• The Research Journal of the Costume Culture
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• v.18 no.1
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• pp.29-43
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• 2010

The purpose of this research was to re-illuminated the artistic value of costume designs that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde art. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the trend of art that Natalia Goncharova introduced in the early 20th century. The research method defined the formation and progress of the development of the Neo-Primitivism centering the works of art by Natalia Goncharova. Based on this method, Goncharova designed the set and the costume designs for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing art. The result were as follows. First of all, Goncharova's costume designs were all manufactured based on the theme of Russian folk art and genesis. In other words, Goncharova represented the Spanish passion, the Russian folk art Lubok, and Goldern cockerel or religious Icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume designs. her design displayed the Neo-Primitivism influence through the separation between the lines and the surfaces, which defined the costumes as a decorative art experiment. Therefore, the study of Goncharova had one realize that Neo-Primitivism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Natalia Goncharova reflected the miracle of the transformation of the early 20th century in their costume designs.

• Archives of design research
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• v.11 no.1
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• pp.131-142
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• 1998

Gustav KJimt (l862-1916)was a pioneer in the field of painting and decorative art. He was severly critized by the art critics of the time because of his rebellous art style. He firmly believed that there should exist a new kind of art that should portray the essence of the new liberalized era and that shoud reveal the idea of an artist in his work. Klimt was an aesthetic who sought beauty in life. He represented man as a micro universe within the macro universe. In order to portray man's inner being and to depict the process of life and death in nature, he symbolically employed female entity as a medium. Through uses of the circles, triangles, rectangles, and the spiral forms in his paintings, Klimt symbolized the meanings of man and nature. The circle symbolizes the universe and female entity; the triangle, human being; the rectangle, the earth and male entity; and the spiral, a universal force that attracts the opposite poles. The highly decorative characteristic nature of Klint's paintings and murals has often been modified in the pattern design field. It has been applied to home-furnishings and apparel textile designs, stained glasses, tiles, and posters. The techniques and layouts of these designs have been modified so that they may suit their manufacturing processes. In general, these pattern designs have two spectrums. One is the kind of design that has faithfully carried out Klimt' s original painting style. The other is the kind that has extracted the essence from the Klimt' s original art work.

• Journal of the Korea Furniture Society
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• v.19 no.5
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• pp.328-340
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• 2008

This study examined the characteristics of furniture design in the early Modernism that occurred in the early 20th Century through the relationship with modern arts. The furniture design of the early Modernism was established in the early 20th Century based on the simplicity and honesty of the Art and Crafts Movement and Anti-Historicism in Art Nouveau. During this period, the necessity of mass production became critical due to the radical industrialization and new social demands. In such periodic stream, the furniture design of the early modernism pursued simplicity and geometric beauty based on functionalism. The efforts to discover the fundamental structure of furniture were intensified. It was not limited to furniture design but was also exercised in the huge periodic transformation that progressed in every field of art including architecture. The Modernism art has also been connected to Cubism and spread into an abstract direction. While questioning the potential essence and progressing the study on genuine characteristics, the Modernism art tried to return things into their substantial looks and reorganize them conceptually, rather than reproducing external objects. The furniture that was secondary to a part of architecture and interior accessory transcended its decorative purpose. It pursued the structure to follow its fundamental purpose as furniture. Such tendency corresponded to the direction that Post-Modernism followed. Likewise, both art and design had the revivable and abstract characteristics based on the identical objective in ideology. For this reason, the formative and geometric characteristics of the early modernism furniture design have a mutual relationship with modern arts. Particularly, such tendency intensified and progressed through the Bauhaus in Germany. Based on such facts, this study proved that the early Modernism furniture design in the 20th Century tended to appear in common arts including the art and design according to the social demand of the huge periodic stream. Furthermore, the ideology that was adopted in art and design, as well as its formative characteristics, was examined through the mutual relationship of modern arts and design.

• The International Journal of Costume Culture
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• v.12 no.1
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• pp.97-100
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• 2009

Patchwork is a handicraft to put some certain shapes of small cloths together. Historical records of patchwork was discovered in Ancient Egypt as far back as BC 1000. Patchwork has been popular in the England and in around 13-$14^{th}$ century, European spliced little pieces of cloths for cold necessities, which made the handle of patchwork techniques gradually tend to decorative other than utility. Patchwork designs and techniques were taken across the Atlantic to North America with the early settlers in the mid-eighteenth century. In the early years of $20^{th}$ century, owing to the continuous technological advances, woman got more job opportunities that made patchwork technologies withered. Patchwork art continually evolved on the basis of historical and cultural factors to new styles, the famous Hawaiian, Stained Glass, Mola, Celtic, Victoria, Seminole and many other patchwork styles like that perfect embodied different art and cultures of different nations in different times.

• Journal of the Korea Furniture Society
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• v.14 no.2
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• pp.63-74
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• 2003

This study explored roles of the ornament in contemporary furniture that contemporary furniture designers make their furniture different, convey a metaphorical message, and competitive. Contemporary furniture involved in the ornament is decorative, beautiful, and characterized by craftsmanship through eclecticism and pluralism reestablished in furniture design in the postmodern era. Also, the ornament has been presented in the context of the blurring of art/craft distinctions. Thus, the contemporary furniture is called as art furniture/craft furniture which is diverse from minimal decoration to maximal decoration. Hence, by using all of the ornamental context, the furniture designers try to satisfy and communicate with the largest possible number of people, and have numerous opportunities to select according to their characteristics or taste. Finally, their furniture in the futuristic mode may be cross-cultural work that everybody in the earth can understand, enjoy, and appreciate in his/her daily space through his/her everyday use.

• Acta Via Serica
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• v.6 no.2
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• pp.21-36
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• 2021

This paper discusses textile motifs depicted in the hunting panels inside the late Sasanian larger grotto at Taq-i Bustan. Scholars of Iranian art have referred to these rock reliefs in order to trace the origin of Sasanian textile decorations and their exportation in the whole medieval Eurasian continent. This however does not seem to be the case. In fact, the textile motifs reproduced at Taq-i Bustan could be a good term of comparison only for late Sasanian textile production. Moreover, nothing like this has appeared in previous Sasanian rock reliefs. For this reason, the present paper argues that some of those motifs could actually be importations from Central Asia where reproductions of textiles embellished with those motifs were very popular. Islamic written sources on Taq-i Bustan rock reliefs could be very useful to support some ideas expressed in this paper.

• The Research Journal of the Costume Culture
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• v.25 no.4
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• pp.458-475
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• 2017

Opera is the most comprehensive musical art. In recent years, contemporary opera worlds has seen a variety of attempts to reinterpret operas of the past in a modern light. This has resulted in a dramatic change in the production of musical style and stage art. The purpose of the study was to modernize and streamline opera costumes by extending the scope of existing stage costume design, through the reinterpretation and application of the decorative elements in the Middle Age of Rococo, such as ruffles, frills, shirring, embroidery, buttons, etc., in such a way as to effectively communicate the moods of an opera to a modern audience. The costumes of the Rococo period were reinterpreted in a modern way, with the following results. First, in this work, the male main character was played by a bass to express the image of an older, lazy, rich man. A key element in modernizing the stage costume was selection of the costume color in such a way as to visually represent the voice tones sung by the major characters in the opera. Second, the maid hat and aprons were decorated with frills by applying the curves of Rocaille decoration from the Rococo period symbolize the role of the maids. This represented the distinction between occupation according to class and status at that time, while also expressing the ideals of modern feminine beauty. This makes for more comfortably-worn costumes, and is economical for production expenses. In the future, the stage costume design for classical opera will need to be revised consideration of a modern viewpoint.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.1-13
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• 2014

Hundertwasser's paintings have the characteristics in his works continue to emerge organical spirals, geometric pattern of squares, mysterious and gorgeous colors. This study by applying them, it has been purposed of expansion of representation outstanding artistic formative knitwear by using yarn of various textured fabrics and leather, felt, beads of the materials. The methods of this study are through the analysis of literature of Hundertwasser's paintings and art world and formative traits. It has been studied the literature of the theoretical background on general examination of knitwear and knit, felting, needle punching techniques. Conclusions from this study are as follows: The first, It could know the organic spirals and geometric square patterns and gorgeous colors of Hundertwasser's paintings are suitable as a decorative and rich motif of knitwear design. The second, It was possible unique and various texture expression of decorative patterns of Hundertwasser's paintings by expressing variety of materials of knit, felt and fabric, leather, beads. The third, It was expressed knitwear of unique texture to express Hundertwasser's image of the painting by using hand knitting, felting, needle punching, patchwork, beading of complex techniques. The forth, It was reflected well Hundertwasser's idea which was affected nature and art nouveau that all production processes are composed of handcraft techniques. It was suitable to express the naturalness of hand knit and not mechanical or artificial image. The fifth, It was analyzed lines and patterns of Hundertwasser's painting. The spiral is simultaneously constituted curve shape and area that square patterns also have devided area.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.1-21
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• 2005

The purpose of this research was to re-illuminated the artistic value of costumes that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde an. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the style of art that Larionov and Goncharova introduced in the 20th century. The research method defined the formation and the progress of the development of the Rayonism centering the works of art by Larionov and Goncharova. Based on this method, larionov and Goncharova designed the set and the costumes for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing an. The result were as follows. First of all, Larionov's costumes of art were all manufactured based on the theme of nature and genesis. In other words, Larionov represented the sun as a humanistic god through the white night, the natural weather condition of northern Russia. His costumes also displayed the symbolic meaning of the personification of animals like birds and cats, which emphasized the importance of both nature and tradition. However, he used Rayonism expression when he designed costumes by applying the nature themes. On the other hand, Goncharova applied the Spanish passion, the Russian folk art lubok, and goldern cockerel or religious icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume design. her design displayed the Rayonism influence through the separation between the lines and the surfaces, whic defined the costumes as a decorative art experiment. Therefore, the study of Larionov and Goncharova had one realize that Rayonism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Larionov and Goncharova reflected the miracle of the transformation of the 20th century in their costume designs.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1608-1618
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• 2008

This research was conducted to define the different conventional meanings of face painting, we can come across easily in recent days, in different times and different cultures. The conclusions of the research are as followed. First, the face painting was mainly done for the symbolic function. Second, in un-cultivated groups, face painting was one way of body art expression and in some cases, the color and the pattern was the tool to give a symbolic massage that was more powerful than a language. The characteristics of the patterning was that they adopted wide range of patterns include geriatrics, abstract, animals, plants and especially the abstract patterns have the groups unique symbolic meanings such as specific pattern appears guard god which was the effort of having a wholeness with the pattern. Third, it is known that in un-cultivated cultures, face painting has a symbolic function whereas in modern society, there is an emphasis on a decorative function. Lastly, the various expressions of modern body decorations are seen as a result of social/cultural states of the settlement ethnic culture and the modern life style of the people who want to have direct and active opinions and individualize and differentiate themselves.