• 복식문화연구
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• 제16권5호
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• pp.878-890
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• 2008

As a pioneer of modem dance, $Lo{\ddot{i}}e$ Fuller($1869\sim1928$) was important because she introduced a free style dance using a new style of stage costumes. Also, $Lo{\ddot{i}}e$ Fuller was an important motif in $fin-de-si{\grave{e}}cle$, French arts, posters, sculptures, and so forth. This study aimed to clarify the characteristics of Fuller's dance and costumes, and to analyze the modernism in both. To better understand Fuller's dance, this article talks about research on Fuller's career, dance, and Fuller's own biography. Stage costumes, letters for patent, and photographs were are also studied. The most important elements of Fuller's dance were her costumes and the electric lights which could make free style expressions a fantastic representation of dance. To clarify the modernity of Fuller's dance, first of all, this study researched Fuller's career in dance and then analyzed representations of Fuller's dances in visual arts; posters, sculptures and lastly, the characteristics of Fuller's stage costumes. As a result, this article analyzed characteristics of Fuller's dance in three points. First, Fuller used sculptures of silk cloth's drapery to express physical movements and actions. Second, Fuller used lighting and electrical effects that had just been developed in the late 19th Century. Third, Fuller made an application for patents against stage costume and stage mechanisms for her original shows. This study focused on $Lo{\ddot{i}}e$ Fuller's stage costumes which played a main role in expressing fantastic sculptures for the first time in costume, visual arts, and dance studies. This study clarifies the characteristics of the stage costumes in Fuller's dance and is estimated as pioneering and fundamental research.

• 건축역사연구
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• 제22권4호
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• pp.7-18
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• 2013

Integrated-Salmi can be suggested as a character of Da-po type Kong-po in Korea's traditional architecture. However, only few studies are made on this subject yet. This study is to investigate the integration process of Salmi through cases of certain Kong-po which have the same number of inner and outer Chul-mok and are also known to precede in time. The results of the study are like below. First, Integrated-Salmi is more dominant in inner and outer 3 Chul-mok Kong-po than in inner and outer 2 Chul-mok Kong-po. Second, While inner and outer 2 Chul-mok prevail in Yeong-nam region, inner and outer 3 Chul-mok prevail in Ho-nam region. Third, integrated Salmi of Inner and outer 3 Chul-mok, first appeared in internal Jusangpo to be carried over to internal Juganpo then eventually to outer Salmi. Fourth, the reason why integrated form precede in internal salmi of inner and outer 3 Chul-mok Kong-po is due to 2 main factors. First of which is the impact of integrated Boaji that developed in Da-po type since the early 16th century. The second factor is downward expansion of Cho-gak's Boaji which was adopted to cope with disorders made in structure of Chum-Cha, due to inner and outer 3 Chul-mok type buddhist temples' wide reconstruction throughout Jeolla region following the Japanese invasion of Korea in 1592. This study is to disclose the regularity of development process of Salmi's Cho-gak(草刻) which is a characteristic of Korea's Da-po type Kong-po.

• 한국수학사학회지
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• 제20권1호
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• pp.1-16
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• 2007

송(宋), 원대(元代)의 가장 중요한 산학자(算學者) 소구배(泰九韶), 이치(李治), 주세걸(朱世傑)이 19세기 조선(朝鮮)에서 연구되어 19세기 중엽 조선(朝鮮) 산학(算學), 특히 대수학 분야가 크게 발전하였다. 이 논문에서는 사원옥감(四元玉鑑)이 조선(朝鮮) 산학(算學)에 미친 영향을 조사한다. 나사림(羅士琳)의 사원옥감세초(四元玉鑑細艸)를 연구한 남병길(南秉吉)의 옥감세초상해(玉監細艸詳解), 이상혁(李尙爀)의 저서로 추정되는 사원옥감(四元玉鑑)과 이에 기초하여 저술된 남병길(南秉吉)의 산학정의(算學正義), 이상혁(李尙爀)의 익산(翼算)을 조사하여 사원옥감(四元玉鑑)과 조선(朝鮮) 산학(算學) 발전의 관계를 연구한다.

• 디자인학연구
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• 제16권3호
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• pp.175-182
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• 2003

본 연구의 목적은 스위스 그래픽 양식의 형성과 정착에 가장 큰 흐름을 차지하였던 포스터를 중심으로 스위스 그래픽 양식의 체계적인 이해와 디자이너들의 디자인 이념, 그리고 시각적 특징을 살펴보는 데 있다. 물론 편집디자인과 같은 포스터 외적인 다른 시각디자인 분야를 통해서도 스위스 그래픽 양식이 다듬어지고 국제적으로 큰 영향을 끼쳤지만 그 당시 대중들의 선동 선전에 가장 많이 이용되었고 디자이너들의 주된 표현 매체가 되었던 포스터를 통해 20세기 중반이후 전 세계 그래픽 디자인 양식의 교과서로 자리잡았던 스위스 그래픽 양식을 이해하고자 한다. 먼저 배경과 형성과정을 통해 그래픽 양식의 생성 의미를 되새겨 보고 스위스 그래픽 양식의 시각적 특징과 그 양식의 특징들이 스위스 디자이너들의 포스터를 통해 어떻게 접목되고 나타났는지 살펴보고자 한다. 어느 특정 디자인 양식의 형성과 발전 과정에는 개인 디자이너의 독자적인 행보나 노력도 중요했지만 밑거름이 되었던 사회 문화적인 영향, 앞선 디자인 양식과 이념의 소산물과 함께 여러 디자이너들의 열정과 실험적인 결과의 진취적 과정이었음을 본 연구를 통해 알아보고자 한다.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.

• 한국실내디자인학회논문집
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• 제16권1호
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• pp.3-10
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• 2007

In the 7th century, Sachunwang-sa temple had two extra building-sites behind the Main hall. These two building-sites were found to be in peculiar form different from any another existing stone bases. The stone bases of northern put of these building-sites were decorated to molding as the protruding comers of eaves, which was pierced into a circular hole, and was carved into a form of Gomeck-ii(the stone bases lot supporting the wall). The northern building of sachunwang-sa temple was found to be used as the altar following munduru(文豆婁) method, through the observations of the archives of Samkukyusa(三國遺事) and the Abhiseka stura(skt. 灌頂經). The molding as the protruding cornets of eaves of stone bases was shaped as the roof of a building and the carving of Gomeck-ii gives a proof of the existence of the wall between columns in the altar. The hole of the stone bases protected the wooden cylinder of munduru from the exterior world. The author concludes, through this research, that the altar of Schunwang-sa temple was used lot the religious service during the war for worthship and protecting from the enemies. Also he concludes that these buildings must have been in wooden pagodas constructed upon a square plan, that is with both front and side width equal, haying a quite small scaled and low floored building with its first floor closed on all sides, being different item the usual form.

• 대기
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• 제23권1호
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• pp.47-61
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• 2013

The Punggi (風旗) is one of the meteorological instruments made in the Joseon Dynasty (朝鮮王朝). Its purpose was to observe the direction of the wind. It is estimated that it started its operation in the $16^{th}$ century at least. But it does not remain in a perfect form, like the Chugugi (測雨器) and the Supyo (水標). The Punggi (風旗) can only be found at old document data, while the stone used to build the Punggi still remains. Since the stone had been named as the Punggi-dae (風旗臺) by 和田雄治 (1917), the name has not been changed until now. The Punggi is currently located in the Gyeongbok-gung (景福宮) and the Changgyeong-gung (昌慶宮). Meantime, there have been several transfers of its position. However, 和田雄治 (1917)'s paper and the "每日新報" (Maeil-Sinbo, 1929) articles have provided new clues. Also, the word 'Hupungso (候風所)' was found in the "朝鮮王朝實錄" (The annals of the Joseon Dynasty) and the "承政院日記" (Daily records of royal secretariat of Joseon dynasty). A designed harbor where the ship was staying was usually considered a special section for wind observations. It is assumed that the Hupungso was in most of the harbors at that time. This paper assumes the Punggi and the Hupungso had a lot of interest in wind observations in the Joseon Dynasty. In this study, we'll look for contained information about the Punggi and the viewpoints about wind during the Joseon Dynasty.

• 한국콘텐츠학회논문지
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• 제18권5호
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• pp.23-33
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• 2018

본 연구의 목적은 토정 이지함과 걸인청이라는 역사문화자원을 토대로 충남 아산지역의 정체성 확립과 지역경제 활성화 등에 기여할 수 있는 지역축제의 추진 방안을 논의하는 것이다. 이를 위해 연구 방법론적으로 이지함과 걸인청 관련 역사적 자료와 설화의 내용을 총체적 관점에서 접근하여 콘텐츠 자원으로서의 가치를 창출하고자 노력했다. 이지함과 관련된 당대 문헌자료와 설화들을 살펴보면, 그는 시대를 초월한 기인이면서 동시에 백성의 구제와 자활, 국가의 균형적 발전을 위해 혁신적인 시대정신과 경제관념을 평생 동안 실천했던 지식인이다. 그러므로 본 연구를 통해 논의된 이지함의 걸인청을 기반으로 하는 지역축제는 그가 추구했던 시대정신과 사상을 현대적인 맥락에서 시공간적으로 구현하고 계승하는 문화콘텐츠 형식이자 장치적인 의미와 가치가 있다는 점을 알 수 있다.

• 한국의류산업학회지
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• 제10권1호
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• pp.22-29
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• 2008

In this study, it is investigated the types and the compounding method of flower patterns and the uses of flower patterned fabrics in Chosun Dynasty. Research was done through the references of exhumed clothing during 16-17th century. Our ancestors had used the various flower patterns based on Buddhism, Taoism and Confucianism onto the fabrics. The flower patterns on the fabrics were expressed with the other patterns such as treasure patterns, letter patterns or bird patterns. And the flower patterns symbolized the various good meanings such as longevity, integrity and prosperity etc. In the order of the percentage, the types of the flower patterns were shown Lotus(27.31%), Arabesque(26.85%), Japanese apricot(14.81%), Peony(8.79%), Flowering plants(6.94%), Chrysanthemum(6.01%), Pomegranate(2.31%) patterns and so on. Especially the Lotus pattern was shown up most frequently. That of shape was designed as blooming(開花), full bloom(滿開) and the side of flower(側面). By the compounding method, the compound types mixed with the other patterns were used much more than the individual types composed by its own pattern. The flower patterns were used a lot in Jeogori(Jacket) regardless of the ganders and in men's Po(coat) including Cheollik(天翼), Dappo(胡), Jeonbok(戰服), Dahnryoung(團領), etc. Also contrary to these days, the flower patterned fabrics had come out in the shrouds. Judging from these facts, our ancestors wished that the meaning of the immortal life was included in the flower pattern.

• 건축역사연구
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• 제16권3호
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• pp.95-114
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• 2007

Since the 17th century, the society of Joseon dynasty belongs to a period of rapid transition in many fields. As the building is a result to be produced on the basis of a society and economy, the general transition in a society is to be reflected into a process of building construction. Especially, a study on the material supply system of economic base in a process of building construction is one of vely important factors in an understanding or estimate of a building. On the premise, this paper is to examine the supply system of iron materials and the tools in the construction of the government managed buildings in the late of Joseon dynasty on a viewpoint of productivity. Construction reports and other documents in those days are examined for the study. Following conclusions have been reached through the study. 1) The general supply method of iron materials for a large-scale government construction was based on 'byulgong', that is, a kind of tribute. 2) Various methods were selected in the supply method of iron materials for government use in the late of Joseon dynasty. The priority order of choice in its government policy was put on an easiness of amount security, on a minimum of expenditure, and on an efficiency of construction execution. 3) The manufacturing technique of weaponry was used in the production method of iron materials and the tools for government use. The cooperation of the official, the army, and the merchant had improved the manufacturing technique of building construction.