• Proceedings of the Costume Culture Conference
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• 1998.09a
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• pp.54-56
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• 1998

• Journal of architectural history
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• v.11 no.3 s.31
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• pp.69-86
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• 2002

Under the assumption that techniques of interior decoration often frequently used by people of the antique Greece and Rome became basis for scientific perspective in the period of Renaissance, this study analyzed characteristics of wall paintings excavated as relics of the antique Greece and Rome. The result of the study can be summarized as follows ; (1) Decorative wall paintings which were and have been excavated from relics of the antique Roman cities are characterized by single and multiple point techniques as their perspective. The two techniques were later adapted by people of the Baroque in the 16th century who recognized and expressed space through putting it into a certain framework. (2) Such antique wall paintings drawn using the technique of single point clearly indicate that the technique was not fully created in the period of Renaissance but developed by people of the antique Greece and Rome. Unlike its present form, the technique was unsophisticated and poor in many respects when first created. Since then, it has become manipulated as spatial recognition has been developed in various ways. (3) Illustrations on vase surfaces or wall-decorative painting panels of the antique Greece were painted mainly through the technique of multiple points which helped changes in the sense of space. The technique were later complied with by the theory of cubism which was emerged in the late 19th century. In other words, the technique was developed over times into a basis of the theory. (4) Some of the antique Roman and Greek wall paintings were drawn by using the method of single point perspective. When the height of the wall foundation, 90cm, as specified in [Ten Books of Architecture] by Vitrubius, the viewpoint for the method almost complied with the height of spectators' view, or 150cm. This height is almost same as the height of the view point employed by wall paintings in the Renaissance period.

• Architectural research
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• v.15 no.1
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• pp.17-23
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• 2013

The purpose of this paper is to reconsider and revaluate Ste. Genevieve Library designed by Henri Labrouste as a criticism of Classicism. Considered as the epitome of the early structural Rationalism the modern historian tried to focus only on the iron structure of the library. Arguably, the structural concern was one of the ideas that the architect wanted to manifest in the library. As a rebel against a view of the Acad$\acute{e}$mie des Beaux-Art the notions of H. Labrouste were radical. He criticized an autistic Classicism with an echoing Claude Perrault's doubt about the myth of classical beauty. These radical ideas firstly showed in his report of the Grand Prix de Rome and must have been developed through several discussions for a novel: Notre-Dame de Paris by V. Hugo. 'Ceci tuera cela', one of the chapter of the novel, was generally known as the death of architecture due to the invention of the printing press around Renaissance period. We, however, consider that even though the historical background of the novel is the Gothic period the ideas, which was discussed with Labrouste, related to the death of architecture was not the architecture itself but classical architecture recomposed during Renaissance period. As the first design work the library must be reflected his ideas, which were developed, and manifested his criticism of the Classicism indirectly.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.15-29
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• 2007

H. $W\"{o}lfflin's$ methodology created viewpoint of art history which is an essential factor of art, and proposed formal analysis as an academic methodology specific to art history. H. $W\"{o}lfflin's$ expressed the see-form a as the five pair concepts which are summarized by 'linear-painterly' 'the plane-the deep'. 'closed form-open form', 'multiplicity-unity', 'absolute clarity-relative clarity'. His methodology is not only in the field of art and architecture but also clothing because during the same period have a relative tendency of thought, culture, politics and economics each other. As the result of this study were as follows. Renaissance of 16 century, the style of dress was enormous and dignified by body support outfit, hard puffs, slashes, padding and expansive jewels. It make appearance of man and woman absolute clarity because Classicism styles of aesthetic consciousness is geometrically perfect form and symmetry and restrained harmony, magnificent. Baroque of 17 century, the style of dress was vigorous mobility and subtle balance by abundant and free silhouette, soft collar, magnificent ribbon loop and tassel without body support outfit. It make appearance of man and woman comfortable and natural because Baroque styles of aesthetic consciousness is extraordinary degree of originality and creativity that was evident in the devising of new styled.

• Journal of the Korean Society of Costume
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• v.23
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• pp.197-209
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• 1994

The purpose of this study is to present a way to analyze and review the subjective view of the aesthetic for dress based on the framework of the aesthetic categories suggested by aesthetics. In order to define objectivism and subjectivism of the aesthetic of dress, theoretical studies on the aesthetic categories of dress were precded. And empirical studies on the aethetic categories of dress for selected period, the Renaissance (16th century) and the Baroque(17 th century). The results were follows : The objectivism of the aesthetic is the point of that an object causes human to feel and judge aesthetically, that is that of dress means judge aesthetically, that is that of dress means formal characteristic of dress and pervasive ideology expressed in dress. the subjectivism of the aesthetic is the point that the aesthetic is ruted in human, that is that of dress has been studied in relation to the image, the aesthetic consciousness m, or the aesthetic categories of dress. Especially, the aesthetic category is one of the universal and valid methods for the analysis of subjectivism of the aesthetic for dress. This study includes beauty, grace, elegance , the sublime, the tragic , the comic, aptness, ugliness as aesthetic categories of dress . Beauty is perfection and rule. Grace pleases human by sense. Elegance comes from the harmony of sense and spirit. the sublime comes into existence that human feels pleasure as well as displeasure simultaneously when human is overehelmed by objects. The tragic is the sense of the present of something valuable even if there is suffering. The comic is the sense of the presence of something amusing even if there is displeasure caused by contradiction. Apteness means utility in terms of the objectivism and , formality in terms of the subejctivism. Ugliness is opposite to beauty. As the result of emperical studies, the aesthetic categories of the Renaissance dress showed harmonious, balanced, and symmetrical beauty, and the magnificent, and enlarged sublime. In addition to these , grace and elegance were also found to some extent. Aesthetic categories of the Baroque dress show feminie, soft, cheerful, and fantastic grace, asymmetric , disarmonious, and extraordinary uglinesss, and the magnificient , grave, and dignified sublime.

• Journal of Engineering Education Research
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• v.23 no.4
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• pp.22-27
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• 2020

We propose and execute an introductory engineering course for investigating the history of technology and the philosophy of technology. Soft engineering, to explore proper technology and appropriate ways of exercising engineering, has been explored. Creative cases for technology are presented following the most creative, successful periods-the ancient greece, the Renaissance and Silicon Valley era. Ancient greek technology has been investigated in terms of "techne" with the origin of technology and/or art, and their equivalences. The Renaissance period has been investigated in terms of "Uomo universale (polymath)" with Firenze geniuses. The successful drives for the Silicon Valley creativeness have been investigated following "entrepreneurship". To overcome the difficult goal to grasp course subject-technology issues, we take a stance as a tourist guide and tourists utilizing offline onsite experiences and online informations. Categorized course materials are surveyed at the beginning of each period and presented following the preferences of the students to maintain the students' interests. Team efforts including group discussions and project executions have been encouraged to seek the aspects of creativeness and/or technology. This paper summarizes the 3-lecture experiences over 2 years for Korean students and/or foreign students conducted at Pusan National University.

• Journal of Korean Library and Information Science Society
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• v.53 no.3
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• pp.73-94
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• 2022

Florence is the cradle of the Italian Renaissance. It is the result of a combination of medieval humanists' exploration of ancient Greek and Roman knowledge and culture, the leadership of great monarchs and priests, patronage of the Medici family, etc., free-thinking and creativity of artists, and critical consciousness and cultural needs of citizens. However, the Florentine Renaissance could not have blossomed unless the Medici family had collected ancient manuscripts and translations, and built libraries to preserve and provide literature. Based on this logical basis, this study outlined the Florentine renaissance and historic libraries, analyzed the collection and composition of favorite books of the Medici family, and traced the architectural characteristics and metaphors of the Medici libraries, The San Marco Library (Michelozzo Library), Library of Badia Fiesolana, and the San Lorenzo Library (Laurentian Library) were the priming and birthplace of the Florentine Renaissance despite of many difficulties, including earthquake, fire, restoration, transfer, seizure, and closure. In particular, the San Marco Library, which was opened in 1444 based on the financial support of Cosimo de' Medici, Michelozzo's design, and Niccoli's private collections was the first common library in the Renaissance period. And the architectural highlight of the Laurentian Library, which opened in 1571 under the leadership of Giulio (Papa Clemente VII), is Michelangelo's staircase, which symbolizes 'from ignorance to wisdom', and the real value of the content is the ancient manuscripts and early printed books, which were collected by the humanist Niccoli and the Medici family. In short, when discussing the Florentine Renaissance, Medici's collection and historic libraries are very important points. The reason is that the ancient collections were not stuffed products, but syntactic semiotics, and the libraries are telescopes that view the history of human knowledge and culture and microscopes that create knowledge and wisdom. If records dominate memories, libraries accumulate records. Therefore, long breathing and time capsule strategies are also required for the development and preservation of retroactive books in domestic libraries with a relatively long history.

• Journal for History of Mathematics
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• v.12 no.2
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• pp.119-133
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• 1999

In this paper, we consider the abstraction of mathematics and arts. In particular, we compare cave arts of Palaeolith stone ages with those of Neolith stone ages and analyze paintings of a child. After the Middle ages, in Renaissance period the new technique, perspective was introduced by painters for the sake of realistic description. We consider the social background of perspective. In 19th century, European society became familiar with the abstraction of mathematics and arts. And we also study the mathematical concepts and the abstract paintings on the basis of the social backgrounds.

• Architectural research
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• v.14 no.4
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• pp.133-141
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• 2012

The research started from the consideration that, although many aspects of the Milanese Early Renaissance are well known today, thanks to a vast literature, only few studies, so far, have paid attention to the ordinary world of architectural work - and its obscure protagonists - of this area and this period. Moving from the belief that this topic is crucial for a complete understanding of the 15th century architectural world, characterized by a progressive overlapping of roles and responsibilities in the worksites, this study aims to provide a contribution to expand the understanding of this matter, by focusing on a particular aspect of it: the role of the public administration in the architectural activity. In particular, the paper analyzes the characteristics of the "Office of the engineers of the Municipality of Milan", one of the major public architectural institution of the Duchy of Milan in the 15th century. Through an extensive archival survey, conducted in the major archives of Milan and Lombardy, the research achieves two main findings: a) the reconstruction of the complete Office staff throughout the 15th century and, b) an outline of the role and identity of the Office and its officers, through the elaboration of data collected. In particular, professional roles, technical duties, cultural background and tasks of the officers, together with Office management, appointment procedures and salary conditions are highlighted. This research, not meant as an ultimate study on the topic discussed, is intended to provide some material and reference points for further researches that will aim to expand the understanding of this matter.

• Fashion & Textile Research Journal
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• v.14 no.1
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• pp.1-12
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• 2012

This research was analyzed regarding comparing features of expressions between clothes in movie, , and cyber clothes that were made by Marvelous Designer2 which is a design CAD. This research was studied to experiment an expressing possibility of clothes simulation software which was developed currently. Therefore, we picked clothes that are good at movement and detail in the movie. The dress theory of the renaissance which is the period background of movie, was considered and studied as pattern, silhouette, material, color, detail and animation. The movie's dresses are made with 3D virtual and compared so 3D virtual clothes's benefits and weaknesses can be analyzed. As a result, we found that 3D virtual dress can show the real movie's feature accordingly with current developed IT standard. This will assist a development in fashion industry and become a new indicator for 3D movie clothing.