• Journal for History of Mathematics
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• v.19 no.2
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• pp.59-76
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• 2006

This research focuses on the relationship between mathematics and visual art from a perspective of chaos theory which emerged under the influence of post-modernism. Culture and history, which transform dynamically with the passing of time, are models of complexity. Especially, when the three periods of Medieval, Renaissance, and 17-18 Centuries are observed, the Renaissance period is phase transition phenomenon era between Medieval and 17-18 Centuries. The transition stage between the late Medieval times and the Renaissance; and the stage between the Renaissance and the Modern times are also phase transitions. These phenomena closely resemble similarity in Fractal theory, which includes the whole in a partial structure. Phase transition must be preceded by fluctuation. In addition to the pioneers' prominent act of creation in the fields of mathematics and visual an serving as drive behind change, other socio-cultural factors also served as motivations, influencing the transformation of the society through interdependency. In particular, this research focuses on the fact that scientific minds of artists in the Renaissance stimulated the birth of Perspective Geometry.

• Journal of architectural history
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• v.15 no.1 s.45
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• pp.61-76
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• 2006

The stage is ceremonial and legendary space unlike the ordinary world. Performance is not simply scrip-staged, but spatial art based on tempo that transmits extreme condition. The stage art is a visual art combined with stage settings, lighting, customs and the like. I exemplify the stage of Middle Age and Renaissance in the history of the art of public performance and so I review that what meditative functions each stage perform and that as what pattern of media it can be conceptualized. In this thesis, I divide the places of public performance Into the spaces of proscenium and polygon and also set up the concepts of hot and cool that McLuhan presents for each space. So, the degree of participation could be different according to the distinction of quantity of information, which is communication following the patterns of spaces. The basis of public performance might be the communication between co-actors and audiences. Since the sense of the art of public performance is the art in the process of establishing the meaning based on the communication with co-actors, it is not a confirmed and fixed one, but rather a reflexive one that can be created and changed continuously. Therefore, audiences should be regarded as the subjects, who are making the art of public performance with co-actors.

• Journal for History of Mathematics
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• v.22 no.2
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• pp.53-68
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• 2009

From ancient Greek times, the infinite concepts had debated, and then they had been influenced by Hebrew's tradition Kabbalab. Next, those infinite thoughts had been developed by Roman Catholic theologists in the medieval ages. After Renaissance movement, the mathematical infinite thoughts had been described by the vanishing point in Renaissance paintings. In the end of 1800s, the infinite thoughts had been concreted by Cantor such as Set Theory. At that time, the set theoretical trend had been appeared by pointillism of Seurat and Signac. After 20 century, mathematician $M\ddot{o}bius$ invented <$M\ddot{o}bius$ band> which dimension was more 3-dimensional space. While mathematicians were pursuing about infinite dimensional space, artists invented new paradigm, surrealism. That was not real world's images. So, it is called by surrealism. In contemporary arts, a lot of artists has made their works by mathematical material such as Mo?bius band, non-Euclidean space, hypercube, and so on.

• Journal of Korean Library and Information Science Society
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• v.53 no.4
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• pp.1-23
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• 2022

The record is both an palmistry and a fingerprint for human life and world of knowledge. Books, which are synonymous with records, are a channel through which history is traced and a window to savor. And the most primitive form of the book is the classics of ancient Greece and Rome, and the best part is the manuscript. It refers to the original recorded on papyrus, parchment, paper, etc. and the translated and translated copies of them. If we reflect on the long history of knowledge and culture, the classic manuscripts have continued to scatter and collect like a river flowing through time and space due to not only natural disasters, but also artificial cultural vandalism and the bibliocaust. Therefore, this study traced and linked the wandering and library return of classic manuscripts from ancient Greece to the medieval Renaissance period. As a result, dynasties and empires, monarchs and prime ministers, generals and conquerors, nobles and wealthy, clergy and scholars concentrated on collecting and translating classical manuscripts. If the ancient Greek and Roman scholars did not record knowledge and wisdom in papyrus and parchment, the medieval Byzantine and Islamic Empires did not collect, translate and reproduce classics, the book hunters didn't keep track of the classics, the Renaissance humanists did not restore and reinterpret the classics through intellectual exodus, and the historical library did not collect and preserve the classics and their translations, modern people would not have access to classical knowledge. Nevertheless, the tracing of classical manuscripts is an aporia in which many difficulties and contradictions overlap in the tracing of classic manuscripts due to historical flow, geographical wandering, and linguistic transformation. When a new manuscript is discovered and interpreted, correction and supplementation are inevitable, so the pursuit of the wandering and return of the classic manuscripts through follow-up research must be continued.

• Journal of Korean Library and Information Science Society
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• v.50 no.3
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• pp.1-22
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• 2019

Western society has depreciated the Middle Ages as the 'Darkness'. However, if Islam, which led the medieval millennium, had not spread paper and art of papermaking, and Arabic translations to the Western countries, translating and interpreting Arabic manuscripts into Greek and Latin, Gutenberg's printing press, Reformation, and Renaissance could not take place. They were not destructors of ancient knowledge and civilization, but were the protagonists of restoration and resurrection. The base camp is the Mosque and Islamic library(the House of Wisdom), which was referred to as a Muslim community. This study traced Islamic libraries that emerged in the process of establishing the Islamic dynasties and controlling Arabian Peninsula, Africa, Iberian Peninsula. For this purpose, the Islamic library was divided into the caliph library led by the royal families, the public library attached to the mosques, and the private library established by the viziers and scholars, etc. Then, the researcher analyzed history and development, roles and functions, impact and Importance on human civilization, and stagnation and decline, focusing on major libraries that existed in the Islamic cities of Damascus, Mecca, Baghdad, Aleppo, Cordoba, Cairo, Fes, Tunis, etc.

• 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.

• Art History and Visual Culture
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• no.22
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• pp.254-279
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• 2018

This essay traces the origin and the social function of medieval knights in Edwin Austin Abbey's murals ${\ll}$The Quest of the Holy Grail${\gg}$ in the Boston Public Library. Medieval knights in the Arthurian legend appeared in American novels at the end of 1850s and in political cartoons in the 1870s. They are featured in American Renaissance murals as well. ${\ll}$The Quest of the Holy Grail${\gg}$ painted in 1895 was the first of its kind. In Britain, the Pre-Raphaelites frequently painted medieval knights. Abbey fused the visual idiom of the Pre-Raphaelites and that of the Royal Academy of Arts in his depiction of knights. Unlike the Pre-Raphaelites, who usually focused on knights' activities, he emphasized their virtue. His representation of knights reflect the social and economic crises in America in the 1890s. After the Civil War, American society enjoyed economic prosperity but suffered from government corruption, economic inequality, and class conflict. Serious social problems such as poverty and inequality decayed American society. Writers and artists brought attention to these issues. This essay argues that Abbey criticized capitalists and expressed his hope for progress through the figure of Galahad as the iconic representation of civic virtue in ${\ll}$The Quest of the Holy Grail${\gg}$. Installed in the Boston Public Library, Abbey's murals performed a public function to warn the viewers of economic and social chaos resulting from government corruption. Abbey's American knights not only emphasized moral responsibility but also promoted patriotism. The artist refashioned medieval knights into American citizens, whose civic virtue became essential to an ideal leader in American society.

• Korean Association for Visual Culture
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• v.16
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• pp.131-161
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• 2010

This thesis investigates the cultural meanings of the first optical instrument, Camera obscura, in the pre-modern age, while it explains the development as well as the use of the Camera obscura in Europe and Korea. For this purpose the thesis traces the significant phases of the historical developments of the Camera obscura from L. da Vinci, G. B. della Porta, D. Barbaro, A. Kircher to J. Zahn etc. The Camera obscura was not only the symbolic instrument of the modernism in the sense that human being wanted to observe the outer world by himself and to be freed from the viewpoint of the christianity, but also was the forerunner of the modern visual culture, because it first time reproduced the artificial image of the natural world. Since the second half of the 17th century the box-type reflex Camera obscura had been produced, it began to be used as aid to drawing for painters like J. Vermeer, A. Canaletto and J. Reynolds etc. throughout Europe. It tells the evidence of the close relation between art and technology in the pre-modern age. Around the end of the 18th century the Camera obscura was brought to Korea, the closed country of the Fareast, by the scholars of the so-called 'Realist school' (Silhak-pa) who went to Beijing to acquire knowledges on the Western science from the European priests. In 1780s Yak-yong JUNG, one of the representative scholars of the Realist school, experimented the Camera obscura, and then, it was used for sketches of higher aristocrats' portraits by the supreme portrait painter of that time, Myoung-ki LEE. Those were possible only under the reign of the culturally liberal and reformative King, Jung-jo (ruled 1776-1800), and after his retreatment the inquiry of the Camera obscura had been dimished. It is not a historical coincidence that the Camera obscura could be examined and used in the period of the Enlightment both in Europe and Korea.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.4
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• pp.84-95
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• 2010

This study is an introductory survey of the labyrinth/maze in gardens. The term 'garden labyrinth' may seem an oxymoron given that the garden represents the terrestrial paradise, while the labyrinth is a symbol of the most chaotic face of the world. In etymological and ontological terms, however, gardens are enclosed places and this characteristic corresponds to the character of the labyrinth, which is the one of the oldest signs in human civilization, symbolizing the paths of human life filled with uncertainty and complexity. The garden labyrinth has developed in various forms and shapes since the Renaissance period. Literature and paintings contributed to the dissemination of the concepts of the garden labyrinth, especially in the form of the 'garden of love'. While the labyrinths in ancient and medieval times focused on plane shapes and symbolic and/or spiritual meanings, later garden labyrinths emphasized the three dimensional form and synesthetic pleasures. New patterns, which deviated from the classical unicursal form, emerged in the Petit Parc at Versailles in the 17th century. The garden labyrinth/maze was easy to adopt in formal gardens because of its geometric form, but for that reason, it went on to decline during the fad of picturesque garden. In this study, a brief history of labyrinths, the patterns, forms, and arrangement of the garden labyrinths in the formal gardens of the Renaissance and Baroque periods and its meanings are reviewed.

• Sim-seong Yeon-gu
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• v.37 no.2
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• pp.49-76
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• 2022

This study is to illuminate the problem of shadows and evil appearing in contemporary events in the midst of a period of upheaval through Inferno of Divine Comedy. First, the concept of shadow and evil were briefly summarized in analytical psychology and discussed the importance of considering the concepts with the empirical aspect of relativity and ethics in the field of psychotherapy. The 14th century, the age of Dante, was the embryonic period of the Renaissance beyond the end of the Middle Ages. It was when Dante, who was writing Divine Comedy, had to take off his persona forcibly and live in exile. In a nutshell, it was a transition period for both the individual and the collective. The dark forest is a nigredo, darkness and chaos we face in this transition, but it can be a place of transformation and rebirth. The three beasts (leopard, lion, and she-wolf) encountered in the forest can be considered as the instinctual images that Dante ignored and alienated, which the medieval Christian world had suppressed and eliminated. Especially at the collective level, as destructive instincts, ferocious beasts roam throughout society when a crisis breaks dominant laws of values. The three beasts of Inferno appear as phenomena of shadows and evil. The aspect of leopard was explored Cerberus and Chiaco(pig) as a symbol of greed, and the lion, Farinata as the form of violent passion. The aspect of the she-wolf was examined as Geryon, a deceitful monster with a beast nature hidden behind goodness, the giants in the frozen lake of Cocytus, and Branca D'Oria, who betrayed and murdered the country and family. Inferno reveals the "state" of being trapped when one yields to the evil hidden within oneself and falls into prey.