• 한국전통조경학회지
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• 제32권2호
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• pp.159-166
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• 2014

본 연구는 미국의 대표적인 여류 조경가인 비트릭스 파란드의 덤바튼 오크의 정원분석을 통하여, 파란드의 작품경향 및 미국 1900년대 초의 신고전주의 양식의 특성을 파악하는 것을 목적으로 하였다. 분석 결과, 덤바튼 오크는 유럽의 고전주의 양식의 무조건적인 모방이 아닌, 아트 앤 크래프트의 기본철학을 배경으로 미국의 지역적 특성과 주변환경 및 문화에 맞게 해석하고 적용된 성공적인 사례라고 할 수 있다. 덤바튼 오크의 분석을 통해 도출한 미국 후기 신고전주의 양식의 특성은 다음과 같이 요약할 수 있다. 첫째, 여러 개의 가든룸이 연속적으로 이어진 정원공간은 다양한 지면의 높이를 갖는 테라스로 구성되어 있으며, 자연적 지형을 최대한 이용하였다. 둘째, 정형성과 비정형성의 공존, 대칭 및 의도적인 비대칭의 조화이다. 셋째, 식재선택 및 재식방법에 있어서도 유럽 고전주의 양식과 영국의 아트 앤 크래프트 양식이 공존하며, 공간구성 및 형태와 조화되도록 하였다.

• 복식문화연구
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• 제30권1호
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• pp.145-160
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• 2022

This study analyzes the influence of the social and cultural background of Art Nouveau on the costumes, architecture, and crafts in the period drama 'Crimson Peak'. This research method captures images of women's costumes, architecture, and crafts in the 'Crimson Peak' and selects and analyzes those with a clear Art Nouveau influence. Edith's costumes are characterized by the Art Nouveau style that emerged in the 1890s, with an hourglass silhouette, pastel colors, soft materials, and organic curved embellishments. Lucille's costumes show characteristics that were prevalent before the 1890s, using bustles, strong colors, and elaborate ornamentation. The architecture is characterized by gothic vertical lines and organic curves, naturalistic patterns featuring animals and plants, and steel and glass materials. The crafts of 'Crimson Peak' are characterized by flexible shapes with strong, organic curves. These costumes, architecture, and crafts share formal elements including waving, twisting, and organic curves and plant-shaped motifs. The influence of social and cultural background of the age of Art Nouveau expressed in movies on formative arts was examined as impressionism appeared in costumes made of pastel colors, thin and see-through materials, medieval Gothic historicism expressed in structures composed of vertical design and religious relief ornament, exoticism appeared in Chinese vase and Japanese-patterned tea sets, naturalism with an animal·plant motif and phenomenon of active social activities of progressive women through women's clothing that elements of men's costume are introduced. This study will provide data for the production of period dramas set at the end of the 19th century.

• 한국의상디자인학회지
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• 제10권1호
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• pp.45-53
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• 2008

Different method of textile fabrication had existed since the ancient times, but the most dominant form was the 'weaving' method which embodies the cross fabrication of vertical and horizontal threads using special weaving machines (looms). In addition, fabrication methods like knitting, felt, and lace were commonly practiced while intertwinement methods like twisting, braiding, and knotting techniques were frequently used for weaving strings and braid type textiles. In the past, people did not pay attention to strings and braids because they were classified as non-textiles, but, in this paper, we have expanded the scope of definition of textile to include strings and braids, and seek to conduct in-depth research on various different intertwinement of textiles. The adaptation of intertwinement method in arts and crafts enables limitless creative works reflecting the ever-changing taste and style of the creator. This creativity is further broadened by the fact that intertwinement methods encompass no set patterns and the subject and shape of its creation is as broad as its artistic pursuits. We can infer the knowledge of our ancestors, their aesthetic taste, and the pattern of life from these creations. In addition, these creations can provide comfort and improve the quality of life of modem people who are deeply deprived of sentimental and emotional solitude in the technological civilization of the 21stcentury. The main purpose of this paper is to examine traditional Korean arts and crafts made using the intertwinement methodology through the context of strings, braids, straw crafts and knotting method. Then it will conduct through research on the different materials, forms, characteristics, usage and other key notions based on the currently preserved records and relics to contribute to the research on traditional textiles and provide the foundations to the development of the Korean culture and cultural products, reflecting the true sole and aesthetics of traditional Korean textile crafts.

• 복식
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• 제35권
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• pp.17-44
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• 1997

Medieval European practical art and style of costume is studied through referring to the literatures. The type of clothing that was seen on tapestries arts and crafts paintings and wall paintings and appeared in the architecture such as church. There were symbolic aspects of color motifs at this period and some restraints for clothing according to the social class, It was a period that draped garments due to the War of Crusades is appeared. Be-cause the medieval taste and decorative character is not only 'formative art' but also the taste beyoud 'mode' and atomsphere of that times it could be seen the strong reflec-tion of customs in the clothing of that times which is shown in works of art. 1) The purpose of Christian art which was found in mosaics stained glasses wall pain-tings and statues of architecture was not just the revival of natural phenomena but visuali-zation of sacred and invisible things. It was valuable to understandin of the spiritual through the sense organ It was a monumental art that was combined with decorative func-tion and role of the Bible. It revealed what was about the religious spiritual miracle, 2) In the medieval European painting characteristic and beautiful creativity was the basis of an argument. Both "Worship of East-ern" that is painted ion a parchment and "Cor-onation of Charles VI" were described decor-ation motifs on the edge of buildings geo-metric patterns and others with outstanding skill. there were precise technologic skill of architect and glassmen and lots of patience of craftsmen. " The Labour of the Months" and the scene of"A Trial at the Court" is also de-scribed elaborately. 3) Tapestry was developed in France Ger-many Swiss at the 14th century. Religionary and historical themes unicorn lady bird flowering plants and others were major motifs. It was very important as decorative wall coverings and as practical door arch and bed hangings. It was made through patient hard work with simple technique and it was con-sidered as an art for practical use. Tapestry was what everyone wish to have. It is reckoned for the item of the best gift. The royalty and nobility ordered and used custom-made tapestries. Sometimes the subject of motifs consisted of series which were deeply related to living 4) Decorative arts and crafts was the art that used materials such as precious metals jewels and others and that accorded with the luxurious and gorgeous taste of the royalty and nobility. Christian considered splendid and beautiful color of light as a symbol of glory. They used also for church appliances, There were metal crafts wood crafts textile crafts and others, As was stated above the costume appeared on the arts and crafts for living revealed the process of changes saw how the politic econ-omic and social organizations were developed.and social organizations were developed.

• 한국가구학회지
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• 제24권4호
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• pp.350-364
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• 2013

Based on the background of the times and theoretical background that influenced the formation of the works of Charles Rennie Mackintosh, one of representative architects of Art Nouveau, this study examined the formative characteristics of furniture design by period. In addition, his influences on the modern furniture design were also reviewed. In the latter half of the 19th century, due to Arts and Crafts Movement, the popularity of Art Nouveau was not high in England and due to conservative and traditional culture, Mackintosh had difficult time to display his ability in England. On the other hand, because Glasgow, one of industrial cities located in the center of Scotland where he had grown was an open and modern city, Mackintosh could win international fame in architecture and furniture design thanks to the atmosphere. Furthermore, it is found from the formative characteristics of his works that Historicism, Arts and Crafts Movement and Japanese culture and the influences of Continent became his theoretical background. His works creatively combined the noble design of Scotland and Art Nouveau to be considered a simple and pure style with a straight tendency and his working period can be divided into Beginning, Middle and Last Period according to the formative characteristics of furniture design. His constituting principle that decorated the structure influenced the Wien Secession's activities to form Wiener Werkstaette and this finally became the important background to develop to 'Modernism Design' through Art Deco and Bauhaus.

• 한국가구학회지
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• 제18권2호
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• pp.120-128
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• 2007

This study explored the philosophical Modernity with the Enlightenment in relation to cultural and aesthetic modernism rooted in Modern furniture, which directly reflected modern culture and society with rationality, science, individualism, progressive, universal truths, etc, using qualitative analysis about the related literature as the principal methodology. A fundamental philosophy of the modern furniture influenced by Industrial Revolution is that the dictates of function and industrial technology must be decided by form. The theory and practice of the International Style in modern furniture came from the modern aesthetics in the philosophy of Modernity. As a result, as influenced through the Enlightenment project and the relationship of individual to society in relation to cultural and aesthetic modernism, and the three modern movements with furniture, which are Arts and Crafts movement, Art Nouveau, and Art Deco, represented the beginning style of modern furniture design toward functionalism or minimalism.

• 복식
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• 제50권2호
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• pp.167-182
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• 2000

The purpose of this study is to examine the art nouveau fashion represented in the end of the twentieth century. The characteristics of art nouveau are naturalism, medievalism , exoticism, and decadentism. The influences of art nouveau were seen in the fashion of the late nineteenth century : S-curve silhouette and organic curve motives printed on hems. Art nouveau has reappeared in modern fashion trends such as romanticism , decadence, ecology, ethno, and fusion. To sum up, art nouveau fashion at the end of the twentieth century is classified into four shapes. First, art nouveau appears in naturalism. Influenced by the arts and crafts movements and naturalistic trend, it has reappeared at the end of the twentieth century in themes like 'art & craft'. This expression technique is to objectively nature and to represented art nouveau textiles. Second, S-curve silhouette appeared at the end of nineteenth century's fashion with the art nouveau influenced rejection of the bustle style. At the end of the twentieth century, the design , emphasizing the hip, is represented in fashion collections as a phenomenon of romanticism . Especially the art nouveau silhouette of the end of the twentieth century does not represent S-curve silhouette. But , it emphasizes the hip only. Third, Art nouveau exoticism by symbolism is influenced by Chinese and Celtic art, the Middle Ages, and the exoticism that appeared in fashion at the end of the nineteenth century : harem style, kimono style, and turbans. Exoticism at the end of the twentieth century is expressed by optical flower prints and successive floral print arrangements as seen in the themes of ethno and fusion. Fourth, one of the characteristics of art nouveau, decadence is influenced by the pre-raphaelite brotherhood. This is expressed in the images of vampires, and symbolism expressing grotesque insect motives and decadent successive curves. At the end of the twentieth century decadence is represented in fashion ; grotesque insect motives, tatto looks of organic curve motives celtic hair style, see-through fashion, grotesque make-up . Besides hair style techniques, decadent expressions applying art nouveau paintings also appeared. Finally , art nouveau fashion represented as a fashion trend at the turning point to the new millennium is one of great significance as an organic, an environment-intimate and continuance-possible design in a future.

• 건축역사연구
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• 제14권4호
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• pp.59-72
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• 2005

Architectural embodiment of a national identity has long been a significant topic in Korean architectural circles. For this reason, it must be helpful to examine the so-called, 'National Romanticism' of Finnish architecture around 1900 in that Finnish architects of the time struggled to embody their national identity through their projects. Considering the historical and linguistic affinities between Finland and Korea, the Finnish architectural situation draws . our additional attention. This paper aims at showing its historical background, the meaning of each type of buildings in the stream, and limitations it implies. The atmosphere of Finnish nationalist movement, which was provoked by [Kalevala] publications (1835; 1845) and shown in Karelianism, was heightened by Tsarist Empire's Russification programme of Finland in the late 19th century Architecture was one of the most important genres expressing her national identity. Finnish national romantic architecture could be divided into three. The first is a log house style for artists' studio house, motivated by the Finnish vernacular farmstead - especially by Karelian farmhouse. This type of building signifies the Finns' will to return to their motherly soil. The second is a stone architecture style for public buildings, inspired by Finnish church or castle of an early medieval time. By using roughly-cut granite as the main exterior material, buildings of this type symbolise the toughness of legendary heroes and Finns' desire for national Independence. The third type of building was based on both of the former or more dependent on architects' Imagination and creativity. However, Finnish national romantic architecture has been criticised by some critics owing to its decorative, eclectic and self-indulgent characteristics. Probably, it was not really national but rather inter-national because of the Influences of English Arts and Crafts Movement, the American Richardsonian architecture and the continental Art Nouveau. And the negative images of 'national' and 'romantic' made some historians coin other terms like 'national realism' or 'material realism'. As another limitation, one raises the low degree of its contribution to the entire architectural history. Despite these criticisms, however, this paper argues that Finnish national romantic architecture is meaningful in itself, particularly because it illustrates vividly Finns' struggle to search for their national identity and, after all, their craving for national independence.

• 헤리티지:역사와 과학
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• 제54권1호
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• pp.220-237
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• 2021

국가민속문화재 전 순정효황후 주칠 나전가구(傳 純貞孝皇后 朱漆 螺鈿家具) 매트리스의 제작 기법 및 사용 재료의 특성을 확인한 후 보존처리를 진행하였으며, 창덕궁 대조전 매트리스와 비교하여 1920~30년대 국내에서 사용된 매트리스의 특징을 확인해보고자 하였다. 전 순정효황후 매트리스 분석 결과, 프레임은 소나무과 솔송이 사용되었으며, 구조부인 웨빙, 트와인은 마섬유로 확인되었다. 충전재인 버랩은 마섬유, 초석은 벼속, 그 외 충전재는 면섬유로 확인되었다. 커버 상단은 레이온, 하단은 면섬유가 사용되었다. 사용된 재료와 내부 구조를 확인한 결과, 서양 가구인 데이베드와 의자에서 주로 사용되는 업홀스터리로 제작되었다. 보존처리 과정에서는 분석 결과를 바탕으로 유사한 재료를 사용하였으며, 해체 → 세척 → 보수 및 보강 → 조립의 순으로 진행하였다. 해체 과정에서 상단의 커버가 새롭게 발견되었으며, 충전재인 버랩에서 요코하마, 고베, 조선의 단어가 발견되었다. 하지만 제작사나 제작 장소를 특정할 수 있는 추가적인 흔적은 발견되지 않았다. 구조부와 충전재, 커버는 건식 세척을 진행한 후 업홀스터리 구조에서 기존 재료는 제거하지 않고 유사한 재료를 사용하여 보수 및 보강을 진행하였다. 구조부 웨빙은 동종의 재료를 사용하여 보강하였으며, 스프링의 배열 및 고정은 트와인을 사용하여 목재 프레임에 고정하였다. 손상된 면천과 버랩은 유사한 소재의 보강재를 덧댄 후 바느질하였다. 상단 커버는 손상부에 보강 직물을 마름하여 안쪽에 넣고 바느질하였다. 조립은 해체의 역순으로 진행하였다. 스프링과 닿는 부분에 동일 소재의 버랩을 삽입하여 고정한 후 충전패드, 보강천, 초석, 면천, 솜포, 커버 보호용 광목천, 커버를 씌워 택으로 마무리하였다. 순정효황후가 사용한 2개의 매트리스는 제작 시기의 차이가 있을 뿐 프레임과 충전재, 커버로 구성된 서양의 업홀스터리로 제작되었다. 보존처리 과정에서 새로운 벨벳 커버가 발견되었고 이전 수리 흔적이 확인되었으며, 충전재로 초석, 가마니와 짚풀 등이 확인됨에 따라 제작 환경에 따른 사용 재료의 변화를 확인할 수 있었다. 향후 근대문화재 업홀스터리 의자 또는 소파의 보존처리에서 사용 재료 및 제작 방법의 변화를 살펴볼 수 있을 것으로 기대된다.