• 한국의류학회지
• /
• 제16권1호
• /
• pp.123-136
• /
• 1992

The art which has been beginning and existing with the origin of human civilization had originated from human's play impulse, so called instincts incidentally and inevitably. The highly developed material civilization resulted in human alienations, and by turn to the primitive in order to overcome human alienationsalso they obtained creative inspiration from this activity and, in the result, created various animated arts. In this respect, the purpose of the study is to identify the primitivism in Lacroix fashion and the relationship between the modern art and in his design regarding the external plasticity and internal symbolism. For this purpose, 1 analyze the factors of primitivism in Lacroix fashion, and demonstrates the affinity between the primitivism, which is represented in his dress and the modern painting through the comparision and analysis of works, and dresses of Lacroix. Finally, Ican find out the guie close analogy of primitivism between the modern painting and the Lacroix's dress. That is, even the Lacroix fashion and modern painting are in different genre, they pursued the same way in the same category of art, we have a reperception of that fashion can be positioned in line with the art, as its one genre.

• 패션비즈니스
• /
• 제27권6호
• /
• pp.66-84
• /
• 2023

Handbags are a part of fashion and while their significance and value are increasing, research on this topic is lacking. This study defines handbags and categorizes the materials used for making handbags, sewing methods, expression techniques, and terminologies related to accessories. A total of 1,743 handbags that were released from the Spring 2020 to Fall 2023, Ready-to-Wear collections by 8 selected brands (Hermes, Dior, Fendi, Chanel, Louis Vuitton, Prada, Gucci, and Alexander McQueen), were analyzed. Out of these, 732 unique designs, excluding those with only color variations, were studied. The most common sewing methods were 'Cut, sewing, and edge painting', 'Cylinder arm sewing', 'Cut, edge painting, and sewing', and 'Inverted seam', in that order. Slim strap designs primarily used the 'Cut, sewing, and edge painting' method, whereas the body, especially with narrow and hard leather, was best suited for the 'Cylinder arm sewing machine'. For expression techniques, the most frequently used methods were 'Quilting', 'Metal Eyelet', 'Embossing', 'Printing', 'Punching', and 'Weaving', respectively. The characteristics of each brand's production methods, expression techniques, and accessories were as follows: First, the exposure of logos and monograms is prominent. Unlike clothing, handbags often prominently feature the brand's logo or monogram. Second, signature quilting is a prominent feature. Quilting effectively conveys the brand's signature style, providing cushioning, volume, and pattern effects. Third, sustainable development is a growing trend. Brands are increasingly applying eco-friendly and socially responsible designs.

• 한국보육지원학회지
• /
• 제12권3호
• /
• pp.99-119
• /
• 2016

The purpose of this study is to develop art activities using famous painting parodies in hopes of enhancing the creativity of 5-year old children. A total of 11 program activities were developed consisting of a preliminary activity (understanding the notion and ideas behind parody), introduction (view and analysis of famous paintings), development (theme selection, idea construction, and parody production), and conclusion (view and review of parody). Participants were 50 (24 in the experimental group and 26 in the comparative group) 5-year old children from a kindergarten located in G city. TTCT of Creative Thinking (TTCT: Figure A and B) was used as a research tool, and the listening abilities paintings test tool was applied to teachers of the groups. First, excluding accuracy, which is considered to be an unimportant factor in determining one's creativity, results showed positive effects on fluency, originality, abstractness, and persistence. Second, the program also showed positive effects on children's overall ability in appreciation of paintings as well as the sub factors including observation and expression, understanding painter's intention, atmosphere, materials and techniques, art elements, and attitude towards art piece.

• 미술이론과 현장
• /
• 제16호
• /
• pp.139-174
• /
• 2013

Pliny the Elder said that multiple cultures agree that the painting began as a shadow trace. A daughter of Butades, the potter in Corinth, traced an outline around a man's shadow, and it was the very beginning of painting. In this anecdote, the profile, i. e. the portrait substitutes body of the absent lover. It makes the absent body present and replaces his place. In this context Hans Belting put the anthropological value to this visual practice. Human being made images to cope actively with the shock of death and the disappearing of body. With the aid of the representation of the bodily presence, the image struggles to resist the death. This paper is a study on the critical meaning of representation in the context of bodily survival by image. The representation is the paradoxical trick of consciousness, an ability to see something as 'there' and 'not there' at the same time. So the connection between image and the body would be suspicious. Although this relation was tight in the ancient shadow painting and the medieval effigies, the modern visual practice forsakes this connection and exposes the trick of representation. It insists that image was not real and even expels the medieval visual practice from the boundary of fine arts. The genealogy of the portraiture is formed by two different visual practices. The belief and the disbelief in the image are observed in the process of representation and anti-representation, and this ambivalence transforms the ontological meaning of portrait in the visual representation.

• 조형예술학연구
• /
• 제5권
• /
• pp.159-174
• /
• 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.

• 한국실내디자인학회논문집
• /
• 제21권5호
• /
• pp.114-121
• /
• 2012

Gilles Deleuze is a philosopher who replaces the world of representation defined as supremacy of identity with the contemporary reason of non-representation in the history of western philosophy that wants to transcend Plato. Deleuze developed his own philosophical concept through philosophical reason and encounter with arts, for which reason he exerted a great influence on artists and architects in diverse fields. Particularly, 'Logic of Sensation' published in 1981 considers the non-representation painting approach through Francis Bacon's painting theory defined as 'invisible force's visibility'. And it is considered that SANAA's architecture among many contemporary architects accepted the essence of Deleuze's philosophy and continuously reflects it on projects. Hence, objective of the present study is to consider how the non-representation constituting a root for Deleuze's reason has been indicated in paintings and architecture through examining the works by Bacon and SANAA. First, a theoretical consideration will be directed to non-representation, followed by an analysis of Bacon's painting works and SANAA's architecture projects from the viewpoints of the force of isolation, the force of transformation, the force of dissipation and the force of time dealt with by Deleuze in 'Logic of Sensation'. Finally, through such analysis, the characteristics of Deleuze's non-representation indicated in architecture and paintings will be derived.

• 헤리티지:역사와 과학
• /
• 제52권4호
• /
• pp.226-245
• /
• 2019

보물 제1259호로 지정된 법주사 <괘불탱>은 1766년에 조성되었으며, 화면 중앙에 여래를 단독으로 배치한 독존형식의 괘불화이다. 법주사본은 현존하는 괘불화 중에서 세로 폭이 가장 긴 작품이자 18세기의 대표적인 화사인 두훈이 조성하였다. 두훈이 제작한 괘불화는 법주사본과 더불어 통도사 <석가여래괘불탱>(1767)이 현존한다. 두 작품은 도상이 같기 때문에 동일한 초본을 사용하였을 것으로 추정되는데, 1년이라는 시간 차이가 있음에도 대부분의 화사가 교체되었기 때문에 수화사인 두훈의 역량을 확인할 수 있다. 이 중 법주사본은 통도사본보다 먼저 제작되었을 뿐만 아니라 화기를 통하여 왕실과 연관성이 엿보이므로 중요한 의미를 가진다. 법주사에는 영빈이씨의 위패를 모시던 선희궁 원당이 존재한다. 이 원당은 1765년에 건립되어 법주사본이 왕실과 관련이 있을 것으로 추정할 수 있는 근거가 된다. 특히 법주사본 화기에 등장하는 비혼의 여성 집단에 주목할 수 있다. 이들 중 경진생 이씨를 비롯한 일부 인물들이 영빈과 화완옹주가 시주에 참여한 봉인사 불사에도 이름을 올리고 있어 영빈과 관련된 궁녀들임을 추정할 수 있다. 이와 더불어 법주사본 하단에 '주상주삼전하수만세(主上主三殿下壽萬歲)'라고 강조된 축원문을 통하여 법주사본과 왕실의 관련성을 확인할 수 있다. 또한 미술사적 특징뿐만 아니라 과학 분석도 함께 접근하였는데, 먼저 법주사 <괘불탱>의 손상 유형을 보면 꺾임과 접힘, 주름이 관찰되며 습해로 인한 화면 얼룩, 안료 박락, 안료 점상형 박락, 뒷면 배접지에 안료 이염 등이 관찰된다. 채색 안료 분석 결과를 보면 백색 안료는 연백을 사용하였으며 흑색 안료는 먹과 니람을 사용했다. 적색 안료는 진사와 연단을 단독으로 사용하거나 혼합하여 사용하였으며 자주색은 유기염료를 사용한 것으로 추정된다. 황색은 육색에서는 연백과 등황을 혼합하여 사용하거나 연백 위에 등황으로 중첩 채색하였고 보관은 금박을 사용하였다. 녹색 안료는 염화동(녹염동광)을 단독으로 사용하거나 염화동(녹염동광)과 공작석을 혼합 사용하였다. 청색 안료는 석청과 회청을 단독으로 사용하거나 혼합 사용하였다.

• 한국식생활문화학회지
• /
• 제18권3호
• /
• pp.211-225
• /
• 2003

This present study suggests a wider view of our ancestors' food culture by examining the generality and peculiarity of the food culture of the Chosun Period by associating the culture with genre paintings made in the $18th{\sim}19th$ century in Korea. People in the Chosun Period outwardly advocated the Confucian idea reflecting the life philosophy of Chinese. However, the vitality of common people's frank and simple lifestyles saturate genre paintings and display Korean food culture and sentiments of the age. Initially this paper examines the history of food sociology through Namjong literary artists' paintings. The meaning and philosophy of drinks are considered in relation to the trend of declining tea culture among scholars in the mid-Chosun Period with the policy of promoting Confucianism and oppressing Buddhism. Secondly, this paper investigates the background of genre paintings in the late Chosun Period, and examines the unique food culture of Koreans appearing in paintings, particularly with regard to the abundance and variety of seasoned vegetables appearing in genre paintings, our ancestors' sentiment appearing in milk-gathering painting, humanity in guest reception, food culture and view of nature in farm villages, fishing life history, food distribution culture, soybean-curd culture, etc.

• 복식
• /
• 제18권
• /
• pp.167-181
• /
• 1992

This study was conducted to clarify the formativeness of Cezanne's painting and it's influence on the Modern Fashion. Recently, fashion was introduced and applied the originality of paintings into the fabric and fashion designing. To go with the current of the times I already discussed about the Modern Fashion under the influence of the color of Impressionism and N대-Impressionism in the previous paper. In this study, Cezanne's painting and it's influence on the Modern fashion was investigated. As one of the original Impressionist, Paul Cez anne had been so adversely affected by the critical attack on his contributions to the 1874 and 1877 exhibitions that he never again showed with the group. That is, he was the first Impressionist to become dissatisfied with the superficial recording of atmospheric effects. When he turned to nature, it was not simply to depict the objects that occupied a given site but rather to consider relationships among those objects. Cezanne attempted to track down the fundamental laws of geometrical prototypes of sphere, prism and corn. Color too, he found, could be employed according to principle, like the tones of a musical scale. Throughout the Modern Fashion, various forms of Bustle style dress and geometrical style dress were reappered under the influence of the Cez anne's painting technique. And the order and the unity of all nature was illuminated on the fashion's pattern.

• 한국조경학회지
• /
• 제24권2호
• /
• pp.117-133
• /
• 1996

The etymological meaning of 'the Picturesque' is "after the manner of painters." It had begun to be used from the end of Classical era and become popular in Romantic era. The concept of the Picturesque in the Classical era is an allusion to the Classical paintings, history paintings or ideal landscapes. As the idea of these paintings was the Beautiful Nature, the most crucial of the Classical Picturesque were that a painting should represent some significant human action; that all the parts of this painting should contribute to the whole; that verbal commentaries were needed. The influence of the Picturesque on the garden design can be summarized as the invention of 'the Landscape Garden.' In the Landscape Garden, human action was central and formal and painterly techiniques were used to highlight human action. The subjectivization of concept of of the beauty resulted in the cult of the Picturesque. In the controversy by Price and Knight, the Picturesque and its influence on the garden design was contended variously. Price criticized the monotonous gardens of Brown's and named "roughness, sudden varitation and irregularity" as the three hallmarks of the Picturesque. Knight contended " that the Picturesque consisted only in a manner of viewing things with an eye and mind educated in the principles of painting" and "that gardens should reproduce as fully as possible the qualities that made the pictures of Rosa or Hobbema delightful."