• 복식
• /
• 제65권8호
• /
• pp.64-76
• /
• 2015

Gilles Deleuze highly evaluated Baroque as the expression body that implements the fold theory, a philosophical thinking about the nature of beings. This can be seen as a meaning that Baroque implements the essence of the world, or the power constituting that essence. In addition, the beauty of Baroque focuses on 'New Harmony' the sum of partial forms caused by each element, and not Platonic harmony. he evaluated the aesthetic of Baroque costume as 'acquisition of liberation and autonomy', 'derived force from infinite spiritual forces'. This study analyzed the contents of the Aesthetic of Baroque costume based on the reviewed Deleuze's folding theory, Baroque aesthetics, and views of Baroque costume. As a result, it inferred the aesthetic of Baroque costume into four types, which are as follows: open structural openness, overlapping structural dynamics, integrated structural diversity, and relationship structural integrity. This study analyzed the aesthetic of Baroque costume based on Deleuze's philosophical thinking. The analysis showed that its aesthetics, which focused on "New Harmony", created energy of life and a venue for expression of power, as the aesthetics eliminated the prejudice of complexity and excessive decoration. In addition, Baroque costume is not the simple historical costume of the past. Instead, it is one of power and spirit, still existing in modern fashion. Baroque costume's formativeness and Paradigm can be said to provide the creative principle important for modern fashion because the aesthetics implemented in Baroque costume accepts free spirit, new challenge, difference and diversity, and is similar to the spirit pursued by modern art and fashion.

• 한국실내디자인학회논문집
• /
• 제17권6호
• /
• pp.21-29
• /
• 2008

Baroque period was fundamentally different from the previous ages in terms of various aspects. Not only the social, economical, and cultural changes, but also ways of experiencing architectural space were essentially changed. Space in Baroque architecture was no more confined in the strict medieval order and proportions, but it became more flexible and dynamic by applying many interesting spatial concepts as well as design methods. That is why Baroque architecture somehow has been re-considered in the present time. Various contemporary architects and theorists attempt to apply ideas in the Baroque architecture to enhance and rich spatial experience. This thesis aims to study the methods of constructing spatial depth in some of Baroque architecture. First of all, theoretical research on the Baroque art in terms of depth expressions compared to the previous ages based on Heinrich $W{\ddot{o}}lfflin$ was mentioned. After explaining the general concepts and methods of spatial depth in Baroque architecture, two case buildings were selected to be further analyzed. They are San Carlo alle Quattro Fontane and Cappella di Santissima Sindone. They have unique ways of expressing the spatial depth in which people experience particular spatial feelings. Based on the case analysis, this study was concluded that the ideas as well as design methods for spatial depth can be applied in contemporary architectural designs in various ways.

• 한국실내디자인학회논문집
• /
• 제18권6호
• /
• pp.52-59
• /
• 2009

In the study will look into how Baroque concepts are expressed in architectural space by analyzing the concepts of Baroque formative vocabularies applied in his architecture through a Spanish architect Paolo Portoghesi. Baroque is regarded as the philosophical thought that means enlargement toward diversity of a firm and fixed trend beyond the concept of a certain epochal form of 16th and 17th century architecture. In addition, it is from the free attitude and the intelligent and formal stereotype, and signifies common conditions more than one style in architecture history. Paolo Portoghesi proposes to express gestalt approach by Baroque precedent in his architecture through plasticity and geometric collision technique. Here, the expression of plasticity means the effect that gives formative rhythm to Baroque curved structures. That is the method to expand the formative possibility by changing various materials such as bricks, concrete, and timbers. Second, the geometric collision technique is the technique to constitute the flat form of overall space through the juxtaposition technique, Baroque symmetrical and homogeneous geometric manipulation technique. Accordingly, this study will overcome Inlimitation of formative monotony and expression of abstraction that modernism architecture has, and examine formative waste and conflicts which may be derived from impractical architectural languages of the concept of excessive disorder or the minimum form. This discussion is considered as the first step to tune balance between productivity and formativeness in modern architecture.

• 한국의류산업학회지
• /
• 제4권2호
• /
• pp.117-127
• /
• 2002

Patterns presented at baroque were mostly floral pattern. Abstract anonymous flower, tulip, Acandus leaf, pomegranate were blended with one another and had a distinct leaning toward continuation and repetition. Components of design could be classified into flower and leaf, flower and fruit, flower and circumferential ornament, bunch of flowers, flower and pot, flower and geometry, and flower and animal. Floral patterns in this era were mostly fullness type being large, simple, and having more formalized motive and were fronted with unit type and vine shape. Unit type shows reflection of baroque style which aims to present absolute unification rather than freedom, which was inherent property of baroque style, by using symmetric pattern. Vine type were unfolded with C type curved line which was main characteristics of that time and showed flowage as a whole and pliable beauty. Floral pattern was filled the whole surface of fabric, thus background of fabric can not be discerned. So, it showed extreme decorative tendency and lavishness.

• 공학논문집
• /
• 제6권1호
• /
• pp.65-74
• /
• 2004

본 연구는 현대건축에서 창조적인 공간화로 요약될 수 있는 새로운 개념에 대한 해명을 목표로 한다. 고전적 바로크 개념의 기능가치를 기반으로 하여 본 연구는 현대 건축가인 프랭크 게리에 의해 시도된 주름과 비틀기 건축을 분석함으로써, '바로크적인 것'의 현재적인 의미를 드러내고자 한다. 새로이 정의된 '바로크적인 것'은 가장 경험적인 것이라는 의미에서 실재적인 것으로 인식되어야 하며 또한 분산적인 특징을 지니는 변형적이고 탄력적인 이미지들의 사슬 속에서 작용한다. 게리의 신 바로크 건축의 전형적인 도구는 공간을 에워싸고 주름잡는 것이다. 이 같은 건축이념은 들뢰즈의 철학적인 바로크 개념에 맞닿아 있다. 들뢰즈의 바로크 개념은 주름들 간의 긴장관계를 의미하는 것으로, 공간의 변화는 이러한 긴장관계의 수축과 확장에 의존해있는 것이다. 힘의 자유로운 분산이라는 신 바로크 개념의 일반원리를 통해 건축가에게는 실재세계를 현실적인 삶과 가장 밀접하게 만들 가능성이 제공되며, 향유자와 관찰자에게는 자기 내부와 자기 주위에서 작용하는 생동적인 힘을 감지할 가능성이 부여되는 것이다.

• 패션비즈니스
• /
• 제10권4호
• /
• pp.78-94
• /
• 2006

The purpose of this study is to analyze and to compare the makeup style and the ideal beauty of the Renaissance and the Baroque by examining the portraits. The result of this study is as follows. Firstly, as for the Renaissance makeup, they preferred a broad forehead and thin eyebrows. The color for lips and cheeks makeup was orange and light orange in fashion. Secondly, as for the Baroque makeup, they preferred a broad face with double chin, dark and thick eyebrows and small lips. The color for lips and cheeks was reddish and clear. Finally, as for comparison the these ages, the Renaissance ideal beauty was a little plentiful women with a broad forehead, thin eyebrow. But the Baroque ideal beauty was totally plentiful women with thick eyebrows, clear reddish lips and cheeks. The color of lips and cheeks was more reddish and clear in Baroque. The Baroque women had the smaller lips than the Renaissance women and they are more plentiful and modern with a flourish than the others.

• 한국실내디자인학회논문집
• /
• 제13권3호
• /
• pp.84-92
• /
• 2004

This study concentrates on a new idea that is formulated as a creative spatialization in contemporary architecture and painting. It is stimulated from the classical baroque, which is expressed with the conceptual instruments, 'excessive', 'decorative', 'accidential' Suggested from that, this study tries to open the actual sense area of 'the baroque' by analysing the architectural ideas of wrenching and folding by Frank O. Gehry and in the same context by elucidating the dynamic deformalising of the figures by Francis Bacon. The redefined 'new baroque' operates in the chain of the transformable and flexible images that must be recognized as 'the real' in the sense of 'the most empirical' and are vulnerable to dispersal. The typical instrument of Gehry's 'new baroque architecture' is the enclosing of the space and its folding, and Bacon, whose painting can be called as the modern baroque, takes as the expressing methods a wrenching of the figures, a relieving of the colored background against the figure and a disappearing of figures into the background. These different ideas meet in the theoretical gravitation field of the philosophy of Deleuze, in which the reconstituted baroque conception means the tension between the folds, on expansion and contraction of which the variable space is dependent, Through the general principle of 'the new baroque', a free dispersal of power, to architect and painter is offered the possibility, not only to make the real world intimate to the real life, but also to produce from there a vivid new space. Finally it brings to enjoyer and viewer the possibility, to perceive the operating power in and around oneself.

• 한국실내디자인학회논문집
• /
• 제21권1호
• /
• pp.59-67
• /
• 2012

Eugenio D'Ors, the writer of 'Lo Barroco' called Baroque in the 17th century as the ultimate nostalgia of humanity we can see anywhere, and when our exclusive mental state, classic consciousness, is weakened, countless things within self get to be expressed without limitation. He defines this as Baroque ego. In other words, the abyss of a being is expressed within self, and it gets to come into the abyss of art and be settled in it. Thereupon, this study focuses on the characteristics of such effects of abyss expressed in Baroque art to amplify the depth of space in art and architecture and also its productive effects and considers in what types the abyss gets to be expressed in art and architecture. As a result, it shows nonlinear characteristics whose outline of the model and structural body is invisible, depth resulted from overlapping, unity from formal repetition, and temporal continuity from movement. In other words, formative elements which extend the unit area of space conceptually can be summed up by nonlinearity, overlapping, unity, and movement. Also, in art and architecture, this accelerates men's emotional functions and at the same time, has productive effects to extend space visually. Baroque abyss can be seen as a proper solution to overcome problems which modern architecture implies ultimately, that is, the limitations of area definition.

• 한국콘텐츠학회논문지
• /
• 제18권6호
• /
• pp.617-627
• /
• 2018

근대 음악이 탄생하고 성장했던 바로크 시대의 음악은 영화를 위해 작곡된 음악은 아니지만 영화에 다양한 형태로 삽입되어 영화 전체의 분위기와 서사를 이끌어가고 등장인물의 감정과 내면세계를 표현하는데 중요한 기능적 역할을 담당한다. 이에 본 연구는 영화 <친절한 금자씨>에 사용된 테마곡인 비발디(A. Vivaldi)의 Cantata Rv.684를 포함한 5곡의 바로크 작품을 조성, 템포, 다이내믹, 음형, 음정, 화성, 리듬, 악기 편성, 장르 등의 다양한 관점을 통해 분석한 후 바로크 음악이 영화 속에서 어떠한 서사적 기능과 역할을 가지는지에 대해서 연구해 보고자 한다.

• 한국실내디자인학회논문집
• /
• 제26권1호
• /
• pp.142-152
• /
• 2017

This study investigated Renaissance and Baroque architectural characteristics found in contemporary public buildings in Seoul, which are National Museum of Modern and Contemporary Art Seoul Branch(MMCA) and Dongdaemun Design Plaza(DDP). Among H. $W{\ddot{o}}lfflin^{\prime}s$ five categories for Renaissance-Baroque art study, four categories (Clearness/Unclearness, Plane/Recession, Closed form/Open form, Multiplicity/Unity) are applied for the analysis as the architectural issues of Transparency/Concealment, Exhibited/Experienced Depth, Formal/Figural, and Composed harmony/Generated Unity. As a result, MMCA showed the characteristics of the extreme of Modern classic such as transparency, homogenization of space, formalism, and composition of multiple elements. Meanwhile, the study could find various Baroque characteristics from DDP such as separation of indoor and outdoor, phenomenological depth, rule breaking, and generation of figure. The study finally argued that DDP would not be an anti-modern, but try to inherit and overcome the modern architecture to explore different possibilities, and that the similar relationship between Renaissance and Baroque art could be found in these two cases.