• 복식
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• 제40권
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• pp.5-23
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• 1998

The main purpose of this study was intended to analyze the image of N대-Expressionism represented in the late of 20th century fashion design. By the late 1960s and the early 1970s. the prevailing notion of modernity, which had pushed the limits of art beyond previous boundaries, had begun to lose its urgency. Critics called the new pluralistic era which the West was entering Post-Modern. Furthermore, the predominance of America and the New York scene is diminishing, and artistic leadership is now international. Post-Modernism dialectcally made denial of Modernism as likely as New Image Painting and Decorative Pattern Painting Art in 1970's and it was availed as a dialectcal means for the pre-diction of new comings that would be appeared at painting art in 1980's. New Image Painting has been called as Neo-Expressionism. The N대-Expressionists selected human's feature because appeared flankly, directly irregular agitation in the visual effect and they believed human's destructive and amputate body was cruelty. So they express it on the surface canvas. Under the these background, the image of Neo-Expressionism was represented in the late of 20th century fashion design such as the upside-down image of human feature, the image as ameditation on German myth and history, culture, the ecletic image is made of use a mixture of material. The properties of composition, line, color, texture, and form, common to all plastic art, are now more readily recognized and historically valued in every work. That is, individuality, humanity, and the human condition have been at the core of most Western art and Fashion design. Especially Fashion design has been one of the principal instruments used to examine our nature and to promote the notion of growth, self-understanding, and change.

• 한국실내디자인학회논문집
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• 제17권2호
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• pp.22-29
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• 2008

Johannes Vermeer is one of the masters in the 17th century Dutch Genre Painting. Genre Painting represented the mundane everyday life and humble domestic spaces of the time. It was so unique in the history of western art. Most common subjects of the medieval art had been myths, historical heroes, and the christianity up to that time. However, Dutch Genre Painting that was originated from the 16th century Flandre art has fundamentally changed perception of art. Genre Painting was related to the prosperous development of civil society and early capitalism in the Netherlands of the time. In the paintings of Vermeer, there are unique spatial characteristics. This study aims to 'spatially' analyze the representation of everyday space perceived by the painter himself. Three analytical elements were chosen: light, space, and geometry. These elements have crucial roles to construct a space together within which Vermeer tried to express his discoveries as well as perception of the world. Four paintings were selected to be further analyzed in detail: $\ulcorner$A Maid Asleep$\lrcorner$ (1656-57), $\ulcorner$The Little Street$\lrcorner$ (1658-60), $\ulcorner$The Music Lesson$\lrcorner$ (1662-1665), and $\ulcorner$Young Woman with a Water Pitcher$\lrcorner$ (1662). It has been found that there are distinct spatial aspects in his paintings: Structure of Frontal Layers, Diffusion of Light, and Subtle Geometrical Tension. It is hoped that this sort of interdisciplinary research could enrich the related studies in the field of architecture & interior design, and could help to rediscover the everyday world that we live in here and now.

• 미술이론과 현장
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• 제2호
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• 비교문화연구
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• 제29권
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• pp.113-131
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• 2012

In our days, we live in the world of image and imagination. Now we think that the images and imaginations are no more selective but indispensable elements in our life. The status of imagination is dramatically changed since 20 century. Many philosophers like G. Bachelard, G. Durand, Paul Ricoeur, H. Corbin, G. Deleuze made great contributions and we think that the studies of imagination began since 20 century. But the change of the status of imagination was not made in one day. In the long history of human life, the imagination kept his own value, and never stopped to give his influence to the human mentalities. The concept of imagination was born from the Plato's notion of phantasia. Plato thinks that the phantasia is a kind of drawing capacity in mind in the process of recognition. But the image which phantasia makes is not real one but pseudo one. So it is necessary to banish those false images from our recognition. Aristotle thought phantasia as an afterimage of object of sense. The sense is always true, but the phantasia is very possible to be an error. After Plato and Aristotle, the notion of phantasia developed into that of imagination, but it was always a problem full of contradictions. According to G. Durand, we can say, in some sense, the history of western philosophy is a kind of struggle against the image and imagination. In Middle Age, the iconoclasm tried to exclude image from their religion. Thomas Aquinas tried to explain the image by the rationalistic christianisme. In 16-17C Galilei and Descartes solidified the exclusion of imagination from the philosophy in the name of science and reason. The empiricism and positivism was the final and the most conclusive philosophies which exclude the imagination definitively from the field of philosophy. But the imagination continued his influence in the field of art. In the age of Renaissance, the imagination found his way of liberal expression, and this trend was inherited to Baroque. From the middle of 17c many philosophical theories supported the imagination by many philosophers like J.-B. Dubos, Baumgarten, A. Becq, J.-J. Rousseau etc. The Romanticism was the first significant wave which made the imagination come forward in front the art. The romanticism broke the narrow frame of rationalism and expand human's view of the world to the cosmos. From the romanticism, the imagination became a faculty which expresses the unity of human and nature. That was impossible by the rational thinking of rationalism. The concept of new imagination made a new future of human, 'the imagining conscious' and this imagining conscious provided a solid base of next generation's symbolism and surrealism.

• 복식
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• 제59권5호
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• pp.71-82
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• 2009

The purpose of this study is to help understanding of patterns and to play a guideline's role in the development of designs and the prediction of trends for present and future fashion designers and textile designers. The methods of this study are the study of academic literatures as well as practical study through the analysis about actual works. The results of study are like followings. An inquiry of Pattern history in 20c is divided into six periods by the classification of styles and the styles of fashion culture according to other artistic formative will. Main trends of Pattern's image in each period and characteristics in each dimensions of Pattern image positioning are like followings. Art Nouveau style period from 1900 to 1910 is , Art Deco style period from 1910 to 1920 is , Elegance style period of 1930s is , and New Romantic style period from 1945 to mid 1950s and Pop style period from late 1950s to mid 1970s does not show main Pattern image but they are shown in four Pattern image of , , , . Compromising style period from late 1980s to 1990s shows all of four Pattern image, at the same time shows intensive main Pattern's image, .

• 복식문화연구
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• 제24권2호
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• pp.273-286
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• 2016

Traditional Chinese operas are time-honored art form, they are vivid in expression, rich in content, embody social, thought-provoking, historical and artistic value. And as a splendid art form and part of China's brilliant traditional cultural heritage, traditional Chinese operas have been developed with Chinese history from generation to generation. Nowadays, with the comprehensive national strength increasingly growing, Chinese government is giving more and more importance to enhance people's awareness of protecting traditional Chinese opera. In actual fact, both Chinese scholars and the other scholars who have done some research in traditional Chinese operas and built up solid foundation for further study. Even though, traditional Chinese operas have not been fully understood by people outside the 5000-year-old civilization, especially what is the close relationship between the apparel and accessories and the names of dramas. Based on this condition, the paper selects and summarizes names of apparel and accessories in traditional Chinese dramas as its thesis, intending to explore the relationship between the apparel and accessories and the names of dramas, analyzing how such names in dramas highlight themes and promote the development of unique storylines. The paper will help Western readers further understand the meaning of traditional operas names' behind these costumes and promote Chinese traditional dramas spreading to abroad.

• 한국실내디자인학회논문집
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• 제19권5호
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• pp.3-10
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• 2010

In the history of art and architecture, there are different characteristics in relationship between light and space. Among them, two characteristics seem to be fundamental : The first is that contrast between light and darkness is more articulated. Direct sunlight penetrates into the dark interior space made by heavy masonry structure. This is generally found in the traditional western religious buildings. The second is that light is mixed with darkness and becomes shade. Shade is different from shadow that is usually perceived as the opposite of light. Sunlight is filtered under through the big horizontal roof and rice paper walls in the traditional far-east Asian architecture and becomes weak ambient light. In this shade, there is no strong contrast between light and darkness. This difference is not only originated from the architectural differences, but also originated from the conceptual differences about light, space, and the world in two cultures. This paper tries to study the philosophical, aesthetical backgrounds as well as case examples in art and architecture of two characteristics. Based on the case studies, this paper aims to analyze the main perceptual structure. Finding the relationship between light, space, and human body by making three dimensional models is the crucial analysis method of this research. Although in real life and experiencing the world, these two characteristics are not clearly separated, comparative study based on different cultures gives opportunity to think of diverse perspectives on light and space.

• Acta Via Serica
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• 제7권2호
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• pp.65-88
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• 2022

With the expansion of the Russian Empire southward in the nineteenth century, connoisseurs, art historians, and scholars in Russia began to pay attention to carpet traditions in the new territories of the Russian Empire in Turkestan. In journals and other specialty publications, they underscored a need to establish claims to authority over the knowledge of the traditional craft. They were highly attuned to parallel accounts of carpet weaving from regions that had a longer history of research and collecting of carpets. In contrast to the situation in Western Europe or the United States, commentators bemoaned the fact that the public and even professed experts in Russia did not properly appreciate carpets from the Caucasus and Central Asia. These scholars articulated a need to establish authority over the carpet weaving traditions of Russia's colonial possessions, resulting in a push toward a serious study of carpet weaving as a legitimate field of inquiry. This paper uses published sources on early carpet scholarship from the late nineteenth and early twentieth centuries to examine how carpet weaving traditions in Central Asia entered an imperial discourse of knowledge. It argues that attempts to understand and categorize carpet weaving as an art form occurred along two fronts. Intellectuals and scholars attempted to wrest control over the locus of knowledge from experts in the West as well as from local weavers. In the process, they established a distinctly imperial vision of carpet weaving in contrast to competing imperial discourses and over traditional forms of knowledge.

• 대기
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• 제26권4호
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• pp.711-716
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• 2016

The dynamical model forecasts using state-of-art general circulation models (GCMs) have some limitations to simulate the real climate system since they do not depend on the past history. One of the alternative methods to correct model errors is to use the canonical correlation analysis (CCA) correction method. CCA forecasts at the present time show better skill than dynamical model forecasts especially over the midlatitudes. Model outputs are adjusted based on the CCA modes between the model forecasts and the observations. This study builds a canonical correlation prediction model for subseasonal (June) precipitation. The predictors are circulation fields over western North Pacific from the Global Seasonal Forecasting System version 5 (GloSea5) and observed snow cover extent over Eurasia continent from Climate Data Record (CDR). The former is based on simultaneous teleconnection between the western North Pacific and the East Asia, and the latter on lagged teleconnection between the Eurasia continent and the East Asia. In addition, we suggest a technique for improving forecast skill by applying the ensemble canonical correlation (ECC) to individual canonical correlation predictions.

• 미술이론과 현장
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• 제5호
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• pp.83-107
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• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.