• Journal of architectural history
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• v.1 no.2 s.2
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• pp.159-171
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• 1992

Renaissance Age is called the Period of Discovery because of great development of the economy and the science, and is known the Period of scientific analysis of Man and of interest of Nature out of a blind obedience in the Middle ages. Especially in visual art architecture, painting and sculpture, the rational spirit of Renaissance actually and distinctly communicates the meaning of Work through the scientific and mathematical expression after a finding Perspective by Brunelleschi. So the puropse of this study is to clarify the substancial meaning of Renaissance Art by investigating the expression applied Perspective to the works of Brunelleschi's architecture, Donatello's sculpture and Masaccio's painting.

• Korean Journal of Human Ecology
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• v.2 no.1
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• pp.129-141
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• 1999

The purpose of this study is to investigate the effect of historical costume style and painting on Vivienne Westwood design. For this purpose, the costume style after 16C and the rococo painting of 18C are researched. And through Westwood's recent designs, the external form and internal symbol are compared. The results of this study were as follows : 1. From Renaissance, Rococo, Crinoline, Bustle, S style were showed on Westwood design. 2. In external method, historical costume styles were expressed by silhouette, detail, costume item, textile and various cuttings. 3. In the case of painting, it focused on Rococo painting of 18C. Costumes in painting were realized or painting itself were used for textile. 4. Most of her design was cut in the round rather than in the flat, bold cutting and slash were employed. 5. These works are symbolizing the harmony of tradition and future, at the same time through the transformation of orthodox style, containing ridicule to the authority and a challenge to society as well as sex. These results let us know that Westwood is versatile to transform the history and harmonize the tradition and 20C Fashion successfully. (Korean J Human Ecology 2(1):129∼141, 1999)

• Journal for History of Mathematics
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• v.16 no.4
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• pp.59-68
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• 2003

Mathematics and arts are reflection of the spirit of the ages, since they have human inner parallel vision. Therefore, in ancient Greek ages, the artists' cannon was actually geometric ratio, golden section. However, in middle ages, the Euclidean Geometry was disappeared according to the Monastic Mathematics, then the art was divided two categories, one was holy Christian arts and the other was secular arts. In this research, we take notice of Renaissance Painting and Perspective Geometry, since Perspective Geometry was influenced by Renaissance notorious painter, Massccio, Leonardo and Raphael, etc. They drew and painted works by mathematical principles, at last, reformed the paradigm of arts. If we can say Euclidean Geometry is tactile geometry, the Perspective Geometry can be called by visual geometry.

• Journal of Fashion Business
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• v.24 no.4
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• pp.19-29
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• 2020

The purpose of this study was to investigate Renaissance wall-covering fabrics through Flemish paintings, that provides the details of the origin and development of background of modern wallcovering. The methods of the study are as follows. First, the background of textile development of Flanders in the 14^th to 16^th centuries were examined through a prior study. Second, the shape and use of wallcoverings in paintings painted during that time were analyzed and the process of changing to modern forms was studied. The residential environment with many stone buildings in relatively humid and cold weather created a need for decorative fabrics. Back then, the wool and flax fabric were not allowed to be worn on the body, so the materials were used for the development of interior fabrics. The characteristics of wall covering in Flemish paint can be summarized with movable, allegory, and decoration. Movable stems from the arrival of the emerging aristocrats of Flanders, who had enormous commercial trade and carried decorative fabrics; the mobility has become an allegory in reality as the royal and aristocratic use of wall-decorated fabrics is the symbol of authority. In addition, unlike Italy, where silk was procured from the East, fabrics manufactured using flax and wool were not suitable for clothing in terms of religion and practicality and were used to decorate walls.

• Journal of Science of Art and Design
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• v.5
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• pp.159-174
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• 2003

'Fantasy', the central notion of this essay, is discussed here more as a new paradigm in order to describe the structure of a work of art than as a stylistic characteristic proper to a specific genre of art. It means the whole situation and experience produced by two connected terms 'corporeal subject - screen'. Roland Barthes explained the 'semiographic painting' by Andre Masson as a field in which happens a certain connexion between the impulse of subject and the image, which views the painting not as a physical object but as a 'cinematic screen' ; painting may be redefined as a dream or a fantasy of the corporeal subject. And such an idea of 'art as fantasy' is closely related to the recent theoretical attempts consisting in abolishing the vision-centered conception of art since Renaissance. In this essay, the notion of fantasy as an aesthetic model is sketched by means of the Freud's notes on the fantasy 'A child is being beaten' and Lyotard's more advanced analyse on its attributes and operations. In Lyotard's analysis, fantasy is defined as a 'bloc' or a 'matrix-figure' featuring simultaneous conversion between the active and the passive, sadism and masochism, and coexistence of imcompossible meanings. In this sense, fantasy may be given to us as an analogical model from which we can outline the aesthetic characteristics of electronic media art involving virtual reality and interactivity.

• Korean Institute of Interior Design Journal
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• v.15 no.4 s.57
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• pp.12-20
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• 2006

The purpose of this study is to analyze the influence of theory of Cusanus on the Leonardo's theory of the centralized plan. In Renaissance, Neo-Platonism was so popular that is wat influenced nearly every architecture, literature, painting, sculpture and so on. Theory of Neo-Platonism was so various that every Neo-Platonist had his own theory. Among them, Cusanus focused his theory on rationality, mathematics rather than the medieval symbolism and studied the relationship between the God and men. In the same age, Leonardo da Vinci studied the planning system influenced on many architects works, including Bramante s. His planning system came not from symbolic appearance but from his scientific and rational researches as the theory of Cusanus. This study is to compare Cusanus Neo-Platonism theory and artistie view shown in Leonardo da Vinci's memorandum and drawing and to ascertain the influential relationship, abstracting the common things, and to substitute the characteristics that are seen in his centralized space sketch, abstracting the key words. The study on Cusanus will take advantage of the issued books and will requote Cusanus's copied ones.

• The Research Journal of the Costume Culture
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• v.30 no.6
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• pp.814-827
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• 2022

This study examines the social and artistic aspects of the Netherlands in the 16th century, focusing on the paintings of Pieter Bruegel the Elder (1525-1569), a repre- sentative Dutch painter at that time. Also analyzed were the types and characteristics of each item of the male populace's and nobles' costumes at that point in the Renaissance. The results are as follows: most of the populace's chemises do not have frills on the neckline and sleeves; the doublet has a loose body and sleeves overall; and the sleeves and armholes are fixed with sewing rather than being detachable, making the epaulet invisible. The neckline of the doublet usually does not have a collar, but it sometimes has a hood. In the case of trousers, most males are shown wearing waist-high stockings, and a piece of cord is visible. It seems that the populace's coats were mainly Spanish-style capes. The 16th-century Dutch populace's costumes are imitative-reflecting a desire to emulate the codpieces and hairstyles of the aristocrats-while providing individuality through hats and belts. In terms of practicality, it appears that a knife and pouch were used in various living environments. This trend can be seen as a reflection of populace's perception of the costume at the time.

• 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.

• Archives of Plastic Surgery
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• v.42 no.2
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• pp.226-231
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• 2015

The aim of this study is to consider breast imagery in art as depicted through western painting. Twenty western art paintings were collated. Most of the sample paintings were created from the mid-nineteenth century to the late twentieth century and some are from the Renaissance period. Ten anthropometric items were used to measure 15 distances between two landmarks and 3 angles between three points. The distance from the nipple to the sternal notch and to the midclavicular point was the same and they were 0.46 of the distance from the sternal notch to the umbilicus. The shape of the projection of the breast was almost an isosceles triangle and the altitude of the triangle was at a proportion of 0.45 of the bottom length and 0.16 of the distance from the sternal notch to the umbilicus. The distance between the lateral ends of the breasts was 2.14 times the facial width and the distance between nipples was 1.36 times the facial width. Proportions from works of art are more ideal and attractive than clinically measured proportions. The desirable ratios measured from historical paintings might be useful in planning breast surgeries.

• Journal of architectural history
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• v.22 no.6
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• pp.7-22
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• 2013

The purpose of this paper is to study on the spatial characteristics from the "The Holy Trinity" fresco painted by Masaccio in the early Renaissance paintings. The results of this study are as follows. 1. The elevation composition of the "The Holy Trinity" fresco is divided into the upper and lower structure through horizontal axis on horizontal line around vanishing point. The upper structure is composed of vertical axis formed through the disposition of the "Trinity" elements and horizontal axis on horizontal line. The lower structure is composed of the sarcophagus and skeleton in such inside and the altar supported through circular columns of left and right. 2. The section composition of the "The Holy Trinity" fresco is composed of the ceiling structure of cylindrical-shaped vault on upper part around basic square floor plan that is interior space and upper structure. The exterior space and lower structure is placed with sarcophagus in inner part that altar and step is projected as same height and width in the outside direction. 3. The basic floor composition of the "The Holy Trinity" fresco is planned by square shape around structural columns that is placed at corners as symmetry through transverse, longitudinal and diagonal axis. The whole floor composition planned through the altar and step that is in exterior space at front, the apse of round form at rear part and the structure of the middle story concept at interior. 4. The visual aspect of the "The Holy Trinity" fresco is composed of the stable balance in relation with distance and height because the interior and exterior space as well as the upper structure and lower structure is formed by regular proportion system. The elevation angle of visual range was planned to view in detail generally or partially the architectural composition system and element, characters through proper visual distance, center and position.