• 건축역사연구
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• 제32권1호
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• pp.7-20
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• 2023

The construction method of scaffolding structures is different from Mortise and Tenon and bucket arch structure of traditional large woodwork. It forms an independent construction system-fixing nodes with knots, a large number of diagonal braces are used to fix shelves and the structures mostly contain X-shape and triangular shape details. Simple ones include stalls, sheds, rain sheds, altars, lamp racks etc. But the scaffolding with larger scale and more complicated structure are modeled on archways, theatres and other buildings which are used in commercial and festival activities. At present, Macao, Hong Kong, Guangdong, Sichuan, Shanxi and other places in China have retained the custom of using scaffolding structures in important festival activities, but their uses, techniques and building types are slightly different from place to place. Due to building and demolishing at any time, the construction and service cycle is short. As a result, there are almost no physical objects left. We can only deduce the use and technical characteristics of ancient scaffolding skills through the colorful building styles that have been preserved with folk activities in various parts of China, the craftsmanship handed down from generation to generation by the scaffolding guild and artisans, and the description of cultural and historical materials and the mutual corroboration of visual materials.

• Architectural research
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• 제17권3호
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• pp.101-108
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• 2015

So far, the Japanese exhibitions in the colonized Korea, especially the Joseon Industrial Exhibition of 1915, haven't been studied sufficiently; they have been understood mainly as political propaganda to legitimize the Japanese colonization of the Korean peninsula; many scholars have agreed that Japan highlighted material developments in Korea under the benevolent guidance of Japan by displaying strong visual contrasts between the modern and the traditional. So, they only acknowledge colonial modernity; this perspective regards Western forms as the sole expression of architectural modernity, not only in the exhibition but also in the colonial space and time. However, to be on a par with the West, Japan started to develop a series of historical narratives in searching for its historical origins in Asia, and it also carried out archaeological investigations in the Korean peninsula around the early 1900s. I argue that the developed historical narratives with traditional Korean artworks and architecture (i.e. the shared historical origins between Japan and Korea) influence the architectural conditions of the 1915 exhibition. And, the status of traditional Korean architecture in the Japanese exhibition expresses architectural modernity in terms of showing historical progress.

• 복식
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• 제55권7호
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• pp.142-155
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• 2005

This study shows historical Gagye(가계) The process of change and Characteristics through analysis on the old documents, related papers, and visual data, and represents its meaning in Korean Clothing history through analysis on originality of Korean Gagye(가계) style. Gagye(가계) is the cubic hair style which add other accessories on hair and is divided into two; Gagye(가계) and Chegye(체계) according to its material, role, and function. And Korean Gagye(가계) has been transformed suited to the times and showed various features according to pattern, wearing, and decoration aspect. In its style aspect, Korean Gagye(가계) style shows Hwangye type, Sseugae type, Gogye type, Dagye type, and Braided & coiled hair type. Each shows historical features. In its Wearing aspect, Gagye(가계) style shows Wearing ornamental hairpin on the head, Wearing Rag Ribbon on the head, and Attaching (Detaching) Wearing. And in its Decoration aspect, Gagye(가계) style shows decoration with accessories, one with flower arrangement, and one with shaking.

• 패션비즈니스
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• 제14권3호
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• pp.64-74
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• 2010

The purpose of this study is to broaden the realm of the fashion design using print hereafter and to urge designers to the better quality design by presenting successful case. As a method of the study, the literature and visual data in this study were reviewed focusing on the 1960's, which was Pucci's golden age. For the historical background, textual and visual data related to sixties fashion and Italian fashion were referred. Foreign literature was investigated to study life of Pucci and his design tendency in fashion because domestic papers and research data were rare. Out of this, characteristics of fashion design of Pucci and conclusion were extracted. Emilio Pucci was born to an illustrious Florentine aristocratic family in 1914. He was a designer, businessman and politician. Pucci's design has following characteristics. Firstly, gorgeous geometric prints with brilliant colors were key factor in Pucci's fashion design. Secondly, Pucci's design in fashion was a luxury sporty casual style symbolizing wearer's status and position in society. Thirdly, Pucci liberated the wearer's body using light and stretch material matching comfortable and active style. Lastly, Pucci developed total fashion dealing with various items widely including clothes and non-clothing products.

• 디지털콘텐츠학회 논문지
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• 제10권2호
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• pp.177-188
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• 2009

본 논문은 문화콘텐츠의 원형을 복원하고 이를 기반으로 콘텐츠산업을 발전시키는 데 있어 가장 실질적인 문제점이 키비주얼에 대한 인식 및 키비주얼제작이 이루어지 안는다는 점에 착안하였다. 고대 판타지를 소재로 한 독창적인 원형소재를 시각화함에 있어, 실제 콘텐츠 제작을 위한 디자인 프로세스를 고려해야 한다는 전제하에 시각화를 통한 키비주얼의 필요성을 제시하는 것을 목적으로 한다. 이를 위해 드라마, 영화, 애니메이션, 게임 등 다양한 소재로서 활용가치가 높은 고구려 고대 신화와 설화를 대상으로 판타지 요소를 시각화하기 위한 문헌과 고증자료들을 바탕으로 원형의 이미지를 시각화하는 프로세스를 제작과 실험을 통해 연구하였다.

• 문화기술의 융합
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• 제8권5호
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• pp.171-176
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• 2022

본고는 20세기 중반 이후 펼쳐진 상호학제적인 융합적 예술실천의 핵심적 유형인 사운드아트 큐레이팅이 가지는 역사적 의미와 가치를 고찰한다. 이에 '사운드아트'의 시작에서 현재까지의 발전적 과정을 정리하되, '사운드'라는 재료가 기능한 시각예술의 맥락을 시대 순으로 살피고 주요한 사운드아트 전시의 큐레이팅 사례를 중심으로 '사운드'가 제공한 미학적 체험의 파장과 동시대적 의의를 분석하고자 한다. 이를 위하여 본문은 세 개의 섹션으로 구분하여 전개한다. 첫 번째 섹션에서는 19세기 후반 미래파와 다다이스트의 사운드 시에 뒤이어 1913년 마르셀 뒤샹이 음악악보를 시각예술과 접목했던 시도 등이 아방가르드 작곡가 존 케이지의 시각적 음악에도 깊은 영향을 끼쳤음을 인식한다. 이에 이러한 배경이 '사운드'를 새로운 미디어로서 다루는 전시의 등장을 야기했음을 설명한다. 두 번째 섹션에서는 1970년대 들어서면서 예술적 미디어로서의 사운드가 시각성이 지배하는 전시공간과의 비판적 관계성을 성찰하게 하는 역할을 하게 되었음을 설명한다. 세 번째 섹션에서는 1980년대 이후 현재까지 관객이 전시장의 조직 내에서 마치 하나의 시각적 오브제처럼 사운드를 체험하도록 하는 큐레토리얼 방법론을 분석한다. 본고는 이러한 과정을 통해 전시장에서의 지각적 구조를 관습화 했던 역사적 실천을 비평적으로 대하며 동시대 예술현장에서 생명력 넘치는 사운드의 역할을 고민한 사운드아트 큐레이팅의 유의미한 방법론을 사유해 본다.

• 대한건축학회논문집:계획계
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• 제36권5호
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• pp.3-10
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• 2020

According to Carol Duncan, the museum can be studied in the aspect of space and object from viewer experience. The paradigm of modern museums is shifting away from the object toward the human. The modern museum begins to have the diversity activities and the experience by the body. The purpose of this study is to analyze methods of Carlo Scarpa's museum works. An Italian architect, Carlo Scarpa had characterized montage architecture through fragments and isolations. This study reviews the works of Carlo Scarpa's museum focused on Museo di Castelvecchio. Carlo Scarpa had left the existing materials and coated it with new materials intentionally. This method makes the layer and it exposes the historical times. The layer is a reinterpreting technic of Venetian architecture. The perceptive experience appears at the exhibition boundary through light, material, pattern, axis, and composition of elements. Through the analysis, the architecture of Carlo Scarpa's museum provides a walking path and the composition of exhibition objects with visual logics. It makes and show us the experience with combining images. Carlo Scarpa had tried to expose the past times in the architecture of museum with expression on the layers and to connect the body's movements with seeing and gazing. This expression makes possible the perceptual experience. It can be understood as the montage characteristic. Through this, Carlo Scarpa's museum makes us relationship with historical architecture. Carlo Scarpa had planned a exhibitional promenade in the architecture of museums. In this regard, this is the museography of Carlo Scarpa's museums that should be paid attention to modern times in historical architecture.

• 복식
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• 제51권8호
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• pp.159-170
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• 2001

The culture and society environment plays major role in the development of Fashion and now in the 21st century, interest in Fashion is getting increased along with the rapid progress of advanced media development and information surge. Now it s the time to extend visual efficiency not only transmitting fashion image but also develop a creative product that satisfy the demander s needs. Currently it is very hard to express our subjective Korean "nationalism" in the Fashion since the various expression skill using western fashion illustration are dominant in our society. I have classified two components, fashion illustration and Korean painting in the theoretical circumstance. In fashion illustration circumstance, I examined the concept, usage, expression skill and history referring to historical documents. In Korean painting section, I considered coloring portrait concept, pattern, history, concept, and feature of the four gentlemanly plants. including the basic material of Korean-paper, Writing- Brush, Ink-Stone, Traditional-ink and also the history of itself. I have designed 8 products applying the concept of plum blossoms, orchids, chrysanthemums and bamboos that represent the most important part of the four gentlemanly plants, and also the expression skill of Korean coloring portrait.rait.

• International Journal of Costume and Fashion
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• 제8권1호
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• pp.36-52
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• 2008

Writer Hong Myung-hee, author of the novel Im Kkeok Jeong, provided an excellent description of the costume customs of the Chosun era, based on an understanding of various historical texts and literature by practical science proponents, and experience gained from the Hong household of Pungsan, a noble family of high standing during the Chosun dynasty. However, there is a tendency towards descriptions of late Chosun era customs, rather than 16th century customs, with the intent of heightening the image of what most people felt to represent Chosun and its prestige, thereby generating greater reader sympathy. Therefore, information on the costume customs of the novel 1m Kkeok Jeong is analyzed and re-formed to fit with the temporal setting of the 16th century. By providing data to aid visual understanding and re-creation, the intent is to accept it as material for the rumination of our ancestors and their lifestyles in the 16th century. The novel provides a good description of Chosun economic customs, in which cotton and hemp were used not only as fabric for clothes, but also as currency. The trade value of cotton drapery or hemp drapery with dimensions of 5 strand density at a length of 35 ja per roll was designated as 5 mal (about 90 liters) of rice by national law, but the actual value varied depending on the production of rice. Also, it is possible to confirm the existence of sang po with dimensions of 3 strand density at a length of 30 ja per roll, or 2 strand density seochongdae cotton, which was used only as currency due to the rough quality. Characteristics of the Chosun dynasty, a class-based society, are described through distinctions of attire. The writer's intent regarding the symbolic nature of attire reflecting social position, a characteristic of the entire Chosun period, is analyzed with the presentation of visual material.

• 조형예술학연구
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• 제3권
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• pp.87-144
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• 2001

This study looks into historical genealogy of autonomy in art criticism on modernism and presents the view of the judgment and correction about that. A matter of autonomy in art appeared in the attempt to totally reconsider and upset the theory of 'Mimesis' or 'Representation' which was the basis of traditional aesthetic theory. In the traditional theory of representation, they assumed primary image exists first and then tried to obtain visual similarity to it through art works. However, in the theory of autonomy in modernism, they maintained the reduction to pure form' or medium', regarding what art works represents and how similar to primary image are not the true essence of art. In the early 20th century, C. Bell laid the foundation stone of the theory of Formalism', providing that a matter of autonomy is significant form', which is the combination of lines and colors Aesthetic autonomy theory came to a climax by C. Greenberg, who systemized art criticism on modernism in the middle 20th century. According to his theory, the pursuit of the essence of form resulted in the specificity of medium' and flatness. They thought that the autonomy of art would be achieved by eliminating outward social factors from art works. This theory ended by Minimalism preventing the instructive function of art work and only emphasizing its material property. Since the middle 20th century, the autonomy theory was confronted with the limit and intense attack because it resulted in this fixed canon and materialism, so they began laying emphasis on those extrinsic factors around art works such as human life, society, history, and so on. This study focuses on arguing and complementing the limit of autonomy such as the adhesive and fixed canon, and then defining the more dynamic area of it. For this, first, I introduced the view of T. J. Clark and T. Crow who criticized the aesthetic autonomy theory. They denied the transcendental structure of form, and found form only in the association with substantial life and society. And they insisted the dynamism of form by emphasizing form as a result of negation insisted by avant-garde. Second, I researched the view of A. C, Danto and M. Fried, who complemented the traditional autonomy theory. They made autonomy emerge from the fixation of form like flatness through connecting essentialism with historical view. In conclusion, I insist that autonomic position of art make it possible to connect or mediate between material form and human or social elements. Therefore, autonomy should not be reduced to the axis of form or that of society but make interaction between two heterogeneous axes.