Strokes of Perceptionโ€™, the newest works of the Korean maestro Lee Jung Woong.

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An internationally renowned artist, Lee Jung Woong has had his works exhibited in galleries and museums world over, even having his Brush series works auctioned at Sothebyโ€™s. The series has revealed the artist as one with incredible skill, as he paints his brushes and strokes with hyper realistic detail that leaves the image more as a photograph than an impression on canvas. Resplendent with tranquility and Zen, his works appeal not only to connoisseurs of the aesthetic but to all subconscious thoughts that resonate with the spirituality and notions of infinity it implies. Finding movement in the inanimate and life in the

ordinary, Lee Jung Woong intuitively contrasts the dark and the light, the tumultuous with the serene, and the common place with regal grace. His works are defining and groundbreaking, paving the way for new levels of achievement in the contemporary art sphere and leaving trails of ink to be remembered in the year to come. Caprice Capital is proud to partner Ode to Art at the event of this display. We hope that you enjoy this exhibition and continue to join us as we celebrate and support the best modern contemporary art has to offer. Paul Poh โ€” CEO, Caprice Capital

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Lee Jung Woong

T h e Wor ld of Le e Jung wo ongโ€™s Paint ings Centering on the Brush Series By Shin hang-seop (arts critic)

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A painter has two kinds of eyes. One eye is the realistic eye of an ordinary person to see things through the visual nerve, and the other eye is to watch the virtual formative world. The eye to watch the formative world should be aesthetic oriented. It responds sensitively to aesthetic sensitivity and pursues aesthetic beauty not seen in reality. The formative beauty is realized through new formal beauty explored by the artistโ€™s appreciative eye. Likewise, the new formal beauty should be predicated on aesthetic value, and aesthetic value is closely related with creative formal beauty. Lee Jung-woongโ€™s eye to watch the formative world is clear and sharp. It is sharp and cool-headed and even threatening as a dagger. Thus, seeing his works sends shivers down viewersโ€™ spine. One is appalled at the extremely meticulous reality of his paintings which are not believed as such. Such surprising reality surpasses that of hyper-realism, and photo-realism. Even a close look at his works cannot reveal traces of brush touch. They are more realistic than photos, thereby simply surpassing the border of photography. What would be his world like that has surpassed the world of photography? His skill could emulate the divine skill. The divine skill of depiction is the top reach where the reality

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and the painting cannot be distinguished from each other, and his paintings are unbelievable as the output of human work. Above all things, no brush traces are left. Even the finest-brush depiction could leave traces of brush touch on the work, but no such traces are left on his works, leading one to further wonder how that could happen. Thus viewers at his works naturally try to ascertain if they are real photos by using a magnifying glass. Such keen depiction that deceives the eyes of viewers is not made possible unless the artist can have excellent grasp of formation and outstanding sense of color. The first and foremost element that determines reality may be the image of color. What discerns the painting from the reality is the image of color rather than formation. In this sense, his sense of color that is capable of adapting the realistic color image for his paintings is apparently innate. Likewise, his sense of color that makes it difficult to discern his paintings from the reality is highly likely to be inborn quality. This is because even though the function of a hand is superb, the eye causes optical illusion to what works the hand. If one has no accurate eye of discerning the form and color of an object, he may not produce realistic expression. The accuracy of the eye shown in paintings does not simply mean the ability to accurately perceive shapes, namely, visual perception ability. The accurate eye required in paintings, in most cases, means the accurate proportionality sense of form. If one does not have an accurate proportionality sense, even his superb depiction ability may produce distorted forms. Thus, accurate proportionality sense can be said to lead accurate realistic depiction ability. As such, Lee Jung-woong is thoroughly equipped with basic requirements needed for realistic paintings. He does more than perfecting techniques of simply depicting forms, but has superior sense of expressing surface texture sense of objects. The impulse to touch his paintings is triggered because they deliver the same texture sense of objects as the reality, deceiving our visual sense. His talent of the hand alone, namely, technical perfection, should

Lee Jung Woong

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not be evaluated. His formative creativity, namely, individual type, should also be evaluated. Under any circumstances, the type of a subject matter depicted in a painting is nothing but an episode that takes place only on the canvas or Korean paper. The episode is nothing but a virtual world that reflects the reality. This is more true with reproductive paintings that copy the reality as it is. The primary success factor of realistic paintings is to realize the realistic fact. This seems to be achievable through technical perfection. However, if the reality is without aesthetic value which is different from the reality, it cannot fall under the category of arts. A subtle difference discerns the reality from artiscality, and is swayed by aesthetic awareness and sense. His paintings are doubtlessly close to the reality in terms of technique. They are close to realistic images to the extent that they trigger optical illusion or visual illusion. Although optical illusion and visual illusion are an inevitable virtue required of realistic paintings, his works surpass such realm and establish his own unique formative space. His technical perfection alone has already entered a realm distinctively different from that of others. His unique formative space is his artistic achievement. Realistic paintings that render real objects on the canvas or Korean paper or other plane space primarily attempt at visual surprises or aesthetic pleasure, thereby realizing virtual space that deceives the human eye. Realistic paintings set virtual space similar to the reality in a limited wall, thereby allowing viewers to experience the expansion of space and horizon. They render subject matter and the space of target objects on the small plane space, thus resulting in expanding the world. However, he is not satisfied with the structuring of virtual space on the square space like a canvas or Korean paper, but he instead possesses an aesthetic area where aesthetic feeling and aesthetic consciousness can play. Thus, he enjoys intellectual manipulation through the constructional beauty that involves the selection and

location of subject matter, and deployment of various subject matters in the right place. Still lifes should involve a more positive intellectual manipulation rather than landscapes which accommodate given circumstances as they are. If an artist has a passive attitude of rendering the given reality as it is, he will restrict his formative ideals or pictorial thoughts. Thus, he will positively intervene in the whole formative process of subject matter selection, deployment, and construction. In this attempt, the painter will put his individual aesthetic sensitivity and intellectual understanding first. Lee Jung-woong, technically, is said to have surpassed the limits of his ability, thus entering the divine realm. He thus has to pursue the aesthetic world by shedding the technical realm. Likewise, he does not limit himself to phenomenal matters perceived by the visual nerve, but pursues intellectual insights, while he attempts to enter the aesthetic world where he can relish the รข€œshower of feeling.รข€? Here, he totally supports the Oriental serene contemplative world different from formative achievements accomplished in the Western aesthetics. While Lee Jung-woong uses oil colors, he does not emphasize their properties presumably because he embraces such views. Rather than pursuing visual images through thick touch sense of oil colors and vehement reality, he attempts to reveal the mental value projected into paintings. Virtually, his paintings do not nearly reveal the properties of oil colors. They hide such properties, and vehemently render the surface texture sense of the subject matter, thus triggering visual confusion. His paintings put viewers in the illusion of look at real objects beyond realistic images. This technique is at the level of magic. Nonetheless, he is not complacent with such lofty level, but pursues mental aesthetics beyond the amazing depiction ability. He attempts to look into emotions through the space or blank space surrounding the visible objects. The surrounding space of the subject matter in his paintings is empty without any material

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image of any form. It is empty and does not imply what the situation means. In a word, it is a non-expressive space. However, such non-expressive space is unusual. It is not an empty space where nothing exists, but occupies the rest of the space involving the object, namely, the subject matter of the painting, at the center. Thus, the empty space in his paintings is a space of relative concept corresponding to subject matter. Thus, it is the blank space that is created by the existence of subject matter, namely, a non-expressive space that responds to the depicted image. It is not an empty space because an object does not exist. It is a space of relative concept opposed to the subject matter, namely, a contemplative space relating to formative characteristics of the subject matter. Likewise, it is a complementary space that helps the subject matter realize pictorial value or formative value. Of course, the space involving the subject matter is a square plane space, namely, the material area of canvas or paper. It is the given, limited space where a painting is drawn. He uses Korean paper instead of canvas in renderng a series of paintings involving a brush as the subject matter, and Korean paper is white with nothing on it but serves as an object of independent properties thus making it an expressive space. Korean paper, seemingly involving nothing, has its unique texture sense and expression. It does so because it is manufactured manually not mechanically. Thus, although Korean paper has nothing visible on it, it cannot be asserted as a non-expressive space. Also, certain paintings of his have the surrounding space of the subject matter filled with abstract images, thereby making the space a more positive expressive space as part of the canvas together with the subject matter. However, the abstract image serves only as a complementary image that helps the realistic image of the subject matter. The abstract image, albeit an expressive space, cannot intrude into the initiatives that the subject matter of realistic form takes. It only helps highlight the subject matter

of realistic image. Paintings rendered with abstract images generally exude a dynamic mood. Paintings involving a non-expressive blank space concept exude a serene contemplative ambiance, while abstract images as an expressive concept assume dynamic behavioral features. Likewise, abstract images are not necessarily expressed in the form of specific objects. They are sporadically expressed on the screen in the form of color lumps, color points or brush traces. They are expressed irregularly and randomly. Nonetheless, dispersed abstract images as a whole retain certain rhythms. They apparently follow a certain elaborate formula in terms of size and interval. This expects not accidental effects, but intentional effects. Also, certain abstract images, unlike color lumps, color points and brush traces, positively reveal the properties of Korean paper itself. When one applies Chinese ink profusely to Korean paper, rubs it using tools while it is still wet, then he can create certain texture sense. As such, abstract images can be replaced with texture sense by a property. These types of paintings attempt to let Chinese ink, water and Korean paper join together, apply physical power to the mixture, and accept the corresponding expression of the property as an expressive image. This technique is used in modern paintings, and can be asserted as a different area than the traditional realistic aesthetics. Given this, his paintings keep a certain distance from the traditional realistic aesthetics. Above all things, his shading technique is different from the traditional one. His shading technique in his paintings is simple. While the traditional technique paints several heaps of oil colors, thereby creating depths and thicknesses, his shading technique involves very thin and transparent painting. His technique uses a small amount of oil colors to make their existence nearly unnoticeable, and makes the interiors of painting nearly transparent. Nonetheless, one or two sessions of work do not finish his painting. He repeats five to six

Lee Jung Woong

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sessions of work. Vehement reality created through this process governs even the quantity and texture sense of oil colors. His paintings exude transparency where a layer of air seems not to exist between his eyes and the subject matter, suggesting an achievement of modern aesthetics that the conventional realistic aesthetics could not reach. He deprives the quantity and texture sense of oil colors of his paintings, thereby highlighting transparency, a sure evidence of modern aesthetics. At the same time, this rendering is the triumphal song of Oriental aesthetics that attaches importance to mental value beyond materialism. He deprives materialism of his paintings, and thus realizes a perfect false image that can be confused with the reality while the conventional realism renders things more exaggeratedly that they look. A look at his paintings impresses viewers momentarily as if to look at holograms, and this results from the realistic clarity deceiving the visual perception. He chooses Korean paper over canvas presumably because of the symbolic feature of the Oriental material of Korean paper. Likewise, calligraphic paintings which realize the concept of blank space symbolize Oriental paintings, and placed at their center is Korean paper. It is self-evident to adopt the symbolic material of Oriental paintings and thus ably invite Oriental emotions. This raises expectations to achieve a new type of aesthetic achievement according to choices of materials. His works are located differently from hyper-realism and photo-realism, because they employ such Oriental material. This approach corresponds to methodologies of modern painting which embrace the importance of properties. Nonetheless, his conception is based on the formative concept of Oriental painting, namely, blank space. The space surrounding the form, namely, the blank space, is the mental dwelling in Oriental painting. Blank space is a live space that implies movement amidst stoppage. Likewise, it is a space where shadows of thinking dwell and movements of life are invigorated. This is why the blank space cannot be said to be as an

empty void space with nothing on it. Calligraphic paintings can get vitality through blank space which is defended by shadows of thinking. His paintings depicted on Korean paper are distinctively different from those on canvas. With the material remaining as it is without the background rendered abstractly, the reality is more intensively highlighted. This is because Korean paper with nothing on it can well replace the table or floor where a still object lies. Likewise, with work using Korean paper, Korean paper can be an actual background, as well as a ground where the subject matter lies. Here, Korean paper is presented as not a processed reality, but as the reality itself. Thus, Korean paper is an actual object as well as realistic space. Thus, subject matter enters the realistic space and becomes a false image, thus positioning itself delicately. Lee Jung-woongรข€™s work embraces certain formative principles. It seeks to make dual structure, namely, opposing concepts based on the Orientรข€™s yin and yang thoughts, conflict and harmonize with each other. It juxtaposes dual and opposing concepts such as calligraphic paintings and oil paintings, abstraction and construction, forms and silhouettes, dynamic images and still images, act and stationariness, artificiality and arbitration, reality and false image, and oil colors and watercolors. This always fills the screen with tension in a conflicting state. Lee Jung-woongรข€™s work attempts at not loose images, but vital images. Opposing and conflicting images create visual tension, and simultaneously pursue dramatic reconciliation and harmony to attain the common goal of formative beauty. Construction and abstraction, in terms of their value of form, have only conflicting relationships, and poses little possibility of harmonious coexistence. Nonetheless, these conflicting images, when placed on the same screen, bring an unexpected result, thus surprising viewers. This more effectively emphasizes realistic images. He enjoys dramatic rendering in contrasting forms with

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silhouettes unlike with an ordinary shading technique in ordinary still lifes. He expresses clear-cut contour lines of shadows as if to cut them with a knife. Visual clarity created by distinctive forms of shadows add to aesthetic pleasure together with intellectual understanding. This is an exaggerated expression different from the reality. At the same time, it involves conflicting emotions of act and stationariness. Brush series demonstrate act, and simultaneously show stationariness. Behavioral features are implied by movement traces of the brush, namely, Chinese ink-soaked brush drawing lines on Korean paper, or traces of Chinese ink drops. Also, the brush that does such act lies static while holding Chinese ink. Also, a work is presented where a brush hanging upside down drips Chinese ink, wetting the bottom of Korean paper. This work implies the situation right after the act is finished. As such, the two conflicting emotions, act and stationariness, which are put on a single screen, create dramatic tension. Also, still objects are reenacted, but by leaving traces of leading act, the work involves the feature of time. It is very interesting to find act and time features in still objects. Of course, expressionist works leave vibrant traces of brush, thus allowing viewers to perceive features of act. However, features of time do not exist therein. Traces of brush signaling that the work has just been finished, and the Chinese-ink-soaked brush imply features of time. This indicates again that his work is the output of new aesthetic achievement that is different from conventional realism. Also, what one should pay keen attention to is traces of Chinese ink, namely, images created by the act of the brush, and the space positioned by such images. Korean paper, which is used for literary paintings and calligraphy, is a plane space on top of an object. However, the place where the brush is located means a 3-dimensional space where a thing is located. Then, how can the 2-dimensional plane space and 3-dimensional cubic space coexist on the plane space? This question distinctively reveals the

individuality of his work. The Korean paper material is an unchangeable square plane space. However, Korean paper, to which a realistic form is brought, suddenly turns into a cubic space. This also is another magic of his work. On the other hand, both a calligraphic painting and a oil painting are simultaneously located on a single screen. Lines and dots drawn by Chinese ink, or traces of Chinese ink are created into a calligrpahic painting. Likewise, they are not images rendered using oil colors, but those rendered using Chinese ink. Here, traces of Chinese ink is the entity and reality as well. They are the entity of a calligraphic painting. The entity turns into an oil painting when it meets the image of brush depicted using oil colors. Nonetheless, traces of Chinese ink, which coexist with the form of brush depicted by oil colors, are misleadingly seen as having been depicted by oil colors. The form of a brush that is vibrantly depicted is a distinctive Western realism, namely, an oil painting, thereby making one never doubt that traces of a brush or Chinese ink are an actual Chinese ink. Also, there is a case where traces of Chinese ink are depicted not by actual Chinese ink but by oil colors. Traces of Chinese ink depicted with oil colors deceive one into believing that they are depicted with Chinese ink. In a word, his depiction ability is exercised freely and liberally. He can express material properties of Chinese ink with oil colors, showing the excellency of his rendering ability. His works make the division of materials into Chinese ink and oil colors meaningless. Thus, it seems that he, from the beginning, did not bother the demarcation between Chinese ink and oil colors. This was not even the target to be overcome. Anyhow, it is amazing that a calligraphic painting and an oil painting can reconcile and harmonize with each other on a single screen without conflicting with each other. Since Chinese ink and oil colors are both used commonly in modern paintings, it is not a new event. However, it is surprising that as seen from

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his works, a calligraphic painting and an oil painting, coexisting, look like an oil painting. This confirms how pictorial creativity shows itself. From a different viewpoint, this is the harmony of material property and mentality. The traces by the act of a brush, as seen in the painting, namely, images created by lines and Chinese ink blotting are compared to mentality, while the form of a brush is material property. Mentality is the output of the act directed by aesthetic consciousness and aesthetic sense, thus making it mental value. On the other hand, the brush itself is material value. To interpret it differently, it is a situation where the world of metaphysics and the world of physical science meet each other and pursue relationships of mutual living. Also, different materials of oil colors and Chinese ink are used on a single screen in a different sense, and simultaneously is fused into a complete work. This means that Oriental and Western materials meet each other at one place, but this is considered cultural confrontation of the Orient and West. The artist surprisingly integrates the situation where different materials meet each other and supposedly conflict with each other. He establishes a formative space of totally new meaning where Oriental Chinese ink and Western oil colors coexist in different positions. Given this, his work is a experience of new viewpoint and a shock to us. This is entirely the triumphal song of conception change or methodology. His realistic painting not only faithfully aims to reenact the visible reality, but also declares a new expression area not realized before. The artist has opened an unexpected new form of the formative world not by simply following the Western aesthetics but by introducing Oriental materials and emotions. Also, he has overcome cultural heterogeneousness of the Orient and West. Regarding the depiction technique as well, the Western realism and Oriental Chinese ink drawing technique coexist. Also, for materials, both Oriental and Western materials get together.

Lee Jung Woong

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As such, the artistโ€™s work is the type of mixing different positions, but is not contrary to each other from either viewpoint. It is not strange from the Westโ€™s realism viewpoint, and is friendly and familiar subject matter and material from the Oriental viewpoint. Given this, his work has realized universal value which is not strange to either side. However, what is truly important is that he has linked the Westโ€™s realistic aesthetics with the world of Oriental contemplative serenity, thereby opening a new horizon of realistic painting. His work provides an opportunity not only to appreciate its form, but also to be aware of the serene world of the surrounding space of its form. He has opened space of thinking to enter through visual images. Although the space is a non-expressive space that is not manifested visually, such empty space can be filled with thinking. Although the space seems to be empty, the vibrant reality which reflects the form or traces of a brush or traces of Chinese ink fill even its surroundings with vitality. Vitality is the essence of what his work pursues. Of course, similarly, vitality pursued in literary paintings is an eventual artistic value. The artist has linked the Oriental painting philosophy to the Western formative concept, thus embodying a new formal aesthetics and methodology. Thus, his work shows how diversely realistic paintings can be interpreted. Of course, it is the achievement accomplished by the application of modern aesthetics as with hyper-realism and photo-realism. If various methodologies are employed, diverse interpretations can be made. Lee Jung-woongโ€™s works ably respond to diverse formative variations that are made possible by modern painting. They thus unfold expanded images naturally. As the screen is expanded and the form is enlarged, corresponding visual shocks will be great. With the screen enlarging, despite expansion of the form of the material, the painting is not queer, and this is amazing. As the form of the material is expanded, visual shocks and impression

will grow great, because the reality, even with the enlarging of the material, will not weaken. As such, his realistic depiction ability is meticulous and highly detailed. Lee Jung-woongโ€™s works present an effective new suggestion to modern painting, because they indicate a point where Western material value and Oriental mental value harmonize with each other. His works will surely be a good answer to this suggestion. It is all the more so, given the reality where a new concern is being raised about the formative (constructional) value. Centering on the Brush Series โ€” Shin hang-seop (arts critic)

Lee Jung Woong

์ด์ •์›…์˜ ์ž‘ํ’ˆ์„ธ๊ณ„ -โ€˜๋ถ“โ€™ ์—ฐ์ž‘์„ ์ค‘์‹ฌ์œผ๋กœ-

์‹ ํ•ญ์„ญ ็”ณๆ’็‡ฎ(Shin hang-seop,๋ฏธ์ˆ ํ‰๋ก ๊ฐ€) ํ™”๊ฐ€์—๊ฒŒ๋Š” ๋‘ ๊ฐœ์˜ ๋ˆˆ์ด ์žˆ๋‹ค. ํ•˜๋‚˜๋Š” ๋ณดํ†ต ์‚ฌ๋žŒ๋“ค๊ณผ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ ์‹œ์‹ ๊ฒฝ์„ ํ†ตํ•ด ์ง€๊ฐํ•˜๋Š” ํ˜„์‹ค์ ์ธ ๋ˆˆ์ด๊ณ , ๋‹ค๋ฅธ ํ•˜๋‚˜๋Š” ๊ฐ€์ƒ์˜ ๊ณต๊ฐ„๊ฐœ๋…์ด ์ ์šฉ๋œ ์กฐ ํ˜•์„ธ๊ณ„๋ฅผ ์กฐ๋งํ•˜๋Š” ๋ˆˆ์ด๋‹ค. ์กฐํ˜•์„ธ๊ณ„๋ฅผ ์กฐ๋งํ•˜๋Š” ๋ˆˆ์€ ํƒ๋ฏธ์ ์ด๊ธฐ ๋งˆ๋ จ์ด๋‹ค. ๋ฏธ์  ๊ฐ์ˆ˜์„ฑ์— ๋ฏผ๊ฐํ•˜๊ฒŒ ๋ฐ˜์‘ํ•˜๋ฉด์„œ ํ˜„์‹ค์—์„œ ๋ณผ ์ˆ˜ ์—†๋Š” ์กฐํ˜•์ ์ธ ์•„๋ฆ„๋‹ค์›€ ์„ ํƒํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ์กฐํ˜•์ ์ธ ์•„๋ฆ„๋‹ค์›€์€ ์ž‘๊ฐ€์˜ ์‹ฌ๋ฏธ์•ˆ์— ์˜ํ•ด ํƒ์ƒ‰๋˜์–ด์ง€๋Š” ์ƒˆ๋กœ์šด ํ˜•์‹๋ฏธ๋ฅผ ํ†ตํ•ด ๊ตฌํ˜„๋œ๋‹ค. ์ด๋•Œ ์ƒˆ๋กœ์šด ํ˜•์‹๋ฏธ๋Š” ๋ฏธ์ ์ธ ๊ฐ€์น˜๋ฅผ ์ „์ œ ๋กœ ํ•˜๋Š” ๊ฒƒ์ด์ง€ ์•Š์œผ๋ฉด ์•ˆ ๋œ๋‹ค. ๋ฐ”๊พธ์–ด ๋งํ•ด ๋ฏธ์ ์ธ ๊ฐ€์น˜๋ž€ ์ฐฝ์˜์ ์ธ ํ˜•์‹๋ฏธ ์™€ ๋ฐ€์ ‘ํ•œ ๊ด€๊ณ„๋ฅผ ์ง€๋‹ˆ๊ณ  ์žˆ๋‹ค๋Š” ์ ์—์„œ ๊ทธ๋ ‡๋‹ค. ์ด์ •์›…์€ ์กฐํ˜•์„ธ๊ณ„๋ฅผ ์กฐ๋งํ•˜๋Š” ๋ˆˆ์ด ๋ง‘๋‹ค. ๊ทธ๋Ÿฌ๋ฉด์„œ๋„ ์•„์ฃผ ์˜ˆ๋ฆฌํ•˜๊ณ  ๋งค์„ญ ๋‹ค. ๋งˆ์น˜ ๋น„์ˆ˜ ๊ฐ™์€ ๋‚ ์นด๋กœ์›€๊ณผ ๋ƒ‰์ฒ ํ•จ ๊ทธ๋ฆฌ๊ณ  ์œ„ํ˜‘์ ์ธ ๋ฉด์ด ์žˆ๋‹ค. ๊ทธ๋ž˜์„œ์ผ ๊นŒ. ๊ทธ์˜ ๊ทธ๋ฆผ๊ณผ ๋งˆ์ฃผํ•˜๋ฉด ์„ฌ๋œฉํ•จ์„ ๋Š๋‚€๋‹ค. ๋„์ €ํžˆ ๊ทธ๋ฆผ์ด๋ผ๊ณ ๋Š” ๋ฏฟ๊ธฐ ์–ด๋ ค ์šด ๊ทน๋ฏธํ•œ ์‚ฌ์‹ค์„ฑ์— ๊ฒฝ์•…ํ•˜๊ฒŒ ๋˜๋Š” ๊ฒƒ์ด๋‹ค. ๊ทธ ๋†€๋ผ์›€์€ ํ•˜์ดํผ๋ฆฌ์–ผ๋ฆฌ์ฆ˜, ํฌ ํ† ๋ฆฌ์–ผ๋ฆฌ์ฆ˜์˜ ์„ธ๊ณ„๊ฐ€ ๊ทธ๋ ค๋‚ด๋Š” ๊ทน๋ช…ํ•œ ์‚ฌ์‹ค์„ฑ์˜ ์˜์—ญ์—์„œ๋„ ๋ฒ—์–ด๋‚˜ ์žˆ๋‹ค๋Š” ๋ฐ ์žˆ๋‹ค. ์•„๋ฌด๋ฆฌ ๋œฏ์–ด๋ณด์•„๋„ ๋„๋Œ€์ฒด ๋ถ“ ์ž๊ตญ์˜ ํ”์ ์„ ์ฐพ์•„๋‚ผ ์ˆ˜ ์—†์„ ์ •๋„์ด ๋‹ค. ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ์‚ฌ์ง„๋ณด๋‹ค๋„ ๋” ์‚ฌ์‹ค์ ์ด์–ด์„œ ์‚ฌ์ง„์˜ ๊ฒฝ๊ณ„๋งˆ์ € ๊ฐ„๋‹จํžˆ ๋„˜์–ด ์„ ๋‹ค. ์‚ฌ์ง„์˜ ์„ธ๊ณ„์กฐ์ฐจ ๋„˜์–ด๋ฒ„๋ ธ๋‹ค๋ฉด ๊ทธ๊ฐ€ ๋„๋‹ฌํ•œ ์„ธ๊ณ„๋Š” ์ •๋…• ๋ฌด์—‡์ธ๊ฐ€. ๊ทธ ์•ผ๋ง๋กœ ์‹ ๊ธฐ, ์ฆ‰ ๊ท€์‹ ์˜ ์žฌ์ฃผ์— ํ•„์ ํ•˜๋Š” ์†œ์”จ๊ฐ€ ์•„๋‹ˆ๊ณ  ๋ฌด์—‡์ด๋žด. ๊ท€์‹ ๊ฐ™์€ ๋ฌ˜์‚ฌ๋ ฅ์€ ์‹ค์ œ์™€์˜ ๋น„๊ต์—์„œ ๊ทธ ์ง„์œ„๋ฅผ ๋„์ €ํžˆ ๊ตฌ๋ถ„ํ•  ์ˆ˜ ์—†๋Š”, ์ธ ๊ฐ„์˜ ๊ธฐ์ˆ ์ด ๋„๋‹ฌํ•  ์ˆ˜ ์žˆ๋Š” ์ตœ๊ณ ์˜ ๊ฒฝ์ง€๋ฅผ ๋งํ•˜๋Š”๋ฐ, ์‹ค์ œ๋กœ ๊ทธ์˜ ์ž‘ํ’ˆ์„ ๋ณด ๋ฉด ๋„๋ฌด์ง€ ์ธ๊ฐ„์˜ ์†์„ ๊ฑฐ์ณค๋‹ค๊ณ  ๋ฏฟ๊ธฐ ์–ด๋ ต๋‹ค. ๋ฌด์—‡๋ณด๋‹ค๋„ ๋ถ“ ์ž๊ตญ์„ ๋‚จ๊ธฐ์ง€ ์•Š๋Š”๋‹ค. ์•„๋ฌด๋ฆฌ ์„ธํ•„๋กœ ๊ทธ๋ฆฐ๋‹ค๊ณ  ํ• ์ง€๋ผ๋„ ์ž์„ธํžˆ ๋ณด๋ฉด ์–ด๋”˜๊ฐ€ ๋ถ“์˜ ํ”์ ์ด ์žˆ๊ธฐ ๋งˆ๋ จ์ธ๋ฐ๋„ ๋ถˆ๊ตฌํ•˜๊ณ  ๊ทธ์˜ ๊ฒฝ์šฐ์—๋Š” ๊ทธ๋Ÿฐ ์ž๊ตญ์กฐ์ฐจ ๋‚จ๊ธฐ์ง€ ์•Š์œผ๋‹ˆ ์ฐธ์œผ ๋กœ ๊ท€์‹ ์ด ๊ณกํ•  ๋…ธ๋ฆ‡์ด๋‹ค. ์‚ฌ์ •์ด ์ด๋Ÿฌํ•˜๋‹ˆ ์ „์‹œ์žฅ์—์„œ โ€˜์‚ฌ์ง„์ด ๋ถ„๋ช…ํ•˜๋‹คโ€™๋ฉฐ ํ™•๋Œ€๊ฒฝ์œผ๋กœ ๋“ค์—ฌ๋‹ค๋ณด๋Š” ์ผ๋“ค์ด ์ผ์–ด๋‚˜๊ณ  ์žˆ๋Š” ๊ฒƒ๋„ ๋ฌด๋ฆฌ๋Š” ์•„๋‹ˆ๋‹ค. ์ด์ฒ˜๋Ÿผ ์‚ฌ๋žŒ์˜ ๋ˆˆ์„ ์†์ด๋Š” ๊ทน๋ ฌํ•œ ๋ฌ˜์‚ฌ๋ ฅ์€ ํ˜•ํƒœ์˜ ์ •ํ™•์„ฑ ๋ฐ ์ƒ‰์ฑ„๊ฐ๊ฐ์ด ๋›ฐ์–ด๋‚˜์ง€ ์•Š์œผ๋ฉด ์•ˆ ๋œ๋‹ค. ์–ด์ฉŒ๋ฉด ์‚ฌ์‹ค์„ฑ์„ ๊ฒฐ์ •์ง“๋Š” ์ฒซ์งธ ์š”์ธ์€ ์ƒ‰์ฑ„์ด๋ฏธ ์ง€์ธ์ง€ ๋ชจ๋ฅธ๋‹ค. ๊ทธ๋ฆผ๊ณผ ํ˜„์‹ค์˜ ๊ฒฝ๊ณ„๋ฅผ ๋ช…ํ™•ํžˆ ๊ตฌ๋ถ„์ผ€ ํ•˜๋Š” ๊ฒƒ์€ ํ˜•ํƒœ์— ์•ž์„œ ์ƒ‰์ฑ„์ด๋ฏธ์ง€์ด๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๊ทธ๋Ÿฐ ์˜๋ฏธ์—์„œ ํ˜„์‹ค์ ์ธ ์ƒ‰์ฑ„์ด๋ฏธ์ง€๋ฅผ ๊ทธ๋Œ€๋กœ ๋ฒˆ ์•ˆํ•˜๋Š” ๊ทธ์˜ ์ƒ‰์ฑ„๊ฐ๊ฐ์€ ํƒ€๊ณ ๋‚œ ๊ฒƒ์ผ ์ˆ˜๋ฐ–์— ์—†๋‹ค. ๋‹ค์‹œ ๋งํ•ด ๊ทธ๋ฆผ๊ณผ ํ˜„์‹ค์„

the strokes of perception

๋ถ„๊ฐ„ํ•˜๊ธฐ ์–ด๋ ต๊ฒŒ ๋งŒ๋“œ๋Š” ๊ทธ์˜ ์ƒ‰์ฑ„๊ฐ๊ฐ์€ ํƒœ์ƒ์ ์ธ ๊ฒƒ์ผ ๊ฐ€๋Šฅ์„ฑ์ด ๋†’๋‹ค. ์† ์˜ ๊ธฐ๋Šฅ์ด ์•„๋ฌด๋ฆฌ ๋›ฐ์–ด๋‚˜๋”๋ผ๋„ ์†์„ ์‚ฌ์—ญํ•˜๋Š” ๊ฒƒ์€ ์‹ค์ œ๋กœ ์ฐฉ๊ฐํ•˜๊ฒŒ ๋งŒ๋“œ ๋Š” ๋ˆˆ์ด๊ธฐ์— ๊ทธ๋ ‡๋‹ค. ์‚ฌ๋ฌผ์˜ ํ˜•ํƒœ ๋ฐ ์ƒ‰์ฑ„๋ฅผ ๋ถ„๋ณ„ํ•˜๋Š” ๋ˆˆ์ด ์ •ํ™•ํ•˜์ง€ ์•Š์œผ๋ฉด ์‚ฌ์‹ค์ ์ธ ํ‘œํ˜„์„ ์–ป ๊ธฐ ํž˜๋“ค๋‹ค. ํšŒํ™”์—์„œ ๋งํ•˜๋Š” ๋ˆˆ์˜ ์ •ํ™•์„ฑ์€ ๋‹จ์ˆœํžˆ ํ˜•ํƒœ๋ฅผ ์ •ํ™•ํžˆ ์ธ์‹ํ•˜๋Š”, ์‹œ์ง€๊ฐ์˜ ๋Šฅ๋ ฅ์„ ์˜๋ฏธํ•˜๋Š” ๊ฒƒ๋งŒ์€ ์•„๋‹ˆ๋‹ค. ํšŒํ™”์—์„œ ์š”๊ตฌ๋˜๋Š” ์ •ํ™•ํ•œ ๋ˆˆ์ด๋ž€ ํ˜•ํƒœ์— ๋Œ€ํ•œ ์ •ํ™•ํ•œ ๋น„๋ก€๊ฐ๊ฐ์„ ๋งํ•˜๋Š” ๊ฒฝ์šฐ๊ฐ€ ๋งŽ๋‹ค. ๋น„๋ก€๊ฐ๊ฐ์ด ์ •ํ™•ํ•˜์ง€ ์•Š์œผ๋ฉด ์•„๋ฌด๋ฆฌ ๋ฌ˜์‚ฌ๋ ฅ์ด ๋›ฐ์–ด๋‚˜๋”๋ผ๋„ ํ˜•ํƒœ๋Š” ์ผ๊ทธ๋Ÿฌ์ง€๊ธฐ ์‹ญ์ƒ์ด๋‹ค. ๋”ฐ๋ผ์„œ ์ •ํ™•ํ•œ ๋น„๋ก€๊ฐ๊ฐ์€ ์ •ํ™•ํ•œ ์‚ฌ์‹ค์ ์ธ ๋ฌ˜์‚ฌ๋ ฅ์„ ์„ ๋„ํ•œ๋‹ค๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ์ด์ •์›…์€ ์ด๋ ‡๋“ฏ์ด ์‚ฌ์‹ค์ฃผ์˜ ํšŒํ™”๊ฐ€ ์š”๊ตฌํ•˜๋Š” ๊ธฐ๋ณธ์ ์ธ ์š”๊ฑด์„ ๋นˆํ‹ˆ์—†์ด ๊ฐ– ์ถ”์—ˆ๋‹ค. ๋‹จ์ˆœํžˆ ํ˜•ํƒœ๋ฌ˜์‚ฌ๋ฅผ ์œ„์ฃผ๋กœ ํ•˜๋Š” ๊ธฐ์ˆ ์ ์ธ ์™„์„ฑ์— ๊ทธ์น˜์ง€ ์•Š๊ณ  ์‚ฌ๋ฌผ ์˜ ํ‘œ๋ฉด์งˆ๊ฐ์„ ํ‘œํ˜„ํ•˜๋Š” ๊ฐ๊ฐ์ด ๋›ฐ์–ด๋‚˜๋‹ค. ๊ทธ์˜ ๊ทธ๋ฆผ์„ ์†๋์œผ๋กœ ๋งŒ์ ธ๋ณด๊ณ  ์‹ถ๋‹ค๋Š” ์ถฉ๋™์„ ๋Š๋ผ๋Š” ๊ฒƒ๋„ ์‚ฌ๋ฌผ์˜ ์งˆ๊ฐํ‘œํ˜„์—์„œ ์‹ค์ œ์™€ ์ฐฉ๊ฐํ•  ์ •๋„์ด๊ธฐ ๋•Œ ๋ฌธ์ด๋‹ค. ๊ทธ๋ ‡๋‹ค๋ฉด ๊ทธ์˜ ๊ทธ๋ฆผ์€ ๋‹จ์ˆœํžˆ ์†์˜ ์žฌ๋Šฅ, ์ฆ‰ ๊ธฐ์ˆ ์ ์ธ ์™„์„ฑ๋„๋งŒ์„ ํ‰ ๊ฐ€ํ•˜๋Š”๋ฐ ๊ทธ์น  ๊ฒƒ์ธ๊ฐ€. ์กฐํ˜•์ ์ธ ์ฐฝ์˜์„ฑ, ์ฆ‰ ๊ฐœ๋ณ„์ ์ธ ํ˜•์‹์€ ์—†๋Š” ๊ฒƒ์ธ๊ฐ€. ์–ด๋–ค ๊ฒฝ์šฐ์—๋„ ๊ทธ๋ฆผ ์†์— ๋ฌ˜์‚ฌ๋˜๋Š” ์†Œ์žฌ์˜ ํ˜•ํƒœ๋Š” ๋‹จ์ง€ ์บ”๋ฒ„์Šค ๋˜๋Š” ํ•œ์ง€ ์œ„ ์—์„œ ์ผ์–ด๋‚˜๋Š” ์—ํ”ผ์†Œ๋“œ์— ์ง€๋‚˜์ง€ ์•Š๋Š”๋‹ค. ํ˜„์‹ค์„ ๋น™์žํ•œ ๊ฐ€์ƒ์˜ ์„ธ๊ณ„์ผ ๋”ฐ ๋ฆ„์ด๋‹ค. ํ˜„์‹ค์„ ๊ทธ๋Œ€๋กœ ์˜ฎ๊ฒจ๋‹ค ๋†“๋Š” ์žฌํ˜„์ ์ธ ๊ทธ๋ฆผ์€ ๋”์šฑ ๊ทธ๋ ‡๋‹ค. ์‚ฌ์‹ค์ฃผ์˜ ํšŒํ™”์˜ ์ผ์ฐจ์ ์ธ ์„ฑ๊ณต์š”์ธ์€ ์‹ค์ œ์— ์œก๋ฐ•ํ•˜๋Š” ์‚ฌ์‹ค์„ฑ์„ ์‹คํ˜„ํ•˜๋Š”๋ฐ ์žˆ๋‹ค. ๋‹จ ์ˆœํ•˜๊ฒŒ ์ƒ๊ฐํ•˜๋ฉด ์ด๋Š” ๊ธฐ์ˆ ์ ์ธ ์™„์„ฑ๋„๋กœ ํ•ด๊ฒฐ๋  ๋ฌธ์ œ์ธ ๋“ฏ์‹ถ๋‹ค. ํ•˜์ง€๋งŒ ํ˜„ ์‹ค๊ณผ ๋‹ค๋ฅธ ๋ฏธ์ ์ธ ๊ฐ€์น˜๊ฐ€ ์กด์žฌํ•˜์ง€ ์•Š๋Š” ์‚ฌ์‹ค์„ฑ์€ ์˜ˆ์ˆ ์˜ ์˜์—ญ์— ๋“ค์–ด์˜ฌ ์ˆ˜ ์—†๋‹ค. ์‚ฌ์‹ค์„ฑ๊ณผ ์˜ˆ์ˆ ์„ฑ์€ ์•„์ฃผ ๋ฏธ๋ฌ˜ํ•œ ์ฐจ์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋Š”๋ฐ, ์ด๋Š” ๋ฏธ์˜์‹ ๋ฐ ๋ฏธ์  ๊ฐ๊ฐ์˜ ๊ฐœ์ž…์—ฌ๋ถ€๊ฐ€ ๊ด€๊ฑด์ด๋‹ค. ๊ทธ๋Ÿฌ๊ณ  ๋ณด๋ฉด ๊ทธ์˜ ๊ทธ๋ฆผ์€ ์ผ๋‹จ ๊ธฐ์ˆ ์ ์ธ ๋ฉด์—์„œ ์˜์‹ฌํ•  ์ˆ˜ ์—†์„ ๋งŒํผ ํ˜„์‹ค์— ๋ฐ€์ฐฉํ•ด ์žˆ๋‹ค. ์ฐฉ์‹œ, ๋˜๋Š” ํ™˜๊ฐ์„ ์œ ๋„ํ•  ์ •๋„๋กœ ํ˜„์‹ค์ ์ธ ์ด๋ฏธ์ง€์— ์œก๋ฐ•ํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ์ด๋‹ค. ์ฐฉ์‹œํ˜„์ƒ ๋ฐ ํ™˜๊ฐ์€ ์‚ฌ์‹ค์ฃผ์˜ ํšŒํ™”์—์„œ๋Š” ๋‹น์—ฐํžˆ ์š”๊ตฌ๋˜๋Š” ๋• ๋ชฉ์˜ ํ•˜๋‚˜์ด์ง€๋งŒ, ๊ทธ์˜ ์ž‘ํ’ˆ์€ ๊ทธ๋Ÿฐ ๋‹น์—ฐํ•จ๋งˆ์ € ์ดˆ์›”ํ•˜์—ฌ ๊ทธ ์ž์‹ ์„ ๋ˆ„๊ตฌ์™€ ๋„ ๋น„๊ต๋˜์ง€ ์•Š๋Š” ๋…์ž์ ์ธ ์กฐํ˜•๊ณต๊ฐ„์— ์„ธ์šด๋‹ค. ๋‹จ์ง€ ๊ธฐ์ˆ ์ ์ธ ์™„์„ฑ๋„๋งŒ์œผ๋กœ ๋„ ๊ทธ๋Š” ํ™•์—ฐํžˆ ๋‚จ๊ณผ ๋‹ค๋ฅธ ๊ฒฝ์ง€์— ๋“ค์–ด๊ฐ€ ์žˆ๋‹ค. ๊ทธ ๋…์ž์ ์ธ ์กฐํ˜•๊ณต๊ฐ„์ด์•ผ๋ง ๋กœ ๊ทธ๊ฐ€ ์„ธ์šด ์˜ˆ์ˆ ์ ์ธ ์„ฑ๊ณผ์ผ ์ˆ˜ ์žˆ๋‹ค. ํ˜„์‹ค์— ์กด์žฌํ•˜๋Š” ์‚ฌ๋ฌผ์„ ์บ”๋ฒ„์Šค๋‚˜ ํ•œ์ง€์™€ ๊ฐ™์€ ํ‰๋ฉด์ ์ธ ๊ณต๊ฐ„์— ์˜ฎ๊ฒจ๋‹ค ๋†“ ๋Š” ์‚ฌ์‹ค์ฃผ์˜ ํšŒํ™”๋Š” ์ผ๋‹จ ์‹œ๊ฐ์ ์ธ ๋†€๋ผ์›€ ๋˜๋Š” ๋ฏธ์  ์พŒ๊ฐ์„ ๊ฒจ๋ƒฅํ•œ๋‹ค. ๊ทธ๋Ÿผ ์œผ๋กœ์จ ์ธ๊ฐ„์˜ ๋ˆˆ์„ ์†์ด๋Š” ๊ฐ€์ƒ๊ณต๊ฐ„์„ ์‹คํ˜„ํ•˜๊ฒŒ ๋˜๋Š” ์…ˆ์ด๋‹ค. ์‚ฌ์‹ค์ ์ธ ๊ทธ ๋ฆผ์€ ์ œํ•œ์ ์ธ ๋ฒฝ๋ฉด์— ํ˜„์‹ค๊ณผ ์œ ์‚ฌํ•œ ๊ฐ€์ƒ๊ณต๊ฐ„์„ ์„ค์ •ํ•จ์œผ๋กœ์จ ๊ณต๊ฐ„ ๋ฐ ์‹œ

์•ผ์˜ ํ™•์žฅ์„ ๊ฒฝํ—˜ํ•˜๊ฒŒ ๋งŒ๋“ ๋‹ค. ์กฐ๊ทธ๋งŒ ํ‰๋ฉด์ ์ธ ๊ณต๊ฐ„์— ๊ทธ๋ฆผ์˜ ์†Œ์žฌ ๋ฐ ๋Œ€์ƒ ์ด ์กด์žฌํ•˜๋Š” ํ˜„์‹ค์ ์ธ ๊ณต๊ฐ„์„ ๋ถˆ๋Ÿฌ๋“ค์ž„์œผ๋กœ์จ ์„ธ๊ณ„๋ฅผ ํ™•์žฅํ•˜๋Š” ๊ฒฐ๊ณผ๋ฅผ ๊ฐ€์ ธ ์˜ค๋Š” ๊ฒƒ์ด๋‹ค. ํ•˜์ง€๋งŒ ๊ทธ๋Š” ์บ”๋ฒ„์Šค ๋˜๋Š” ํ•œ์ง€๋ผ๋Š” ์‚ฌ๊ฐ์˜ ํ‰๋ฉด๊ณต๊ฐ„์— ๊ฐ€์ƒ๊ณต๊ฐ„์„ ๊ตฌ์ถ•ํ•˜๋Š” ๋ฐ ๋งŒ์กฑํ•˜์ง€ ์•Š๊ณ , ๋ฏธ์  ๊ฐ์ •๊ณผ ๋ฏธ์˜์‹์ด ์œ ํฌํ•  ์ˆ˜ ์žˆ๋Š” ํƒ๋ฏธ์ ์ธ ์˜์—ญ์„ ์†Œ ์œ ํ•œ๋‹ค. ๊ทธ๋ฆฌํ•˜์—ฌ ์†Œ์žฌ์˜ ์„ ํƒ๊ณผ ์†Œ์žฌ๊ฐ€ ๋†“์ด๋Š” ์ž๋ฆฌ, ๊ทธ๋ฆฌ๊ณ  ์—ฌ๋Ÿฌ ๊ฐ€์ง€ ์†Œ์žฌ ๋ฅผ ์ ์žฌ์ ์†Œ์— ๋ฐฐ์น˜ํ•˜๋Š” ๊ตฌ์„ฑ์ ์ธ ์•„๋ฆ„๋‹ค์›€์„ ํ†ตํ•ด ์ง€์ ์กฐ์ž‘์˜ ์ฆ๊ฑฐ์›€์„ ํƒ ํ•œ๋‹ค. ์–ด์ฐจํ”ผ ์ •๋ฌผํ™”๋Š” ์ฃผ์–ด์ง„ ์กฐ๊ฑด์„ ๊ทธ๋Œ€๋กœ ๋ฐ›์•„๋“ค์ด๋Š” ํ’๊ฒฝํ™”๋ณด๋‹ค ์ ๊ทน์  ์ธ ์ง€์ ์กฐ์ž‘์˜ ๊ฐœ์ž…์„ ์™ธ๋ฉดํ•  ์ˆ˜ ์—†๋‹ค. ์ฃผ์–ด์ง„ ํ˜„์‹ค์„ ๊ทธ๋Œ€๋กœ ์žฌํ˜„ํ•˜๋Š” ์†Œ๊ทน ์ ์ธ ํƒœ๋„๋Š” ํ™”๊ฐ€ ์ž์‹ ์˜ ์กฐํ˜•์ ์ธ ์ด์ƒ ๋˜๋Š” ํšŒํ™”์ ์ธ ์‚ฌ์ƒ์„ ์ฃผ์ž…ํ•˜๋Š”๋ฐ ํ•œ๊ณ„๊ฐ€ ์žˆ๊ธฐ ๋งˆ๋ จ์ด์–ด์„œ ์†Œ์žฌ์˜ ์„ ํƒ, ๋ฐฐ์น˜, ๊ตฌ์„ฑ์ด๋ผ๋Š” ์กฐํ˜•๊ณผ ๊ด€๋ จ๋œ ์ผ๋ จ ์˜ ๊ณผ์ •์— ์ ๊ทน์ ์œผ๋กœ ๊ฐœ์ž…ํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ์—ฌ๊ธฐ์—์„œ ํ™”๊ฐ€์˜ ๊ฐœ๋ณ„์ ์ธ ๋ฏธ์  ๊ฐ ์ˆ˜์„ฑ ๋ฐ ์ง€์ ์ธ ์ดํ•ด๊ฐ€ ์„ ํ–‰ํ•˜๊ธฐ ๋งˆ๋ จ์ด๋‹ค. ์ด์ •์›…์€ ๊ธฐ์ˆ ์ ์œผ๋กœ๋Š” ์ด๋ฏธ ์ž์‹ ์˜ ๋Šฅ๋ ฅ์˜ ํ•œ๊ณ„๋งˆ์ € ๋„˜์–ด๋ฒ„๋ ธ๋‹ค๊ณ  ํ•  ์ˆ˜ ์žˆ ์œผ๋‹ˆ ๊ท€์‹ ์˜ ์˜์—ญ์— ๋“ค์–ด์„  ๊ฒƒ์ด๋‹ค. ๊ทธ๋Ÿฌ๋‹ˆ ๊ธฐ์ˆ ์ ์ธ ๋ฌธ์ œ๋ฅผ ๋ฒ—์–ด๋‚˜ ๊ตฌ๊ทน์˜ ํƒ๋ฏธ์ ์ธ ์„ธ๊ณ„๋ฅผ ์ง€ํ–ฅํ•  ์ˆ˜๋ฐ–์— ์—†๋‹ค. ๋‹ค์‹œ ๋งํ•ด ์‹œ์‹ ๊ฒฝ์— ์˜ํ•ด ์ง€๊ฐ๋˜๋Š” ํ˜„ ์ƒ์ ์ธ ๋ฌธ์ œ์— ๊ตญํ•œํ•˜์ง€ ์•Š๋Š”, ์ง€์  ํ†ต์ฐฐ์„ ์œ ๋„ํ•˜๋ฉด์„œ ํ•œํŽธ์œผ๋กœ๋Š” ๊ฐ์ •์˜ ์ƒค์›Œ๋ฅผ ๋ง›๋ณด๊ฒŒ ํ•˜๋Š” ์‹ฌ๋ฏธ์ ์ธ ์„ธ๊ณ„์— ๋ฐœ์„ ๋“ค์—ฌ๋†“๊ฒ ๋‹ค๋Š” ๊ฒƒ์ด๋‹ค. ์—ฌ๊ธฐ์—์„œ ๊ทธ๋Š” ์„œ์–‘๋ฏธํ•™์—์„œ ์ด๋ฃฉํ•œ ์กฐํ˜•์ ์ธ ์„ฑ๊ณผ์™€๋Š” ๋‹ค๋ฅธ ๋™์–‘์ ์ธ ์ •๊ด€์˜ ์„ธ๊ณ„๋ฅผ ์ „์ ์œผ๋กœ ์ง€์ง€ํ•œ๋‹ค. ์–ด์ฉŒ๋ฉด ๊ทธ๊ฐ€ ์œ ์ฑ„๋ฅผ ์‚ฌ์šฉํ•˜๋ฉด์„œ๋„ ๊ทธ ๋ฌผ์งˆ์ ์ธ ํŠน์„ฑ์— ๊ฐ•์กฐํ•˜์ง€ ์•Š๋Š” ๊ฒƒ๋„ ์ด๋Ÿฌํ•œ ์‹œ๊ฐ๊ณผ ๋ฌด๊ด€ํ•˜์ง€ ์•Š๋‹ค. ์œ ์ฑ„๋ฌผ๊ฐ์ด ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ๋‘ํ„ฐ์šด ์งˆ๊ฐ์ด๋‚˜ ๊ทน ๋ ฌํ•œ ์‚ฌ์‹ค์„ฑ์„ ํ†ตํ•ด ์„ฑ์ทจํ•  ์ˆ˜ ์žˆ๋Š” ์‹œ๊ฐ์ ์ธ ์ด๋ฏธ์ง€๋ณด๋‹ค๋Š” ๊ทธ๋ฆผ ์†์— ํˆฌ์˜ ๋œ ์ •์‹ ์ ์ธ ๊ฐ€์น˜๋ฅผ ํ˜„ํ˜„ํ•˜๊ฒ ๋‹ค๋Š” ๊ฒƒ์ด๋‹ค. ์‹ค์ œ๋กœ ๊ทธ์˜ ๊ทธ๋ฆผ์—์„œ๋Š” ์œ ์ฑ„๋ผ ๋Š” ์žฌ๋ฃŒ๊ฐ€ ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ๋ฌผ์„ฑ์ด ๊ฑฐ์˜ ๋“œ๋Ÿฌ๋‚˜์ง€ ์•Š๋Š”๋‹ค. ๋ฌผ์„ฑ์ด ๊ฐ์ถฐ์ง€๋Š” ๋Œ€ ์‹ ์— ์†Œ์žฌ๊ฐ€ ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ํ‘œ๋ฉด์งˆ๊ฐ์„ ๊ทน๋ ฌํžˆ ํ‘œํ˜„ํ•จ์œผ๋กœ์จ ์‹œ๊ฐ์ ์ธ ํ˜ผ๋ž€ ์„ ์ผ์œผํ‚ค๋Š” ๊ฒƒ์ด๋‹ค. ๋‹จ์ง€ ๋ชจ์–‘์ด ๋˜‘ ๊ฐ™๋‹ค๋Š” ์ฐจ์›์ด ์•„๋‹ˆ๋ผ, ๋งˆ์น˜ ์‹ค๋ฌผ์„ ๋งˆ ์ฃผํ•˜๊ณ  ์žˆ๋‹ค๋Š” ์ฐฉ๊ฐ์— ๋น ๋œจ๋ฆฐ๋‹ค. ๊ทธ๋Ÿฐ ์ฐฉ๊ฐ์„ ์œ ๋„ํ•˜๋Š” ๊ธฐ์ˆ ์€ ์ด๋ฏธ ๋งˆ์ˆ ์˜ ์ฐจ์›์ด๋‹ค. ๊ทธ๋Ÿผ์—๋„ ๊ทธ๋Š” ๊ฑฐ๊ธฐ์— ์•ˆ์ฃผํ•˜์ง€ ์•Š๊ณ  ๋†€๋ผ์šด ๋ฌ˜์‚ฌ๋ ฅ ์ด๋ฉด์— ์ž๋ฆฌํ•˜๋Š” ์ •์‹ ์  ์ธ ๊ฐ€์น˜๋ฅผ ํƒ๋‹‰ํ•œ๋‹ค. ๋ˆˆ์— ๋ณด์ด๋Š” ์‹ค์ฒด๋ฅผ ๊ฐ์‹ธ๊ณ  ์žˆ๋Š” ๊ณต๊ฐ„, ๋˜๋Š” ์—ฌ๋ฐฑ์„ ํ†ต ํ•ด ํฌ์ง„ํ•˜๋Š” ์ •์„œ๋ฅผ ๋“ค์—ฌ๋‹ค๋ณด๊ณ ์ž ํ•œ๋‹ค. ๊ทธ์˜ ์ž‘ํ’ˆ์—์„œ ์†Œ์žฌ๊ฐ€ ๋†“์—ฌ ์žˆ๋Š” ์ฃผ ๋ณ€ ๊ณต๊ฐ„์€ ๊ทธ ์–ด๋–ค ํ˜•ํƒœ์˜ ๋ฌผ์งˆ์ ์ธ ์ด๋ฏธ์ง€๋„ ๋ณด์ด์ง€ ์•Š๋Š”, ๋น„์–ด ์žˆ๋Š” ์ƒํ™ฉ์ด ๋‹ค. ๋น„์–ด ์žˆ์„ ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ, ๊ทธ ์ƒํ™ฉ์ด ๋ฌด์—‡์„ ์˜๋ฏธํ•˜๋Š”์ง€์กฐ์ฐจ ์•”์‹œํ•˜์ง€ ์•Š๋Š”

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๋‹ค. ํ•œ๋งˆ๋””๋กœ ๋น„ํ‘œํ˜„์ ์ธ ๊ณต๊ฐ„์ด ๋˜๋Š” ๊ฒƒ์ด๋‹ค. ํ•˜์ง€๋งŒ ๊ทธ ๋น„ํ‘œํ˜„์ ์ธ ๊ณต๊ฐ„์ด ์˜ˆ์‚ฌ๋กญ์ง€ ์•Š๋‹ค. ์•„๋ฌด ๊ฒƒ๋„ ์กด์žฌํ•˜์ง€ ์•Š๋Š” ํ…… ๋นˆ ๊ณต๊ฐ„์ด ์•„๋‹ˆ๋ผ, ๋ฌผ์ƒ, ์ฆ‰ ๊ทธ๋ฆผ ์˜ ์†Œ์žฌ๋ฅผ ์ค‘์‹ฌ์— ๋‘” ๋‚˜๋จธ์ง€ ๋ถ€๋ถ„์„ ์ฐจ์ง€ํ•˜๊ฒŒ ๋˜๋Š” ์…ˆ์ด๋‹ค. ๋”ฐ๋ผ์„œ ์†Œ์žฌ์— ๋Œ€์‘ํ•˜๋Š” ์ƒ๋Œ€์ ์ธ ๊ฐœ๋…์œผ๋กœ์„œ์˜ ๊ณต๊ฐ„์ด๋ผ๋Š” ์ž๊ฒฉ์„ ํš๋“ํ•œ ๋‹ค. ๊ทธ๋Ÿฌ๊ธฐ์— ์†Œ์žฌ๊ฐ€ ์กด์žฌํ•จ์œผ๋กœ์จ ๋”๋ถˆ์–ด ์ƒ๊ธฐ๋Š” ์—ฌ๋ฐฑ, ์ฆ‰ ๋ฌ˜์‚ฌ๋œ ์ด๋ฏธ์ง€์— ๋Œ€์‘ํ•˜๋Š” ๋น„ํ‘œํ˜„์ ์ธ ๊ณต๊ฐ„์œผ๋กœ ์ž๋ฆฌํ•˜๊ฒŒ ๋œ๋‹ค. ๋ฌผ์ƒ์ด ์กด์žฌํ•˜์ง€ ์•Š๋Š”๋‹ค๊ณ  ํ•ด ์„œ ์•„๋ฌด ๊ฒƒ๋„ ์—†๋Š” ํ—ˆ๊ณต์ด ์•„๋‹ˆ๋ผ๋Š” ๋œป์ด๋‹ค. ์†Œ์žฌ์˜ ์ƒ๋Œ€์ ์ธ ๊ฐœ๋…์œผ๋กœ์„œ์˜ ๊ณต๊ฐ„, ์ฆ‰ ์†Œ์žฌ๊ฐ€ ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ์กฐํ˜•์ ์ธ ํŠน์ง•๊ณผ ๊ด€๋ จํ•œ ์‚ฌ์œ ์˜ ๊ณต๊ฐ„์ธ ๊ฒƒ์ด๋‹ค. ๋ฐ”๊พธ์–ด ๋งํ•ด ์†Œ์žฌ๊ฐ€ ํšŒํ™”์ ์ธ ๊ฐ€์น˜, ๋˜๋Š” ์กฐํ˜•์ ์ธ ๊ฐ€์น˜๋ฅผ ์‹คํ˜„ํ•  ์ˆ˜ ์žˆ๋„๋ก ๋ณด์กฐํ•˜๋Š” ๊ณต๊ฐ„์ด ๋œ๋‹ค. ๋ฌผ๋ก  ์—ฌ๊ธฐ์—์„œ ์†Œ์žฌ๊ฐ€ ์กด์žฌํ•˜๋Š” ๊ณต๊ฐ„์€ ์‚ฌ๊ฐ์˜ ํ‰๋ฉด๊ณต๊ฐ„์œผ๋กœ์„œ ์บ”๋ฒ„์Šค ๋˜๋Š” ์ข…์ด๋ผ๋Š” ๋ฌผ์งˆ์˜ ์˜์—ญ์ด ๋œ๋‹ค. ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๊ธฐ ์œ„ํ•ด ๋งˆ๋ จ๋œ, ์ฃผ์–ด์ง„ ์กฐ๊ฑด์œผ๋กœ ์„œ์˜ ํ•œ์ •๋œ ๊ณต๊ฐ„์ด ๋˜๋Š” ๊ฒƒ์ด๋‹ค. ์ตœ๊ทผ ๋ถ“์„ ์†Œ์žฌ๋กœ ํ•œ ์—ฐ์ž‘์—์„œ๋Š” ์บ”๋ฒ„์Šค ๋Œ€ ์‹ ์— ํ•œ์ง€๋ฅผ ์‚ฌ์šฉํ•˜๊ณ  ์žˆ๋Š”๋ฐ, ํ•œ์ง€๋Š” ์•„๋ฌด ๊ฒƒ๋„ ๋ณด์ด์ง€ ์•Š๋Š” ํฐ์ƒ‰์ด์ง€๋งŒ ๊ทธ ์ž์ฒด๊ฐ€ ๋…๋ฆฝ์ ์ธ ๋ฌผ์„ฑ์„ ์ง€๋‹Œ ์˜ค๋ธŒ์ œ ์—ญํ• ์„ ํ•œ๋‹ค๋Š” ์ ์—์„œ ํ‘œํ˜„์ ์ธ ๊ณต๊ฐ„์ด ๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ์•„๋ฌด ๊ฒƒ๋„ ์—†๋Š” ๋“ฏ์‹ถ์œผ๋‚˜ ํ•œ์ง€์—๋Š” ๊ณ ์œ ์˜ ์งˆ๊ฐ์ด ์žˆ๊ณ  ๋˜ ํ•œ ํ‘œ์ •์ด ์žˆ๋‹ค. ๊ธฐ๊ณ„์ ์ธ ์ƒ์‚ฐํ’ˆ์ด ์•„๋‹ˆ๋ผ ์ˆ˜๊ณต์œผ๋กœ ๋งŒ๋“ค์–ด์ง„๋‹ค๋Š” ์ ์—์„œ ๊ทธ๋ ‡๋‹ค. ๊ทธ๋Ÿฌ๊ธฐ์— ๋น„๋ก ๋ˆˆ์— ๋ณด์ด๋Š” ์‚ฌ์‹ค์ด ์—†์Œ์—๋„ ๋ถˆ๊ตฌํ•˜๊ณ  ๋น„ํ‘œํ˜„์ ์ธ ๊ณต๊ฐ„์ด๋ผ๊ณ  ๋‹จ์–ธํ•  ์ˆ˜ ์—†๋Š” ๊ฒƒ์ด๋‹ค. ๊ทธ๋Ÿฐ๊ฐ€ ํ•˜๋ฉด ์ž‘ํ’ˆ์— ๋”ฐ๋ผ์„œ๋Š” ์†Œ์žฌ๋ฅผ ๊ฐ์‹ธ๊ณ  ์žˆ๋Š” ์ฃผ๋ณ€ ๊ณต๊ฐ„์„ ์ถ”์ƒ์ ์ธ ์ด ๋ฏธ์ง€๋กœ ์ฑ„์šฐ๊ธฐ๋„ ํ•œ๋‹ค. ์ด๋Ÿด ๋•Œ๋Š” ๋ณด๋‹ค ์ ๊ทน์ ์ธ ํ‘œํ˜„๊ณต๊ฐ„์ด ๋œ๋‹ค. ์†Œ์žฌ์™€ ๋” ๋ถˆ์–ด ํ™”๋ฉด์„ ๊ตฌ์„ฑํ•˜๋Š” ์ ๊ทน์ ์ธ ๊ณต๊ฐ„์ด ๋˜๋Š” ๊ฒƒ์ด๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์ถ”์ƒ์ ์ธ ์ด๋ฏธ ์ง€๋Š” ์‚ฌ์‹ค์ ์ธ ์ด๋ฏธ์ง€๋กœ ์กด์žฌํ•˜๋Š” ์†Œ์žฌ๋ฅผ ๋•๋Š” ๋ณด์กฐ์ ์ธ ์—ญํ• ์— ๋จธ๋ฌธ๋‹ค. ํ‘œ ํ˜„์ ์ธ ๊ณต๊ฐ„์ž„์—๋„ ๋ถˆ๊ตฌํ•˜๊ณ  ์‚ฌ์‹ค์ ์ธ ํ˜•ํƒœ๋ฅผ ๊ฐ€์ง€๋Š” ์†Œ์žฌ์—๊ฒŒ ๋ถ€์—ฌ๋˜๋Š” ์ฃผ ๋„๊ถŒ์„ ์นจ๋ฒ”ํ•  ์ˆ˜ ์žˆ๋Š” ๋Šฅ๋ ฅ์ด ์—†๋‹ค. ์˜คํžˆ๋ ค ์ถ”์ƒ์ ์ธ ์ด๋ฏธ์ง€๋Š” ์‚ฌ์‹ค์ ์ธ ์ด ๋ฏธ์ง€์˜ ์†Œ์žฌ๊ฐ€ ๋‹๋ณด์ด๋„๋ก ๋ณด์กฐ์ ์ธ ์ˆ˜๋‹จ์œผ๋กœ ๋ฌผ๋Ÿฌ์„ ๋‹ค. ์ถ”์ƒ์ ์ธ ์ด๋ฏธ์ง€๋กœ ์ฒ˜๋ฆฌ๋˜๋Š” ์ž‘ํ’ˆ์€ ๋Œ€์ฒด๋กœ ๋™์ ์ธ ๋ถ„์œ„๊ธฐ๋ฅผ ์ง€๋‹Œ๋‹ค. ๋น„ํ‘œํ˜„ ์ ์ธ ์—ฌ๋ฐฑ์˜ ๊ฐœ๋…์ด ์ ์šฉ๋œ ์ž‘์—…์ด ์ •์ ์ธ ๋ถ„์œ„๊ธฐ๋ผ๋ฉด ํ‘œํ˜„์ ์ธ ๊ฐœ๋…์œผ๋กœ์„œ ์˜ ์ถ”์ƒ์ ์ธ ์ด๋ฏธ์ง€๋Š” ๋™์ ์ธ ํ–‰์œ„์„ฑ์„ ์ง€๋‹ˆ๊ฒŒ ๋œ๋‹ค. ์ด๋•Œ ์ถ”์ƒ์ ์ธ ์ด๋ฏธ์ง€ ๋Š” ๊ตฌ์ฒด์ ์ธ ์‚ฌ๋ฌผ์˜ ํ˜•ํƒœ๋กœ ํ‘œํ˜„๋˜๋Š” ๊ฒƒ์€ ์•„๋‹ˆ๋‹ค. ์ƒ‰๋ฐ˜์ด๋‚˜ ์ƒ‰์  ๋˜๋Š” ๋ถ“ ์ž ๊ตญ๊ณผ ๊ฐ™์€ ํ˜•ํƒœ๋กœ์„œ ํ™”๋ฉด์— ์‚ฐ๋ฐœ์ ์œผ๋กœ ๋‚˜ํƒ€๋‚œ๋‹ค. ๊ทœ์น™์„ฑ์ด ์—†์ด ๋ฌด์ž‘์œ„์ ์œผ ๋กœ ํ‘œ์ •์„ ๋ถ€์—ฌํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ๊ทธ๋Ÿฐ๋ฐ๋„ ์‚ฐ๊ฐœ๋˜๋Š” ์ถ”์ƒ์ ์ธ ์ด๋ฏธ์ง€๋“ค์€ ์ „์ฒด์  ์œผ๋กœ ์–ด๋–ค ์ผ์ •ํ•œ ๋ฆฌ๋“ฌ์„ ์œ ์ง€ํ•œ๋‹ค. ํฌ๊ธฐ๋ผ๋“ ๊ฐ€ ๊ฐ„๊ฒฉ ๋“ฑ์—์„œ ์น˜๋ฐ€ํ•œ ๊ตฌ์กฐ์‹ ์„ ๋”ฐ๋ฅด๊ณ  ์žˆ๋‹ค๋Š” ์‹ฌ์ฆ์ด ๊ฐ•ํ•˜๋‹ค. ์ด๋Š” ์šฐ์—ฐ์ ์ธ ํšจ๊ณผ๋ฅผ ๊ธฐ๋Œ€ํ•˜๋Š” ๊ฒƒ์ด ์•„๋‹ˆ

Lee Jung Woong

the strokes of perception

๋ผ ์˜๋„์ ์ธ ํšจ๊ณผ๋ฅผ ๊ฒจ๋ƒฅํ•˜๊ณ  ์žˆ์Œ์„ ๋งํ•ด์ค€๋‹ค. ๋˜ํ•œ ์ถ”์ƒ์ ์ธ ์ด๋ฏธ์ง€ ๊ฐ€์šด๋ฐ์„œ๋„ ์ƒ‰๋ฐ˜์ด๋‚˜ ์ƒ‰์  ๋˜๋Š” ๋ถ“ ์ž๊ตญ๊ณผ๋Š” ๋‹ฌ๋ฆฌ ํ•œ ์ง€ ์ž์ฒด์˜ ๋ฌผ์„ฑ์„ ์ ๊ทน์ ์œผ๋กœ ๋“œ๋Ÿฌ๋‚ด๋Š” ๊ฒฝ์šฐ๋„ ์žˆ๋‹ค. ํ•œ์ง€์— ๋จน๋ฌผ์„ ๋“ฌ๋ฟ ์  ์…” ๋งˆ๋ฅด์ง€ ์•Š์€ ์ƒํƒœ์—์„œ ๋„๊ตฌ๋ฅผ ์ด์šฉํ•˜์—ฌ ๋ฌธ์ง€๋ฅด๋ฉด ๋ฌผ์— ์ –์€ ํ•œ์ง€๊ฐ€ ๋ฐ€๋ ค ๋‚˜๋ฉด์„œ ์งˆ๊ฐ์„ ๋งŒ๋“ค์–ด๋‚ด๋Š” ๊ฒƒ์ด๋‹ค. ์ด์ฒ˜๋Ÿผ ์ถ”์ƒ์ ์ธ ์ด๋ฏธ์ง€๋Š” ํ•œ์ง€์˜ ๋ฌผ์„ฑ์— ์˜ํ•œ ์งˆ๊ฐ์œผ๋กœ ๋Œ€์ฒด๋˜๊ธฐ๋„ ํ•œ๋‹ค. ์ด์™€ ๊ฐ™์€ ํ˜•์‹์˜ ์ž‘ํ’ˆ์€ ๋จน๊ณผ ๋ฌผ ๊ทธ๋ฆฌ๊ณ  ํ•œ ์ง€๊ฐ€ ๋งŒ๋‚ฌ์„ ๋•Œ ๊ฑฐ๊ธฐ์— ๋ฌผ๋ฆฌ์ ์ธ ํž˜์„ ๊ฐ€ํ•จ์œผ๋กœ์จ ์ผ์–ด๋‚  ์ˆ˜ ์žˆ๋Š” ๋ฌผ์„ฑ์˜ ํ‘œ ์ •์„ ํ‘œํ˜„์ ์ธ ์ด๋ฏธ์ง€๋กœ ๋ฐ›์•„๋“ค์ด๋ ค๋Š” ๊ฒƒ์ด๋‹ค. ์ด๋Š” ํ˜„๋Œ€ํšŒํ™”์—์„œ ์“ฐ์ด๋Š” ์ˆ˜ ๋ฒ• ์ค‘์˜ ํ•˜๋‚˜์ธ๋ฐ, ๋‹ฌ๋ฆฌ ๋ณด๋ฉด ์ „ํ†ต์ ์ธ ์‚ฌ์‹ค์ฃผ์˜ ๋ฏธํ•™๊ณผ๋Š” ๋‹ค๋ฅธ ํ‘œํ˜„์˜์—ญ์— ๋“ค์–ด๊ฐ€ ์žˆ์Œ์„ ์„ ์–ธํ•˜๋Š” ์ผ์ด๊ธฐ๋„ ํ•˜๋‹ค. ๊ทธ๋Ÿฌ๊ณ  ๋ณด๋ฉด ๊ทธ์˜ ๊ทธ๋ฆผ์€ ์ „ํ†ต์ ์ธ ์‚ฌ์‹ค์ฃผ์˜ ๋ฏธํ•™๊ณผ๋Š” ์ผ์ •ํ•œ ๊ฑฐ๋ฆฌ๊ฐ€ ์žˆ์Œ์„ ์ธ์ •ํ•˜์ง€ ์•Š์„ ์ˆ˜ ์—†๋‹ค. ๋ฌด์—‡๋ณด๋‹ค๋„ ๋ช…์•”๊ธฐ๋ฒ•์ด ๋‹ค๋ฅด๋‹ค. ๊ทธ์˜ ๊ทธ๋ฆผ ์†์— ๋“œ๋Ÿฌ ๋‚˜๋Š” ๋ช…์•”๊ธฐ๋ฒ•์€ ๋‹ด๋ฐฑํ•˜๋‹ค. ์œ ์ฑ„๋ฅผ ์—ฌ๋Ÿฌ ์ฐจ๋ก€ ๊ฒน์ณ ์น ํ•จ์œผ๋กœ์จ ๊นŠ์ด์™€ ๋‘๊ป˜ ๊ฐ€ ๋งŒ๋“ค์–ด์ง€๋Š” ์ „ํ†ต์ ์ธ ๋ช…์•”๊ธฐ๋ฒ•๊ณผ ๋‹ฌ๋ฆฌ ์•„์ฃผ ์–‡๊ณ  ํˆฌ๋ช…ํ•˜๋‹ค. ์œ ์ฑ„๋ฌผ๊ฐ์˜ ์กด์žฌ๋ฅผ ๊ฑฐ์˜ ๊ฐ์ง€ํ•  ์ˆ˜ ์—†์„ ๋งŒํผ ๋ฏธ๋Ÿ‰์˜ ๋ฌผ๊ฐ์ด ์“ฐ์ด๋Š” ๋“ฏ์‹ถ์„ ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ, ์†์ด ๋“ค์—ฌ๋‹ค๋ณด์ผ ๊ฒƒ ๊ฐ™๋‹ค. ๊ทธ๋ ‡๋‹ค๊ณ  ํ•ด์„œ ํ•œ ๋‘ ์ฐจ๋ก€์˜ ์ž‘์—…์œผ๋กœ ์ž‘์—…์„ ๋๋‚ด ๋Š” ๊ฒƒ์€ ์•„๋‹ˆ๋‹ค. ๋Œ€์—ฌ์„ฏ ์ฐจ๋ก€์˜ ๋ฐ˜๋ณต์ ์ธ ์ž‘์—…์„ ํ†ตํ•ด ๊ฒฐ์ฝ” ๊ฐ€๋ณ์ง€ ์•Š๋‹ค๋Š” ์‚ฌ ์‹ค์„ ํ™•์ธ์‹œํ‚จ๋‹ค. ์ด๋Ÿฐ ๊ณผ์ •์„ ๊ฑฐ์ณ ํ˜•์„ฑ๋˜๋Š” ๊ทน๋ ฌํ•œ ์‚ฌ์‹ค์„ฑ์€ ๋ฌผ๊ฐ์˜ ์งˆ๋Ÿ‰ ์ด๋‚˜ ์งˆ๊ฐ๋งˆ์ € ์ง€๋ฐฐํ•œ๋‹ค. ๊ทธ ์ž์‹ ์˜ ๋ˆˆ๊ณผ ์†Œ์žฌ ์‚ฌ์ด์— ์กด์žฌํ•˜๋Š” ๊ณต๊ธฐ์ธต๋งˆ์ € ์กด์žฌํ•˜์ง€ ์•Š๋Š” ๋“ฏํ•œ ํˆฌ๋ช… ์„ฑ์€ ๊ธฐ์กด์˜ ์‚ฌ์‹ค์ฃผ์˜ ๋ฏธํ•™์ด ๋„๋‹ฌํ•˜์ง€ ๋ชปํ•œ ํ˜„๋Œ€๋ฏธํ•™์˜ ์„ฑ๊ณผ์ด๋‹ค. ์œ ์ฑ„๋ฌผ ๊ฐ์˜ ์งˆ๋Ÿ‰์ด๋‚˜ ์งˆ๊ฐ์„ ์ฆ๋ฐœ์‹œํ‚จ ํˆฌ๋ช…์„ฑ์ด์•ผ๋ง๋กœ ํ˜„๋Œ€๋ฏธํ•™์˜ ํ™•์‹คํ•œ ์ฆํ‘œ ์ธ ๊ฒƒ์ด๋‹ค. ๋™์‹œ์— ์ด๋Š” ๋ฌผ์งˆ์„ฑ์„ ์ดˆ์›”ํ•˜์—ฌ ์ •์‹ ์ ์ธ ๊ฐ€์น˜๋ฅผ ์ค‘์‹œํ•˜๋Š” ๋™์–‘ ์ ์ธ ๋ฏธํ•™์˜ ๊ฐœ๊ฐ€์ด๊ธฐ๋„ ํ•˜๋‹ค. ๋ฌผ์งˆ์„ฑ์„ ์ฆ๋ฐœ์‹œํ‚ด์œผ๋กœ์จ ์‹ค์ œ๋ณด๋‹ค ๊ณผ์žฅ๋˜ ์–ด ๋ณด์ด๋Š” ์ „ํ†ต์ ์ธ ์‚ฌ์‹ค์ฃผ์˜์™€ ๋‹ฌ๋ฆฌ ์‹ค์ œ์™€ ํ˜ผ๋™์ผ€ ํ•˜๋Š” ์™„๋ฒฝํ•œ ํ—ˆ์ƒ์„ ์‹ค ํ˜„ํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ์‹ค๋กœ ๊ทธ์˜ ๊ทธ๋ฆผ์„ ๋ณด๋ฉด์„œ ํ•œ ์ˆœ๊ฐ„ ํ™€๋กœ๊ทธ๋žจ์„ ๋ณด๋Š” ๋“ฏ์‹ถ์€ ๊ฐ ํšŒ์— ์‚ฌ๋กœ์žกํžˆ๊ธฐ๋„ ํ•˜๋Š”๋ฐ, ์ด๋Š” ๋ช…์ง•ํ•œ ์‚ฌ์‹ค์„ฑ์œผ๋กœ ์ธํ•ด ์‹œ์ง€๊ฐ์ด ๊ธฐ๋งŒ๋‹น ํ•œ ๊ฒฐ๊ณผ์ด๋‹ค. ์–ด์ฉŒ๋ฉด ๊ทธ๊ฐ€ ์บ”๋ฒ„์Šค ๋Œ€์‹ ์— ํ•œ์ง€๋ฅผ ์†Œ์ง€๋กœ ์ฑ„ํƒํ•˜๋Š” ๊ฒƒ์€ ๋™์–‘์˜ ์žฌ๋ฃŒ์ธ ํ•œ ์ง€์˜ ์ƒ์ง•์„ฑ ๋•Œ๋ฌธ์ธ์ง€ ๋ชจ๋ฅธ๋‹ค. ์ฆ‰ ์—ฌ๋ฐฑ์˜ ๊ฐœ๋…์„ ์‹คํ˜„ํ•œ ์ˆ˜๋ฌตํ™”๋Š” ๋™์–‘์˜ ํšŒ ํ™”๋ฅผ ์ƒ์ง•ํ•˜๋Š”๋ฐ ๊ทธ ์ค‘์‹ฌ์—๋Š” ํ•œ์ง€๊ฐ€ ์ž๋ฆฌํ•œ๋‹ค. ๋™์–‘ ํšŒํ™”์˜ ์ƒ์ง•์ ์ธ ์žฌ๋ฃŒ ๋ฅผ ์ฑ„์šฉํ•จ์œผ๋กœ์จ ๋™์–‘์ ์ธ ์ •์„œ๋ฅผ ๋Œ์–ด๋“ค์ผ ์ˆ˜ ์žˆ์Œ์€ ์ž๋ช…ํ•˜๋‹ค. ์žฌ๋ฃŒ์˜ ์„  ํƒ์— ๋”ฐ๋ฅธ ์ƒˆ๋กœ์šด ํ˜•ํƒœ์˜ ๋ฏธํ•™์ ์ธ ์„ฑ๊ณผ๋ฅผ ๊ธฐ๋Œ€ํ•  ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์ด๋‹ค. ๊ทธ์˜ ์ž‘ํ’ˆ ์ด ํ•˜์ดํผ๋ฆฌ์–ผ๋ฆฌ์ฆ˜์ด๋‚˜ ํฌํ† ๋ฆฌ์–ผ๋ฆฌ์ฆ˜๊ณผ ๋‹ค๋ฅธ ์œ„์น˜์— ์„œ๋Š” ๊ฒƒ๋„ ์ด๋ ‡๋“ฏ์ด ๋™

์–‘์˜ ์žฌ๋ฃŒ๋ฅผ ์ฑ„์šฉํ•˜๋Š” ๋ฐ์„œ ์˜ค๋Š” ๊ฒฐ๊ณผ์ผ ์ˆ˜๋„ ์žˆ๋‹ค. ์ด๋Š” ๋ฌผ์„ฑ์„ ์ค‘์‹œํ•˜๋Š” ํ˜„ ๋Œ€ํšŒํ™”์˜ ๋ฐฉ๋ฒ•๋ก ๊ณผ ์ƒํ†ตํ•œ๋‹ค. ๊ทธ๋Ÿฌ๋ฉด์„œ๋„ ๊ทธ ๋ฐœ์ƒ์€ ์—ฌ๋ฐฑ์ด๋ผ๋Š” ๋™์–‘ํ™”์˜ ์กฐ ํ˜•๊ฐœ๋…์— ๊ทผ๊ฑฐํ•œ๋‹ค. ํ˜•ํƒœ๋ฅผ ์—์›Œ์‹ผ ๊ณต๊ฐ„, ์ฆ‰ ๋น„์–ด ์žˆ๋Š” ๋ถ€๋ถ„์— ํ•ด๋‹นํ•˜๋Š” ์—ฌ๋ฐฑ ์€ ๋™์–‘ํ™”์—์„œ๋Š” ์ •์‹ ์ ์ธ ๊ฑฐ์ฒ˜์ด๊ธฐ์— ๊ทธ๋ ‡๋‹ค. ์—ฌ๋ฐฑ์€ ์ •์ค‘๋™์„ ์•”์‹œํ•˜๋Š” ์‚ด ์•„ ์žˆ๋Š” ๊ณต๊ฐ„์ด๋‹ค. ๋‹ค์‹œ ๋งํ•ด ์‚ฌ์œ ์˜ ๊ทธ๋ฆผ์ž๊ฐ€ ๊นƒ๋“ค์ด๊ณ  ์ƒ๋ช…์˜ ์œจ๋™์ด ์ผ์–ด ๋‚˜๋Š” ์ƒ๋™ํ•˜๋Š” ๊ณต๊ฐ„์ด๋‹ค. ์•„๋ฌด๊ฒƒ๋„ ๋ณด์ด์ง€ ์•Š๋Š”๋‹ค๊ณ  ํ•˜์—ฌ ๋น„์–ด ์žˆ๋Š” ํ—ˆ๋ฌด์˜ ๊ณต๊ฐ„์ด๋ผ๊ณ  ๋งํ•  ์ˆ˜ ์—†๋Š” ์ด์œ ๊ฐ€ ์—ฌ๊ธฐ์— ์žˆ๋‹ค. ์ˆ˜๋ฌตํ™”๋Š” ์‚ฌ์œ ์˜ ๊ทธ๋ฆผ์ž๊ฐ€ ์˜น ํ˜ธํ•˜๋Š” ์—ฌ๋ฐฑ์„ ํ†ตํ•ด ์ƒ๊ธฐํ•˜๋Š”, ์ฆ‰ ์ƒ๋™๊ฐ์„ ์–ป๊ฒŒ ๋˜๋Š” ๊ฒƒ์ด๋‹ค. ํ•œ์ง€๋ฅผ ์ฑ„์šฉํ•œ ๊ทธ์˜ ๊ทธ๋ฆผ๋“ค์€ ์บ”๋ฒ„์Šค ์ž‘์—…๊ณผ๋Š” ํ™•์‹คํžˆ ๋‹ค๋ฅด๋‹ค. ๋ฐฐ๊ฒฝ์„ ์ถ”์ƒ ์ ์œผ๋กœ ์ฒ˜๋ฆฌํ•˜์ง€ ์•Š์€ ์†Œ์ง€ ์ž์ฒด์˜ ์ƒํƒœ์— ์žˆ์„ ๋•Œ ์‚ฌ์‹ค์„ฑ์€ ๋”์šฑ ๊ฐ•๋ ฌํ•˜๋‹ค. ์•„๋ฌด๊ฒƒ๋„ ๋ณด์ด์ง€ ์•Š๋Š” ํ•œ์ง€๋Š” ๊ทธ ์ž์ฒด๋กœ ์ •๋ฌผ์ด ๋†“์ด๋Š” ํƒ์ž ๋˜๋Š” ๋ฐ”๋‹ฅ์„ ํ›Œ ๋ฅญํžˆ ๋Œ€์ฒดํ•˜๋Š” ๊นŒ๋‹ญ์ด๋‹ค. ๋‹ค์‹œ ๋งํ•ด ํ•œ์ง€๋ฅผ ์‚ฌ์šฉํ•˜๋Š” ์ž‘์—…์˜ ๊ฒฝ์šฐ ํ•œ์ง€๋Š” ์‹ค ์žฌํ•˜๋Š” ๋ฐฐ๊ฒฝ์ด ๋  ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ, ์†Œ์žฌ๊ฐ€ ๋†“์ด๋Š” ๋ฐ”ํƒ•์ด ๋˜๊ธฐ๋„ ํ•œ๋‹ค. ์—ฌ๊ธฐ์—์„œ ํ•œ์ง€๋Š” ๊ฐ€๊ณต์˜ ํ˜„์‹ค์ด ์•„๋‹ˆ๋ผ ํ˜„์‹ค ๊ทธ ์ž์ฒด๋กœ ์ œ์‹œ๋˜๋Š” ๊ฒƒ์ด๋‹ค. ๊ทธ๋Ÿฌ๊ธฐ์— ํ•œ ์ง€๋Š” ์‹ค์žฌํ•˜๋Š” ์˜ค๋ธŒ์ œ์ด์ž ํ˜„์‹ค์ ์ธ ๊ณต๊ฐ„์ด ๋œ๋‹ค. ๋”ฐ๋ผ์„œ ์†Œ์žฌ๋Š” ํ˜„์‹ค์ ์ธ ๊ณต๊ฐ„์— ๋“ค์–ด์™€ ํ—ˆ์ƒ์ด ๋˜๋Š” ๋ฏธ๋ฌ˜ํ•œ ์ž…์žฅ์— ๋†“์ธ๋‹ค. ์ด์ •์›…์˜ ์ž‘์—…์—๋Š” ์ผ์ •ํ•œ ์กฐํ˜•์ ์ธ ์›์น™์ด ์กด์žฌํ•œ๋‹ค. ๋™์–‘์˜ ์Œ์–‘์‚ฌ์ƒ์— ๋ฐ” ํƒ•์„ ๋‘” ์ด์›์ ์ธ ๊ตฌ์กฐ ์ฆ‰, ์ƒ๋Œ€์ ์ธ ๊ฐœ๋…์˜ ๋Œ€๋ฆฝ ๋ฐ ์กฐํ™”๋ฅผ ๋ชจ์ƒ‰ํ•˜๋Š” ํ˜•๊ตญ์ด ๋‹ค. ์ˆ˜๋ฌตํ™”์™€ ์œ ํ™”, ์ถ”์ƒ๊ณผ ๊ตฌ์ƒ, ํ˜•์ƒ๊ณผ ์‹ค๋ฃจ์—ฃ, ๋™์ ์ธ ์ด๋ฏธ์ง€์™€ ์ •์ ์ธ ์ด ๋ฏธ์ง€, ํ–‰์œ„์™€ ์ •ํƒœ, ์ธ์œ„์™€ ๋ฌด์œ„, ์‹ค์ œ์™€ ํ—ˆ์ƒ, ์œ ์ฑ„์™€ ์ˆ˜์ฑ„ ๋”ฐ์œ„์˜ ์ด์›์ ์ด ๊ณ  ์ƒ๋ฐ˜์ ์ธ ๊ฐœ๋…์„ ๋ณ‘์น˜์‹œํ‚ค๋Š” ๊ฒƒ์ด๋‹ค. ์ด๋กœ์จ ํ™”๋ฉด์€ ํ•ญ์ƒ ํŒฝํŒฝํ•œ ๋Œ€๋ฆฝ์ƒ ํƒœ์˜ ๊ธด์žฅ๊ฐ์œผ๋กœ ์ฑ„์›Œ์ง„๋‹ค. ์ข‹์€ ์˜๋ฏธ์—์„œ ๋Š์Šจํ•œ ์ด๋ฏธ์ง€๊ฐ€ ์•„๋‹ˆ๋ผ, ์ƒ๊ธฐ ๋„˜ ์น˜๋Š” ๋ฐœ๋ž„ํ•œ ์ด๋ฏธ์ง€์ธ ๊ฒƒ์ด๋‹ค. ์ƒ๋Œ€์ ์ด๊ณ  ์ƒ๋ฐ˜๋˜๋Š” ์ด๋ฏธ์ง€์˜ ๋Œ€๋ฆฝ์€ ์‹œ๊ฐ์  ์ธ ๊ธด์žฅ์„ ๋ฐœ์ƒ์‹œํ‚ด๊ณผ ๋™์‹œ์— ์กฐํ˜•์ ์ธ ์•„๋ฆ„๋‹ค์›€์ด๋ผ๋Š” ํ†ต์ผ๋œ ๋ชฉํ‘œ๋ฅผ ์œ„ํ•ด ๊ทน์ ์ธ ํ™”ํ•ด์™€ ์กฐํ™”์˜ ๊ธธ์„ ๋ชจ์ƒ‰ํ•œ๋‹ค. ๊ตฌ์ƒ๊ณผ ์ถ”์ƒ์€ ๊ทธ ํ˜•ํƒœ๊ฐ€์น˜๋กœ ๋ณด์ž๋ฉด ๋Œ€๋ฆฝ์ ์ธ ๊ด€๊ณ„์ผ ๋ฟ ์กฐํ™”๋กœ์šด ๊ณต์กด์˜ ๊ฐ€๋Šฅ์„ฑ์€ ํฌ๋ฐ•ํ•ด ๋ณด์ธ๋‹ค. ๊ทธ๋Ÿผ์—๋„ ์ด ์ƒ๋ฐ˜๋œ ์ด๋ฏธ์ง€๋ฅผ ํ•˜๋‚˜์˜ ํ™”๋ฉด์— ๋†“์•˜ ์„ ๋•Œ ์˜์™ธ์˜ ๊ฒฐ๊ณผ์— ๋†€๋ž€๋‹ค. ์˜คํžˆ๋ ค ์‚ฌ์‹ค์ ์ธ ์ด๋ฏธ์ง€๋ฅผ ๊ฐ•์กฐํ•˜๋Š”๋ฐ ํ•œ์ธต ํšจ ๊ณผ์ ์ด๋ผ๋Š” ์‚ฌ์‹ค๊ณผ ์ง๋ฉดํ•œ๋‹ค. ํ˜•์ƒ๊ณผ ์‹ค๋ฃจ์—ฃ์˜ ๋Œ€๋น„๋งŒ ํ•˜๋”๋ผ๋„ ๊ทธ์˜ ๊ฒฝ์šฐ๋Š” ์ผ๋ฐ˜์ ์ธ ์ •๋ฌผํ™”์˜ ๋ช…์•”๊ธฐ๋ฒ•๊ณผ๋Š” ๋‹ฌ๋ฆฌ ๊ทน์ ์ธ ํ‘œํ˜„์„ ์ฆ๊ธด๋‹ค. ๊ทธ๋ฆผ์ž์˜ ์œค๊ณฝ ์„ ์„ ์นผ๋กœ ์ž๋ฅธ ๋“ฏ์ด ๋ช…์พŒํ•˜๊ฒŒ ํ‘œํ˜„ํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ์„ ๋ช…ํ•œ ํ˜•ํƒœ์˜ ๊ทธ๋ฆผ์ž๊ฐ€ ๋งŒ ๋“ค์–ด๋‚ด๋Š” ๊ทธ ์‹œ๊ฐ์ ์ธ ๋ช…๋ฃŒํ•จ์€ ์ง€์ ์ธ ์ดํ•ด์™€ ๋”๋ถˆ์–ด ๋ฏธ์  ์พŒ๊ฐ์œผ๋กœ ์ž‘์šฉํ•œ ๋‹ค. ์ด๋Š” ์‹ค์ œ์™€๋Š” ๋‹ค๋ฅธ ๊ณผ์žฅ๋œ ํ‘œํ˜„์ด๋‹ค. ๊ทธ๋Ÿฐ๊ฐ€ ํ•˜๋ฉด ํ–‰์œ„์™€ ์ •ํƒœ๋ผ๋Š” ์ƒ๋ฐ˜ ๋œ ์ •์„œ๋ฅผ ๋‚ดํฌํ•˜๊ธฐ๋„ ํ•œ๋‹ค. โ€˜๋ถ“โ€™ ์—ฐ์ž‘์€ ํ–‰์œ„๋ฅผ ์‹ค์ฆํ•˜๋ฉด์„œ ๋™์‹œ์— ์ •ํƒœ์ƒํƒœ

Lee Jung Woong

the strokes of perception

๋ฅผ ๋ณด์—ฌ์ค€๋‹ค. ํ–‰์œ„์„ฑ์€ ๋ถ“์ด ์›€์ง์ธ ์ž๊ตญ, ์ฆ‰ ๋จน๋ฌผ์„ ๋ฌปํžŒ ๋ถ“์ด ํ•œ์ง€ ์œ„์— ์„  ์„ ๊ธ‹๋Š”๋‹ค๋“ ๊ฐ€ ๋จน๋ฌผ์„ ๋–จ์–ด๋œจ๋ฆฐ ์ž๊ตญ์„ ํ†ตํ•ด ์•”์‹œ๋œ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๊ทธ ํ–‰์œ„๋ฅผ ์ฃผ ๋„ํ•œ ๋ถ“์€ ๋จน๋ฌผ์„ ๋จธ๊ธˆ์€ ์ฑ„ ์ •ํƒœ(์ •์ง€)์ƒํƒœ๋กœ ๋ˆ„์›Œ์žˆ๋‹ค. ๋˜ํ•œ ๊ฑฐ๊พธ๋กœ ๊ฑธ๋ฆฐ ๋ถ“์—์„œ ๋จน๋ฌผ์ด ๋–จ์–ด์ ธ ํ•œ์ง€์˜ ์•„๋žซ๋ถ€๋ถ„์ด ๋จน๋ฌผ๋กœ ์ –์–ด ์žˆ๋Š” ์ž‘ํ’ˆ๋„ ์žˆ๋‹ค. ์ด๋Ÿฌํ•œ ์ž‘์—…์€ ํ–‰์œ„๊ฐ€ ๋๋‚œ ์งํ›„์˜ ์ƒํ™ฉ์„ ์‹œ์‚ฌํ•œ๋‹ค. ์ด์ฒ˜๋Ÿผ ํ–‰์œ„์™€ ์ •ํƒœ๋ผ ๋Š” ์ƒ๋ฐ˜๋œ ์ •์„œ๋ฅผ ํ•˜๋‚˜์˜ ํ™”๋ฉด์— ๋†“์Œ์œผ๋กœ์จ ๊ทน์ ์ธ ๊ธด์žฅ์„ ๊ฐ€์ ธ์˜จ๋‹ค. ๋˜ํ•œ ์ •๋ฌผ, ์ฆ‰ ์›€์ง์ด์ง€ ์•Š๋Š” ์‚ฌ๋ฌผ์„ ์žฌํ˜„ํ•˜๊ณ  ์žˆ์œผ๋‚˜ ํ–‰์œ„๋ฅผ ์ฃผ๋„ํ•œ ํ”์ ์„ ๋‚จ๊น€ ์œผ๋กœ์จ ์‹œ๊ฐ„์„ฑ์„ ๊ฐœ์ž…์‹œํ‚ค๊ณ  ์žˆ๋‹ค. ์ •๋ฌผ์—์„œ ํ–‰์œ„์™€ ์‹œ๊ฐ„์„ฑ์„ ๋ฐœ๊ฒฌํ•œ๋‹ค๋Š” ๊ฒƒ์€ ์•„์ฃผ ํฅ๋ฏธ๋กœ์šด ์ผ์ด๋‹ค. ๋ฌผ๋ก  ํ‘œํ˜„์ฃผ์˜์ ์ธ ์ž‘ํ’ˆ์—์„œ๋Š” ๊ฒฉ๋ ฌํ•œ ๋ถ“์˜ ์ž ๊ตญ์„ ๋‚จ๊น€์œผ๋กœ์จ ํ–‰์œ„์„ฑ์„ ์ธ์ง€ํ•  ์ˆ˜ ์žˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๊ฑฐ๊ธฐ์—์„œ๋„ ์‹œ๊ฐ„์„ฑ์€ ์กด ์žฌํ•˜์ง€ ์•Š๋Š”๋‹ค. ๋ฐฉ๊ธˆ ์ž‘์—…์„ ๋๋ƒˆ์Œ์„ ์‹œ์‚ฌํ•˜๋Š” ๋ถ“ ์ž๊ตญ๊ณผ ๋จน๋ฌผ์ด ๊ทธ๋Œ€๋กœ ๋ฐฐ ์–ด ์žˆ๋Š” ๋ถ“์ด ์‹œ๊ฐ„์„ฑ์„ ์•”์‹œํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ์ด๋‹ค. ๊ทธ์˜ ์ž‘์—…์ด ์ „ํ†ต์ ์ธ ์‚ฌ์‹ค์ฃผ ์˜์™€ ๋‹ค๋ฅธ ์ƒˆ๋กœ์šด ๋ฏธํ•™์ ์ธ ์„ฑ๊ณผ๋กœ์„œ์˜ ๊ฒฐ๊ณผ๋ฌผ์ด๋ผ๋Š” ์‚ฌ์‹ค์ด ์—ฌ๊ธฐ์—์„œ ๋‹ค์‹œ ํ•œ ๋ฒˆ ๋“œ๋Ÿฌ๋‚œ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ์—ฌ๊ธฐ์—์„œ ์ฃผ์˜ ๊นŠ๊ฒŒ ๋ณด์•„์•ผ ํ•  ๋ถ€๋ถ„์€ ์ˆ˜๋ฌต์˜ ํ”์ , ์ฆ‰ ๋ถ“์˜ ํ–‰์œ„๊ฐ€ ๋งŒ๋“ค์–ด๋‚ธ ์ด๋ฏธ์ง€์™€ ๊ทธ ์ด๋ฏธ์ง€๊ฐ€ ์ž๋ฆฌํ•˜๋Š” ๊ณต๊ฐ„์ด๋‹ค. ๋ฌธ์ธํ™”๋‚˜ ์„œ์˜ˆ์ž‘ํ’ˆ์— ์“ฐ ์ด๋Š” ํ•œ์ง€๋Š” ์˜ค๋ธŒ์ œ์ด๊ธฐ ์ „์— ํ‰๋ฉด๊ณต๊ฐ„์ด๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๋ถ“์ด ๋†“์ธ ๊ณณ์€ ๋ฌผ์ƒ์ด ์ž๋ฆฌํ•˜๋Š” ์ž…์ฒด์ ์ธ ๊ณต๊ฐ„์œผ๋กœ์„œ์˜ ์žฅ์†Œ๋ฅผ ์˜๋ฏธํ•œ๋‹ค. ๊ทธ๋ ‡๋‹ค๋ฉด ํ‰๋ฉด๊ณต๊ฐ„์—์„œ ์–ด๋–ป๊ฒŒ ์ด์ฐจ์›์ ์ธ ํ‰๋ฉด๊ณผ ์‚ผ์ฐจ์›์ ์ธ ์ž…์ฒด๊ณต๊ฐ„์ด ๊ณต์กดํ•  ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์ผ๊นŒ. ์ด๋Ÿฌํ•œ ์˜๋ฌธ์€ ๊ทธ์˜ ์ž‘์—…์ด ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ๊ฐœ๋ณ„์„ฑ์„ ๋ช…์พŒํ•˜๊ฒŒ ๋“œ๋Ÿฌ๋‚ธ๋‹ค. ํ•œ์ง€ ๋ผ๋Š” ์žฌ๋ฃŒ๋Š” ๋ณ€ํ•  ์ˆ˜ ์—†๋Š” ์‚ฌ๊ฐ์˜ ํ‰๋ฉด๊ณต๊ฐ„์ด๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ํ•œ์ง€์— ์‚ฌ์‹ค์ ์ธ ํ˜• ํƒœ๊ฐ€ ๋“ค์–ด์˜ด์œผ๋กœ์จ ๋Œ์—ฐํžˆ ์ž…์ฒด์ ์ธ ๊ณต๊ฐ„์ด ๋˜๋Š” ๊ฒƒ์ด๋‹ค. ์ด ๋˜ํ•œ ๊ทธ์˜ ์ž‘์—… ์ด ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ๋งˆ์ˆ ์ด๋‹ค. ํ•œํŽธ ์ˆ˜๋ฌตํ™”์™€ ์œ ์ฑ„ํ™”๊ฐ€ ํ•˜๋‚˜์˜ ํ™”๋ฉด์—์„œ ๋™์‹œ์— ์ž๋ฆฌํ•œ๋‹ค. ์ˆ˜๋ฌต์œผ๋กœ ๊ทธ์€ ์„ ์ด๋‚˜ ์  ๋˜๋Š” ๋จน๋ฌผ์˜ ํ”์ ์€ ํ•œ์ง€ ์œ„์— ๊ทธ๋ ค์ง€๋Š” ์ˆ˜๋ฌตํ™”์ด๋‹ค. ๋‹ค์‹œ ๋งํ•ด ์œ  ์ฑ„๋กœ ๋ฌ˜์‚ฌ๋œ ์ด๋ฏธ์ง€๊ฐ€ ์•„๋‹ˆ๋ผ, ์ˆ˜๋ฌต์œผ๋กœ ์ง์ ‘ ํ‘œํ˜„ํ•˜๊ณ  ์žˆ๋‹ค๋Š” ๋œป์ด๋‹ค. ์—ฌ๊ธฐ ์—์„œ ์ˆ˜๋ฌต์˜ ํ”์ ์€ ์‹ค์ฒด์ด์ž ์‹ค์ œ์ด๋‹ค. ์ˆ˜๋ฌตํ™”๋ผ๋Š” ์‹ค์ฒด์ธ ๊ฒƒ์ด๋‹ค. ๊ทธ ์‹ค์ฒด ๊ฐ€ ์œ ์ฑ„๋กœ ๊ทธ๋ฆฐ ๋ถ“์˜ ์ด๋ฏธ์ง€์™€ ๋งŒ๋‚˜ ์œ ์ฑ„ํ™”๋กœ ๋‘”๊ฐ‘ํ•œ๋‹ค. ๊ทธ๋Ÿฐ๋ฐ๋„ ์œ ์ฑ„๋กœ ๋ฌ˜ ์‚ฌํ•œ ๋ถ“์˜ ํ˜•ํƒœ์™€ ํ•จ๊ป˜ ํ•จ์œผ๋กœ์จ ์‘๋‹น ์ˆ˜๋ฌต์˜ ํ”์ ๋„ ์œ ์ฑ„๋กœ ๊ทธ๋ฆฐ ๊ฒƒ์ด๋ ค๋‹ˆ ์ฐฉ๊ฐํ•˜๋„๋ก ์œ ๋„ํ•œ๋‹ค. ๊ทน๋ ฌํ•˜๊ฒŒ ๋ฌ˜์‚ฌ๋˜๋Š” ๋ถ“์˜ ํ˜•ํƒœ๋Š” ๋ถ„๋ช… ์„œ๊ตฌ์˜ ์‚ฌ์‹ค์ฃผ ์˜, ์ฆ‰ ์œ ์ฑ„ํ™”์ด๊ธฐ์— ๋ถ“ ์ž๊ตญ์ด๋‚˜ ๋จน๋ฌผ์˜ ํ”์ ์ด ์‹ค์ œ์˜ ์ˆ˜๋ฌต์ด๋ผ๊ณ ๋Š” ์ „ํ˜€ ์˜์‹ฌํ•  ์ˆ˜ ์—†๋Š” ๊ฒƒ์ด๋‹ค. ๋˜ํ•œ ์ˆ˜๋ฌต์˜ ํ”์ ์ด ์‹ค์ œ์˜ ์ˆ˜๋ฌต์ด ์•„๋‹Œ, ์œ ์ฑ„๋กœ ๋ฌ˜์‚ฌํ•œ ๊ฒฝ์šฐ๋„ ์žˆ๋‹ค. ์ˆ˜๋ฌต์˜ ํ”์ ์„ ์œ ์ฑ„๋กœ ๋ฌ˜์‚ฌํ•œ ๊ฒฝ์šฐ์—๋„ ๋ˆ„๊ตฌ๋“ ์ง€ ์ˆ˜๋ฌต์˜ ํ‘œํ˜„์œผ๋กœ ๊ฐ์ชฝ๊ฐ™์ด ์†๊ณ  ๋งŒ

๋‹ค. ํ•œ๋งˆ๋””๋กœ ๊ทธ์˜ ๋ฌ˜์‚ฌ๋ ฅ์€ ๊ฑธ๋ฆฌ๋Š” ๋ฐ๊ฐ€ ์—†์ด ์ž์œ ์ž์žฌ์ด๋‹ค. ์ˆ˜๋ฌต์ด ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ์žฌ๋ฃŒ์ ์ธ ํŠน์„ฑ๊นŒ์ง€๋„ ์œ ์ฑ„๋กœ ํ‘œํ˜„ํ•œ๋‹ค๋Š” ๊ฒƒ์€ ์‹ ๋ฌ˜ํ•œ ๊ท€์‹ ๋†€์ด์™€ ๋‹ค๋ฅด ์ง€ ์•Š๋‹ค. ๊ทธ๋Ÿฌ๋‹ˆ ๊ทธ์˜ ์ž‘ํ’ˆ์—์„œ๋Š” ์ˆ˜๋ฌต๊ณผ ์œ ์ฑ„๋ผ๋Š” ์žฌ๋ฃŒ์˜ ๊ตฌ๋ถ„์กฐ์ฐจ ๋ฌด์˜๋ฏธ ํ•ด ๋ณด์ธ๋‹ค. ๋”ฐ๋ผ์„œ ๊ทธ๋Š” ์• ์ดˆ๋ถ€ํ„ฐ ์ˆ˜๋ฌต๊ณผ ์œ ์ฑ„์˜ ์ฐจ์ด ๋˜๋Š” ๊ฒฝ๊ณ„๋ฅผ ์ „ํ˜€ ๋ฌธ์ œ ์‹œํ•˜์ง€ ์•Š์•˜๋‹ค๊ณ  ๋ณผ ์ˆ˜ ์žˆ๋‹ค. ์•„๋‹ˆ, ๊ทน๋ณต์˜ ๋Œ€์ƒ์กฐ์ฐจ ์•„๋‹ˆ์—ˆ๋˜ ๊ฒƒ์ด๋‹ค. ์•„๋ฌดํŠผ ์–ด๋–ป๊ฒŒ ์ˆ˜๋ฌตํ™”์™€ ์œ ์ฑ„ํ™”๊ฐ€ ํ•˜๋‚˜์˜ ํ™”๋ฉด์—์„œ ์ถฉ๋Œ ์—†์ด ํ™”ํ•ฉํ•˜๊ณ  ์กฐํ™” ๋กœ์šด ๊ด€๊ณ„๊ฐ€ ๋  ์ˆ˜ ์žˆ๋Š”์ง€ ๊ฒฝ์ด๋กœ์šด ์ผ์ด๋‹ค. ์ˆ˜๋ฌต๊ณผ ์œ ์ฑ„๊ฐ€ ๋™์‹œ์— ์“ฐ์ด๋Š” ๊ฒƒ ์€ ํ˜„๋Œ€ํšŒํ™”์—์„œ๋Š” ๋‹ค๋ฐ˜์‚ฌ๊ฐ€ ๋˜์—ˆ์œผ๋‹ˆ ๊ฒฐ์ฝ” ์ƒˆ๋กœ์šด ์‚ฌ๊ฑด์ด ์•„๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ๊ทธ์˜ ์ž‘ํ’ˆ์—์„œ ๋ณผ ์ˆ˜ ์žˆ๋“ฏ์ด ์ˆ˜๋ฌตํ™”์™€ ์œ ์ฑ„ํ™”๊ฐ€ ๊ณต์กดํ•˜๋Š”๋ฐ๋„ ๋งˆ์น˜ ์œ ์ฑ„ํ™”์ฒ˜ ๋Ÿผ ๋ณด์ผ ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฒƒ์€ ๋†€๋ผ์šด ์ผ์ด๋‹ค. ํšŒํ™”์ ์ธ ์ฐฝ์˜์„ฑ์ด ์–ด๋–ป๊ฒŒ ๊ทธ ๋ชจ์Šต์„ ๋“œ๋Ÿฌ๋‚ด๋Š”์ง€ ํ™•์ธํ•˜๋Š” ์ˆœ๊ฐ„์ด๋‹ค. ์ด๋ฅผ ๋‹ค๋ฅธ ๊ด€์ ์—์„œ ๋ณด๋ฉด ๋ฌผ์งˆ์„ฑ๊ณผ ์ •์‹ ์„ฑ์˜ ์กฐํ™”์ด๊ธฐ๋„ ํ•˜๋‹ค. ๊ทธ๋ฆผ์—์„œ ๋ณด ์ด๋Š” ๋ถ“์˜ ํ–‰์œ„๊ฐ€ ๋‚จ๊ธด ์ž๊ตญ, ์ฆ‰ ์„ ์ด๋‚˜ ๋จน๋ฌผ์ด ๋ฒˆ์ ธ๋‚˜๊ฐ„ ์ด๋ฏธ์ง€๊ฐ€ ์ •์‹ ์„ฑ์ด ๋ผ๋ฉด ๋ถ“์˜ ํ˜•ํƒœ๋Š” ๋ฌผ์งˆ์„ฑ์ด๋‹ค. ์ •์‹ ์„ฑ์€ ๋ฏธ์˜์‹ ๋ฐ ๋ฏธ์  ๊ฐ๊ฐ์ด ์ง€์‹œํ•œ ํ–‰์œ„ ์˜ ๊ฒฐ๊ณผ๋ฌผ์ด๊ธฐ์— ์ •์‹ ์ ์ธ ๊ฐ€์น˜์ธ ์…ˆ์ด๋‹ค. ์ด์— ๋ฐ˜ํ•ด ๋ถ“์€ ๊ทธ ์ž์ฒด๋กœ์„œ ๋ฌผ์งˆ ์ ์ธ ๊ฐ€์น˜์ธ ๊ฒƒ์ด๋‹ค. ์ด๋ฅผ ๋‹ฌ๋ฆฌ ํ•ด์„ํ•˜๋ฉด ํ˜•์ด์ƒํ•™์˜ ์„ธ๊ณ„์™€ ํ˜•์ดํ•˜ํ•™์˜ ์„ธ ๊ณ„๊ฐ€ ๋งŒ๋‚˜ ์ƒ์ƒ์˜ ๊ด€๊ณ„๋ฅผ ๋ชจ์ƒ‰ํ•˜๋Š” ์ƒํ™ฉ์ด๋‹ค. ๊ทธ๋Ÿฐ๊ฐ€ ํ•˜๋ฉด ์œ ์ฑ„์™€ ์ˆ˜์ฑ„๋ผ๋Š” ์ด์งˆ์ ์ธ ์žฌ๋ฃŒ๊ฐ€ ํ•˜๋‚˜์˜ ํ™”๋ฉด์—์„œ ์„œ๋กœ ๋‹ค๋ฅธ ์˜๋ฏธ๋กœ ์“ฐ์ด๋ฉด์„œ ๋™์‹œ์— ํ•˜๋‚˜์˜ ์™„์„ฑ๋œ ์ž‘ํ’ˆ์œผ๋กœ ์œตํ™”๋œ๋‹ค. ๋”ฐ์ง€๊ณ  ๋ณด๋ฉด ๋™ ์„œ์–‘์˜ ์žฌ๋ฃŒ๊ฐ€ ํ•œ ๊ณณ์—์„œ ๋งŒ๋‚œ๋‹ค๋Š” ์˜๋ฏธ์ด์ง€๋งŒ, ์ด๋Š” ๋™์„œ์–‘์˜ ๋ฌธํ™”์ ์ธ ์ถฉ ๋Œ์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ์ด์งˆ์ ์ธ ์žฌ๋ฃŒ๊ฐ€ ๋งŒ๋‚˜ ์ถฉ๋Œํ•  ์ˆ˜๋ฐ–์— ์—†๋Š” ์ƒํ™ฉ์ธ๋ฐ ์ด๋ฅผ ๊ต๋ฌ˜ํžˆ ํ•˜๋‚˜๋กœ ํ†ตํ•ฉ์‹œํ‚ค๋Š” ๋ฐœ์ƒ์ด ๋†€๋ž๋‹ค. ๋™์–‘์˜ ์ˆ˜๋ฌต๊ณผ ์„œ์–‘์˜ ์œ ์ฑ„ ๊ฐ€ ์„œ๋กœ ๋‹ค๋ฅธ ์ž…์žฅ์—์„œ ๊ณต์กดํ•˜๋ฉด์„œ ์ „ํ˜€ ์ƒˆ๋กœ์šด ์˜๋ฏธ์˜ ์กฐํ˜•๊ณต๊ฐ„์„ ์„ฑ๋ฆฝ์‹œ ํ‚ค๋Š” ๊ฒƒ์ด๋‹ค. ์ด๋ ‡๊ฒŒ ๋ณด๋ฉด ๊ทธ์˜ ์ž‘์—…์€ ์ƒˆ๋กœ์šด ์‹œ๊ฐ์ ์ธ ์ฒดํ—˜์ด์ž ์ถฉ๊ฒฉ์œผ๋กœ ๋‹ค๊ฐ€์˜จ๋‹ค. ์ด๋Š” ์ˆœ์ „ํžˆ ๋ฐœ์ƒ์˜ ์ „ํ™˜, ๋˜๋Š” ๋ฐฉ๋ฒ•๋ก ์˜ ๊ฐœ๊ฐ€๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ๋ˆˆ์— ๋ณด์ด๋Š” ์‚ฌ์‹ค์„ ์ถฉ์‹คํžˆ ์žฌํ˜„ํ•˜๋Š” ๋ฐ ๋ชฉ์ ์„ ๋‘๋Š” ์‚ฌ์‹ค์ฃผ์˜ ํšŒํ™”๊ฐ€ ๋ฏธ์ฒ˜ ๊นจ๋‹ซ์ง€ ๋ชปํ•œ ์ƒˆ๋กœ์šด ํ‘œํ˜„์˜์—ญ์˜ ์„ ์–ธ์ด๊ธฐ๋„ํ•˜๋‹ค. ์„œ๊ตฌ๋ฏธํ•™์— ๋”ฐ๋ฅด๋Š”๋ฐ ๋งŒ์กฑํ•˜์ง€ ์•Š๊ณ  ๋™ ์–‘์ ์ธ ์žฌ๋ฃŒ ๋ฐ ์ •์„œ๋ฅผ ๋„์ž…ํ•จ์œผ๋กœ์จ ์˜ˆ๊ธฐ์น˜ ๋ชปํ•œ ์ƒˆ๋กœ์šด ํ˜•ํƒœ์˜ ์กฐํ˜•์„ธ๊ณ„๋ฅผ ์—ด์–ด๋†“๊ฒŒ ๋œ ๊ฒƒ์ด๋‹ค. ์•„์šธ๋Ÿฌ ๋™์„œ์–‘์˜ ๋ฌธํ™”์ ์ธ ์ด์งˆ์„ฑ์„ ๊ทน๋ณตํ–ˆ๋‹ค๋Š” ์ ์ด ๋‹ค. ๋ฌ˜์‚ฌ๊ธฐ๋ฒ•์—์„œ๋„ ์„œ๊ตฌ์˜ ์‚ฌ์‹ค์ฃผ์˜์™€ ๋™์–‘์˜ ์ˆ˜๋ฌต๊ธฐ๋ฒ•์ด ๊ณต์กดํ•˜๋Š” ํ˜•๊ตญ์ด ๋‹ค. ๋ฟ๋”๋Ÿฌ ์žฌ๋ฃŒ ์—ญ์‹œ ๋™์–‘์žฌ๋ฃŒ ๋ฐ ์„œ๊ตฌ์žฌ๋ฃŒ๊ฐ€ ํ•จ๊ป˜ ํ•œ๋‹ค. ์ด์ฒ˜๋Ÿผ ์„œ๋กœ ๋‹ค๋ฅธ ์ž…์žฅ์„ ํ˜ผํ•ฉํ•œ ํ˜•ํƒœ์ด๋ฏธ์ง€๋งŒ, ์–ด๋Š ์ชฝ์˜ ์ž…์žฅ์—์„œ ๋ณด๋”๋ผ ๊ณ  ์ƒ์ถฉ์ ์ด์ง€ ์•Š๋‹ค. ์„œ๊ตฌ์˜ ์‚ฌ์‹ค์ฃผ์˜์— ์ต์ˆ™ํ•œ ์‹œ๊ฐ์œผ๋กœ๋„ ๋‚ฏ์„ค์ง€ ์•Š๊ณ  ๋™

์–‘์ ์ธ ์‹œ๊ฐ์—์„œ๋Š” ์นœ์ˆ™ํ•œ ์†Œ์žฌ ๋ฐ ์žฌ๋ฃŒ์ด๋‹ค. ๊ทธ๋Ÿฌ๊ณ  ๋ณด๋ฉด ๊ทธ์˜ ์ž‘ํ’ˆ์€ ์ผ๋‹จ, ์–ด๋Š ์ชฝ์—๋„ ๋‚ฏ์„ค์ง€ ์•Š์€ ๋ณดํŽธ์ ์ธ ๊ฐ€์น˜๋ฅผ ์‹คํ˜„ํ•˜๊ณ  ์žˆ๋Š” ์…ˆ์ด๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์ • ์ž‘ ์ค‘์š”ํ•œ ๋ฌธ์ œ๋Š” ์„œ๊ตฌ์˜ ์‚ฌ์‹ค์ฃผ์˜ ๋ฏธํ•™์—๋‹ค ๋™์–‘์˜ ์ •๊ด€์˜ ์„ธ๊ณ„๋ฅผ ์ ‘๋ชฉํ•จ์œผ ๋กœ์จ ์‚ฌ์‹ค์ฃผ์˜ ํšŒํ™”์˜ ์ƒˆ๋กœ์šด ์ง€ํ‰์„ ์—ด์—ˆ๋‹ค๋Š” ์ ์— ์žˆ๋‹ค. ๋‹จ์ˆœํžˆ ํ˜•ํƒœ๋ฅผ ๋ณด๊ณ  ์ฆ๊ธฐ๋Š”๋ฐ ๊ทธ์น˜์ง€ ์•Š๊ณ  ๊ทธ ํ˜•ํƒœ๊ฐ€ ๋†“์ธ ์ฃผ๋ณ€ ๊ณต๊ฐ„์— ๋ถ€์—ฌ ๋œ, ์ •๊ด€์˜ ์„ธ๊ณ„๋ฅผ ์˜์‹ํ•˜๋Š” ๊ธฐํšŒ๋ฅผ ์ œ๊ณตํ•œ๋‹ค. ์‹œ๊ฐ์ ์ธ ์ด๋ฏธ์ง€๋ฅผ ํ†ตํ•ด ๋“ค์–ด ๊ฐˆ ์ˆ˜ ์žˆ๋Š” ์‚ฌ์œ ์˜ ๊ณต๊ฐ„์„ ์—ด์–ด๋†“์€ ๊ฒƒ์ด๋‹ค. ๋น„๋ก ์‹œ๊ฐ์ ์œผ๋กœ๋Š” ๊ฒ€์ถœ๋˜์ง€ ์•Š ๋Š” ๋น„ํ‘œํ˜„์ ์ธ ๊ณต๊ฐ„์ด์ง€๋งŒ ์‚ฌ์œ ๋กœ์„œ ๊ทธ ๋น„์–ด ์žˆ๋Š” ๋ถ€๋ถ„์„ ๋Šฅํžˆ ์ฑ„์šธ ์ˆ˜ ์žˆ ๋‹ค๋Š” ๋…ผ๋ฆฌ๋‹ค. ๋น„์–ด ์žˆ๋Š” ๋“ฏํ•ด๋„ ๋ถ“์˜ ํ˜•ํƒœ๋‚˜ ๋ถ“์˜ ์ž๊ตญ ๋˜๋Š” ๋จน๋ฌผ ์ž๊ตญ์ด ๋ถ€ ์—ฌ๋œ ๊ฐ•๋ ฌํ•œ ์‚ฌ์‹ค์„ฑ์€ ๊ทธ ์ฃผ๋ณ€๊นŒ์ง€ ์ƒ๋™๊ฐ์œผ๋กœ ์ฑ„์šด๋‹ค. ์ƒ๋™๊ฐ์ด์•ผ๋ง๋กœ ๊ทธ ์˜ ์ž‘ํ’ˆ์ด ์ง€ํ–ฅํ•˜๋Š” ๋ณธ์งˆ์ด๋‹ค. ๋ฌผ๋ก  ๋ฌธ์ธํ™”์—์„œ ์ถ”๊ตฌํ•˜๋Š” ์ƒ๋™๊ฐ ์—ญ์‹œ ๊ถ๊ทน ์˜ ์˜ˆ์ˆ ์ ์ธ ๊ฐ€์น˜๋ผ๋Š” ์ ์—์„œ ์„œ๋กœ ๋‹ค๋ฅผ ์ˆ˜ ์—†๋‹ค. ๊ทธ๋Š” ์„œ๊ตฌ์ ์ธ ์กฐํ˜•๊ฐœ๋…์— ๋‹ค ๋™์–‘์ ์ธ ํšŒํ™”์‚ฌ์ƒ์„ ์ ‘๋ณต์‹œํ‚ด์œผ๋กœ์จ ์ƒˆ๋กœ์šด ํ˜•์‹๋ฏธ ๋ฐ ๋ฐฉ๋ฒ•๋ก ์„ ์ฒดํ˜„ ํ•œ ๊ฒƒ์ด๋‹ค. ์ด๋กœ์จ ๊ทธ์˜ ์ž‘์—…์€ ์‚ฌ์‹ค์ฃผ์˜ ํšŒํ™”๊ฐ€ ์–ผ๋งˆ๋‚˜ ๋‹ค์–‘ํ•œ ๋ฐฉ๋ฒ•์œผ๋กœ ํ•ด์„๋  ์ˆ˜ ์žˆ ๋Š”๊ฐ€๋ฅผ ๋ณด์—ฌ์ค€๋‹ค. ๋ฌผ๋ก  ํ•˜์ดํผ๋ฆฌ์–ผ๋ฆฌ์ฆ˜์ด๋‚˜ ํฌํ† ๋ฆฌ์–ผ๋ฆฌ์ฆ˜๊ณผ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ ํ˜„ ๋Œ€๋ฏธํ•™์ด ์ ์šฉ๋œ ์„ฑ๊ณผ์ด๊ธด ํ•˜๋‹ค. ์—ฌ๊ธฐ์—์„œ ์ƒˆ์‚ผ ๋ฐฉ๋ฒ•๋ก ์˜ ๋ฌธ์ œ๋ฅผ ๋Œ€์ž…์‹œํ‚ค๋ฉด ์–ผ๋งˆ๋“ ์ง€ ๋‹ค์–‘ํ•œ ํ•ด์„์ด ๊ฐ€๋Šฅํ•˜๋‹ค๋Š” ์‚ฌ์‹ค์„ ์ž…์ฆํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ์ด๋‹ค. ์ด์ •์›…์˜ ์ž‘ํ’ˆ์€ ํ˜„๋Œ€ํšŒํ™”๊ฐ€ ์—ด์–ด๋†“์€ ๋‹ค์–‘ํ•œ ์กฐํ˜•์ ์ธ ๋ณ€์ฃผ์— ๋Šฅ์ˆ™ํ•˜๊ฒŒ ๋ฐ˜ ์‘ํ•œ๋‹ค. ๊ทธ๋ฆฌํ•˜์—ฌ ํ™•๋Œ€๋œ ์ด๋ฏธ์ง€๋ฅผ ์ž์—ฐ์Šค๋Ÿฝ๊ฒŒ ์ „๊ฐœํ•œ๋‹ค. ํ™”๋ฉด์ด ํ™•์žฅ๋˜๊ณ  ํ˜•ํƒœ๊ฐ€ ํ™•๋Œ€๋ ์ˆ˜๋ก ๊ทธ๋กœ๋ถ€ํ„ฐ ๋ฐ›์•„๋“ค์ด๋Š” ์‹œ๊ฐ์ ์ธ ์ถฉ๊ฒฉ์€ ํฌ๊ฒŒ ๋งˆ๋ จ์ด๋‹ค. ํ™” ๋ฉด์ด ์ปค์งˆ์ˆ˜๋ก ์†Œ์žฌ์˜ ํ˜•ํƒœ๊ฐ€ ์ปค์ง์—๋„ ๋ถˆ๊ตฌํ•˜๊ณ  ๊ธฐ์ดํ•˜์ง€ ์•Š์€ ๊ฒƒ ๋˜ํ•œ ๊ฒฝ ์ด๋กœ์šด ์ผ์ด๋‹ค. ๊ทธ๋ ‡๋‹ค. ์†Œ์žฌ์˜ ํ˜•ํƒœ๊ฐ€ ํ™•๋Œ€๋˜๋ฉด ๋ ์ˆ˜๋ก ์‹œ๊ฐ์ ์ธ ์ถฉ๊ฒฉ ๋ฐ ๊ฐ ๋™์€ ์ปค์ง€๊ฒŒ ๋œ๋‹ค. ์†Œ์žฌ์˜ ํ˜•ํƒœ๊ฐ€ ์ปค์งˆ์ง€๋ผ๋„ ์‚ฌ์‹ค์„ฑ์€ ์•ฝํ™”๋˜์ง€ ์•Š๋Š” ๊นŒ๋‹ญ ์ด๋‹ค. ๊ทธ๋งŒํผ ๊ทธ์˜ ์‚ฌ์งˆ์ ์ธ ๋ฌ˜์‚ฌ๋ ฅ์€ ์น˜๋ฐ€ํ•˜์—ฌ ๋ฐ€๋„๊ฐ€ ๋†’๋‹ค. ์ด์ •์›…์˜ ์ž‘ํ’ˆ์€ ํ˜„๋Œ€ํšŒํ™”์— ๋Œ€ํ•œ ์ƒˆ๋กœ์šด ์ œ์•ˆ์œผ๋กœ์„œ ์†์ƒ‰์—†๋‹ค. ์„œ์–‘์˜ ๋ฌผ ์งˆ์ ์ธ ๊ฐ€์น˜์™€ ๋™์–‘์˜ ์ •์‹ ์ ์ธ ๊ฐ€์น˜๊ฐ€ ์กฐํ™”๋ฅผ ์ด๋ฃจ๋Š” ์–ด๋Š ์ง€์ ์„ ์ƒ์ •ํ•˜ ๋Š” ๊นŒ๋‹ญ์ด๋‹ค. ๊ทธ์˜ ์ž‘ํ’ˆ์€ ์ด๋Ÿฌํ•œ ์ œ์•ˆ์— ๋Œ€ํ•œ ๋ฉ‹์ง„ ๋‹ต๋ณ€์ด ๋  ์ˆ˜ ์žˆ์„ ๊ฒƒ์ด ๋‹ค. ํ˜•ํƒœ์ ์ธ(๊ตฌ์ƒ์ ์ธ) ๊ฐ€์น˜์— ๋Œ€ํ•œ ์ƒˆ๋กœ์šด ๊ด€์‹ฌ์ด ๋น„๋“ฑํ•˜๊ณ  ์žˆ๋Š” ํ˜„์‹ค์—์„œ ๋ณผ ๋•Œ ๋”์šฑ ๊ทธ๋ ‡๋‹ค.

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Lee Jung Woong

๊ฐœ๋…๊ณผ ๋ฌ˜์‚ฌ์˜ ์‚ฌ์ด์—์„œ ์œค์ง„์„ญ(๋ฏธ์ˆ ํ‰๋ก ๊ฐ€/ํ˜ธ๋‚จ๋Œ€ ๊ต์ˆ˜)

19

์ด์ •์›…์€ ์ •๋ฌผํ™”๋ฅผ ์ „๋ฌธ์œผ๋กœ ๊ทธ๋ฆฌ๋Š” ํ™”๊ฐ€์ด๋‹ค. ์ •์ง€๋œ ์ƒํƒœ์˜ ๋Œ€์ƒ์— ๋Œ€ํ•œ ์‚ฌ์‹ค์  ์ ‘๊ทผ์„ ํ†ตํ•˜์—ฌ ํ™”๋ฉด์˜ ๋‚ด์  ์งˆ์„œ๋ฅผ ์ฐฝ์กฐํ•˜๋Š” ๊ฒƒ์ด ๊ทธ์˜ ์ž‘์—…์˜ ๋ณธ๋ น ์ด๋‹ค. ๊ทธ๋ ‡๊ธฐ ์œ„ํ•ด์„œ๋Š” ์šฐ์„  ๊ทธ๋ฆด ๋Œ€์ƒ์„ ์ ์ ˆํžˆ ๋ฐฐ์—ดํ•˜๋Š” ๊ฒƒ์ด ์ค‘์š”ํ•˜๋‹ค. ์ • ๋ฌผ๋Œ€ ์œ„์— ๋†“์ธ ๋ชจ๊ณผ๋‚˜ ๊ทธ๋ฆ‡, ๊ฐ, ๋ชฉ๋ จ, ํฌ๋„ ๋“ฑ๋“ฑ์˜ ์œ„์น˜๋ฅผ ์กฐ์ •ํ•˜๊ณ , ๋งˆ์Œ์— ๋“œ๋Š” ๊ตฌ๋„๊ฐ€ ์„ค์ •๋˜์—ˆ์„ ๋•Œ ๋น„๋กœ์†Œ ์ž‘์—…์— ๋“ค์–ด๊ฐ„๋‹ค. ๊ทธ์˜ ์ž‘ํ’ˆ๋“ค ๋Œ€๋‹ค์ˆ˜๋Š” ์บ”๋ฒ„์Šค์˜ ์ƒ๋‹จ 3๋ถ„์˜ 1 ์‹œ์ ์—์„œ ๋‚ด๋ ค๋‹ค ๋ณธ ๊ตฌ๋„๋ฅผ ์ง€๋‹ˆ๊ณ  ์žˆ๋Š”๋ฐ, ์ด๋Š” ๊ฐ€ ์žฅ ์•ˆ์ •์ ์ธ ๋Š๋‚Œ์„ ๊ฐ€์ ธ๋‹ค ์ฃผ๋Š” ๊ตฌ๋„์ด๋‹ค. ๋‹ค์™„์ด๋‚˜ ์‚ฌ๋ฐœ, ๋ณ‘, ๋ฐ”๊ตฌ๋‹ˆ์˜ ํ…Œ ๋‘๋ฆฌ๊ฐ€ ์™„๋งŒํ•œ ํƒ€์›ํ˜•์„ ์ด๋ฃฌ ๋ชจ์–‘์ด ๊ทธ๊ฐ€ ์ฆ๊ฒจ ์„ ํƒํ•˜๋Š” ์‹œ์ ์˜ ๋†’์ด์ด๋‹ค. ์ด์ •์›…์ด ์‚ฌ์šฉํ•˜๋Š” ๊ตฌ๋„๋Š” ๊ทธ๋ฐ–์—๋„ ๊ธฐ๋ฌผ์„ ์ •๋ฉด์—์„œ ๋ฐ”๋ผ๋‹ค ๋ณธ ์ˆ˜ํ‰๊ตฌ๋„์™€ ์œ„์—์„œ ์ •๋ฉด์œผ๋กœ ๋‚ด๋ ค๋‹ค ๋ณธ ๊ตฌ๋„๊ฐ€ ์žˆ๋‹ค. ๊ทธ์˜ ๊ทธ๋ฆผ์ด ์ •ํ˜•ํ™”๋œ ๊ฒƒ์œผ๋กœ ๋ณด์ด ๋Š” ๊นŒ๋‹ญ์€ ์ด ๊ตฌ๋„๋“ค์˜ ํ‹€์ด ํ•˜๋‚˜์˜ ๊ณต์‹์ฒ˜๋Ÿผ ๋Š๊ปด์ง€๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๊ฒŒ๋‹ค๊ฐ€ ํ•œ ์น˜์˜ ์˜ค์ฐจ๋„ ํ—ˆ์šฉ์น˜ ์•Š๋Š” ์™„๋ฒฝ์— ๊ฐ€๊นŒ์šด ๋ฌ˜์‚ฌ์™€ ๋ฌผ๊ฐ์˜ ํ”์ ์กฐ์ฐจ ๊ฐ์ง€ํ•˜๊ธฐ ์–ด๋ ค์šด ๊ผผ๊ผผํ•œ ์ฑ„์ƒ‰๊ธฐ๋ฒ•์ด ์ด ๊ตฌ๋„์˜ ์ •ํ˜•์„ฑ๊ณผ ๊ฒฐํ•ฉํ•˜์—ฌ ๊ฐ๊ด€์ ์ธ ๋ฆฌ์–ผ๋ฆฌํ‹ฐ ๋ฅผ ๋“œ๋Ÿฌ๋‚ธ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๊ทธ์˜ ๊ทธ๋ฆผ์˜ ๊ถ๊ทน์ ์ธ ๋ชฉํ‘œ๋Š” ๊ฐ๊ด€์ ์ธ ๋ฆฌ์–ผ๋ฆฌํ‹ฐ์˜ ํ‘œ ์ถœ์— ์žˆ๋Š” ๊ฒƒ ๊ฐ™์ง€ ์•Š๋‹ค. ๊ทธ์˜ ์ž‘ํ’ˆ์—์„œ ๋Š๊ปด์ง€๋Š” ์ •๊ฐ์ ์ธ ๋ถ€๋ถ„์ด ๋Œ€์ƒ์— ๋Œ€ ํ•œ ๋ƒ‰์—„ํ•œ ๋ฆฌ์–ผ๋ฆฌํ‹ฐ์˜ ํš๋“์„ ๊ฑฐ๋ถ€ํ•˜๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ์ด ๋ถ€๋ถ„์ด ๊ฐ์ •์˜ ์ด ์ž…์„ ์™„์ „ํžˆ ๋ฐฐ์ œํ•œ ์ƒํƒœ์—์„œ ๋Œ€์ƒ์— ๋Œ€ํ•œ ์ถฉ์‹คํ•œ ๋ฆฌ์–ผ๋ฆฌํ‹ฐ์˜ ํšŒ๋ณต์„ ๊พ€ํ•˜๊ณ  ์ž ํ–ˆ๋˜ โ€˜ํฌํ† ๋ฆฌ์–ผ๋ฆฌ์ฆ˜โ€™๊ณผ ๊ทธ์˜ ๊ทธ๋ฆผ์ด ๋‹ค๋ฅธ ์ ์ด๋‹ค. ์ด ์ ์€ ๋˜ํ•œ ํ™”๊ฐ€ ์ด์ • ์›…์˜ โ€˜๋ฏธ์  ์ทจ๋ฏธ(aesthetic taste)โ€™์˜ ๋ณธ์งˆ์„ ์ด๋ฃจ๋Š” ๊ฒƒ์œผ๋กœ์„œ ๊ทธ์˜ ์ž‘ํ’ˆ์„ธ ๊ณ„์˜ ํŠน์ˆ˜ํ•œ ๊ตญ๋ฉด์ธ ๊ฒƒ์ด๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๋ชจํ•„์„ ๊ทธ๋ฆฐ ๊ทผ์ž‘๋“ค์— ์ด๋ฅด๋ฉด ๊ณผ๊ฑฐ์˜ ๋Œ€์ƒ์— ๋Œ€ํ•œ ์ •๊ฐ์  ํƒœ๋„์™€๋Š” ๋‹ค๋ฅธ ๋ณ€๋ชจ๋œ ์–‘์ƒ์„ ๋Š๋ผ๊ฒŒ ๋œ๋‹ค. ์šฐ์„  ๋šœ๋ ท์ด ๋‚˜ํƒ€๋‚˜๋Š” ํƒœ๋„์˜ ๋ณ€ํ™”๋Š” ๋Œ€์ƒ ์— ๋Œ€ํ•œ ๊ฐ๊ด€์  ๊ฑฐ๋ฆฌ์˜ ํ™•๋ณด์—์„œ ์ฐพ์•„๋ณผ ์ˆ˜ ์žˆ๋‹ค. ๊ทธ๊ฐ€ ์ด๋ฒˆ์— ๋ฐœํ‘œํ•˜๊ฒŒ ๋  ๊ทผ์ž‘๋“ค์„ ํ†ตํ•ด ๋ณด์—ฌ์ฃผ๋Š” ์ฃผ์š” ์ปจ์…‰ํŠธ๋Š” ์ปค๋‹ค๋ž€ ๋ชจํ•„์„ ์‚ฌ์šฉํ•˜์—ฌ ํ•œ์ง€์— ์ง์ ‘ ํš์„ ๊ธ‹๊ณ , ํš์„ ๊ธ‹๋Š”๋ฐ ์‚ฌ์šฉํ•œ ๋ชจํ•„์„ ๋ฌ˜์‚ฌํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ๋ชจํ•„์€ ๊ทนํžˆ ์„ธ๋ฐ€ํ•˜ ๊ฒŒ ๋ฌ˜์‚ฌ๋ผ ์žˆ์–ด์„œ ์ด๋ฅผ ๋ฐ”๋ผ๋ณด๋Š” ๊ด€๊ฐ๋“ค์€ ๋งˆ์น˜ ๋ชจํ•„ ํ•œ ์ž๋ฃจ๊ฐ€ ๋ˆˆ์•ž์— ๋†“์—ฌ ์žˆ๋Š” ๋“ฏํ•œ ์ฐฉ๊ฐ์„ ๋Š๋ผ๊ฒŒ ๋œ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ํ•œ์ง€ ์œ„์— ๋จน๋ฌผ๋กœ ๊ทธ์–ด์ง„ ํ•„ํš์€ ๋ฌ˜์‚ฌ ๋œ ๊ฒƒ์ด ์•„๋‹ˆ๋ผ ์ผํ•„(ไธ€็ญ†)์— ์˜ํ•œ ๊ฒƒ์ด๋‹ค. ๊ทธ์˜ ์ž‘ํ’ˆ์ด ๋ณด์—ฌ์ฃผ๋Š” ์ด ์ง์ ‘์„ฑ ํ˜น์€ ํ–‰์œ„์„ฑ๊ณผ ๋ฌ˜์‚ฌ์˜ ๋Œ€๋น„๋Š” ๊ทธ์˜ ์ž‘์—…์„ ์ƒˆ๋กœ์šด ์‹œ๊ฐ์—์„œ ์ฝ๊ฒŒ ๋งŒ๋“œ๋Š” ์š”

the strokes of perception

์ธ์ด๋‹ค. ์™œ๋ƒํ•˜๋ฉด ๊ฑฐ๊ธฐ์—๋Š” ๊ฐœ๋…์ ์ธ ์š”์†Œ๊ฐ€ ๊ฐœ์ž…๋ผ ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ์ปค๋‹ค๋ž€ ํ™”๋ฉด์— ๊ฐ€๋กœ๋กœ ๊ธธ๊ฒŒ ๊ทธ์–ด์ง„ ๊ฒ€์ •์ƒ‰ ์ผํš(ไธ€ๅŠƒ), ๊ทธ๋ฆฌ๊ณ  ๊ทธ ์•„๋ž˜์— ๋†“์—ฌ์žˆ๋Š” ๋ชจํ•„ ํ•œ ์ž๋ฃจ. ์ด ์ž‘ํ’ˆ์€ ๊ทธ๊ฐ€ ์ด์ œ๊นŒ์ง€ ๊ณ ์ˆ˜ํ•ด ์˜จ 3๊ฐœ์˜ ๊ตฌ๋„๋ฅผ ๋ชจ๋‘ ๋ถ€์ •ํ•˜ ๋Š” ๊ฒƒ์ด๋ฉด์„œ ํ™”๋ฉด์„ ๊ฐœ๋…(์—ฌ๊ธฐ์„œ์˜ โ€˜๊ฐœ๋…โ€™์€ ๊ฐœ๋…๋ฏธ์ˆ ์—์„œ์˜ โ€˜๊ฐœ๋…์„ฑโ€™์„ ์ƒ๊ธฐ ์‹œํ‚จ๋‹ค)์˜ ์„ค์ •์„ ์œ„ํ•œ ํ•˜๋‚˜์˜ ์žฅ์น˜๋กœ ์ฝ๊ฒŒ ๋งŒ๋“ ๋‹ค. ์™œ๋ƒํ•˜๋ฉด ๊ทผ์ž‘์— ์ด๋ฅด๋Ÿฌ ์ด์ •์›…์€ ๊ทธ๊ฐ€ ์ด์ œ๊นŒ์ง€ ๊ณ ์ˆ˜ํ•ด ์˜จ ํšŒํ™”์˜ ๊ทผ๋ณธ์ ์ธ ํƒœ๋„, ์ฆ‰ ์ฒ ์ €ํ•œ ๋ฌ˜์‚ฌ์˜ ๋ฐฉ์‹ ํ˜น์€ ์ „ํ†ต์—์„œ ๋– ๋‚˜๋ ค๋Š” ์ฑ„๋น„๋ฅผ ๊ฐ–์ถ”๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๊ทธ์˜ ๊ทธ ๋ฆผ์€ ํ•œํŽธ์œผ๋กœ๋Š” ์ฒ ์ €ํ•œ ๋ฌ˜์‚ฌ์  ํƒœ๋„์— ์˜์กดํ•˜๊ณ  ์žˆ๋Š”๋ฐ, ๊ทธ๊ฒƒ์€ ๊ทธ์˜ ํ•œ๊ณ„ ๊ฐ€ ์•„๋‹ˆ๋ผ ๊ทธ ์ž์‹ ์˜ ๊ณ ์œ ํ•œ โ€˜๋ฏธ์  ์ทจ๋ฏธโ€™์— ๊ทผ๊ฑฐํ•œ ์ž‘์—…์˜ ๋ฐฉ์‹์ผ ๋ฟ์ด๋‹ค. ๋ฌธ ์ œ๋Š” ๊ทธ๊ฐ€ ๊ทผ์ž‘์— ์ด๋ฅด๋Ÿฌ ๋น„๋กœ์†Œ ํšŒํ™”์˜ ๊ทผ๊ฐ„ ์ค‘ ํ•˜๋‚˜์ธ ์žฌํ˜„(representation)์˜ ๋ฌธ์ œ์— ๋Œ€ํ•ด ๊ณ ๋ฏผํ•˜๊ณ  ์žˆ๋‹ค๋Š” ์ ์ด๋ฉฐ, ์ด ์ ์ด ๊ทธ์˜ ๊ทผ์ž‘์ด ์ง€๋‹Œ ์ƒˆ ๋กœ์›€์˜ ์ธก๋ฉด์ธ ๊ฒƒ์ด๋‹ค. ๋ชจํ•„์„ ์†Œ์žฌ๋กœ ํ•œ ๊ทผ์ž‘๋“ค์˜ ํŠน์ง•์€ ํ™”๋ฉด์˜ ์ค‘์‹ฌ์„ ๋ถ€์ •ํ•˜๊ณ  ์žˆ๋‹ค๋Š” ์ ์ด๋‹ค. ์ค‘์‹ฌ์ด ํ•ด์ฒด๋˜์—ˆ๋‹ค๋Š” ๊ฒƒ์€ ๋ฌด์—‡์„ ์˜๋ฏธํ•˜๋Š”๊ฐ€. ๊ฐ€์ƒ(illusion)์„ ํ†ตํ•œ ์žฌ ํ˜„์˜ ๋ฌธ๋ฒ•์„ ๊ฑฐ๋ถ€ํ•œ๋‹ค๋Š” ๊ฒƒ์ด๋‹ค. ์„ธ๊ณ„๊ฐ€ ์ด๋Ÿฌ์ €๋Ÿฌํ•œ ๋ฌผ์ƒ์˜ ๊ฐ€์ƒ์  ์ง์กฐ๋กœ ๊ตฌ์ถ•๋ผ ์žˆ๋‹ค๋Š” ํ—ˆ๊ตฌ์˜ ๋งฅ๋ฝ์—์„œ ๋ฒ—์–ด๋‚˜ ๊ทธ๋Œ€๋กœ ์šฐ๋ฆฌ์˜ โ€˜๋ˆˆ์•ž์— ์žˆ์Œ(what there is)โ€™, ์ฆ‰ ํ˜„์ „์„ฑ์„ ์˜๋ฏธํ•œ๋‹ค. ๊ทธ์˜ ํ™”๋ฉด์—์„œ ๋ชจํ•„์€ ์šฐ๋ฆฌ์˜ ๋ˆˆ ์•ž์— ์กด ์žฌํ•œ๋‹ค. ํ•œ์ง€์— ๋จน๋ฌผ์ด ์Šค๋ฏผ ์ƒ์ƒํ•œ ๋ชจํ•„ ํ•œ ์ž๋ฃจ์˜ ์žํƒœ, ์ด ๊ทธ๋ฆผ์— ๋‚˜ํƒ€๋‚œ ์ œ์ž‘ ํƒœ๋„๋Š” ๊ธฐ์กด์˜ ๋ฐฉ์‹๊ณผ๋Š” ์™„์—ฐํžˆ ๋‹ค๋ฅด๋‹ค. ์ •๊ฐ์  ์ ‘๊ทผ์—์„œ ๊ฐ๊ด€์  ํƒœ๋„ ๋กœ์˜ ๋ณ€ํ™”, ๊ฐ์ •์˜ ์ด์ž…์ด ์†Œ๊ฑฐ๋œ ์ƒํƒœ์—์„œ ๋Œ€์ƒ์˜ ํ˜„์ „์„ฑ์ด ๋‘๋“œ๋Ÿฌ์ง€๊ณ  ์žˆ ๋‹ค. ๋ชจํ•„๋กœ ํ™”๋ฉด ์ „์ฒด์— ๊ฑธ์ณ ๋ฌฝ์€ ํ†ค์˜ ํ„ฐ์น˜๋ฅผ ๊ฐ€ํ•˜๊ณ  ํ™”๋ฉด์˜ ์ค‘์•™์— ์‚ฌ์šฉํ•œ ๋ชจ ํ•„์„ ๊ทธ๋ฆฐ ์ž‘ํ’ˆ์ด ์žˆ๋‹ค. ๋ชจํ•„์˜ ๋ฐ‘์—๋Š” ์—ฌ๋Ÿฌ ๊ฒน์œผ๋กœ ์ ‘์€ ํฐ ์ข…์ด๊ฐ€ ๋†“์—ฌ์žˆ ๋‹ค. ์ด ์ž‘ํ’ˆ์€ ๋ฐฉ๋ฒ•๋ก ์ ์œผ๋กœ๋Š” ์ผํš์ด๋‚˜ ๋ช‡ ์ ์˜ ๋จน๋ฌผ ๋ฐฉ์šธ์ด ๋–จ์–ด์ ธ ๋ฒˆ์ง„ ์ƒ ํƒœ๋ฅผ ๋ฌ˜์‚ฌํ•œ ๊ทธ๋ฆผ๊ณผ ๊ฐ™์€ ๊ณ„์—ด์— ์†ํ•œ๋‹ค. ์˜ˆ์˜ ์œกํ•„(่‚‰็ญ†)์˜ ์ง์ ‘์„ฑ๊ณผ ์ •๋ฐ€ ํ•œ ๋ฌ˜์‚ฌ๋ฅผ ํ†ตํ•ด ๋Œ€์ƒ์˜ ํ•์ง„์„ฑ(้€ผ็œžๆ€ง)์„ ๋Œ€๋น„์‹œํ‚ค๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. โ€˜์‹ค๋ฌผ ๊ณผ ๊ฑฐ์˜ ๊ฐ™์Œโ€™์„ ์˜๋ฏธํ•˜๋Š” ํšŒํ™”์—์„œ์˜ ํ•์ง„์„ฑ์€ ์ด๋ฏธ ํฌ๋„๋ฅผ ์‹ค๋ฌผ์ฒ˜๋Ÿผ ๊ทธ๋ฆฐ ๊ทธ์˜ ๋Œ€์ž‘์—์„œ ํ™•์ธ๋œ ๋ฐ” ์žˆ๋“ฏ์ด, ์ด์ •์›…์˜ ์ž‘ํ’ˆ์˜ ๊ทผ๊ฐ„์ด ๋˜๊ณ  ์žˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ฒƒ์€ ์šฐ๋ฆฌ๋กœ ํ•˜์—ฌ๊ธˆ ์‚ฌ๋ฌผ์˜ ์กด์žฌ์— ๋Œ€ํ•œ ๊ฒฝ์ด๋กœ ์ด๋„๋Š” ์š”์ธ์ธ ๊ฒƒ์ด๋‹ค.

Lee Jung Woong

the strokes of perception

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

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์ด์ •์›…์˜์ž‘ํ’ˆ์„ธ๊ณ„

ํšŒํ™”์ ์ธ ์˜๊ฐ์œผ๋กœ ๋„˜์น˜๋Š” ์˜ํŠนํ•œ ์กด์žฌ๋กœ์„œ์˜ ๋ถ“

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์‹ ํ•ญ์„ญ(๋ฏธ์ˆ ํ‰๋ก ๊ฐ€) ํ˜„๋Œ€๋ฏธ์ˆ ์€ ํ‘œํ˜„๋ฐฉ๋ฒ• ๋ฐ ํ‘œํ˜„ํ˜•์‹์„ ์ค‘์‹œํ•œ๋‹ค. ๊ทธ๋Ÿฌ๊ธฐ์— ์–ด๋–ป๊ฒŒ ํ•˜๋ฉด ๊ฐœ๋ณ„ ์ ์ธ ํ˜•์‹๋ฏธ๋ฅผ ์ฐพ์•„๋‚ผ ์ˆ˜ ์žˆ๋Š”์ง€ ๊ทธ ๋ฐฉ๋ฒ•์„ ์ฐพ๊ธฐ ์œ„ํ•ด ๊ณจ๋ชฐํ•œ๋‹ค. ์ˆ˜๋งŽ์€ ๋ฏธ์ˆ  ๊ฐ€๋“ค์ด ์กด์žฌํ•˜๋Š” ํ˜„๋Œ€์‚ฌํšŒ์—์„œ ๊ฐœ๋ณ„์ ์ธ ํ˜•์‹๋ฏธ๋ฅผ ํ™•๋ฆฝํ•˜๊ธฐ๋ž€ ํ•˜๋Š˜์˜ ๋ณ„๋”ฐ ๊ธฐ๋งŒํผ์ด๋‚˜ ์–ด๋ ค์šด ์ผ์ด๋‹ค. ์ถ”์ƒํšŒํ™”๋งŒ ํ•˜๋”๋ผ๋„ ์ด๋ฏธ ์ˆ˜๋งŽ์€ ํ™”๊ฐ€๋“ค์ด ์˜จ๊ฐ– ๋ฐฉ๋ฒ•์œผ๋กœ ์ถ”์ƒ ๊ณต๊ฐ„์„ ํƒ์ƒ‰ํ•จ์œผ๋กœ์จ ์ƒˆ๋กœ์šด ์ด๋ฏธ์ง€๋ฅผ ๋งŒ๋“ค์–ด๋‚ธ๋‹ค๋Š” ๊ฒƒ์€ ์•„ ์ฃผ ํž˜๋“  ์ผ์ด ๋˜์—ˆ๋‹ค. ํ™”๊ฐ€ ์ž์‹ ์€ ๊ธฐ๋ฐœํ•œ ๋ฐœ์ƒ์ด๋ผ๊ณ  ํƒ„๋ณตํ•˜๊ณ  ์žˆ์œผ๋‚˜ ์ด๋ฏธ ๋‹ค๋ฅธ ํ™”๊ฐ€์— ์˜ํ•ด ํƒ์ƒ‰๋œ ํ˜•์‹์ž„์„ ๋’ค๋Šฆ๊ฒŒ ๊นจ๋‹ซ๋Š” ์ผ์ด ํ—ˆ๋‹คํ•˜๋‹ค. ์–ด์ฉŒ๋ฉด ์ธ๊ฐ„ ์Šค์Šค๋กœ๊ฐ€ ์ง€๊ตฌ๋ผ๋Š” ํ˜„์‹ค์ ์ธ ๊ณต๊ฐ„์„ ๋ฒ—์–ด๋‚  ์ˆ˜ ์—†๋Š” ๊ฒƒ๊ณผ ๋งˆ์ฐฌ ๊ฐ€์ง€๋กœ ์ง€์ ์ธ ํ™œ๋™์ด๋‚˜ ์ƒ์ƒ๋ ฅ์ด๋ผ๋Š” ๊ฒƒ๋„ ๊ทธ ํ•œ๊ณ„๊ฐ€ ์žˆ๋Š”์ง€ ๋ชจ๋ฅธ๋‹ค. ์ธ๊ฐ„ ์ด ๋งŒ๋“ค์–ด๋‚ผ ์ˆ˜ ์žˆ๋Š” ์กฐํ˜•์„ธ๊ณ„๋ผ๋Š” ๊ฒƒ์€ ๊ทธ๊ฒƒ์ด ์–ด๋–ค ํ˜•ํƒœ๋“ ์ง€ ๊ฒฝํ—˜๊ณผ ์ง€์‹ ์˜ ๋ฒ”์œ„๋ฅผ ๋ฒ—์–ด๋‚  ์ˆ˜ ์—†๋Š” ๊นŒ๋‹ญ์ด๋‹ค. ์กฐํ˜•์ ์ธ ์ƒ์ƒ๋ ฅ์˜ ํ™•์žฅ์„ ๋„๋ชจํ• ์ง€๋ผ ๋„ ๊ฒฐ๊ตญ ์ด ๋ฒ”์ฃผ๋ฅผ ๋ฒ—์–ด๋‚˜๊ธฐ ์‰ฝ์ง€ ์•Š๋‹ค๋Š” ๋œป์ด๋‹ค. ๋”๊ตฌ๋‚˜ ์ธ๊ฐ„์˜ ์ง€์ ์ธ ์กฐ์ž‘ ์ด๋‚˜ ๋ฏธ์  ๊ฐ์ •์ด ๋งŒ๋“ค์–ด๋‚ด๋Š” ์กฐํ˜•์–ธ์–ด ๋ฐ ์–ด๋ฒ•์€ ๋™์‹œ์„ฑ์˜ ์œ„ํ—˜์ด ์ƒ์กดํ•œ ๋‹ค. ๋‹ค์‹œ ๋งํ•ด ์ „ํ˜€ ๊ต๋ฅ˜๊ฐ€ ์—†๊ณ  ์ •๋ณด๊ฐ€ ์—†๋Š” ์•„์ฃผ ๋จผ ์ง€์—ญ์— ์‚ฌ๋Š” ๋‘ ํ™”๊ฐ€์˜ ๊ทธ๋ฆผ์ด ๊ฐ™๊ฑฐ๋‚˜ ์œ ์‚ฌํ•  ์ˆ˜ ์žˆ๋‹ค. ์ด๋Š” ์ฐฝ์กฐ์ ์ธ ์˜๊ฐ์ด๋‚˜ ์กฐํ˜•์ ์ธ ์ƒ์ƒ๋ ฅ ๊ทธ ๋ฆฌ๊ณ  ๊ฐ์ • ํ‘œํ˜„ ๋“ฑ์„ ํ†ตํ•œ ์ผ๋ จ์˜ ์ฐฝ์ž‘ํ–‰์œ„๋ผ๋Š” ๊ฒƒ๋„ ์ธ๊ฐ„์˜ ์‹ ์ฒด์ ์ธ ๋ฉ”์ปค ๋‹ˆ์ฆ˜์˜ ์ผ๋ถ€์— ์ง€๋‚˜์ง€ ์•Š๋Š”๋‹ค๋Š” ๊ฒƒ์„ ๋งํ•ด์ค€๋‹ค. ๊ทธ๋ ‡๋‹ค๊ณ  ํ•ด์„œ ์กฐํ˜•์ ์ธ ์ƒ์ƒ์˜ ๊ณต๊ฐ„์ด ์™„์ „ํžˆ ๋‹ซํ˜€ ์žˆ๋Š” ๊ฒƒ์€ ์•„๋‹ˆ๋‹ค. ํ‘œํ˜„ ์–‘์‹์œผ๋กœ ๋ณด์•„ ์‚ฌ์‹ค์ฃผ์˜๋Š” ๋๋‚ฌ๋‹ค๊ณ  ํ•  ์ˆ˜ ์žˆ์ง€๋งŒ, ์˜ค๋Š˜๋„ ์—ฌ์ „ํžˆ ์ƒˆ๋กœ์šด ๋ชจ ์–‘์œผ๋กœ ๋ณ€์‹ ์„ ๊ฑฐ๋“ญํ•˜๋ฉด์„œ ํ˜„๋Œ€๋ฏธ์ˆ ์˜ ๊ณต๊ฐ„์— ์กด์žฌํ•œ๋‹ค. ๋ˆˆ์— ๋ณด์ด๋Š” ์‚ฌ์‹ค์„ ๊ฐ€๊ฐ ์—†์ด ์ง„์‹คํ•˜๊ฒŒ ๋ฌ˜์‚ฌํ•˜๋Š” ๋ฐฉ์‹์€ ์–ธ์ œ๊นŒ์ง€๋‚˜ ์œ ํšจํ•˜๋‹ค๋Š” ์‚ฌ์‹ค์„ ๋งํ•ด์ค€ ๋‹ค. ์•„๋‹ˆ, ์‚ฌ์‹ค์ ์ธ ๋ฌ˜์‚ฌ๊ธฐ๋ฒ•์— ๋Œ€ํ•œ ์š”๊ตฌ๋Š” ๊ฒฐ์ฝ” ์‚ฌ๋ผ์ง€์ง€ ์•Š์„ ๊ฒƒ์ด๋‹ค. ๋‹ค ๋งŒ ์ „๋ž˜์˜ ๋ฌ˜์‚ฌ๊ธฐ๋ฒ•์ด๋‚˜ ํ‘œํ˜„๋ฐฉ์‹์ด ์•„๋‹Œ ํ˜„๋Œ€์ธ์˜ ๋ฏธ๊ฐ์„ ๋ฐ˜์˜ํ•œ ์ƒˆ๋กœ์šด ํ˜• ์‹์˜ ์‚ฌ์‹ค์ ์ธ ๋ฌ˜์‚ฌ๋กœ ๊ทธ ์กด์žฌ๊ฐ€์น˜๋ฅผ ์ž…์ฆํ•  ์ˆ˜ ์žˆ์„ ๋”ฐ๋ฆ„์ด๋‹ค. ์ด์ •์›…์˜ ์ž‘์—…์€ ํ˜„๋Œ€๋ฏธ์ˆ ์˜ ๊ณต๊ฐ„์—์„œ ์–ด๋–ป๊ฒŒ ์‚ฌ์‹ค์ฃผ์˜ ํšŒํ™”๊ฐ€ ๊ทธ ์ƒ๋ช…๋ ฅ์„ ์œ ์ง€ํ•  ์ˆ˜ ์žˆ๋Š”๊ฐ€๋ฅผ ๋ณด์—ฌ์ฃผ๋Š” ํ•˜๋‚˜์˜ ๋ชจ๋ฒ”์ ์ธ ์‚ฌ๋ก€๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ๊ทธ์˜ ์ž‘ ์—…์€ ๋ถ„๋ช…ํžˆ ์‚ฌ์‹ค์ฃผ์˜ ๋ฏธํ•™์˜ ๋ฒ”์ฃผ์— ๋“ ๋‹ค. ์‹ค์žฌํ•˜๋Š” ๋ฌผ์ƒ์„ ๋ˆˆ์— ๋ณด์ด๋Š” ๊ทธ ๋Œ€๋กœ ์ •ํ™•ํžˆ ๋ฌ˜์‚ฌํ•œ๋‹ค๋Š” ์›์น™์—์„œ ๋ฒ—์–ด๋‚˜์ง€ ์•Š๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ํ•˜์ง€๋งŒ ์ž์„ธํžˆ ๊ด€์ฐฐํ•˜๋ฉด ๋‹จ์ˆœํžˆ ์‚ฌ์‹ค์ ์ธ ๋ฌ˜์‚ฌ์—๋งŒ ์ถฉ์‹คํ•œ ์ „๋ž˜์˜ ์‚ฌ์‹ค์ฃผ์˜ ๋ฏธํ•™์— ์ผ์น˜ํ•˜ ์ง€ ์•Š์Œ์„ ์•Œ ์ˆ˜ ์žˆ๋‹ค. ๊ทธ์˜ ์ž‘์—…์€ ๋ณด์ด๋Š” ์‚ฌ์‹ค์˜ ์ถฉ์‹คํ•œ ์žฌํ˜„์ด๋ผ๋Š” ์ ์—์„œ

Lee Jung Woong

the strokes of perception

๋Š” ์‚ฌ์‹ค์ฃผ์˜ ๊ธฐ๋ฒ•์— ์ˆœ์‘ํ•˜์ง€๋งŒ, ๊ทธ ์ด์™ธ์˜ ์กฐํ˜•์–ด๋ฒ•์€ ๊ธฐ์กด์˜ ์‚ฌ์‹ค์ฃผ์˜ ๋ฏธ ํ•™๊ณผ๋Š” ๋‹ค๋ฅธ ๊ด€์ ์„ ์ œ์‹œํ•œ๋‹ค. 19์„ธ๊ธฐ ์ค‘์—ฝ ์ฟ ๋ฅด๋ฒ ์— ์˜ํ•ด ์ œ์•ˆ๋œ ์‚ฌ์‹ค์ฃผ์˜ ๋ฏธํ•™์€ ์ž์‹ ์˜ ๋ˆˆ์œผ๋กœ ์ง์ ‘ ๋ณด ๊ณ  ๊ทธ๋ฆฌ๋Š” ํ˜„์‹ค์ƒ์˜ ์ œ์‹œ๋ผ๊ณ  ๊ฐœ๊ด„ํ•  ์ˆ˜ ์žˆ๋‹ค. ํ˜„์‹ค์ƒ์ด๋ผ๋Š” ์˜๋ฏธ๋Š” ์ธ๊ฐ„์˜ ํ˜„์‹ค์ ์ธ ์ƒํ™œ ๋ชจ์Šต ๊ทธ ์ž์ฒด๋ฅผ ๋งํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ๋”ฐ๋ผ์„œ ์ธ๊ฐ„ ์‚ถ์˜ ๋ชจ์Šต ์ด์™ธ์˜ ๋‹ค๋ฅธ ๋ฌผ์ƒ์„ ์‚ฌ์‹ค์ ์œผ๋กœ ๋ฌ˜์‚ฌํ•œ๋‹ค๋Š” ๊ฒƒ์€ ์ข€ ๋‹ค๋ฅธ ์‹œ๊ฐ์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ์™œ ๋ƒํ•˜๋ฉด ์‚ฌ๋ฌผ์„ ์‹ค์ œ์™€ ๊ฐ™๊ฒŒ ๋ฌ˜์‚ฌํ•˜๋Š” ํ˜•์‹์˜ ๊ทธ๋ฆผ์€ ๊ทธ ์ด์ „์—๋„ ์ด๋ฏธ ์กด์žฌ ํ–ˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๋ฌผ๋ก  ์ฟ ๋ฅด๋ฒ  ์ด์ „์˜ ์‚ฌ์‹ค์ ์ธ ์ •๋ฌผํ™”๋Š” ์‹ค์ œ์™€ ๊ฐ™๊ฒŒ ๋ฌ˜์‚ฌํ•  ์ง€์–ธ์ • ๊ทธ ์‹œ๋Œ€์˜ ์‹ฌ๋ฏธ ์ทจํ–ฅ์„ ๋ฐ˜์˜ํ•จ์œผ๋กœ์จ ๋Œ€์ฒด๋กœ ์‹ค์ œ๋ณด๋‹ค ๋ฏธํ™”๋˜๊ฑฐ๋‚˜ ๊ณผ ์žฅ๋˜์—ˆ๋‹ค. ๊ทธ๋Ÿฌ๊ธฐ์— ๋ƒ‰์ฒ ํ•œ ํ˜„์‹ค์ ์ธ ์‹œ๊ฐ๊ณผ๋Š” ๋‹ค๋ฅธ ์ ์ด ์žˆ๋‹ค. ์ด์ •์›…์˜ ์ž‘์—…์€ ์‚ฌ์‹ค์ ์ธ ๋ฌ˜์‚ฌ๊ฐ€ ์กฐํ˜•์˜ ํ•ต์‹ฌ์ž„์—๋„ ๋ถˆ๊ตฌํ•˜๊ณ  ์ „๋ž˜์˜ ์‚ฌ์‹ค ์ฃผ์˜ ๋ฏธํ•™๊ณผ๋Š” ๋‹ค๋ฅธ ๊ธธ์„ ํƒ์ƒ‰ํ•ด ์™”๋‹ค. ๊ทธ์˜ ์ž‘์—…์€ ์กฐํ˜•์ ์ธ ํ•ด์„์ด๋ผ๋Š” ๊ด€ ์ ์—์„œ๋„ ์ƒˆ๋กœ์šด ์ œ์•ˆ์ด ์ ์ง€ ์•Š๋‹ค. ๋‹ค์‹œ ๋งํ•ด ๋ฌผ์ƒ์„ ๋ˆˆ์— ๋ณด์ด๋Š” ๊ทธ๋Œ€๋กœ ์ง„ ์‹คํ•˜๊ฒŒ ๋ฌ˜์‚ฌํ•˜๋Š” ๋ฐฉ์‹ ์ด์™ธ์˜ ๋ฌธ์ œ์—์„œ๋Š” ์˜คํžˆ๋ ค ํ˜„๋Œ€๋ฏธํ•™์˜ ์‹œ๊ฐ์— ํ›จ์”ฌ ๊ฐ€ ๊น๋‹ค๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ์‹œ๊ฐ์ ์ธ ์ด๋ฏธ์ง€์™€ ๋”๋ถˆ์–ด ๋‚ด๋ฉด์„ธ๊ณ„์˜ ํ™•์žฅ์ด๋‚˜ ์ƒˆ๋กœ์šด ์กฐํ˜•์–ด๋ฒ•์˜ ๊ฐ•๊ตฌ, ์ฆ‰ ๋ฐฉ๋ฒ•๋ก ์— ๋Œ€ํ•œ ์ƒˆ๋กœ์šด ์ œ์•ˆ์„ ํ†ตํ•ด ๋‚ด์šฉ์˜ ์‹ฌํ™”๋ฅผ ๋ชจ์ƒ‰ ํ•˜๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๋”ฐ๋ผ์„œ ๊ทธ์˜ ์ž‘์—…์€ ํ‘œ๋ฉด์ ์œผ๋กœ๋Š” ์‚ฌ์‹ค์ฃผ์˜ ํšŒํ™”์ฒ˜๋Ÿผ ๋ณด์ด๋‚˜ ๋ฐฉ๋ฒ•๋ก ์ด๋‚˜ ๋‚ด์šฉ์ ์œผ๋กœ๋Š” ํ˜„๋Œ€๋ฏธํ•™์˜ ์ค‘์‹ฌ์„ ๊ด€ํ†ตํ•˜๊ณ  ์žˆ๋‹ค. ํ˜•ํƒœ๋ฏธ ๋ฅผ ์ถ”๊ตฌํ•˜๋Š” ์ธ์ƒ์ฃผ์˜ ์ด์ „์˜ ๋ฏธํ•™์„ ๊ธฐ์ดˆ๋กœ ํ•˜๋ฉด์„œ๋„ ํ˜•ํƒœ๋ฅผ ๋‘˜๋Ÿฌ์‹ธ๊ณ  ์žˆ ๋Š” ์ฃผ๋ณ€ ๊ณต๊ฐ„ ๋ฐ ์กฐ๊ฑด, ์ฆ‰ ๋ฐฐ๊ฒฝ์€ ๋ฌผ๋ก ์ด๋ ค๋‹ˆ์™€ ์žฌ์งˆ๊ณผ ์‹œ์ ์˜ ๋ณ€ํ™”, ์ž์œ ๋กœ ์šด ๊ตฌ์„ฑ, ์กฐํ˜•์˜ ๋ณ€์ฃผ ๋“ฑ์—์„œ ํ˜„๋Œ€์ธ์˜ ๋ฏธ์  ์ทจํ–ฅ์— ๋ถ€์‘ํ•˜๋Š” ์ƒˆ๋กœ์šด ์กฐํ˜•๊ฐœ ๋…์„ ๋„์ž…ํ•˜๊ณ  ์žˆ๊ธฐ์— ๊ทธ๋ ‡๋‹ค. ๊ทธ์˜ ์ž‘์—…์ด ํ˜„๋Œ€๋ฏธ์ˆ ์˜ ์ค‘์‹ฌ์— ์ง„์ž…ํ•  ์ˆ˜ ์žˆ์—ˆ๋˜ ๊ฒƒ์€ ์ฃผ๋ณ€๋ถ€์— ๋Œ€ํ•œ ์ƒˆ๋กœ ์šด ํ•ด์„์„ ํ†ตํ•ด์„œ์˜€๋‹ค. ๋ฌด์—‡๋ณด๋‹ค๋„ ์„œ๊ตฌ์˜ ์‚ฌ์‹ค์ฃผ์˜ ๋ฌ˜์‚ฌ๋ฐฉ์‹๊ณผ ๋™์–‘์˜ ์žฌ๋ฃŒ ๋ฅผ ์ ‘๋ชฉ์‹œํ‚จ ์ƒˆ๋กœ์šด ๊ฐœ๋…์˜ ์กฐํ˜•์–ด๋ฒ•์„ ๊ฐ•๊ตฌํ•ด๋ƒˆ๋‹ค๋Š” ์ ์ด ๋†€๋ž๋‹ค. ๋ฌผ๋ก  ์ด ์™€ ๊ฐ™์€ ์ด์งˆ์ ์ธ ๊ฒฐํ•ฉ์ด ๊ทธ์— ์˜ํ•ด ์ฒ˜์Œ์œผ๋กœ ์‹œ๋„๋œ ๊ฒƒ์€ ์•„๋‹ˆ๋‹ค. ๋™์„œ์–‘์˜ ๊ธฐ๋ฒ•์ด๋‚˜ ์žฌ๋ฃŒ๋ฅผ ํ˜ผ์šฉํ•˜๋Š” ๊ฒƒ์€ ํ˜„๋Œ€๋ฏธ์ˆ ์—์„œ๋Š” ํ”ํžˆ ์žˆ๋Š” ์ผ์ด๊ธฐ์— ๊ทธ๋ ‡๋‹ค. ๊ทธ๋ ‡๋‹ค๊ณ  ํ•˜๋”๋ผ๋„ ๊ธ€์”จ๋ฅผ ์“ฐ๊ฑฐ๋‚˜ ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๋Š”๋ฐ ์“ฐ์ด๋Š” ๋™์–‘์˜ ๋ชจํ•„, ์ฆ‰ ๋ถ“์ด๋ผ๋Š” ์†Œ์žฌ๋ฅผ ์ฑ„ํƒํ–ˆ๋‹ค๋Š” ์‚ฌ์‹ค ์ž์ฒด๋Š” ์˜ˆ์‚ฌ๋กœ์šด ์ผ์ด ์•„๋‹ˆ๋‹ค. ๋ถ“์˜ ๋“ฑ์žฅ์€ ๊ฐœ๋ณ„์ ์ธ ํ˜•์‹์„ ํ–ฅํ•œ ๋””๋”ค๋Œ์ด๋‚˜ ๋งˆ์ฐฌ๊ฐ€์ง€์˜€๋‹ค. ๋‹ค์–‘ํ•œ ์ด๋ฏธ ์ง€๋กœ ์ „๊ฐœ๋˜๋Š” ๋ถ“์„ ์ œ์žฌ๋กœ ํ•˜๋Š” ์ผ๋ จ์˜ ์„œ์‚ฌ์‹œ์™€ ๊ฐ™์€ ๊ทธ์˜ ์žฅ์—„ํ•œ ์ž‘ํ’ˆ์„ธ ๊ณ„๋ฅผ ์œ„ํ•œ ์ „์ฃผ๊ณก์ด๋‚˜ ๋งˆ์ฐฌ๊ฐ€์ง€์˜€๋‹ค. ์†๋œ ํ‘œํ˜„์œผ๋กœ ์ž‘๊ฐ€์ ์ธ ์ถœ์„ธ๋ฅผ ์•Œ๋ฆฌ ๋Š” ์‹ ํ˜ธํƒ„์ด ๋˜์—ˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๋ถ“์ด๋ผ๋Š” ์†Œ์žฌ๋Š” ๊ทธ์—๊ฒŒ๋Š” ์šด๋ช…์ ์ธ ๋งŒ๋‚จ ๊ฐ™ ์€ ๊ฒƒ์ด์—ˆ๋‹ค. ์–ด๋–ค ๋ณด์ด์ง€ ์•Š๋Š” ํž˜์ด๋‚˜ ์˜๊ฐ์— ์˜ํ•ด ๊ณ„์‹œ๋œ ์˜ˆ์ˆ ์ ์ธ ํ–‰๋กœ์˜

์ถœ๋ฐœ์ ์ด์—ˆ๊ธฐ์— ๊ทธ๋ ‡๋‹ค. ๊ทธ๊ฐ€ ๊ฝƒ์ด๋‚˜ ๊ณผ์ผ ๋˜๋Š” ๋„์ž๊ธฐ๋ฅผ ์†Œ์žฌ๋กœ ์ž‘์—…ํ•˜๋Š” ์ •๋ฌผํ™” ์ž‘๊ฐ€์˜€๋‹ค๋Š” ์ ์„ ์ƒ๊ธฐํ•  ๋•Œ ์„œ์˜ˆ ๋ฐ ์ˆ˜๋ฌตํ™”์— ์“ฐ์ด๋Š” ๋ถ“์€ ์˜์™ธ์˜ ์†Œ์žฌ์˜€๋‹ค. ์ด๋Š” ์šฐ์—ฐ์ฐฎ์€ ์ˆœ ๊ฐ„์— ์ฐพ์•„์˜จ ์˜๊ฐ์˜ ์‚ฐ๋ฌผ์ด๋ผ๊ณ  ๋ฐ–์— ์„ค๋ช…ํ•  ๊ธธ์ด ์—†๋‹ค. ์•„๋‹ˆ, ์šฐ์—ฐ์„ฑ์ด ์•„๋‹ˆ ๋ผ ํ•„์—ฐ์„ฑ์ด ๊ฐœ์ž…๋œ ์šด๋ช…์ ์ธ ์†Œ์žฌ์ด์ž ์ œ์žฌ๊ฐ€ ๋œ ๊ฒƒ์ด๋‹ค. ๋ถ“์€ ์ดˆ๊ธฐ์—๋Š” ๋‹จ ์ˆœํžˆ ์ •๋ฌผํ™”์˜ ์†Œ์žฌ์— ๋ถˆ๊ณผํ–ˆ์œผ๋‚˜ ์‹œ๊ฐ„์ด ํ๋ฅด๋ฉด์„œ ์ž‘ํ’ˆ์˜ ๋‚ด์šฉ์„ ์ด๋Œ์–ด๊ฐ€ ๋Š” ์ฃผ์ œ๋กœ ๋ฐ”๋€๋‹ค. ์ด๋Ÿฌํ•œ ๋ณ€ํ™”๋Š” ์–ด์ฉŒ๋ฉด ๊ทธ ์ž์‹ ์กฐ์ฐจ๋„ ์˜ˆ๊ฒฌํ•˜์ง€ ๋ชปํ•œ ๊ฒฐ๊ณผ ์ธ์ง€ ๋ชจ๋ฅธ๋‹ค. ์ •๋ฌผ์˜ ์†Œ์žฌ๋กœ ์‹œ์ž‘๋œ ๋ถ“์ด ํ˜„๋Œ€ํšŒํ™”์˜ ์ค‘์‹ฌ์œผ๋กœ ๋“ค์–ด์„œ๋Š” ๋†€๋ผ์šด ๋ณ€์ „์€ ๋“œ ๋ผ๋งˆํ‹ฑํ•˜๋‹ค. ์Šคํƒ€์˜ ์ถœํ˜„์„ ์•Œ๋ฆฌ๋Š” ํŒกํŒŒ๋ฅด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ์„ ๋งŒํผ ํš๊ธฐ์ ์ธ ๋ฐฉ ๋ฒ•์„ ๋‚ดํฌํ•˜๊ณ  ์žˆ์—ˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ์ง„๋ถ€ํ•œ ์ผ์ƒ์˜ ํƒˆ์ถœ์ด๋ผ๋Š” ์ˆ˜์‹๋งŒ์œผ๋กœ๋Š” ์ถฉ ๋ถ„ํžˆ ์„ค๋ช…๋˜์ง€ ์•Š๋Š” ๋ฒˆ์ฉ์ด๋Š” ์˜๊ฐ์œผ๋กœ ์ถฉ๋งŒํ•œ ์†Œ์žฌ์˜€๋˜ ๊ฒƒ์ด๋‹ค. ๋†“์—ฌ ์žˆ๋Š” ์ƒํƒœ ๊ทธ๋Œ€๋กœ๋ฅผ ๋ฐ”๋ผ๋ณด๋Š” ์ •๋ฌผ๋กœ์„œ์˜ ๋ถ“์ด ๊ฐ‘์ž๊ธฐ ํ™”๋ฉด ์ „์ฒด๋ฅผ ์žฅ์•…ํ•˜๋Š” ์ƒํ™ฉ ์œผ๋กœ ๋Œ๋ณ€ํ•˜๊ฒŒ ๋œ ๊ฒฝ์œ„๋Š” ๊ทธ์ € ๊ทน์ ์ด๋ผ๊ณ  ๋ฐ–์— ๋‹ฌ๋ฆฌ ํ‘œํ˜„ํ•  ๊ธธ์ด ์—†๋‹ค. ์ •ํƒœ์ ์ธ ์†Œ์žฌ๋กœ์„œ์˜ ๋ถ“์ด ๋Œ์—ฐ ๋Šฅ๋™์ ์œผ๋กœ ์ž์‹ ์˜ ์กด์žฌ๋ฅผ ๊ณผ์‹œํ•˜๊ธฐ์— ์ด๋ฅธ ๊ฒƒ์ด๋‹ค. ๋‹ค์‹œ ๋งํ•ด ์‹œ๊ฐ์ ์ธ ์˜๋ฏธ์—์„œ ๋‹จ์ •ํ•˜๊ฒŒ ๋†“์—ฌ์žˆ๋˜ ๋ถ“์ด ๊ฐ‘์ž๊ธฐ ๋ง์„ ํ•˜๊ธฐ ์‹œ์ž‘ํ•œ ๊ฒƒ์ด๋‹ค. ์„œ์˜ˆ๋‚˜ ์ˆ˜๋ฌตํ™”์˜ ๋„๊ตฌ๋กœ์„œ ์‚ฌ์šฉ๋œ ๋ถ“์ด๋ผ๋Š” ์ด๋ฏธ์ง€์™€๋Š” ๋‹ฌ๋ฆฌ ์กฐํ˜•์ ์ธ ํ•ด์„์„ ์ง์ ‘์ ์œผ๋กœ ์„ ๋„ํ•˜๋Š” ๋Šฅ๋™์ ์ธ ์กด์žฌ๊ฐ€ ๋œ ๊ฒƒ์ด๋‹ค. ์ฆ‰, ์ž๊ธฐ๋งŒ์˜ ํ‘œํ˜„์ ์ธ ์–ธ์–ด๋ฅผ ์ง€๋‹Œ ์˜ํŠนํ•œ ์กด์žฌ๊ฐ€ ๋œ๋‹ค. ๊ทธ๋Ÿฌ๊ธฐ์— ๋ฌด์–ธ๊ฐ€ ๋ฌผ์งˆ ์ ์ธ ๊ฐ€์น˜๋ฅผ ๋›ฐ์–ด๋„˜๋Š” ์˜๋ฏธ์‹ฌ์žฅํ•œ ๋‚ด์šฉ์„ ์ˆ˜๋ฐ˜ํ•œ ํŠน๋ณ„ํ•œ ์กด์žฌ๋กœ ๋‹ค๊ฐ€์˜ค๊ฒŒ ๋œ ๋‹ค. ๋‹ค์‹œ ๋งํ•ด ๊ฝƒ์ด๋‚˜ ๊ณผ์ผ ๊ทธ๋ฆฌ๊ณ  ๋„์ž๊ธฐ ๋“ฑ ์ผ์ƒ์ ์ธ ์ •๋ฌผ ์†Œ์žฌ์™€๋Š” ํ™•์—ฐํžˆ ๋‹ค๋ฅธ ์‹œ๊ฐ ๋ฐ ์˜๋ฏธ๋ฅผ ๋‚ดํฌํ•˜๋Š” ๋น„๋ฒ”ํ•œ ์กด์žฌ์˜ ์ถœํ˜„์ด์—ˆ๋‹ค. ์ฒ˜์Œ ๋ถ“์„ ์†Œ์žฌ๋กœ ํ•œ ์ž‘ํ’ˆ๊ณผ ๋งˆ์ฃผํ–ˆ์„ ๋•Œ ํ…… ๋นˆ ํ™”๋ฉด ํ•œ ๊ฐ€์šด๋ฐ์— ์ž๋ฆฌํ•˜๊ฒŒ ๋œ ๋ถ“์˜ ์กด์žฌ๊ฐ์€ ๋ฌด์–ธ๊ฐ€ ์„ค๋ช…ํ•˜๊ธฐ ์–ด๋ ค์šด ์ ์ด ์žˆ์—ˆ๋‹ค. ์•„๋ฌด๋Ÿฐ ๋ฐฐ๊ฒฝ ์„ค์ • ์—† ์ด ํ™”๋ฉด ์ค‘์‹ฌ์— ์†Œ์žฌ ํ•˜๋‚˜๊ฐ€ ๋†“์ธ๋‹ค๋Š” ๊ฒƒ์€ ํŒŒ๊ฒฉ์ ์ธ ์„ค์ •์ด์—ˆ๊ธฐ์— ๊ทธ๋ ‡๋‹ค. ์ด์™€ ๊ฐ™์€ ์ง€๊ทนํžˆ ๊ฐ„๊ฒฐํ•œ ๊ตฌ์„ฑ์˜ ๊ฒฝ์šฐ ์„ค๋ น ๋‹ค๋ฅธ ์†Œ์žฌ์ผ์ง€๋ผ๋„ ์ƒ‰๋‹ค๋ฅด๊ฒŒ ๋ณด ์ผ ์ˆ˜๋ฐ–์— ์—†๋‹ค. ๊ทธ๋Ÿฐ๋ฐ๋‹ค ๋ถ“์ด๋ผ๋Š” ์†Œ์žฌ๋ฅผ ์—์›Œ์‹ธ๋Š” ํ˜•์–ธํ•˜๊ธฐ ์–ด๋ ค์šด ์•„์šฐ ๋ผ๊ฐ€ ํฌ์ง„ํ•˜๊ณ  ์žˆ๋‹ค๋Š” ์‚ฌ์‹ค์€ ๊ทธ์ € ๋†€๋ผ์šด ์ผ์ด์—ˆ๋‹ค. ์ž์ฒด ๋ฐœ๊ด‘๊ณผ ๊ฐ™์€ ๊ธฐ์šด ์„ ๋ฐœ์‚ฐํ•˜๊ณ  ์žˆ๊ธฐ์— ๊ทธ๋ ‡๋‹ค. ๊ทธ ๊ธฐ์šด์€ ์ผ์ข…์˜ ์นด๋ฆฌ์Šค๋งˆ์™€ ๊ฐ™์€ ๊ฒƒ์œผ๋กœ์„œ ์Šค ์Šค๋กœ์˜ ์šด๋ช…์„ ๊ฒฐ์ •์ง“๋Š” ํž˜์„ ๋‚ด์žฌํ•œ๋‹ค. ์ด๋Š” ์ฐฝ์˜์ ์ธ ์ž‘ํ’ˆ์—์„œ ํ”ํžˆ ๋ฐœ๊ฒฌ ํ•  ์ˆ˜ ์žˆ๋Š” ๊ฑฐ๋ถ€ํ•˜๊ธฐ ํž˜๋“  ๊ฐ•๋ ฅํ•œ ์กด์žฌ์˜ ํƒ„์ƒ์„ ์˜๋ฏธํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ํ•˜์ง€๋งŒ ๋™์–‘ํšŒํ™”์˜ ๊ด€์ ์—์„œ๋Š” ๊ทธ๋ฆฌ ๋†€๋ž„ ์ผ๋„ ์•„๋‹ˆ๋‹ค. ์†Œ์žฌ ํ•˜๋‚˜๋ฅผ ํ™”๋ฉด ์ค‘ ์‹ฌ์— ๋†“์€ ๊ตฌ์„ฑ์€ ์ด์ „์— ์ด๋ฏธ ์žˆ์—ˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๋ช…๋Œ€์˜ ์‹ฌ์ฃผ๊ฐ€ ์ฐธ์ƒˆ ํ•œ ๋งˆ๋ฆฌ ๋ฅผ ๊ทธ๋ ธ๋‹ค๋˜๊ฐ€, ์ฒญ๋Œ€์˜ ํŒ”๋Œ€์‚ฐ์ธ์ด ๋ฌผ๊ณ ๊ธฐ ํ•œ ๋งˆ๋ฆฌ๋ฅผ ๊ทธ๋ ธ๋“ฏ์ด ๋‹จ์ผ ์†Œ์žฌ๋กœ

Lee Jung Woong

the strokes of perception

ํ™”๋ฉด์„ ์ฑ„์šฐ๋Š” ์˜ˆ๋Š” ์ƒˆ๋กญ๋‹ค๊ณ  ํ•  ์ˆ˜ ์—†๋‹ค. ๋‹ค๋งŒ ์ด๋“ค์˜ ๊ฒฝ์šฐ์—์„œ ์•Œ ์ˆ˜ ์žˆ๋“ฏ ์ด ์‚ด์•„ ์›€์ง์ด๋Š” ์กด์žฌ๊ฐ€ ๊ทธ ๋Œ€์ƒ์ด์—ˆ๋‹ค. ๋ฐ˜๋ฉด์— ๊ทธ์˜ ๊ฒฝ์šฐ์ฒ˜๋Ÿผ ๋ถ“์ด๋ผ๋Š” ์ƒ ๋ช…์ด ์—†๋Š” ์†Œ์žฌ๋ฅผ ์ฑ„ํƒํ•œ ๊ฒฝ์šฐ๋Š” ์ฐพ์•„๋ณด๊ธฐ ํž˜๋“ค๋‹ค. ์ƒ๋ช…์ด ์—†๋Š” ์ •์ง€ ์ƒํƒœ์˜ ๋ฌผ์ฒด๋ฅผ ์žฌํ˜„ํ•˜๋Š” ์ •๋ฌผํ™”๋Š” ์ด์„ฑ์ ์ด๊ณ  ํ•ฉ๋ฆฌ์ ์ธ ์„ธ๊ณ„๋ฅผ ์ง€ํ–ฅํ•˜๋Š” ์„œ์–‘์˜ ๊ด€ ์ ์—์„œ ๋น„๋กฏ๋œ ์žฅ๋ฅด์ด๋‹ค. ์ฃผ์ง€ํ•˜๋‹ค์‹œํ”ผ ์ด์ •์›…์€ ์ผ์ฐ์ด ์ •๋ฌผํ™”๋กœ์„œ ์ง€๋ช…๋„๋ฅผ ๋†’์˜€๋‹ค. ๊ณผ์ผ์ด๋‚˜ ๊ฝƒ ๋„ ์ž๊ธฐ ๋”ฐ์œ„๋ฅผ ์กฐํ•ฉํ•˜๋Š” ์‚ฌ์‹ค์ ์ธ ์ •๋ฌผํ™”์ž„์—๋„ ๋ถˆ๊ตฌํ•˜๊ณ  ์–ด๋”˜๊ฐ€ ๋‹ฌ๋ž๋‹ค. ๊ทธ ๋‹ค๋ฅด๋‹ค๋Š” ์ ์ด ๋ช…ํ™•ํžˆ ๋ฌด์—‡์„ ์˜๋ฏธํ•˜๋Š”์ง€ ์ดํ•ดํ•˜๊ธฐ ์‰ฝ์ง€ ์•Š์•˜๋‹ค. ์ผ๋ฐ˜์ ์œผ๋กœ ์‚ฌ์‹ค์ ์ธ ๋ฌ˜์‚ฌ๋ฅผ ๊ธฐ๋ฐ˜์œผ๋กœ ํ•˜๋Š” ์ •๋ฌผํ™”๋Š” ๋šœ๋ ทํ•œ ๋ช…์•”์„ ์ค‘์‹œํ–ˆ๋‹ค. ๋น›๊ณผ ์–ด ๋‘ ์ด ๊ต์ฐจํ•˜๋Š” ์ด๋ฏธ์ง€๋ฅผ ํ†ตํ•ด ์ž…์ฒด์ ์ธ ํ˜•ํƒœ๋ฅผ ํ‘œํ˜„ํ•˜๋Š”๋ฐ ํšจ๊ณผ์ ์ด๊ธฐ ๋•Œ๋ฌธ ์ด๋‹ค. ๊ทธ๋ž˜์„œ ์‹ค์ œ๋กœ ๋ˆˆ์— ๋ณด์ด๋Š” ํ˜„์‹ค๋ณด๋‹ค ์กฐ๊ธˆ์€ ๊ฐ•์กฐ๋˜๋Š” ๊ฒฝํ–ฅ์ด ์ผ๋ฐ˜์  ์ด์—ˆ๋‹ค. ์ฆ‰, ๋ช…์•”์˜ ๋Œ€๋น„๋ฅผ ๋šœ๋ ทํ•˜๊ฒŒ ์ฒ˜๋ฆฌํ•จ์œผ๋กœ์จ ์ž…์ฒด์ ์ธ ํšจ๊ณผ๋ฅผ ๋†’์ผ ์ˆ˜ ์žˆ์—ˆ๋˜ ๊นŒ๋‹ญ์ด๋‹ค. ํ•˜์ง€๋งŒ ๊ทธ์˜ ๊ฒฝ์šฐ ๋ช…์•”๋Œ€๋น„๋ฅผ ๋ณด๋‹ค ์‹ค์ œ์ ์œผ๋กœ ํ‘œํ˜„ํ–ˆ๋‹ค. ๋ˆˆ์— ๋ณด์ด๋Š” ์‹ค์ œ ๊ทธ๋Œ€๋กœ์˜ ์Œ์˜์„ ์žฌํ˜„ํ•œ ๊ฒƒ์ด๋‹ค. ๊ทธ๋Ÿฌ๊ธฐ์— ์Œ์˜์ฒ˜๋ฆฌ๊ฐ€ ์–‡๋‹ค๋Š” ๋Š๋‚Œ์ด๋‹ค. ๋” ๊ตฌ๋‚˜ ๋ฌผ๊ฐ๋„ ์•„์ฃผ ์–‡๊ฒŒ ๋ฐ”๋ฆ„์œผ๋กœ์จ ๋งˆ์น˜ ์ˆ˜์ฑ„ํ™”์™€ ๊ฐ™์€ ์ด๋ฏธ์ง€๋ฅผ ๋งŒ๋“ค์–ด๋ƒˆ ๋‹ค. ๋ฐ๊ณ  ํ™”์‚ฌํ•˜๋ฉฐ ๊ฒฝ์พŒํ•˜๋‹ค๋Š” ์ธ์ƒ์€ ์ด์— ์—ฐ์œ ํ•œ๋‹ค. ๊ทธ์˜ ์ •๋ฌผํ™”๊ฐ€ ๋งŽ์€ ์ด ๋“ค์˜ ์ปฌ๋ ‰์…˜ ๋ชฉ๋ก์„ ์ฑ„์šธ ์ˆ˜ ์žˆ์—ˆ๋˜ ๊ฒƒ๋„ ์ด๋ ‡๋“ฏ์ด ๋ฐ๊ณ  ๋ง‘์œผ๋ฉด์„œ๋„ ์„ ๋ช…ํ•  ๋ฟ๋”๋Ÿฌ ๋งˆ์น˜ ์‹ค์ œ์˜ ์‚ฌ๋ฌผ์„ ๋ณด๊ณ  ์žˆ๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ํ˜ผ๋™ํ•  ๋งŒํผ ๋›ฐ์–ด๋‚œ ์‚ฌ์‹ค๋ฌ˜์‚ฌ ์™€ ๋ฌด๊ด€ํ•˜์ง€ ์•Š๋‹ค. ์ด์ฒ˜๋Ÿผ ์ถœ์ค‘ํ•œ ๋ฏธ์  ๊ฐ๊ฐ์œผ๋กœ ์ด๋ฏธ ๋…์ž์ ์ธ ์˜์—ญ์„ ํ™•๋ณดํ•œ ์ƒํƒœ์˜€๊ธฐ์— ๋ถ“ ์„ ์†Œ์žฌ๋กœ ํ•œ ์ผ๋ จ์˜ ์ƒˆ๋กœ์šด ์ž‘์—…์„ ์ „์‹œํ–ˆ์„ ๋•Œ ๊ทธ ํŒŒ์žฅ์€ ์ถฉ๋ถ„ํžˆ ์˜ˆ์ƒํ•  ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์ด์—ˆ๋‹ค. ์†Œ์žฌ๊ฐ€ ๋ฌด์—‡์ด๋“ ์ง€ ๊ฐ์ƒ์ž์˜ ๋งˆ์Œ์„ ์‚ฌ๋กœ์žก๋Š” ์ถœ์ค‘ํ•œ ๋ฌ˜์‚ฌ๋ ฅ ๊ณผ ์˜ํŠนํ•˜๊ฒŒ ๋ณด์ด๋Š” ์ •๋ฌผ๋“ค์˜ ์กด์žฌ๊ฐ, ์ฆ‰ ์ƒ๋™ํ•˜๋Š” ์ด๋ฏธ์ง€๋Š” ์•„์ฃผ ๋งคํ˜น์ ์ด ์—ˆ๋˜ ๊นŒ๋‹ญ์ด๋‹ค. ๋ฌผ๋ก  ๋ถ“ ํ•œ ์ž๋ฃจ๋ฅผ ํ™”๋ฉด ์ค‘์‹ฌ์— ๋†“์€ ์ž‘ํ’ˆ์€ ๊ทธ๋ฅผ ์•Œ๊ณ  ์žˆ๋Š” ์ด๋“ค์—๊ฒŒ์กฐ์ฐจ ์ƒ๊ฒฝํ•œ ๊ธฐ๋ถ„์„ ์ž์•„๋ƒˆ๋‹ค. ์—ฌ๋Ÿฌ ๊ฐœ์˜ ์†Œ์žฌ๋กœ ๊ตฌ์„ฑ๋˜๋Š” ์ผ๋ฐ˜์  ์ธ ์ •๋ฌผํ™”์˜ ๊ณต์‹์„ ๋ฒ—์–ด๋‚˜ ์žˆ์—ˆ๊ธฐ์— ๊ทธ๋ ‡๋‹ค. ๊ทธ๋Ÿผ์—๋„ ์ „์‹œํšŒ์— ์ž‘ํ’ˆ์ด ์ถœ ํ’ˆ๋˜์—ˆ์„ ๋•Œ ๊ณง๋ฐ”๋กœ ๋ˆˆ ๋ฐ์€ ์ด๋“ค์˜ ์‹œ์„ ์„ ์‚ฌ๋กœ์žก์•˜๋‹ค. ํ•˜์–—๊ฒŒ ๋น„์–ด ์žˆ๋Š” ํ™” ๋ฉด์— ๋‹ฌ๋ž‘ ๋†“์—ฌ์žˆ๋Š” ํ•œ ์ž๋ฃจ์˜ ๋ถ“์ด๋ผ๋Š” ๊ตฌ์„ฑ์€ ์ด์ „์˜ ์ž‘ํ’ˆ๊ณผ๋Š” ์ „ํ˜€ ์ƒˆ๋กœ ์šด ๋ฐœ์ƒ์˜ ์†Œ์‚ฐ์ž„์„ ์•Œ์•„์ฐจ๋ฆฐ ๊ฒƒ์ด๋‹ค. ์ด์ œ๊นŒ์ง€ ๋ณด์•˜๋˜ ๊ทธ ์–ด๋–ค ์ •๋ฌผํ™”์™€๋„ ๋‹ค๋ฅธ ์‹ ์„ ํ•œ ์‹œ๊ฐ์„ ๋‹ด๊ณ  ์žˆ๋Š”๋ฐ๋‹ค ๊ทธ ์กด์žฌ๊ฐ์ด ๋ฒ”์ƒ์น˜ ์•Š์•˜๋‹ค. ๋งˆ์น˜ ์ •๋ฌผ์ด ์•„๋‹Œ ์ƒ๋ฌผ์„ ๋ณด๋Š” ๋“ฏ์‹ถ์€ ๊ฐ์ •์˜ ๋™์š”๋ฅผ ๋ถˆ๋Ÿฌ์ผ์œผ์ผฐ๋‹ค. ๊ทธ์ฒ˜๋Ÿผ ๋ถ“์˜ ์กด์žฌ๊ฐ ์€ ๊ฐ•๋ ฌํ•˜๊ฒŒ ๋‹ค๊ฐ€์™”๋‹ค. ๋ถ“์€ ์‚ด์•„ ์žˆ๋Š” ์ƒ๋ช…์ฒด์™€ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ ์ž์ฒด์ ์ธ ํ‘œํ˜„๋ ฅ์„ ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ์กด์žฌ๊ฐ€

๋˜์—ˆ๋‹ค. ๋”๊ตฌ๋‚˜ ์ด์ „์˜ ์ •๋ฌผํ™”๊ฐ€ ๊ทธ๋žฌ๋“ฏ์ด ์ง€ํ˜œ๋กญ๊ฒŒ ๋ณด์ด๋Š” ์ด๋ฏธ์ง€๋ฅผ ๊ณ„์Šนํ•˜ ๊ณ  ์žˆ์—ˆ๋‹ค. ๋ถ“์ด ๊ธ€์”จ๋ฅผ ์“ฐ๊ณ  ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๋Š” ๋„๊ตฌ๋ผ๋Š” ์„ ์ž…๊ฒฌ์ด ์ž‘์šฉํ•œ ํƒ“์ธ ์ง€๋Š” ๋ชจ๋ฅด๋‚˜ ๋ฌด์–ธ๊ฐ€ ํ˜•์–ธํ‚ค ์–ด๋ ค์šด ์˜ํŠนํ•จ์ด ๋Š๊ปด์กŒ๋‹ค. ์ •๋ฌผ ์†Œ์žฌ๊ฐ€ ์ด์ฒ˜๋Ÿผ ๋งˆ์Œ์„ ์›€์ง์ด๋Š” ๊ฒฝ์šฐ๋Š” ํ”์น˜ ์•Š๋‹ค. ์ด๋Ÿฐ ๊ฐ์ •์ด ์ƒ๊ธฐ๋Š” ๊ฒƒ์€ ์‹ค์ œ์™€ ๋ถ„๊ฐ„ํ•  ์ˆ˜ ์—†์„ ๋งŒํผ ๊ทน๋ ฌํ•˜๊ฒŒ ๋ฌ˜์‚ฌ๋˜๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ๋งŒ์€ ์•„๋‹ˆ์—ˆ๋‹ค. ์‚ฌ์‹ค์ฃผ์˜ ๋˜๋Š” ํ•˜์ดํผ๋ฆฌ์–ผ๋ฆฌ์ฆ˜ ๋ฐ ํฌํ† ๋ฆฌ์–ผ๋ฆฌ์ฆ˜์˜ ์กฐํ˜•๊ฐœ๋…์— ๋Œ€์ž…์‹œํ‚ค๋” ๋ผ๋„ ๊ทธ์˜ ๋ฌ˜์‚ฌ๋ ฅ์€ ์˜ค์ง ์ถœ์ค‘ํ•  ๋”ฐ๋ฆ„์ด๋‹ค. ๋ถ“ํ„ธ ํ•˜๋‚˜ํ•˜๋‚˜๋ฅผ ์„ธ์‹ฌํ•˜๊ฒŒ ๊ทธ๋ ธ ๋‹ค๋Š” ๊ฒƒ์€ ๊ทธ๋ฆฌ ๋†€๋ž„ ์ผ์€ ์•„๋‹ˆ๋‹ค. ๊ฝƒ์ด๋‚˜ ๊ณผ์ผ์—์„œ ๋ณด์—ฌ์ฃผ์—ˆ๋˜ ์‚ฌ์‹ค์ ์ธ ์ด ๋ฏธ์ง€์™€๋Š” ๋˜ ๋‹ค๋ฅธ, ์†์œผ๋กœ ๊ทธ๋ ธ๋‹ค๊ณ ๋Š” ๋„๋ฌด์ง€ ๋ฏฟ๊ธฐ์ง€ ์•Š๋Š” ๋ฌผ์ฒด์˜ ์งˆ๊ฐ ํ‘œํ˜„ ์—์„œ ํ•œ ๋‹จ๊ณ„ ์ง„ํ™”ํ•˜๊ณ  ์žˆ์—ˆ๋‹ค. ๋ถ“๋Œ€๋‚˜ ๋ถ“ํ„ธ ์–ด๋””์—๋„ ๋„๋Œ€์ฒด ๋ถ“ ์ž๊ตญ์„ ๋‚จ๊ธฐ ์ง€ ์•Š์•„ ์‹ค์ œ์™€ ๋ถ„๊ฐ„ํ‚ค ์–ด๋ ค์šด ๋ฌผ์งˆ๊ฐ์ด ๋Š๊ปด์งˆ ๋ฟ์ด์—ˆ๋‹ค. ๋ถ“ํ„ธ์€ ๋ฌผ๋ก ์ด๋ ค ๋‹ˆ์™€ ๋ถ“๋Œ€์—์„œ๋„ ๋ถ“์ด ์›€์ง์˜€๋‹ค๋Š” ํ”์ ์„ ์ฐพ์•„๋‚ด๊ธฐ ์–ด๋ ค์› ๋‹ค. ํ•ด์ƒ๋ ฅ์ด ๋›ฐ ์–ด๋‚œ ์‚ฌ์ง„์„ ๊ทธ๋Œ€๋กœ ์˜ค๋ ค๋‹ค ๋ถ™์ธ ๊ฒƒ์ด ์•„๋‹Œ๊ฐ€ ์‹ถ์„ ๋งŒํผ ๊ทน๋ฏธํ•œ ๋ฌ˜์‚ฌ๋ ฅ์ด ๊ทธ ์ € ๋†€๋ผ์šธ ๋ฟ์ด์—ˆ๋‹ค. ์ด๋Ÿฌํ•œ ๋ฌ˜์‚ฌ๋ ฅ์ด ํ‘œํ˜„ํ•ด๋‚ธ ๋ถ“์˜ ์กด์žฌ๋Š” ํ•„๊ฒฝ ์ƒ๋™๊ฐ์„ ์ˆ˜๋ฐ˜ํ•˜๊ธฐ ๋งˆ๋ จ์ด๋‹ค. ์‹ค์ œ์ฒ˜๋Ÿผ ๋ณด์ธ๋‹ค๋Š” ๊ฒƒ์€ ์ƒ๊ธฐ๋ฅผ ์˜๋ฏธํ•œ๋‹ค. ์ƒ๊ธฐ๋ž€ ์‚ด์•„ ์žˆ๋Š” ๊ธฐ์šด์„ ์˜๋ฏธํ•  ์ง„๋Œ€, ๋ถ“์ด ์‚ด์•„ ์žˆ๋‹ค๋Š” ๋Š๋‚Œ์ด ๋“ ๋‹ค๋Š” ๊ฒƒ์€ ์‹ค์ฒด์— ์œก๋ฐ•ํ•˜๋Š” ๋Š๋‚Œ, ์ฆ‰ ์‹ค์ œ ์™€ ๋ถ„๊ฐ„ํ•  ์ˆ˜ ์—†๋Š” ์žฌํ˜„์„ ํ†ตํ•ด ํšŒํ™”๋กœ์„œ์˜ ์ƒ๋ช…๋ ฅ์„ ํš๋“ํ–ˆ์Œ์„ ์˜๋ฏธํ•œ๋‹ค. ํšŒํ™”๋กœ์„œ์˜ ์ƒ๋ช…๋ ฅ์€ ๋‹ค๋ฆ„ ์•„๋‹Œ ๊ฐ์ƒ์ž์˜ ๊ฐ๋™์„ ์œ ์ธํ•˜๋Š” ๋ฏธ์ ์ธ ๊ฐ€์น˜์ด๊ธฐ ์— ๊ทธ๋ ‡๋‹ค. ํšŒํ™”์—์„œ ๋งํ•˜๋Š” ์ƒ๊ธฐ, ์ฆ‰ ์‚ด์•„ ์žˆ๋Š” ๊ธฐ์šด์ด๋ž€ ์ƒ๋ช…์ฒด์— ๊ตญํ•œ๋œ ๋ฌธ์ œ๋Š” ์•„๋‹ˆ๋‹ค. ์‹ค์ œ๋ฅผ ๋น™์žํ•œ ํšŒํ™”์—์„œ ์‚ด์•„ ์žˆ๋Š” ๋“ฏ์‹ถ์€ ๊ธฐ์šด์„ ๊ตฌํ˜„ํ•˜๋Š” ์ผ์ด์•ผ๋ง๋กœ ์‚ฌ์‹ค์ ์ธ ์กฐํ˜•์„ธ๊ณ„์˜ ํ•ต์‹ฌ์ธ ๊ฒƒ์ด๋‹ค. ๊ทธ์˜ ๋ถ“ ์ž‘์—… ์—ฐ์ž‘์€ ๋ช‡ ์ฐจ๋ก€์˜ ์ง„ํ™”๋ฅผ ๊ฑฐ๋“ญํ•ด์™”๋‹ค. ๊ทธ๋Ÿฌ๋ฉด์„œ ์ •๋ฌผํ™”์˜ ๊ฐœ ๋…์„ ํ›Œ์ฉ ๋›ฐ์–ด๋„˜๋Š” ๋…์ž์ ์ธ ์กฐํ˜•์–ด๋ฒ•์„ ํ™•๋ฆฝํ•˜๊ฒŒ ๋œ๋‹ค. ๋ถ“์ด ๋‹จ์ˆœํžˆ ํ”ผ๋™ ์ ์ธ ์ •๋ฌผ์˜ ์†Œ์žฌ๊ฐ€ ์•„๋‹ˆ๋ผ, ์ž๊ธฐ์ค‘์‹ฌ์ ์ธ ํ‘œํ˜„๋ ฅ์„ ์ง€๋‹Œ ๋Šฅ๋™์ ์ธ ์กด์žฌ๋กœ ๋ณ€์‹ ํ•˜๊ฒŒ ๋˜๋Š” ๊ฒƒ์ด๋‹ค. ๋งˆ์น˜ ์‚ฌ๊ณ ๋ฅผ ํ•˜๋Š” ์ธ๊ฐ„์ฒ˜๋Ÿผ ๋‹ค์–‘ํ•œ ๋ฐฉ๋ฒ•์œผ๋กœ ์ด์ „๊นŒ ์ง€ ์•Œ์ง€ ๋ชปํ–ˆ๋˜ ๋ถ“์˜ ์ˆจ๊ฒจ์ง„ ๊ฐ€์น˜๋ฅผ ํ†ตํ•ด ์Šค์Šค๋กœ์˜ ์กด์žฌ๊ฐ์„ ๊ณผ์‹œํ•˜๊ธฐ ์‹œ์ž‘ ํ•œ ๊ฒƒ์ด๋‹ค. ๋ถ“ ์—ฐ์ž‘์„ ์‹œ์ž‘ํ•  ๋ฌด๋ ต์˜ ์ž‘ํ’ˆ์€ ์†Œ์žฌ๋งŒ ๋‹ค๋ฅผ ๋ฟ ์ •๋ฌผํ™”์˜ ๋ฒ”์ฃผ๋ฅผ ํฌ๊ฒŒ ๋ฒ—์–ด ๋‚˜์ง€ ์•Š์•˜๋‹ค. ์•„๋‹ˆ ํ‘œ๋ฉด์ ์œผ๋กœ๋Š” ์ •๋ฌผ์˜ ๊ฐœ๋…์— ์†ํ•˜๋Š” ๊ทธ๋ฆผ์ด์—ˆ๋‹ค. ๊ฝƒ์ด๋‚˜ ๊ณผ์ผ ๋Œ€์‹  ๋ถ“์„ ์†Œ์žฌ๋กœ ํ•˜๋Š” ์ •๋ฌผํ™”์˜ ์—ฐ์žฅ์„ ์ƒ์— ์žˆ์—ˆ๋‹ค. ๋ถ“์„ ์†Œ์žฌ๋กœ ์ฑ„ํƒ ํ•œ ๊ทธ ์ž์‹ ์กฐ์ฐจ ๊ทธ๊ฒƒ์ด ์ „ํ˜€ ์ƒˆ๋กœ์šด ์กฐํ˜•์„ธ๊ณ„๋ฅผ ๋‚ดํฌํ•˜๊ณ  ์žˆ๋‹ค๋Š” ์‚ฌ์‹ค์„ ์•Œ ์•„์ฐจ๋ฆฌ์ง€ ๋ชปํ–ˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๊ฒƒ์€ ์ผ์ˆœ๊ฐ„์ด์—ˆ๋‹ค. ์ž‘ํ’ˆ์ด ์ „์‹œ์žฅ์— ๊ฑธ๋ ธ์„ ๋•Œ ๊ฐ๊ด€์ ์ธ ์‹œ๊ฐ์œผ๋กœ ๋ฐ”๋ผ๋ณด๊ฒŒ ๋˜๋ฉด์„œ ๋ฏธ๊ตฌ์— ๋งŒ๋‚˜๊ฒŒ ๋  ๋‹ค์–‘ํ•œ ๋ถ“์˜ ์–ผ๊ตด์„

์ด๋ฏธ ์˜ˆ๊ฒฌํ•˜๊ณ  ์žˆ์—ˆ๋Š”์ง€๋„ ๋ชจ๋ฅธ๋‹ค. ์‹ค์ œ๋กœ ๋จธ์ง€์•Š์•„ ์ •๋ฌผ์˜ ์˜์—ญ์„ ๊ฐ„๋‹จํžˆ ๋„˜์–ด์„œ๊ธฐ์— ์ด๋ฅธ๋‹ค. ์ž‘์—…ํ•˜๋Š” ๊ณผ์ • ์—์„œ ๋ถ“์ด ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ๋‹ค์ฑ„๋กœ์šด ์–ผ๊ตด์„ ์ž๊ฐํ•œ ๊ฒฐ๊ณผ์ด๋‹ค. ๋‹ค์‹œ ๋งํ•ด ๊ธ€์”จ๋ฅผ ์“ฐ๊ณ  ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๋Š”๋ฐ ์“ฐ์ด๋Š” ๋„๊ตฌ๋ผ๋Š” ์‚ฌ์‹ค์„ ๊นจ๋‹ซ๊ฒŒ ๋˜์ž ๊ฐ‘์ž๊ธฐ ๊ทธ์— ๋”ฐ ๋ฅธ ๋ถ€์ˆ˜์ ์ธ ์ด๋ฏธ์ง€๊ฐ€ ๋– ์˜ค๋ฅธ ๊ฒƒ์ด๋ฆฌ๋ผ. ์˜๊ฐ์˜ ํ˜•ํƒœ๋กœ ์ฃผ์–ด์ง€๋Š” ์ด๋Ÿฐ ์‹์˜ ์ž๊ฐ์€ ๋ช…๋ฏผํ•œ ์˜ˆ์ˆ ์ ์ธ ๊ฐ์ˆ˜์„ฑ์˜ ์†Œ์œ ์ž๊ฐ€ ๋ˆ„๋ฆด ์ˆ˜ ์žˆ๋Š” ํ˜œํƒ์ž„์€ ๋งํ•  ๋‚˜ ์œ„๋„ ์—†๋‹ค. ๊ทธ๋ฆฌํ•˜์—ฌ ๋ถ“์˜ ๊ธฐ๋Šฅ์„ฑ, ์ฆ‰ ํšจ์šฉ์„ฑ์ด ๋งŒ๋“ค์–ด๋‚ด๋Š” ์‹ค์งˆ์ ์ธ ๊ฐ€์น˜๋กœ์„œ์˜ ๋ถ“์˜ ์กฑ์ ์„ ํ™”๋ฉด์— ๋ถˆ๋Ÿฌ๋“ค์ด๊ฒŒ ๋œ๋‹ค. ๋จน์„ ๋“ฌ๋ฟ ๋จธ๊ธˆ์€ ๋ถ“์ด ํ•œ์ง€ ์œ„์— ์„ ์„ ๊ธ‹๊ฑฐ ๋‚˜, ๋จน๋ฌผ์ด ํ˜๋Ÿฌ๋‚ด๋ฆฌ๊ฑฐ๋‚˜ ๋˜๋Š” ๋จน๋ฌผ์„ ๋จธ๊ธˆ์€ ๋ถ“์„ ํž˜์ฐจ๊ฒŒ ๋‚ด๋ฆฌ์ณค์„ ๋•Œ ๋‚˜ํƒ€ ๋‚˜๋Š” ๋น„์‚ฐ์˜ ์ด๋ฏธ์ง€ ๋”ฐ์œ„๊ฐ€ ๊ทธ๊ฒƒ์ด๋‹ค. ์ด์™€ ๊ฐ™์€ ์ผ๋ จ์˜ ์ˆ˜๋ฌต์˜ ํ‘œํ˜„์ด ๊ฐ€์„ธ ํ•จ์œผ๋กœ์จ ๋ถ“์€ ๋Œ์—ฐ ํ˜„๋Œ€๋ฏธํ•™์˜ ๊ณต๊ฐ„์œผ๋กœ ์ง„์ž…ํ•˜๊ฒŒ ๋œ๋‹ค. ๋ถ“์ด๋ผ๋Š” ์ •๋ฌผ์˜ ์†Œ์žฌ๊ฐ€ ๋Šฅ๋™์ ์ธ ์กด์žฌ๋กœ ๋ณ€ํ•˜๋ฉด์„œ ๋ณธ๋ž˜์˜ ๊ธฐ๋Šฅ์„ฑ์„ ํšŒ๋ณตํ•œ ์…ˆ์ด๋‹ค. ์ด๋Š” ํ•œ ๋งˆ๋””๋กœ ๋ฐœ์ƒ์˜ ์ „ํ™˜, ์‹œ์•ผ์˜ ํ™•์žฅ์ด๋ผ๋Š” ์ˆ˜์‹์–ด๊ฐ€ ์ ํ•ฉํ•œ ์ƒˆ๋กœ์šด ๊ฐœ๋…์˜ ์กฐ ํ˜•์–ธ์–ด์ด์ž ์–ด๋ฒ•์ด์—ˆ๋‹ค. ๋ถ“๊ณผ ๊ทธ ๋ถ“์ด ์›€์ง์—ฌ ๋งŒ๋“ค์–ด๋‚ด๋Š” ํ‘œํ˜„์ ์ธ ์ด๋ฏธ์ง€๋Š” ๋‹ค์ฑ„๋กœ์šด ์กฐํ˜•์˜ ๋ณ€์ฃผ ๋ฅผ ์˜ˆ์‹œํ•œ๋‹ค. ์‹ค์ œ๋กœ ๊ทธ์˜ ์ž‘์—…์€ ์ง„ํ™”์˜ ํ˜•ํƒœ๋กœ ๋‹ค์–‘ํ•œ ์ด๋ฏธ์ง€๋ฅผ ์ƒ์‚ฐํ•˜๊ฒŒ ๋œ๋‹ค. ์ด๋กœ๋ถ€ํ„ฐ ๊ทธ์˜ ์ž‘ํ’ˆ์„ธ๊ณ„๋Š” ํ˜„๋Œ€๋ฏธ์ˆ ์˜ ์ƒˆ๋กœ์šด ์ง„์•™์ด ๋˜์–ด ํ•œ๊ตญํ™”๋‹จ์— ์‹ ์‚ฌ์‹ค์ฃผ์˜ ํšŒํ™”๊ฐ€ ํ™•์‚ฐ๋˜๋Š” ๋™๊ธฐ๋ฅผ ๋ถ€์—ฌํ•œ๋‹ค. ๋‹ค์‹œ ๋งํ•ด ์‚ฌ์ง„์„ ๋›ฐ์–ด๋„˜๋Š” ๊ทน๋ฏธํ•œ ๋ฌ˜์‚ฌ๋ ฅ์œผ๋กœ ์‚ฌ์‹ค์ ์ธ ๋ฌ˜์‚ฌ ์ค‘์‹ฌ์˜ ํšŒํ™”๊ฐ€ ์ƒˆ๋กญ๊ฒŒ ๊ฐ๊ด‘๋ฐ›๋Š” ๊ธฐํญ์ œ๊ฐ€ ๋œ๋‹ค. ํŠนํžˆ ๋ถ“์„ ์†Œ์žฌ๋กœ ํ•˜๋Š” ๊ทธ์˜ ์ž‘์—…์€ ๋ฏธ์ˆ ์• ํ˜ธ๊ฐ€๋“ค์—๊ฒŒ ์ƒˆ๋กœ์šด ์‹œ๊ฐ์  ์ธ ๊ฒฝํ—˜์˜ ๋Œ€์ƒ์ด ๋˜๊ธฐ์— ์ถฉ๋ถ„ํ–ˆ๋‹ค. ๋ถ“๊ณ  ๊ทธ ๋ถ“์ด ํ•˜๋‚˜์˜ ํ™”๋ฉด๊ณต๊ฐ„์—์„œ ํŽผ์ณ ๋†“๋Š” ๋‹ค์–‘ํ•œ ์ด๋ฏธ์ง€์™€ ๋งˆ์ฃผํ•˜๋ฉด์„œ ์‹œ๊ฐ์ ์ธ ์ถฉ๊ฒฉ์— ๋น ์ ธ๋“ค๊ณ ๋งŒ ๊ฒƒ์ด๋‹ค. ๊ทธ์˜ ๊ทธ๋ฆผ์€ ํ˜•์‹์ ์œผ๋กœ๋Š” ์ •๋ฌผํ™”์— ๊ทผ์ ‘ํ•˜์ง€๋งŒ ๊ทธ ์ „์ฒด์ ์ธ ์ธ์ƒ์€ ๋ฌธ์ธํ™” ์ ์ธ ์ •์„œ๊ฐ€ ๊ฐ•ํ•˜๋‹ค. ์•„๋งˆ๋„ ์บ”๋ฒ„์Šค๋ฅผ ๋Œ€์‹ ํ•˜์—ฌ ํ•œ์ง€๋ฅผ ์†Œ์ง€๋กœ ์‚ผ๋Š”๋ฐ๋‹ค ๋ชจ ํ•„๊ณผ ์ˆ˜๋ฌต์ด ํ•จ๊ป˜ ํ•˜๋Š” ํŠน์ดํ•œ ์‹œ๊ฐ์˜ ์กฐํ˜•๊ณต๊ฐ„ ๋•Œ๋ฌธ์ด๋ฆฌ๋ผ. ์ด๋Š” ์—ญ์‹œ ์„œ์–‘ ์ธ์˜ ๊ฐ๊ฐ์œผ๋กœ๋Š” ์ ‘๊ทผํ•  ์ˆ˜ ์—†๋Š” ๋™์–‘ ํŠน์œ ์˜ ์ •์„œ์— ๊ธฐ์ธํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ํŠนํžˆ ํ•œ์ง€๋ฅผ ์†Œ์ง€๋ฅผ ์ฑ„ํƒํ•˜๊ณ  ์œ ์ฑ„๋กœ ํ˜•์ƒ์„ ๋ฌ˜์‚ฌํ•˜๋Š” ์ด์งˆ์ ์ธ ์กฐํ•ฉ์ด ๋˜๋ ˆ ๊ธฐ๋ฌ˜ ํ•˜๊ฒŒ ์กฐํ™”๋ฅผ ์ด๋ฃฌ๋‹ค. ํ•œ์ง€์— ์œ ์ฑ„, ๊ฒŒ๋‹ค๋‹ค ๊ทน์‚ฌ์‹ค์ ์œผ๋กœ ํ˜•ํƒœ๋ฅผ ๋ฌ˜์‚ฌํ•˜๋Š” ๋ฐฉ ์‹์€ ์ด์ „์— ๋ฏธ์ฒ˜ ๊ฒฝํ—˜ํ•˜์ง€ ๋ชปํ•œ ์ผ์ด์—ˆ๊ธฐ์— ๊ทธ ์ž์ฒด๋งŒ์œผ๋กœ๋„ ๋‹ด๋ก ์„ ์ƒ์‚ฐ ํ•˜๊ธฐ์— ์ถฉ๋ถ„ํ–ˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๋Š” ๊ฑฐ๊ธฐ์— ๋จธ๋ฌผ์ง€ ์•Š๊ณ  ๋ณด๋‹ค ์ƒˆ๋กœ์šด ์กฐํ˜•์ ์ธ ํ•ด์„์„ ๋ชจ์ƒ‰ํ•œ๋‹ค. ์„œ ์˜ˆ ๋ฐ ์ˆ˜๋ฌตํ™” ๋ฐฉ์‹์˜ ์กฐํ˜•์–ด๋ฒ•์„ ๊ฐ•๊ตฌํ•˜์—ฌ ์‚ฌ์‹ค์ ์ธ ์ด๋ฏธ์ง€์— ๋Œ€์ž…์‹œํ‚ค๋Š” ํŒŒ ๊ฒฉ์ ์ธ ๊ตฌ์„ฑ์ด ๊ทธ ํ•˜๋‚˜์˜ ๊ฒฐ๊ณผ๋ฌผ์ด๋‹ค. ๋ถ“์ด ์ž์‹ ์˜ ์กด์žฌ๊ฐ์„ ๊ณผ์‹œํ•˜๋Š” ํ˜•ํƒœ

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๋กœ ํ‘œํ˜„๋˜๋Š” ์„œ์˜ˆ ๋˜๋Š” ์ˆ˜๋ฌตํ™”์˜ ์ด๋ฏธ์ง€๋ฅผ ๋„์ž…ํ•จ์œผ๋กœ์จ ๋™์„œ์–‘์˜ ํšŒํ™”๊ฐ€ ํ•˜ ๋‚˜์˜ ๊ณต๊ฐ„์— ๋†“์ด๋Š” ์ ˆ๋ฌ˜ํ•œ ์ƒํ™ฉ์ด ์ „๊ฐœ๋˜๊ธฐ ์‹œ์ž‘ํ•œ๋‹ค. ์ˆ˜๋ฌต๊ณผ ์œ ์ฑ„์˜ ๋™๊ฑฐ ๋ผ๋Š” ํŒŒ๊ฒฉ์ ์ธ ์„ค์ •์„ ํ†ตํ•ด ํ“จ์ „์Šคํƒ€์ผ์˜ ํšŒํ™”๋ฅผ ์ฐฝ์กฐํ•˜๊ฒŒ ๋œ ๊ฒƒ์ด๋‹ค. ์ด์งˆ์ ์ธ ๋ฌธํ™” ๋ฐ ์ •์„œ์˜ ์กฐํ•ฉ์— ๋”ฐ๋ฅธ ํŒŒํƒ„์€ ๊ธฐ์šฐ์— ์ง€๋‚˜์ง€ ์•Š๋Š”๋‹ค. ์˜คํžˆ๋ ค ๋ˆˆ์— ์ต์ˆ™ํ•˜์ง€ ์•Š์€ ์ƒ๊ฒฝํ•จ์ด์•ผ๋ง๋กœ ์ฐฝ์ž‘์˜ ์‚ฐ๋ฌผ์ž„์„ ๋ช…๋ฐฑํ•˜๊ฒŒ ์ฆ๋ช…ํ•œ๋‹ค. ํฐ ์ƒ‰์˜ ํ•œ์ง€ ์œ„์— ๋จน๋ฌผ์„ ๋“ฌ๋ฟ ๋จธ๊ธˆ์€ ๋ถ“์ด ๋™์„ ์„ ๋“œ๋Ÿฌ๋‚ด๋Š” ์žฅ๋ฉด์€ ๊ทน์ ์ด๋‹ค. ์˜†์œผ๋กœ ๋‹จ์ˆœํ•˜๊ฒŒ ๊ทธ๋Ÿฌ์ง€๋Š” ๊ตต์€ ์„ ์ด๋‚˜ ๋จน๋ฌผ์ด ํ˜๋Ÿฌ๋‚ด๋ฆฐ ์ˆ˜์ง์˜ ๋จน๋ฌผ ์ž๊ตญ ๋”ฐ์œ„๋Š” ์‹œ๊ฐ์ ์ธ ํšจ๊ณผ๋ฅผ ๋†’์ด๋Š”๋ฐ ๊ธด์š”ํ•˜๋‹ค. ํŒฝํŒฝํ•œ ๊ธด์žฅ๊ฐ์„ ์ˆ˜๋ฐ˜ํ•˜๋Š” ๊นŒ๋‹ญ ์ด๋‹ค. ๋”๊ตฌ๋‚˜ ์‚ฌ์‹ค์ ์ธ ์ด๋ฏธ์ง€์™€ ์ถ”์ƒ์ ์ธ ์„ ์˜ ์„ ๋ช…ํ•œ ๋Œ€๋น„๋Š” ๋†€๋ผ์šด ๊ฒฝํ—˜ ์ด๋‹ค. ๋ถ“์˜ ์กด์žฌ๊ฐ์„ ๋“œ๋Ÿฌ๋‚ด๊ธฐ ์œ„ํ•œ ์„ค์ •์ด ์•„๋‹ˆ๋ผ ์ฐฝ์˜์ ์ธ ์กฐํ˜•๊ณต๊ฐ„์˜ ์ฐฝ ์ถœ์ด๋ผ๋Š” ์ƒˆ๋กœ์šด ์กฐํ˜•์–ด๋ฒ•์˜ ์„ ์–ธ์ด์—ˆ๋‹ค. ๋ถ“์œผ๋กœ ๊ธ‹๋Š” ์„ ์˜ ์ด๋ฏธ์ง€๋Š” ์ž์ฒด์ ์ธ ๋ฐœ์„ฑ์„ ๊ฐ€์ง€๊ณ  ์žˆ๋‹ค. ์ด๋ฏธ ๋ถ“์— ์˜ํ•œ ํ‘œ ํ˜„์ ์ธ ํ–‰์œ„์˜ ๊ฒฐ๊ณผ๋กœ ๋‚˜ํƒ€๋‚˜๊ณ , ๊ทธ ์ž์ฒด๋กœ ์ถ”์ƒ์ ์ธ ๊ณต๊ฐ„์„ ์ ์œ ํ•˜๋Š” ๊นŒ๋‹ญ ์ด๋‹ค. ๋‹จ์ˆœํžˆ ๋ถ“์„ ์œ„ํ•œ ๋ณด์กฐ์ ์ธ ์—ญํ• ์— ๋จธ๋ฌด๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ผ, ์ž‘ํ’ˆ์˜ ์ด๋ฏธ์ง€ ์˜ ํ•œ ๋ถ€๋ถ„์„ ์ฐจ์ง€ํ•˜๊ณ  ์žˆ๋‹ค. ๋ถ“์— ์˜ํ•œ ํ‘œํ˜„์€ ๋ถ“์˜ ์กด์žฌ์™€ ๋”๋ถˆ์–ด ์ž‘ํ’ˆ์˜ ๋‚ด์šฉ์—๊นŒ์ง€ ๊ด€์—ฌํ•˜๋Š” ํ‘œํ˜„์ ์ธ ์ด๋ฏธ์ง€๋กœ์„œ์˜ ๊ฐ€์น˜๋ฅผ ์ง€๋‹ˆ๋Š” ๊ฒƒ์ด๋‹ค. ์ด์ฒ˜๋Ÿผ ์‚ฌ์‹ค์ ์ธ ์ด๋ฏธ์ง€์˜ ๋ถ“๊ณผ ๊ทธ ๋ถ“์— ์˜ํ•ด ๊ทธ๋ ค์ง„ ์ถ”์ƒ์ ์ธ ์„ ์ด ํ•˜๋‚˜์˜ ํ™”๋ฉด์— ์„œ ๋™๊ฑฐํ•˜๋ฉฐ ์ ˆ๋ฌ˜ํ•˜๊ฒŒ ์กฐํ™”๋ฅผ ์ด๋ฃฌ๋‹ค. ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ๊ทธ ์ดํ›„์— ์ „๊ฐœ๋˜๋Š” ๋ณด๋‹ค ์ง์ ‘์ ์ธ ์ˆ˜๋ฌต์˜ ํ‘œํ˜„์€ ์–ด๋Š์ƒˆ ๋ถ“๊ณผ ๋Œ€๋“ฑํ•œ ์œ„์น˜๊ฐ€ ๋œ๋‹ค. ๋ถ“์˜ ์ œ์Šค์ฒ˜์— ์˜ํ•œ ์ˆ˜๋ฌต์˜ ํ‘œํ˜„์ด ์ ๊ทน์ ์œผ๋กœ ๋„์ž…๋˜ ๋ฉด์„œ ์‹œ๊ฐ์ ์œผ๋กœ๋„ ํ•œ์ธต ํ’๋ถ€ํ•ด์ง€๊ณ  ๋‚ด์šฉ ๋˜ํ•œ ์‹ฌํ™”๋œ๋‹ค. ํ•œ ์ค„์˜ ์„ ์ด๋‚˜ ๋ฌต ํ”์— ๊ทธ์น˜๋˜ ์ˆ˜๋ฌต์˜ ์ด๋ฏธ์ง€๊ฐ€ ๋ณด๋‹ค ์ ๊ทน์ ์ธ ์ œ์Šค์ฒ˜๋ฅผ ๋ณด์ด๋ฉด์„œ ์ด๋Ÿฌํ•œ ์ƒํ™ฉ ์€ ๋”์šฑ ๋šœ๋ ทํ•ด์ง„๋‹ค. ๋ถ“์˜ ์ด๋ฏธ์ง€์— ์ผ์ž„ํ•˜๋˜ ์ •๋ฌผํ™”์˜ ๊ฐœ๋…์—์„œ ๋ฒ—์–ด๋‚˜ ๋ณด ๋‹ค ํšŒํ™”์ ์ธ ํ‘œํ˜„์œผ๋กœ์„œ์˜ ๊ฐ€์น˜์— ์‹œ์„ ์„ ๋Œ๋ฆฐ ๊ฒฐ๊ณผ์ด๋‹ค. ๋‹จ์กฐ๋กœ์šธ ์ˆ˜๋„ ์žˆ ๋Š” ๋ถ“์˜ ์ด๋ฏธ์ง€์— ์ˆ˜๋ฌต์˜ ํ‘œํ˜„์ด ๊ฐ€์„ธํ•จ์œผ๋กœ์จ ์กฐํ˜•์˜ ์ง€ํ‰์ด ํ•œ์ธต ๋„“์–ด์ง€๊ฒŒ ๋˜์—ˆ์Œ์€ ๋ฌผ๋ก ์ด๋‹ค. ์ˆ˜๋ฌต์˜ ํ‘œํ˜„์ด ์ ๊ทน์ ์œผ๋กœ ๋„์ž…๋จ์œผ๋กœ์จ ์ถ”์ƒ์ ์ธ ํ‘œํ˜„์ด ํ™”๋ฉด์„ ์ฐจ์ง€ํ•˜๋Š” ๋น„์ค‘์ด ๋†’์•„์ง€๊ณ  ๊ทธ ํ‘œ์ •๋„ ๋‹ค์–‘ํ•ด์ง„๋‹ค. ํ•œ ๋ฒˆ์˜ ๋ถ“์งˆ๋กœ ๋๋‚˜๋Š” ์„ ์ด ์•„๋‹ˆ๋ผ, ํ™”๋ฉด์„ ์ˆ˜๋ฌต์œผ๋กœ ๋ฎ์–ด๋‚˜๊ฐ€๋Š” ๋ฐ˜๋ณต์ ์ธ ํ–‰์œ„๊ฐ€ ์ง€์†๋˜๋Š” ๊ฐ€์šด๋ฐ ์ˆ˜๋ฌต์— ์˜ํ•œ ํšŒํ™”์ ์ธ ์ด๋ฏธ์ง€๊ฐ€ ํฐ ๋ถ€๋ถ„์„ ์ฐจ์ง€ํ•˜๊ฒŒ ๋œ๋‹ค. ์—ฌ๊ธฐ์— ์ด๋ฅด๋ฉด ํ™”๋ฉด์€ ์ˆ˜๋ฌต์˜ ํ‘œํ˜„์ด ์ฃผ๋„ํ•˜๋Š” ์ƒํ™ฉ์œผ๋กœ ๋ฐ”๋€๋‹ค. ์ด๋•Œ ๋ถ“์€ ํ–‰์œ„๋ฅผ ์ฃผ๋„ํ•˜์ง€๋งŒ ์ˆ˜๋ฌต์˜ ํ‘œ ํ˜„์— ์˜ํ•ด ํ™”๋ฉด์˜ ์ฃผ๋„๊ถŒ์„ ๋นผ์•—๊ธฐ๋Š” ํ˜•๊ตญ์ด ๋œ๋‹ค. ์ˆ˜๋ฌต์˜ ์ด๋ฏธ์ง€๊ฐ€ ํ™”๋ฉด์˜ ์ ˆ๋ฐ˜์„ ์ฐจ์ง€ํ•œ๋‹ค๋“ ๊ฐ€, ๋˜๋Š” ํ™”๋ฉด ์ „์ฒด๋ฅผ ๋ฎ๋Š” ๊ฒฝ์šฐ ๋„ ์žˆ๋‹ค. ๋˜ํ•œ ๋จน๋ฌผ์„ ๋“ฌ๋ฟ ๋ฌปํžŒ ๋ถ“์„ ํ™”๋ฉด ์ค‘์‹ฌ์— ๋†“์•„๋‘ ์œผ๋กœ์จ ๋จน๋ฌผ์ด ์ข…์ด

Lee Jung Woong

the strokes of perception

์— ์Šค๋ฉฐ๋“ค๋ฉฐ ๋ฒˆ์ ธ๋‚˜๊ฐ€ ์‹œ์„ ์„ ์••๋ฐ•ํ•  ๋งŒํผ ์ปค๋‹ค๋ž€ ๋™์‹ฌ์›์„ ๋งŒ๋“ค์–ด๋†“๊ธฐ๋„ ํ•œ ๋‹ค. ์ด๋ ‡๋“ฏ์ด ํ™”๋ฉด์˜ ์ƒ๋‹น ๋ถ€๋ถ„์„ ์ž ์‹ํ•˜๊ฑฐ๋‚˜ ํ™”๋ฉด ์ „์ฒด๊ฐ€ ์ˆ˜๋ฌต์˜ ์ด๋ฏธ์ง€๋ฅผ ์ฑ„์›Œ์ง€๋Š” ์ž‘์—…์—์„œ๋Š” ๋ถ“์˜ ์šด๋™์„ฑ์ด ๊ฐ•๋ ฌํ•˜๊ฒŒ ๋ถ€๊ฐ๋œ๋‹ค. ์ด ์ •๋„๋ฉด ์ฃผ๊ฐ์ „๋„ ์˜ ์ƒํ™ฉ์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ์ˆ˜๋ฌต์˜ ์ด๋ฏธ์ง€๊ฐ€ ํ™”๋ฉด์˜ ์ฃผ๋„๊ถŒ์„ ์žฅ์•…ํ•˜๊ณ  ์ง€๋ฐฐ ํ•˜๊ฒŒ ๋˜๋Š” ๊ฒƒ์ด๋‹ค. ๋ฐ˜๋ฉด์— ๋ถ“์˜ ์กด์žฌ๊ฐ์ด ํฌ๊ฒŒ ์•ฝํ™”๋˜๊ณ  ์žˆ๋‹ค. ์ด๋ฏธ์ง€์˜ ์ฆ์‹ ๋˜๋Š” ์กฐํ˜•์˜ ๋ณ€์ฃผ๋ผ๋Š” ํ˜•ํƒœ๋กœ ์ „๊ฐœ๋˜๊ณ  ์žˆ๋Š” ์ˆ˜๋ฌต์˜ ํ‘œํ˜„์€ ๋ถ“์˜ ์ข…์†์„ฑ์„ ํƒˆํ”ผํ•˜์—ฌ ๋ณด๋‹ค ํšŒํ™”์ ์ธ ์ด๋ฏธ์ง€๋ฅผ ์–ป๊ธฐ ์œ„ํ•œ ์ˆ˜๋ฒ•์ด๋‹ค. ํ•˜์ง€ ๋งŒ ์—ฌ๊ธฐ์—์„œ ์„ ๋ช…ํ•œ ๋ถ“์˜ ์กด์žฌ๊ฐ์ด ์•ฝํ™”๋จ์œผ๋กœ์จ ๊ทน์‚ฌ์‹ค์ ์ธ ์ด๋ฏธ์ง€์— ์˜ํ•œ ์‹œ๊ฐ์ ์ธ ์ถฉ๊ฒฉ ๋˜ํ•œ ๋ฐ˜๊ฐํ•˜๊ฒŒ ๋œ๋‹ค. ์ด์™€ ๊ฐ™์€ ๋ฌธ์ œ๋ฅผ ์˜์‹ํ•œ ํƒ“์ธ์ง€ ๋ถ“์€ ๊ทน ์ ์ธ ๋ฐ˜์ „์„ ๋„๋ชจํ•œ๋‹ค. ๋ถ“์˜ ์กด์žฌ๊ฐ์„ ํšŒ๋ณตํ•˜๋ ค๋Š” ๋“ฏ ์ผ๋ จ์˜ ๊ฐ•๋ ฌํ•œ ์ด๋ฏธ์ง€ ๋กœ ๋‹ค์‹œ ์กด์žฌ์„ฑ์„ ๋“œ๋Ÿฌ๋‚ธ๋‹ค. ์ˆ˜๋ฌต์„ ๋“ฌ๋ฟ ๋จธ๊ธˆ์€ ๋ถ“์œผ๋กœ ํ™”๋ฉด ์ค‘์‹ฌ์„ ํ–ฅํ•ด ํž˜ ๊ป ๋‚ด๋ ค์นจ์œผ๋กœ์จ ํ•œ์ง€์— ๋ถ€๋”ช์น˜๋Š” ์ˆœ๊ฐ„ ๋จน๋ฌผ์ด ์‚ฌ๋ฐฉ์œผ๋กœ ํŠ•๊ธฐ๋Š” ์ƒํ™ฉ์ด ๋ฒŒ์–ด ์ง„๋‹ค. ์ด์ฒ˜๋Ÿผ ์ˆ˜๋ฌต์„ ์‚ฌ์—ญํ•˜๋Š” ๋ฐฉ๋ฒ•, ์ฆ‰ ๋จน๋ฌผ์ด ์‚ฌ๋ฐฉ์œผ๋กœ ํŠ•๊ฒจ๋‚˜๊ฐ€๋Š” ๋น„์‚ฐ์˜ ์ด๋ฏธ์ง€๋Š” ์‹œ๊ฐ์ ์ธ ์พŒ๊ฐ์„ ๋ถˆ๋Ÿฌ์ผ์œผํ‚จ๋‹ค. ์˜์‹์˜ ํ•ด๋ฐฉ ๋˜๋Š” ์ž ์žฌ๋œ ์š•๋ง์˜ ๋ถ„์ถœ์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋Š” ํ˜ธ์พŒํ•œ ๋ถ“์˜ ๊ฐ•ํƒ€๋Š” ๋ˆ„๊ตฌ๋„ ์˜ˆ์ƒํ•˜์ง€ ๋ชปํ•œ ๋ถ“์˜ ์ผ๋Œ€ ๋ฐ˜๊ฒฉ์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ๊ทธ๋Š” ์ด์™€ ๊ฐ™์€ ๋น„์‚ฐ์˜ ์ด๋ฏธ์ง€๋ฅผ ์œ„ํ•ด ์ ์ง€ ์•Š์€ ๋…ธ ๋ ฅ์„ ๊ธฐ์šธ์˜€๋‹ค. ์ž์—ฐ์Šค๋Ÿฝ๊ณ ๋„ ํž˜์ฐจ๊ฒŒ ํŠ•๊ธฐ๋Š” ์ˆ˜๋ฌต์˜ ์ด๋ฏธ์ง€๋ฅผ ์–ป๊ธฐ ์œ„ํ•ด์„œ๋Š” ์ˆ˜๋งŽ์€ ํŒŒ์ง€๋ฅผ ๊ฐ์ˆ˜ํ•˜์ง€ ์•Š์œผ๋ฉด ์•ˆ ๋˜์—ˆ๋‹ค. ๋ถ“์„ ํ•œ์ง€ ์œ„์— ๋‚ด๋ ค์น˜๋Š” ์ง€๊ทนํžˆ ๋‹จ์ˆœํ•œ ํ–‰์œ„๋ฅผ ํ†ตํ•ด ์–ป์–ด์ง€๋Š” ๋น„์‚ฐ์˜ ์ด๋ฏธ ์ง€๋Š” ํƒ€๊ฒฉ์˜ ํž˜์„ ์ƒ์ง•ํ•œ๋‹ค. ์ด๋Š” ๊ฐ•๋ ฅํ•œ ๋‚จ์„ฑ์ ์ธ ํž˜์˜ ์ƒ์ง•์ ์ธ ํ‘œํ˜„์ด๋ผ ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ์‚ฌ๋ฐฉ์œผ๋กœ ์ˆœ์‹๊ฐ„์— ํŠ•๊ฒจ๋‚˜๊ฐ€๋Š” ์†๋„๊ฐ ๋ฐ ํƒ€๊ฒฉ์˜ ํ”์ ์—๋Š” ๋ฏธ ์  ์พŒ๊ฐ์ด ์ž๋ฆฌํ•œ๋‹ค. ์ด์ฒ˜๋Ÿผ ํž˜์ฐฌ ์‹ ์ฒด์ ์ธ ํž˜์˜ ๊ณผ์‹œ๋ฅผ ํ‘œํ˜„ํ–ˆ๋˜ ๊ทธ๋ฆผ์ด ์ผ ์ฐ์ด ์žˆ์—ˆ๋˜๊ฐ€? ์ด๋Š” ์ถฉ๊ฒฉ์ ์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ์„ ๋งŒํผ ์ƒˆ๋กœ์šด ํ‘œํ˜„๋ฐฉ์‹์ด๋‹ค. ์ •์ ์ด๊ณ  ์ •๊ด€์ ์ธ ์ด๋ฏธ์ง€ ๋ฐ ์ •์„œ๋ฅผ ์ค‘์‹œํ–ˆ๋˜ ์ˆ˜๋ฌตํ™”์˜ ์„ธ๊ณ„์™€๋„ ํ™•์—ฐํžˆ ๋‹ค ๋ฅธ ์„ธ๊ณ„์ธ ๊ฒƒ์ด๋‹ค. ์ ์ง€ ์•Š์€ ๋ฏธ์ˆ ์• ํ˜ธ๊ฐ€๋“ค์„ ๋งค๋ฃŒ์‹œํ‚จ ๊ฒƒ๋„ ์šฐ์—ฐ์€ ์•„๋‹ˆ๋‹ค. ๊ทธ์˜ ์ตœ๊ทผ ์ž‘์—…์€ ๋‹ค์‹œ ๋ถ“์˜ ํ‘œํ˜„์„ฑ์„ ์ค‘์‹œํ•˜๋Š” ๊ฒฝํ–ฅ์ด๋‹ค. ์ˆ˜๋ฌต์˜ ์šด์šฉ์€ ๋ถ“ ๊ณผ ๋–ผ์–ด๋†“์„ ์ˆ˜์—†๋Š” ๊ด€๊ณ„์ด๋‹ค. ์—ญ์‹œ ๋ถ“์˜ ์ œ์Šค์ฒ˜์— ์˜ํ•œ ์ˆ˜๋ฌต์˜ ํ‘œํ˜„์€ ํ•„์—ฐ ์ ์ธ ๊ฒฐ๊ณผ๋ฌผ์ด๋‹ค. ์„œ์˜ˆ ๋ฐ ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๋Š” ๋„๊ตฌ๋กœ์„œ์˜ ์š•๋ง์„ ๊บพ์ง€ ์•Š๋Š” ํ•œ ์ˆ˜ ๋ฌต์—์˜ ์—ด๋ง์€ ์ง€์†๋  ์ˆ˜๋ฐ–์— ์—†๋‹ค. ๊ทธ ๋˜ํ•œ ๋ถ“์˜ ์ž ์žฌ์ ์ธ ์š•๋ง์„ ํ”์พŒํžˆ ๋ฐ› ์•„๋“ค์ด๊ณ  ์žˆ๋‹ค. ๋ฌผ๋ก  ์ด์ „์˜ ๊ฐ„๊ฒฐํ•œ ์„ ์ด๋‚˜ ์ถ”์ƒ์ ์ธ ํ‘œํ˜„, ๋˜๋Š” ์ˆ˜๋ฌต์˜ ๋ฒˆ์ง ๊ณผ ๊ฐ™์€ ๋ฐฉ์‹๊ณผ๋Š” ๋‹ฌ๋ฆฌ ์ด๋ฏธ์ง€ ํ‘œํ˜„์— ๋ณด๋‹ค ์ ๊ทน์ ์ด๋‹ค. ๊ธฐ๋‹ค๋ž€ ๊ณก์„ ์„ ๋น„๋กฏํ•˜์—ฌ ๋‹จ์„ ์ ์ด๋ฉด์„œ๋„ ๋ฐ˜๋ณต์ ์ธ ํŒจํ„ด์„ ๋”ฐ๋ฅด๋Š” ์ถ”์ƒ์ ์ธ ์ด๋ฏธ์ง€๋ฅผ ์ˆ˜์šฉํ•œ๋‹ค. ์‹ ์ฒด์ ์ธ ํž˜์„ ์‚ฌ์—ญํ•˜๋Š” ๋ถ“์˜ ์ œ์Šค์ฒ˜๋Š” ํšŒํ™”์ ์ธ ์ด๋ฏธ์ง€ ๋ฅผ ๊ฐ•ํ™”ํ•˜๊ฒ ๋‹ค๋Š” ์˜์ง€๋ฅผ ์ˆจ๊ธฐ์ง€ ์•Š๋Š”๋‹ค. ๊ทธ๋Ÿฌ๊ธฐ์— ์ตœ๊ทผ ์ž‘์—…์—์„œ ๋ถ“์„ ์ œ์™ธ

ํ•˜๋ฉด ๊ทธ๋Œ€๋กœ ํ˜„๋Œ€์˜ ์ถ”์ƒํšŒํ™”๊ฐ€ ๋œ๋‹ค. ๋ถ“์ด ์กด์žฌํ•˜์ง€ ์•Š๋”๋ผ๋„ ๊ทธ ์ž์ฒด๋กœ ์™„ ์„ฑ๋„ ๋†’์€ ์ถ”์ƒํšŒํ™”๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ์ด๋ ‡๋ฐ ๋˜๋ฉด ๋‹ค์‹œ ๋ถ“์˜ ์กด์žฌ๊ฐ์€ ํ›„ํ‡ดํ•˜ ๊ฒŒ ๋œ๋‹ค. ๋Œ€์‹ ์— ๋ณด๋‹ค ๋‹ค์–‘ํ•œ ์กฐํ˜•์ ์ธ ๋ณ€์ฃผ๊ฐ€ ๊ฐ€๋Šฅํ•ด์ง„๋‹ค. ๋ถ“์ด๋ผ๋Š” ์†Œ์žฌ๊ฐ€ ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ๊ทน๋ช…ํ•œ ์‚ฌ์‹ค์„ฑ๊ณผ ๋”๋ถˆ์–ด ๊ทธ ๋ถ“์ด ๋‹ค์–‘ํ•œ ์กฐํ˜•์ ์ธ ๋Šฅ๋ ฅ์„ ๋ฐœํœ˜ ํ•˜๊ณ  ์žˆ์Œ์„ ์ƒ๊ธฐ์‹œํ‚ค๋Š” ๊ฒƒ์ด๋‹ค. ์ด๋กœ์จ ์•Œ ์ˆ˜ ์žˆ๋“ฏ์ด ๊ทธ์˜ ์ตœ๊ทผ ์ž‘์—…์€ ํ•œ์ง€๋ผ๋Š” ๋น„ํ‘œํ˜„์ ์ธ ๊ณต๊ฐ„์—์„œ ์ „๊ฐœ ๋˜๋Š” ์ˆœ์ˆ˜ํ•œ ์กฐํ˜•์˜ ๋ฌ˜๋ฏธ๋ฅผ ์ถ”๊ตฌํ•œ๋‹ค. ์ˆ˜๋ฌต๊ณผ ๋ถ“์ด ํŽผ์ณ๋†“์€ ๋‹ค์–‘ํ•œ ์ด๋ฏธ์ง€ ๋ณ€์ฃผ๋Š” ํšŒํ™”์ ์ธ ์ˆœ์ˆ˜์„ฑ์„ ํšŒ๋ณตํ•˜๋ ค๋Š” ์˜์ง€๋กœ ๋ณด์ธ๋‹ค. ์œ ์ฑ„์ƒ‰์ด ์—†๋Š” ์ˆœ์ˆ˜ํ•œ ์ˆ˜๋ฌต๋งŒ์œผ๋กœ ๋”์šฑ ๊นŠ๊ณ  ์˜ค๋ฌ˜ํ•œ ์ถ”์ƒ์ ์ธ ๊ณต๊ฐ„์„ ๊ฒฝ์˜ํ•  ์ˆ˜ ์žˆ์Œ์„ ์‹ค์ฆํ•˜๋ ค๋Š” ์ง€ ๋ชจ๋ฅธ๋‹ค. ์ด๋กœ ์ธํ•ด ์ˆ˜๋ฌต์˜ ์ด๋ฏธ์ง€๋ฅผ ์ฃผ๊ด€ํ•˜๋Š” ๋ถ“์˜ ์กด์žฌ๊ฐ ๋ฐ ์—ญํ• ์€ ๋”์šฑ ๋ช…ํ™•ํ•ด์ง„๋‹ค. ๋ถ“์ด ํ™”๋ฉด์— ์‹ค์žฌํ•˜๋ฉด์„œ ์ˆ˜๋ฌต์˜ ์ด๋ฏธ์ง€๋ฅผ ์–ด๋–ป๊ฒŒ ์ „๊ฐœ์‹œํ‚ค๋Š”์ง€ ๊ทธ ์‹ค์ƒ์„ ๋ช…๋ฐฑํžˆ ๋ณด์—ฌ์ฃผ๊ณ  ์žˆ๋Š” ๊ฒƒ์ด๋‹ค.

Lee Jung Woong

the strokes of perception

BRUSH, 2012 Oil on Korean Paper 100 x 200cm

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

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Lee Jung Woong

the strokes of perception

brush - tensions of aesthetics Where are you going

from this beautiful morning sunshine

Have seen the momentary movement

Between your tension and my aesthetics

from its abstractive little paper

from this silence holy rhythm

Should start brushing those formlessness

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from on our coexistence

Lee Jung Woong

the strokes of perception

BRUSH, 2012 Oil on Korean Paper 200 x 140cm

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

BRUSH, 2013 Oil on Korean Paper 280 x 150cm

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

BRUSH, 2013 Oil on Korean Paper 170 x 100cm

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

BRUSH, 2013 Oil on Korean Paper 140 x 140cm

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

BRUSH, 2012 Oil on Korean Paper 140 x 140cm

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

BRUSH, 2012 Oil on Korean Paper 197 x 100cm

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

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Lee Jung Woong

the strokes of perception

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BRUSH, 2012 Oil on Korean Paper 350 x 140cm

Lee Jung Woong

the strokes of perception

BRUSH, 2010 Oil on Korean Paper 198 x 79cm

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Lee Jung Woong

the strokes of perception

BRUSH, 2012 Oil on Korean Paper 167 x 100cm

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

BRUSH, 2012 Oil on Korean Paper 140 x 140cm

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

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Lee Jung Woong

the strokes of perception

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BRUSH, 2013 Oil on Korean Paper 180 x 95cm

Lee Jung Woong

the strokes of perception

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

BRUSH, 2013 Oil on Korean Paper 190 x 140cm

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

BRUSH, 2012 Oil on Korean Paper 112 x 194cm

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Lee Jung Woong

the strokes of perception

BRUSH, 2012 Oil on Korean Paper 170 x 98cm

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

BRUSH, 2012 Oil on Korean Paper 195 x 137cm

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Lee Jung Woong

the strokes of perception

BRUSH, 2012 Oil on Korean Paper 140 x 140cm

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

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Lee Jung Woong

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the strokes of perception

Lee Jung Woong

the strokes of perception

Bio gr aphy 1963

Born in Wooleung-Gun,Korea

1993 1992 1990

SIMMI Art Space (Daegu, Korea) HANSUNG Gallery (Daegu, Korea) IMOK Art Space (Daegu, Korea)

SOLO e xh ibit ion 2013 2012 2011 2009

2008 2007 2006 2005 2004 2003 2002 2001

1999 1998 1995 1994

Ode To Art Contemporary (Kuala Lumpur, Malaysia) Soul Art Space (Buson,Korea) ODE TO ART Contemporary (Singapore) Suseong Artpia, Maek-Hyang Gallery (Daegu, Korea) Gallery TN (Beijing, China) Gana New York (New York Chelsea) Tsubaki (Tokyo, Japan) Gana Art Gallery. Insa Art Center (Seoul, Korea) Asia Art Center (Taiwan) LEE HWAIK Gallery (Seoul, Korea) GSR Gallery (Beijing. China) Gallery Wil (Seoul, Korea) Gallery M (Daegu, Korea) INSA ART CENTER (Seoul, Korea) DEBEC Plaza Gallery (Daegu, Korea) GONG SAN Gallery (Daegu, Korea) GONG SAN Gallery (Daegu, Korea) Gallery PRADO (Daegu, Korea) EURO Gallery (Seoul, Korea) GONG SAN Gallery (Daegu, Korea) INDECO Gallery (Seoul, Korea) Debec Plaza Gallery (Daegu, Korea) Debec Gallery (Pohang, Korea) INDECO Gallery (Seoul, Korea) Debec Plaza Gallery (Daegu, Korea) Debec Gallery (Pohang, Korea) BONG SUNG Gallery (Daegu, Korea) Debec Plaza Gallery (Daegu, Korea) Debec Gallery (Pohang, Korea)

SEL ECTED GROUP EX HI BI TIONS 2013

2012

2010

2009

At the Nexus of Painting and Writing Seoul Arts Center, Seoul) The Beauty of Stillness (Superior Gallery. Seoul) Artshow Busan 2013 An East Wind to the Rose Garden (Chosun University) Contemporary Temporary (Aki Gallery,Seoul) Busan Biennale (Busan, Korea) Mind Drawing (Gana Art Center, Seoul) LeeJung-Woong & LeeJae-Hyo (Beacon Gallery, Seoul) Atelier Graduation Exhibition (Gana Art Center, Seoul) SH Contemporary10 (Maek -Hyang Gallery, Shanghai, China) Korean Group Show 1 (Galerie von Braunbehrens, Munich, Germany) Another Daily Life - Past and present of Hyperrealism (Sungnam Art Center, Gyeonggi-do) Peace Dream Arts Festival (Andalusia, Spain)

68

Lee Jung Woong

the strokes of perception

The Still: Logical Conversation, (Gallery Hyundai Gangnam Spaece Seoul) Gumi International Festival of Modern Fine Arts (Gyeongsangbuk-do) Beyond Definition: Still-Life, Portrait, Landscape, (Interalia Seoul) SH Contemporary`09 (Maek-Hyang Gallery, Shanghai, China) 2008 Let A Thousand Flowers Blossom (INSA Art Center Seoul) Singapore Korea Modern Art Exhibition (Singapore Art Museum, Singapore) Art Figuratif & Art Seoul (Seoul Art Center, Seoul) Art Taipei 2008 (Taiwan, China)

2007

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Art Beijing 2008 (Maek-Hyang Gallery, Beijing, China) 2007 The 1st Art Auction Show in Seoul, (Seoul COEX) 2โ€™s People Exhibition La Case Gallery (China, Beijing) My Private Collection, Gana Art Gallery (Seoul) KAMIโ€™s Choice - The Best of Best 20, Insa Art Center. (Seoul, Korea) Art Beijing2007 (Maek-Hyang Gallery, Beijing,China) Duo Exhibition in LaCase Gallery (Beijing, China) 2007 Oriental (Korea-China) Vision (Beijing, China) 4 Artists 4 Color (Maek-Hyang Gallery,Daegu,Korea) My Private Collection (Gallery MIRU, Gana Art Center, Seoul)

2006

Draw (Seoul Museum of Arts center, Seoul) The Flow,POSCO Art Museum (Seoul) Korea Figurative Art Exhibition, Seoul Art Center (Seoul) ARCO Art fair (Madrid, Spain)

2005

Singapore Art fair Singapore) Taipei Art fair (Convention Center. Taiwan)

2004

SHANGHAI ART FAIR (China, Shanghai) SEOUL ART FAIR (Seoul Art center, Seoul) LOTTE ART FAIR (LOTTR Gallery, Busan) A Parallel History (Cyan Museum of Art) EUROPE ART Fair (GENEVE, Switzerland) Start 2005 (PARIS FRANCE) Korea Concreate Sculpture Exhibition (Seoul Art center) Korea International Art Fair (Seoul COEX) FIGURATIVE ART FESTIVAL (Deagu) Rice Cake Soup for New Year (Doosan Art Center, Seoul) Box Exhibition - Korean &Japanese Artists (Gallery M, Daegu,Korea) Singapore Art fair (Singapore) SHANGHAI ART FAIR (China, Shanghai) Today`s Art & Art In Daegu (Dong a Museum, Deagu, Korea) painting & sculpture with Expression (Chungjak Gallery, Seoul) Existence &Art Festival (Seoul Arts Center, Seoul) Artist Couple Preview (Debec Plaza Gallery, Daegu, Korea) 3โ€™s People Exhibition (Dong a Museum of Art) 5โ€™s People Exhibition (Debec Gallery, Deagu) 5โ€™s People Exhibition (LEEHYUN GALLERY, Deagu) Dak Exhibition (Debec Plaza Gallery, Daegu, Korea) Outing in Sprin with 30 Artists (Cyan Museum, Gyeongsangbuk-do, Korea) The Age of Fourty`Figurative Artsts

Lee Jung Woong

the strokes of perception

2003

2002

Exhibition (Gallery Woolin, Seoul) Daegu Artists Preview (Daejeon Civic Center, Daejeon, Korea) Representation & Realization (Daegu Culture & Arts Center, Daegu, Korea) 4โ€™s People Exhibition (Gallery Sang, Seoul) MYART FAIR (SEOUL MUSEUM OF ART) FIGURATIVE ART FESTIVAL (Deagu) 06 Korea lnternational Art Fair (COEX, Seoul) SHANGHAI ART FAIR (China, Shanghai) Daegu Art Expo 2003 (Exco, Daegu) Best Star & Best Artist (In Sa Art Center, Seoul) 5 Artistsโ€™ Preview of Autumn (Debec a Department Store, Daegu) Daegu MILA NO Fine Arts ExHibition (Daegu Culture Art Holl) A Showig of My Familyโ€™s Picture (Hyundri Gallery, Ulsan) KFGE Artistโ€™s Preview (In Sa Art Plaza Gallery, Seaul) The Exhibition Beauty of Korea (In Sa Art Plaza Gallery, Seoul) The Aroma (Sejong Gallery, Seaul) LOTTE HOTEL Gallery Exhibition (LOTTE HOTEL Gallery, Busan) An Exhibition of Brushnd Chines ink & Western Painting (Mulpa Art Center, Seoul) An Exhibition that Nine People Greet Sprong (Gallery Prado, Daegu) 2002 KCAF Korean Contemporary Art Festival (Seoul Arts Center) Daegu Art Expo 2002 (Daegu Culture Art Holl) Chung Dam Art Fair (Chung Gallery, Seoul) Gong San Gallery 2 Artists of Exhibition (Gong San Gallery, Daegu) Gong San Gallery 2 Artists of Exhibition (Gong San Gallery, Daegu)

Korean Contemporary Art Festival (Sung San Art Hall, Changwon) 4โ€™s People Exhibition (Sun&Moon Gallery, Seoul) 2โ€™s People Exhibition (DONG WON Gallery, Daegu) 2โ€™s People Exhibition (WOONG Gallery, Seoul) Exhibition for a Proposition on the Collection (GAHGAIN Gallery, Seoul) Four Stories of drawing (DONG A Gallery, Daegu) Rose Festival (Gallery SANG Seoul) 2001

2000

An a Graphic of the Southern Part Conception (Ulsan Culture Art Holl, Ulsan) FRUIT Exhibition (Rene Gallery, Seoul) 2โ€™s People Exhibition (Posco Gallery, Pohang) The Mind of Flower (Myung dong Gallery, Seoul) Exhibition of Life in a Picture (Nain Gallery, Seoul) Showing of the Corre Ponding Dare of Generation (Song A Dang Gallery, Daegu) Small this Beautiful (Myung dong Gallery, Seoul) Gong San of Exhibition (Gong San Gallery, Daegu) 2000 MANIF Seoul (Seoul Arts Center,Seoul) 2000 PICAF Art Fair (Pusan Art center) The Small Pieces Show of Painting for Nos Millennium (Sun Gallery, Seoul)

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Lee Jung Woong

Daegu Plastic Paintings-Exhibition of the Backbone Artistsll (Chung San Gallery, Daegu) IN DER Gallery Exhibition (In Der Gallery,Kyunggi-Do) HYUN DAI a Department Store Art Fair (Hyun Dai Art Gallery, Seoul) A Quiet Picture Exhibition (Su Ka Art Space, Busan) 1999

In Caf In Ter Nat Lonal Contemporary Art Fair (Japan, Tokyo) SEOUL ART FAIR (Seoul Art Center, Seoul) Art Festival in May (Galley Focus, Seoul) Art & Movie TV Preview (A&C Art Mrt) In Vitation Exhibition of Korea Plastic Artist (Taejon Municipal Museum of Art, Daegu) 2 Young the Visual Angle Preview (Galley Focus, Seoul) Twelve up and coming Artist (Rene Galley, Seoul) Ah! the Republic of Korea Invitaion Exhibition (Gallery Sang, Seoul) A Showing for BEC Nam June Supporting (Debec Plaza Gallery, Daegu)

1998

2 And Exhibition Century Art (Ne Jan Gallery, Seoul) The Show of Small Paintings for Seeing The old Year (Gallery Focus, Seoul) In Vitation for being Arest Place of Mind (Bukak Gallery, Seoul)

1997

Century Art Exhibition (Gallery Sang, Seoul) SEOUL ART FAIR (Seoul Art Center, Seoul) Ctober Exhibition (Dong-A Gallery, Seoul) Memori Exhibition of B612 Galleryโ€™s Opening (Gallery B612) 8Memberโ€™s Exhibition (Dae Dong Bank Gallery, Daegu) 2 Artist of Exhibition (Daegu Bank Gallery, Daegu)

71

the strokes of perception

15 Artist of Exhibition (Dong-A Gallery, Taegu) 1996

CHUNG DAM ARTFAIR (Gallery Focus, Seoul) The Spring,Spring,Spring of Exhibition (DongWon Gallery) 8Memberโ€™s Exhibition (Dong Ju Gallery, Seoul) 96 The Korea young Artist Biennale (Daegu,Culture Art Holl) Art Festival in May (Han Sung Gallery, Daegu) Daegu Love Exhibition (Daegu Culture Art Holl, Daegu) Song-A-Dang of Exhibition (Song-A-Dang Gallery, Taegu) The Exhibition of Daegu young-Artists Association (Dong-A-Gallery)

1995

โ€˜95 Art Fair invited Exhibition of meet the Excellent,artist (Bong sung Gallery) BonSan Art Fair (SinMi Gallery, Min Gallery, Daegu) 6 Artists of Painting Exhibition (YeRim Gallery, Daegu) Young Artist Preview (Ullung Culture Art Holl, Uilung) 23 Young Artist Preview (Dong-A-Gallery, Daegu) Art Festival in May (Focus Gallery Seoul)

1994

1994 SEOUL ART FAIR (Seoul Art Center, Seoul) 2 Artist of Preview (Time Gallery, Seoul)

Lee Jung Woong

the strokes of perception

5th Anniversary-Memorial Show for Hee Hwarang Opening (Pusan) 10th Anniversary-Memorial Show for First Publication of Art World (De Bec Plaza Gallery, Daegu) 45 Artist Preview (SinMi Hwarang Daegu) Opening Show of Hyundai Gallery (Hyundai Gallery, Seoul) 3 Artist of Preview (Joungang Gallery, Daegu) The Hyundai Art Gallery of Preview (Hyundai Gallery, Seoul) 3 Artist of Preview (SinMi Hwarang Daegu) 1993

1992

SEOUL ART FAIR (Seoul Art Center, Seoul) Local Artisr Preview (Chamsil Lotte Art Center, Seoul) BongSan Art Fest Fesrival (SinMi Hwarang Daegu) 100 Pieces Show of Small Paintings for Seeing the Old year (Gallery Time, Seoul) 2th Anniversary-Memorial Show of Hyundai Gallery (Hyundai Gallery, PuSan) The Small Piecea Show of Painting (Park Gallery, Seoul) 2th Anniversary-Memorial Show of Kukjai Gallery (Daegu) The Small Piecea Show on Winter (Min Gallery, Daegu) The New-Spring Planning Exhibition of Hyundai Art Gallery (Seoul) The Removal and Opening Show of Gallery Time (Seoul) The New-Spring Planning Exhibition of Kukjai Gallery (Daegu) The Plastic Artist Preview of DEBEC Gallery (Daegu) 2 Artist Preview of Jung-Ang (Daegu) The Opening Memorial Exhibition of S Gallery (Daegu) The Spring Lght Show (Yei Ji Hwarang, Daegu) 5 Artist Preview of Jung-Ang Hwarang (Daegu) 21 Promising Artist Exhibition (Hyundai Art Gallery Seoul)

100Pieces Show of Small Paintings for Seeing the old year (Gallery Time, Seoul) The Preview for the Artist in Youngnam (WoolSan) 3 Artist Exhibition the meeting with Now Nature (Min Gallery, Daegu) 1991

BonSung Art Festival (BonSung Hwarang, Daegu) The Exhibition for the Light and Fresh Wind (Dan Gong Gallery, Daegu) The Opening Exhibition of Daegu Art Center (Daegu)

1990

Sea Painting Festival (ChangsungPo Culture Center) 10 Young Artist Preview (Dangong Gallery, Daegu) The Charity Exhibition for the Handicapped (I Mok Hwarang, Daegu) The Exhibition of Light and Fresh Wind (Dangong Gallery,Daegu)

1989

The 9 Young Artist Exhibition in this Province Planning Daegu Bank (Daegu) 3 Artist Exhibition (I Mok Hwarang, Daegu) 12 Artist Preview of Small pieces (Dangong Gallery, Daegu) 7 Artist Preview for Dangong Gallery Opening Anniversary (Daegu)

1998

11 Artist Exhibition (Yaemaek Hwarang,Daegu)

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Lee Jung Woong

1987

8 Artist Characteristic Exhibition (Chung-ang Art Center, Daegu)

1986

5 Artist Painting Show (Maekhwyang Hwarang, Daegu) The Preview of the accepted for Korea Great Art Exhibition (Taebek Hwarang, Daegu)

1989 - 97

Exhibited on the SimSangรข€™s Exhibition

Awards 2007

korea best artist selection

P ossession

73

Setai hotels miami Seoul city art museum Gyeonggi-do art museum Dae-Lim art museum Hoseo university Keimyung university Park Hyatt Busan

the strokes of perception

Lee Jung Woong

the strokes of perception

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Lee Jung Woong

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the strokes of perception

Lee Jung Wo ong the st rokes of perce p t ion First published 2013 on the occasion of Lee Jung Woong Solo Exhibition Held on 7 Dec 2013, at Ode to Art Pavillion, Kuala Lumpur, Malaysia Ode to Art, in partnership with

Ode To Art Raffles City 252 North Bridge Road, Raffles City Shopping Centre, #01-36E/F, Singapore 179103 T +65 6250 1901 F +65 6250 5354 Ode To Art Kuala Lumpur 168 Jalan Bukit Bintang, The Pavilion, #06-24E/F, Kuala Lumpur 55100, Malaysia Tel: +603 2148 9816 Fax: +603 2142 6816 info@odetoart.com odetoart.com ร‚ล  Ode To Art 2013 All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. Measurements of artworks are given in centimeters Printed and bound in Singapore

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