• 한국실내디자인학회논문집
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• 제16권2호
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• pp.79-86
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• 2007

The recent works of architecture and interior design take on too various aspects to be classified as a trend or tendency. Many subjects, seeking the superiority between form and function in space which was the issue of Modernism, got to face the works which transcend the limitation of architecture due to the development of a variety of media and technology these days. In result, we could see the works which are to be Included into the category of art rather than architecture. This study starts from the thought that the common aspects of these works are based on the strangeness to pursue uniqueness, peculiarities or novelty. 'The subject of this study, $'D\acute{e}paysement'$, creates a new relation, disconnected from customs, to an architecture which became familiar through defragment, fixation and abstraction by the habitual relation and makes it reborn as an architecture which gives us a fantasy and a pleasure, by converting into the shape and image which are different from its original shape when a stimulus is given to an architecture. This study starts from the artistic aspect which has a close correlation with the architecture. The subject, $'D\acute{e}paysement'$ could be historically considered in two aspects - $D\acute{e}paysement$ of Surrealism which developed in paintings and Defamiliarization of Russian Formalism in the area of literature. This study is carried in a category of $D\acute{e}paysement$, focusing on the visual aspect of the architecture. This study is composed as follows: In chapter 2, a theoretical research is performed according to the definition and meaning of the $D\acute{e}paysement$ expression techniques, its origination and evolution, and type classification by the features of expression techniques in the era of Surrealism when $D\acute{e}paysement$ developed most vigorously in the area of art. In chapter 3, the system which formalizes the expression method of the techniques is presented, focusing on the case analysis of the artistic works according to the types of $D\acute{e}paysement$. In chapter 4, the application of the expression techniques of $D\acute{e}paysement$ is discussed by conducting cases analysis of the modern interior design.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.

• 복식
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• 제26권
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• pp.233-250
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• 1995

The purpose of this research is to open new horizon in the plastic art centering the clothings, to examine the characteristics of the clothing style of Surrealism closely which is being lighted up again newly in the recent culture that is in a state of flux, and futher to contribute to the cre-ation of future clothes by analyzing Surrealism once again which is considered to have affected most in the aspects of idea and technique from the era of modernism to the era of post modern-ism, to understand and develop the relation of modern style of paintings and clothing which consist of many complicated and diverse elements. As for the method of research, after analyzing the formation and characteristics of painting style of Surrealism, painting style of Surrealism, painting style of Surrealism were classified largely into D paysement and Automatism, which were then reviewed. And the characteristics of fashion style of Surrealism were compared and analyzed with painting style of Surrealism, for this, fashion of Surrealism dur-ing recent five years from 1990 to 1994, among the fashion from Pr t- -Porter concentrated re-view was made for the ones made public at Paris-London Collections. By the result observed through this research, the trompe-l'oeil double image technique of many clothes created by E. Schiaparelli who was strongly influenced by Surrealism in 1930s were succeeded with its inspiration of Surrealism by the radical fashion designers recently and we were able to know that it is being created again by fresh senses. Followings are the discussions on homogenity of the characteristics of fashion style of Surreal-ism with the painting style of Surrealism Therefore if we analyze the characteristics of fashion style of Surrealism, Automatism ex-pression style which takes out only image borrowing the power of unconsciousness, instead of factual transposition, is forming the main cur-rent after 1990s. We can find the fashion style of this Surrealism appear persistently, entirely irrel-evant to the silhouettes of 20th century.

• 한국실내디자인학회논문집
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• 제24권1호
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• pp.3-11
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• 2015

I paid attention to the fact that surrealism emerging in early 20th century has been resurfacing in the 21st century. It may be because of the increasing interest on the space showing the surrealistic features as people in these days prefer the experimental and dramatic space beyond repetitive daily life. I tried to identify the expressive characteristics in the interior space adopting the depaysement technique among a variety of expression techniques of surrealism. To this end, this paper selected 10 interior design projects by Fabio Novembre and Marcel Wanders since 2000s. As the methodology, chapter 2 examined the theories to identify the expression targets and approaches of depaysement around the art paintings. Next, the standard for case analysis in this paper was established by investigating the existing theses related to interior and space design with depaysement as the key word. The expressive characteristics of depaysement identified from the existing researches were classified into morphological, figurative, material and space program. Those programs were developed as the classification system in this paper. Chapter 3 described the design background and features of Fabio Novembre and Marcel Wanders. On the basis of the features and analysis framework identified in chapter 2 and 3, chapter 4 analyzed the features of depaysement observed in the works by both designers. The conclusion was presented in chapter 5. For the expressive characteristics of depaysement observed in the space by both designers, Novembre created optical illusion using distortion or overlap on the morphological aspect. Wanders showed mainly the feature of changing the scale. In accordance with the analysis on expression principles, the features including spatial continuity, ambiguity of border, visual amusement and uncertainty were differentiated in all spaces.

• 보존과학회지
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• 제25권4호
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• pp.383-398
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• 2009

이 연구에서는 비파괴 기법을 활용하여 관룡사 약사전 벽화에 채색된 안료의 화학적 특성을 규명하고, 손상유형에 따른 정밀진단을 통해 훼손도를 정량적으로 평가하였다. 각 색상에 따른 추정 안료는 기존의 연구와 동일한 것으로 확인 되었으나, 청색계통과 화조화의 바탕으로 채색된 녹색계통의 안료에서 검출된 Co는 지금까지 전통 채색 안료에서 확인 된 바 없는 특이한 결과이다. 훼손도 진단을 위해 초음파 측정, 적외선 열화상 촬영 등을 실시한 결과, 관룡사 약사전벽화에 발생한 균열 및 박리 박락은 수분의 영향으로 판단된다. 따라서 이 벽화의 장기적인 보존을 위해서는 벽화로 유입되는 수분의 침투경로를 정확히 파악하고 효율적인 주변환경 관리를 통해 장기적인 보존대책을 마련해야 할 것이다.

• 보존과학회지
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• 제36권1호
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• pp.47-59
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• 2020

Scientific analysis was conducted to identify the paint pigments used in the Buseoksa Josadang murals. optical microscopy(OM), X-ray fluorescence(XRF), XRF mapping, scanning electron microscopy-energy dispersive X-ray spectroscopy(SEM-EDS), and Raman spectroscopy were performed to examine the pigments. The results confirmed that the Josadang murals consist of two paint layers wherein the pigments were distinct for most colors. It was estimated that celadonite, white clay, red ochre, cinnabar and minium, synthetic green pigment containing tin and zinc paratacamite, or botallackite were used in the upper layer. In addition, bone white, celadonite, red ochre, azurite, cinnabar or vermilion, and gold were identified in the lower layer. In addition, as Zn and Sn were detected in the green pigments extracted from the top layer of the paint, it is believed that Josadang murals were repainted over the original paint layer at some point after the 17th century. In addition, white pigments containing calcium phosphate were found in all the colors in the bottom layer, which is the original paint layer. These results are significant because this is the first time that white pigments are found in Korean traditional paintings. Additionally, the information revealed about the pigments in this study will serve as areference for the pigments used in the Goryeo period.

• 만화애니메이션 연구
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• 통권9호
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• pp.1-17
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• 2005

시간의 흐름을 이미지로 나타내는데 있어서 근원적으로 분절의 형식을 취할 수밖에 없다. 이미지의 고착상태는 그것이 회화든 조각이든 동영상의 형식을 제외한 모든 형식은 나뉨(분절)의 형태로 우리에게 보이게 된다. 이 방법을 극대로 키워온 것은 만화의 영역이다. 때문에 만화는 칸의 배열에 의해 사건이 전개되고 의미를 찾을 수 있다. 또한 애니메이션이란 분절된 매체를 연속적으로 붙여 전개하는 것이 원리로 되어있다. 본 논문은 이러한 시간 흐름의 분절에 의한 시간의 고착화된 개념으로서 칸과 틀을 미술사 안에서 찾아보고, 좀 더 만화형식의 근본 원리를 찾아 분석해보고자 의도했다. 따라서 원시적인 틀의 구획과, 카툰오과 같이 단편적인 칸의 나눔, 그리고 서사적인 나열형식에 의한 칸과 틀의 예를 찾으려 노력하였다. 이로써 시간의 표현을 위한 여러 종류의 칸과 틀의 구획을 확인할 수 있었다. 또한 하이퍼 텍스트적인 만화형식의 다양함과 공간사용의 가능성을 발견하고 예시하여 좀더 폭넓은 만화의 위상을 제안하고자 했다.

• 만화애니메이션 연구
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• 통권9호
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• pp.266-282
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• 2005

만화영상은 이미지적 속성과 언어적 속성으로 되어있으며, 유머와 풍자적 내용이 밀접하게 관계되어 있다. 그리고 영상매체에서 동물 소재로 표현되었던 풍자적 표현 기법들을 연구 ${\cdot}$ 분석한다. 그 방법으로 이론적 배경은 동물 만화 영상의 역사적 배경으로 선사시대 원시 동굴 벽화로부터 시작하여 현대의 다양한 만화영상 캐릭터 산업까지 간략한 흐름을 살펴본다. 그리고 동물 풍자적 표현 유형으로 동물 묘사의 문학적 표현의 다양한 유형을 정리해 본다. 마지막으로 문학에서의 풍자 표현 기법인 비유적 표현, 상징적 표현, 수사적 표현들의 개념을 알아보고 비교하여 작품분석을 시도한다. 이러한 시도는 기존에 개념화되었던 인문학적 분류와 새로운 시각영상예술인 만화영상매체에 의미 연결 및 결합의 기초 분석법을 제시하고, 또한 자료들을 데이터베이스화함을 목적으로 한다. 이러한 축적된 자료들은 만화영상에 창작되는 동물 캐릭터들의 내적인 풍자 속성의 이야기 생산 및 그 의미작용에 대한 세부적인 자료를 제시할 것이다.

• 보존과학회지
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• 제23권
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• pp.53-65
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• 2008

안동 봉정사 대웅전 후불벽체의 제작기법 특성을 규명하기 위하여 벽체의 구조 및 재료적 특성을 자연과학적 방법을 활용하여 조사 분석하였다. 연구결과, 벽체의 구조 및 재료학적 특성이 규명되었으며 제작기법이 거시적인 차원에서 확인되었다. 대상벽체는 목부재를 중심으로 대칭을 이루는 맞벽의 구조를 취하고 있으며 초벽, 중벽, 화벽으로 구성되는 일반적인 벽체의 구조적 경향을 따르고 있는 것으로 판단된다. 제작과정에 따라 형성된 각각의 층위는 재료 및 제작기법의 차이를 보이며, 대체적으로 상부 층위일수록 세립의 물질이 사용된 것으로 확인되었다. 벽체의 형성에 사용된 주재료들과 첨가물질의 배합은 벽체내구력 및 보존력 향상에 기여한 것으로 판단되며, 보존력의 원인이 되는 물질간의 상호작용과 제작자의 세부적인 기법적 효과로 견고한 벽체가 형성된 것으로 보인다.

• 보존과학회지
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• 제30권4호
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• pp.365-372
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• 2014

사찰의 단청 등 회화에 사용된 적색과 녹색안료에 대해 그 종류를 밝혀내고, 이들의 광물입자 특성을 관찰하여 서로 비교분석하고자 하였다. 성분분석 결과, 적색안료는 진사(Cinnabar)와 석간주(Hematite), 연단(Minium) 등 3가지 종류가 사용된 것으로 확인되었고, 녹색안료는 녹염동광(Atacamite)과 뇌록석(Celadonite) 그리고, 일부 석록(Malachite)이 확인되었다. 이는 사찰별로 독특한 안료를 사용하였다기 보다는 다양한 종류의 안료를 회화의 특성에 맞게 모두 이용하였음을 알 수 있다. 안료의 입자특성에서는 적색안료 중에서 같은 진사라 할지라도 매끄럽거나 길쭉하고 각진모양, 판상 등 자형(hedral) 또는 타형(anhedral)의 다양한 형태를 가지고 있으며, 이는 녹색안료에서도 유사한 패턴을 보였다. 특히 지금까지 안료의 성분과 결정구조분석을 통해 광물을 확인하는 방법이 주로 이용되어왔으나 이에 비해 입자의 형태적 특성을 이용하는 것이 색상과 종류가 유사한 안료 그룹내에서는 이들을 보다 세밀하게 구분할 수 있고, 인자화 하는데 유리한 방법일 수 있을 것으로 판단된다.