• Title/Summary/Keyword: 러시아 구성주의

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A study on the russian avant-gard arts& vchutemas (VCHUTEMAS와 러시아 전위미술에 관한 연구)

  • 김인준
    • Archives of design research
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    • no.16
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    • pp.65-74
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    • 1996
  • It IS of great significance that russian artists created their own avant- gard arts, based on russian traditional culture comprehending new artistic trend from the Western Europe. After ttle Russian Revolution, russian artists participated voluntarily to the change of sOCIety. They were heading for the reach of socia 1st's utopia in the field of culture (painting, movie, architecture, play etc) Therefore , new socialist's society needed artistic Institution like the Vchutemas. The aim of thiS school IS to prepare highly educated artists to Instruct and direct In professional and technic education. RUSSian avant-gard artists gave lessons about the new didactics of the Vchutemas on the principals of ConstructiVism and Functlonlsm. They Influenced the Bauhaus school and western european designs.

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A Study on Spatial Construction of Tectonic in Russia Constructivism's Sculpture - Focused on the Milan Expo, 2015 Pavilion - (러시아 구성주의 조각의 텍토닉(Tectonic)적 공간 특성 - 밀라노 엑스포(Milan Expo, 2015) 파빌리온 중심으로 -)

  • Kim, Min-A;Lee, Chan
    • Korean Institute of Interior Design Journal
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    • v.24 no.6
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    • pp.107-118
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    • 2015
  • Today, The representation of the modern space is experimented with shape and surface of the de-structural point of view to make architecture and space, in terms of not being able to make defined by single regulation. However, it can correspond to the rapidly changing modern, but it is easy to fade of architecture fundamental meaning. Along with the need for the rise of the construction of fundamental space, should be built a 'tectonic' spatial, which is said to be building of logos. Tectonic, as norms for expressing the fundamental meaning of architecture, as to expression of construction, be unfolded with dualism such as science and art, technology and express, structure and formation, and it was introduced into the architecture through the construction expression of space that was a tectonic discussion of 19c german architects. On the other hand Constructivism which is avant-garde formative movement with Russia revolution, constructed 'sculpture' with the formative principles as tectonic. Tectonic's Formative characteristics can draw a conclusion with of tectonic characteristics of constructivism sculpture, space of logos will be realized through its study. Other hand, The pavilion, as symbol space, can be analyzed by tectonic properties, Pavilion, meaning the space is expressed in a variety of tectonic expression. As tectonic construction, fundamental ideology and symbolization of space is revealed metaphorically and visually.

A Study on the Costume of Arts in the Russian Constructivism - Focused on Tatlin, Rodchenko, Stepanova & Popova - (러시아 구성주의(Constructivism) 예술의상 연구 - Tatlin, Rodchenko, Stepanova와 Popova를 중심으로 -)

  • Park, Yoon-Jeong
    • The Research Journal of the Costume Culture
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    • v.18 no.3
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    • pp.550-558
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    • 2010
  • Russian Constructivism, which took the lead in the Russian trend of art until the late 1920's, was influenced by European Cubism and Futurism. Breaking away from the previous realistic tendency, Russian Constructivism, to meet the ideology of the revolution, insisted the "Art into Street" and the "Art in Industry" with its abstract and geometric design. Russian Constructivism effected paintings of mid 1920's, as well as Industrial design and costume design. This operated remarkable changes in Russian form of costume and textile area. An unusual situation like revolution had provided the social justification to develop a new costume design not for the special class of people, but for the general public. In this atmosphere, the plan of clothing mass production began to progress. Although the Russian Constructivism costume of arts shows the similarity in the trend of fashion and the physical forms of those days, its fundamental idea in manufacturing costumes was 'to create costumes to be possible to mass-produce and to be wearable to anyone regardless of the social class'. Therefore, Constructivism costume of arts pursued dynamism and geometric form through non-objective design that has broken away from the handcrafted and traditional standards of the past. These distinct characteristics served as a momentum to seek costume design based on productivity and functionality.

A Study on the Formativeness of Russian Constructivism in Modern Fashion (현대 패션에 나타난 러시아 구성주의의 조형성에 관한 연구)

  • Sohn, Ho-Young;Kan, Ho-Sup
    • Journal of the Korean Society of Costume
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    • v.61 no.10
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    • pp.1-15
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    • 2011
  • Constructivism is an avant-garde movement that began in 20th-century Russia, which rapidly turned into an industrial society. This was one of the most experimental art movements, that wanted to be at the center of social and political-ideological change as it pursued a unique style, which portrayed the true essence of art and humanity. Russian constructivism greatly influenced modern fashion and suggested a new artistic standard. First, the artistic elements of Russian constructivism include photo montages, geometrical structures, color abstraction, and an asymmetrical order, through which the ideals of the Russian Revolution were substantiated, idealized, and materialized into an artistic form. Second, the different forms of Russian constructivism have various artistic characteristics such as popularity, spatiality, structuralism, decorativeness, and mobility, which were then expressed in modern fashion elaborated below. This study intends to reconstruct the meaning of Russian formalism and reflect it on fashion; thereby reconsidering the characteristics and the meaning of Russian constructivism in the context of today's fashion. This will broaden the meaning of constructivism and suggest a new direction for modern fashion.

A Study on Space Design in Russian constructivism on early 20th Century (20세기 초 러시아 구성주의에서 나타나는 공간디자인에 관한 연구)

  • 김주연;강수미
    • Korean Institute of Interior Design Journal
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    • no.29
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    • pp.35-42
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    • 2001
  • As a part of Avant-Garde movement centered in Russia before and after the Revolution in 1917, Russian Constructivism was born as most experimental and avant-garde modernity artistic movement. Russian Constructivism played a significant part in relative to Avant-Garde in the beginning of twentieth century and has contributed to a series of artistic movement, it deserves a status befitting its contribution to modem abstract art. Noticing the fact that Constructivist approaches are being attempted in modern architecture with the new rise of Constructivist design theory and increased interest in Constructivism, this thesis explores the design elements characterizing Constructivism in art and architecture To be specific, it suggests the relation of Plastic paradigm in formalistic, elemental and technical aspects and categories into Plastic characteristics. Thereby, the thesis aims to categorize the elements in terms of contradicting two trends of pure plastic and scientific expressions, and to analyze comparatively the related Plastic trends represented in modern space design. The thesis recolonizes that attempts to break out from stereotypes of Constructivism to reinvent itself constantly have contributed to an unconventional forms and new aesthetic standards and have a great impact on idealistic forms in many genres.

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A Study on the Costume Designs of Arts in the Italian & Russian Avant-Garde - Focused on Futurism and Constructivism - (이탈리아와 러시아 전위(Avant-Garde) 예술의상 디자인 연구 - 미래주의(Futurism)와 구성주의(Constructivism)를 중심으로 -)

  • Park, Yoon-Jeong
    • The Research Journal of the Costume Culture
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    • v.19 no.1
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    • pp.128-149
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    • 2011
  • This study dealing with the Italian futurist and Russian constructivist costume designs which aimed for new fashion design freed from the conventional meanings of fashion and explore the artistic purpose reflected within the designs expressed differently according to cultural and regional differences in order examine the early 20th century Avant-grade costume designs. The scope of this study is limited to the 1910s to the 1930s when the Italian futurism and the Russian constructivism were originated and were most active. This monograph focused on the works of the Italian futurists, Giacomo Balla who declared the 'Manifesto delle moda minile futurista', Fortunato Depero, and Thayaht who suggested a new direction for the futurist, and on the works of the Russian constructivists Alexander Rodchenko, Varvara Stepanova and Liubov Popova. As an one method of investigated, this paper is used materials of various sources to examine their features. Futurists costume designs expressed a radical conception of progress and their source of aesthetics was dynamism. The concept of 'power' which was the basis of the futurists was incorporated in the costumes while non-symmetrical cut-outs and bright and vivid colors completed the futurist costume designs. Moreover the Russian constructivists brought advances in the field of fabric and textile designs. What was particularly interesting about the Russian constructivist costumes was that the artists worked at the textile mills themselves, directly involved in the designs and manufacturing of fabric, developing an advancement in textile and a new understanding of costume. Furthermore, many Russian artists settled in Paris, actively participating in the fashion industry, and therefore, they have greatly contributed to the development of the early 20th century Avant-garde costume designs.

The fashion Design of the Avantgarde Artists during the Early Twentieth Century - Focus on the Constructivism - (20세기 초반 러시아 아방가르드 미술가의 의상디자인 활동 - 구성주의를 중심으로 -)

  • 오선희
    • Journal of the Korean Society of Costume
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    • v.51 no.3
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    • pp.59-73
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    • 2001
  • This paper is to examine the meaning of activities of a number of artists who belong to Constructivism in the fashion design area during early twentieth century. After Russian Revolution, the artists like Nadeshda Lamanowa, Ljubow Popowa and Warwara Stepanova decided to devote to practical art area for many People. It's very meaningful for them to jump into real work places like a textile mill and a clothing workshop instead of staying in fine art area. Constructivism is more related to social interest rather than individual thing. The artists tried to apply their modeling principles in fine art to dress making. We can see the geometrical lines and shapes and big differences In colors and material in their dress. The artists had also shown personal tastes to dress works. This idea of togetherness with their time and even to create the style of it. was very renovative at that time and gave an influence on the later styles.

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Superimposition of Russian Constructivist Architectural Spaces Reflected in Modern Fashion Design (현대패션에 나타난 러시아구성주의 건축공간의 중첩연구)

  • Jin, Kyung-Ok
    • Journal of the Korean Society of Costume
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    • v.59 no.9
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    • pp.163-179
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    • 2009
  • The superimposition of the Russian constructivist architectural design is one of the notable transforming techniques of conventional design principles. The main objective of this paper is to analyse the superimposed space in the modern fashion design based on the techniques and characteristics of superimposition appeared in Russian constructivism architectural space. The artistic characteristics of the superimposed design in the modern fashion design can be determined by codes of dynamics, sense of space, rhythmical sense, communications and tension of the dress. Through this study, it was found that superimposition of the Russian constructivist architectural design in the modern fashion design has influenced the modern fashion design space in the forms of dynamics with directive sense, vitality through transparency, uniformity with geometric interpenetrates, intensive visual attraction created by duplicity, communication between human body and clothes, creation of transformative beauty and enhancement of structural volume on clothes.

A Study on the Montage Technique in Yuri Norstein's 'Tale of Tales' (유리 놀스테인의 '이야기 속의 이야기'의 몽타주 기법 연구)

  • Kim Il-Tae;Choi Ga-Hee
    • The Journal of the Korea Contents Association
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    • v.5 no.1
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    • pp.117-126
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    • 2005
  • In the present, animations of auteurism and aestheticism became a unique genre of art that expresses directors' idea. 'Tale of Tales' by Yuri Norstein, a Russian animator, is a paper animation that emphasizes the cut out technique and picturesque feeling as well as complicated structure of sequence in expressing metaphysical themes in the author's historical realism. It is evaluated as unique and creative. The present study analyzed the montage technique applied through the development of several symbolic images, the diachronic expression of contradictory worlds, the unique foreshadow of revealing the causes of results later, rapid repetition of urgent and serious situations, the movement of the camera to express the psychological distance between two characters in different situations and the process of editing. The derived results of this study are expected to be helpful in the works of animators of auteurism and aestheticism.

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A Study on the Stage Costume of Russian Constructivism Theatre - In the Works of Meyerhold - (러시아 구성주의 연극의상에 관한 연구 - Meyerhold의 작품 속에 나타난 무대의상을 중심으로 -)

  • Woo, Joo-Hyoung
    • Fashion & Textile Research Journal
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    • v.6 no.2
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    • pp.153-162
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    • 2004
  • Influenced by Constructivism Art, Constructivism theatre projected the future with the help of participating artists and the development of new technologies. Therefore, this thesis studied the stage costumes in the plays of Meyerhold who represented Constructivism Play and showed its characteristics. The stage costumes in Meyerhold's plays followed the rules of Constructivism Play and showed several unique characteristics, such as the Bio-mechanic as a characteristic in his plays, functionality that facilitated the movement based on Taylorism, simple shapes, and easy cutting. Constructive artists saw the stage of constructive plays as a laboratory where they can display their designs, directly portraying future life forms through stage costumes and props. Stage costumes were no more a supporting tool that had described the play. Following the new concept of stage costumes, working costumes and stage costumes came to be regarded as the same. In turn, this led to new models and special costumes such as sportswear or specialized garments. Constructivism artists foresaw the future through the plays, with their fundamental basis for stage costumes shown in the later works of ordinary costumes.