• 대한가정학회지
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• 제18권4호
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• pp.1-11
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• 1980

A la suite de notre essal " Etude sur le Costume Byzantin", o nous avions d cel le probl me du costume au niveau de l'art pur qui r pond un besoin primitif consistant ext rioriser et concr tiser les id es dans l'esprit humain, nous avons essay cette fois de consid rer le m me probl me, c'est- -dire le probl me de composition de formes des costumes, travers ceux de Louis XIV et la classe des nobles, relativement l'arri re-plans de la soci t . Le style de costumes baroques consiste pritncipalement embellir l' tre de roi, pare la vie de palais et composer les costumes de la classe des nobles pour accentuer leurs luxe, majest , l gance, dignit etc., tant bas sur r gime monarchique et mercantilisme,en les faisant avec le brocart, le velours et la soierie de couleurs somptueuses, enjoliv s de broderie, ruban et dentelle.

• 대한지리학회지
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• 제49권4호
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• pp.585-600
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• 2014

이 연구의 목적은 프랑스 왕실 과학원이 18세기의 유럽의 중국지도 제작에 미친 영향을 살펴보는 것이다. 이를 위해 먼저 1685년 루이 14세가 예수회 선교사를 왕실수학자로 임명하여 중국에 파견한 역사적 배경을 살펴보았는데, 세계 지도 제작을 위한 지리좌표 측정이 선교사 파견 원인임을 확인하였다. 둘째, 카시니는 선교사들에게 경도측량법을 전수하였고, 선교사들은 과학원의 통신회원으로 활동하며, 과학원에 탐사결과를 보고하였다. 셋째, 선교사들의 초반 관측 기록은 중국의 전반적인 지도를 수정할 정도로는 충분하지 않았다. 그렇지만 1700년 이후의 지도에서는 프톨레마이오스의 전통에서 벗어나서 베이징의 좌표를 이전에 비해 약 $20^{\circ}$ 정도 서쪽으로 이동시켜 지도상에서 중국의 너비의 폭을 축소하였다. 넷째, 파견된 선교사들이 참여하여 제작한 "황여전람도"는 프랑스로 전달되었으며, 당빌에 의해 "신중국지도첩"으로 제작되었다. 그리고 이 지도는 이후 100년이 넘게 유럽의 중국 표준지도로 사용되었다.

• 한국의류산업학회지
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• 제4권4호
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• pp.347-357
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• 2002

In 1536, two Piedmontese merchants set up workshops in Lyons, and Henri IV encourged further development later in the 16th century. The development of Lyons as a centre of the silk weaving industry was helped by the perfection of drawloom weaving technique there in 1605 by Claude Dangon. In the 17th century, the French silk industry could finally compete with the dominance of the Italian silk trade. The French silk industry was promoted in the mid-17th century under Louis XIV's minister Colbert. In 1667, he published an ordinance creating La Grande Fabrique, a corporation for craftsmen within the silk industry, and Lyons became the undisputed French silk capital. Under Louis X IV, France was becoming the dominant force in Europe in matters of fashion and style. The major innovation of weaving was the Jacquard head attachment, which provided a mechanical means of raising warp threads by a series of punched cards. The are nouveau style did not have much impact on French silk design at the end of the century. Silk manufacturers began to collaborate with haute-couture designers such as the House of Worth. This collaboration with the burgeoning Paris haute-couture industry continued into the 20th century and safeguarded the future production of silk textiles in France.

• 한국패션뷰티학회지
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• 제4권2호
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• pp.42-49
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• 2006

This study aims to revive modernized upstyle technique by analyzing the formative characteristics of hairstyle in Rococo ages. As a methodology, book-form literatures, periodicals, theses, and photographic materials including portraits related to Rococo ages, which had been studied from the time when Louis XIV died, to the advent of French Revolution in 1789, reaching a period of seventy-four years, were reviewed. Those materials for hairstyle revealed in modern fashion included related literatures and theses and photographs involving designers' works in fashion magazines, photographs of hairstylists' works, and movies with background of Rococo ages. Based on such materials, the formative characteristics of hairstyle in Rococo ages were studied for modernized upstyle. First, the formative characteristics of hairstyle in Rococo ages were divided and analyzed in Fontnage style, in Pompadour style Marie Antoinette style. Second, this study researched those examples wherein the characteristics of Rococo's hairstyle were expressed in modernized style, and manufactured modern upstyle works based on the research. Rococo ages featured various fashion trends and created sensitive and magnificent style with romantic theme in art field. Also, since the hairstyle in Rococo ages featured various styles that were magniloquent and magnificent, it is revived in today's hair shows and fashion shows in the same way or altered way. It is expected that this study will help understand the formative characteristics of hairstyle in Rococo ages and shed light on study on modern hairstyle in more various perspectives.

• 비교문화연구
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• 제39권
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• pp.61-82
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• 2015

''The King's Daughters' is referring to the approximately 900 young French women who immigrated to New France between 1663 and 1673. This program was sponsored by Louis XIV. The program was planned to increase New France's population both by encouraging the female immigrants to settle there and by promoting marriages, family formations and the births of children. Marguerite Bourgeoys was the first person to use the expression called as 'filles du roi' in her writings. She was the French foundress of the Congregation of Notre Dame of Montreal in the colony of New France which is now part of Quebec. After agreeing to marry, the couple took a marriage contract directly in front of a notary and the wedding ceremony had generally been held within possible rapid time. The processes of the choice of husband and the marriage would officially be held in the church. By the year 1672, the population of New France had risen to 6,700 from 3,200 in 1663. Although the Filles du Roi represent only 8% of the total immigrants to Canada under the French regime, they account for nearly half of the women who immigrated to Canada in the colony's 150-year history. 'King's Daughters' must be correctly assessed as 'Mother of Quebec' and 'Propagator of the French language' in the history.