• 한국의류학회지
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• 제14권3호
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• pp.196-207
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• 1990

The western heraldry influenced by the style of periodic art, the lion and the eagle charges were expressed simply and laconically in Romanesque period, laconically but forcibly in Gothic period, and elegantly and elaborately in the period of the Renaissance. The symbolical character of each charge expressed in the heraldry in the process of the changes of the times can be summarized as follows: 1) The ferocious beast like the eagle or the lion in the heraldry is symbolic of a majestic appearance of sovereign's. 2) The legendary or mythical monster in the heraldry is the symbol of holding sacred the heraldry owner endowed superhuman ability from him, or the symbol of coercion or menace to the other party on the appearance of being sized with fear. 3) The domestic animals or the poultry in the heraldry are chiefly symbolic of intrepidity, bravery, sacrifice, or faithfulness, which can be supposed a subject's loyalty to his sovereign. 4) The lamb or the cross in the heraldry is the charge concerned with Christ who brought a fundamantal thought in the middles ages. So they can be said the symbol of Christianity.

• 패션비즈니스
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• 제7권4호
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• pp.105-120
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• 2003

Culture and society exist in the present, but they came from the past. So did clothing. As dressing is deeply based on culture pattern of the times, it is affected by various culture patterns and still keeps developing in modern times. This study is intended to examine the features of retro fashion on culture and dressing of the 19th century. The features of retro fashion on Neoclassical and Romantic culture and dressing are objection to the existing pattern, recursion to the past, and creativity characteristic of pattern of those days. Neoclassicism arose as it rejected Baroque and Rococo style, and imitated culture and artistic pattern of Greece and Rome. Romanticism objected to formal and universal pattern of Neoclassicism, and imitated Gothic style while recognizing historical facts and studying medieval times. Dressing in Neoclassicism did not accept exaggerated and luxurious Rococo pattern, and imitated simple, soft and straight silhouette of Greece and Rome and created its unique Empire Style. Romanticism imitated luxurious style of Renaissance, the Middle Ages, Baroque, and Rococo, different from simple and straight neoclassical style during the Bourbon restoration, and created its unique style. Thus, it is shown that retro fashion on Neoclassical and Romantic culture and dressing reflect the style of those days.

• 한국가정과학회지
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• 제3권2호
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• pp.135-153
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• 2000

Shoes originated from the practical purposes : to protect feet from heat, cold. etc., and developed into various shapes. representing ornamentation and hierarchy. It was revealed that the aesthetic value was differently manifested from the practical one by different natural environments and socio-cultural Phenomena of the times in the East and the West. Comparing shoes in the East with those in the West, this study finds out the origin of shoes in the East and the West, and shapes and characteristics of shoes through the changes of times. Investigating various kinds of shoes in the East and the West, it also finds out the differences in status representations. Shoes are classified into the following styles : in the West. (i) sandal in which the instep was almost exposed, tied with strips and fixed with band, (ii) closed shoes covering the instep, (iii) boots that arose above the ankle: in the East, (i) shoes without shoe neck (리) boots with shoe neck (화) and wooden shoes (극). Status was also represented in shoes. In the West. the status difference was manifested mainly by jewelry or embroidery ornamentation. In particular, it was realized by the way they tied the shoes in Rome and by the length of the pointed front of the shoes in Romanesque and Gothic period. In the East, China, Korea and Japan, on the other hand, the use of shoes was regulated in detail by the official costume system, where material and color played an important role in marking the status.

• 구강회복응용과학지
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• 제16권1호
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• pp.37-49
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• 2000

It was clinically important to substitute the physiologic centric relation to the therapeutic position of the patients who needed the oral rehabilitation or occlusal treatment. There were several methods for recording the centric relation. One of the known methods was to use the gothic arch tracer. However the existing intraoral device was difficult to adjust the three dimensional angulation of the recording plate and recording stylus depending on the hinge movement arch of the individual. The purpose of this study was to develop new intraoral tracer which had adjustable stylus within hinge movement arch for the record of centric relation and to evaluate the clinical application of this device. The results were as follow; 1. A stylus of new developed intraoral tracer was so adjustable that the recording of mandibular positions could be reproducible within the hinge movement arc. 2. A record plate of new developed intraoral tracer was so adjustable to parallel with the occlusal plane that lateral recording of mandibular position was able to obtain stably. This study showed that new developed intraoral tracer allowed the determination of the treatment position which can be used in the full mouth rehabilitation and occlusal treatments.

• 한국정보과학회논문지:데이타베이스
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• 제28권2호
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• pp.140-152
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• 2001

클라이언트/서버 환경에서 서버의 공간 데이터를 검색, 접근하기 위한 공간 질의는 대용량의 공간 객체에 대해 복잡한 공간 연산을 수행한다. 따라서 클라이언트가 자주 이용하는 공간 질의를 매번 서버에서 처리하는 경우에 서버의 부하가 증가하며 질의 응답시간도 길어지게 된다. 그러므로 이러한 공간 질의를 뷰로 정의하고 클라이언트에 실체화하면 질의를 효율적으로 처리할 수 있다. 이 경우에 뷰를 유도한 서버의 소스 객체의 변경에 따라 클라이언트의 실체화된 뷰 객체의 일관성을 유지해야 한다. 본 논문에서는 클라이언트/서버환경에서 질의 수행 속도를 향상시키기 위해 실체화된 공간뷰 개념을 적용하여 클라이언트 뷰를 정의하고 유형을 분류한다. 그리고 실체화된 클라이언트 뷰의 리관성 제어를 위해 재수행 방법에 비해 변경 속도가 빠른 점진적 변경 방법을 이용한다. 이를 위해 일관성 제어시 필요한 추가정보를 기술하고, 추가정보를 이용한 일관성 제어 알고리즘을 제시한다. 그리고, 제시한 실체화 방법과 일관성 제어 알고리즘의 실현을 위하여 객체지향 GIS시스템임 고딕(GOTHIC)에서 설계 및 구현하고 성능을 평가한다.

• 대한가정학회지
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• 제46권10호
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• pp.37-48
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• 2008

This study re-examines new aesthetic values pursued by Givenchy, analyzing by the Haute Couture line's chief designers. The following conclusions have been reached: Hubert de Givenchy pursued modernity, infused with simplicity and structured stability. In particular, Audrey Hepburn, who was a loyal client and used his line in several movies, provided him the platform for international exposure which he used to further develop what became known as the "Hepburn" style. The subsequent brief tenure of John Galliano did yield the fantastic and magnificent "Galliano-style", but with irregularity. Based on romanticism, it redefined fashion using a wide range of colors, subjects and decoration. His successor, Alexander McQueen, applied opposite elements using a hybrid technique of pastiche, parody and collage. With innovative inspiration he compromised the concepts of gender, time, space and cultures and recreated futuristic forms of nature, animals, insects and mythical images. Julien Macdonald, who was appointed in 2001 as the Artistic Director for the women's collections, minimized his individual style and preferred feminine, graceful and sexy silhouettes. He breathed fresh life in to Givenchy Haute Couture, reinterpreting the Hepburn style in a modernistic mode. Being passed on the responsibility for both collections (i.e., haute couture and ready-to-wear) in 2005, Riccardo Tisci redefined elegance, combining his unique and tailored gothic style with Givenchy's grace. He is developing the future of Givenchy, experimenting with volume, silhouettes, new kinds of fabric and techniques.

• 복식
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• 제60권10호
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• pp.118-132
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• 2010

The purpose of the research is to develop a systematic model to interpret makeup signs through a case analysis of makeup shown in Alexander McQueen's ready-to-wear collections from 2001 to 2010 and to prove an importance of makeup as a communication medium to deliver social and cultural values. This research employed Panofsky's Iconology theory to analyze data. This theory consists of three steps to interpret the meaning of a work: (1) pre-iconographical description, (2) iconographical analysis, and (3) iconological interpretation. Alexander McQueen's makeup was analyzed with the three steps in order. As a result of the pre-iconographical description step, makeup styles (icons) in his collections are identified which are Egyptian style, Gothic style, Androgynous style, Victorian style, Fantasia style, and Futuristic variant style. The iconographical analysis step identified that the elements used in his makeup are inspired by his identity and life. In the final step of iconological interpretation, the researcher concluded that Alexander McQueen's makeup expresses social, cultural, and aesthetical value of the time period when the collection was created. His makeup shows postmodernism that accepts a diversity of views (the pluralism) and humanism, romantic narcissism that is his personality trait, and avant-garde that pursues a new, creative aesthetics.

• 한국식생활문화학회지
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• 제19권2호
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• pp.139-149
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• 2004

The age of Queen Victoria, so called nearly 64 years from 1837 to 1901 that Queen Victoria was on the throne. It was the time that ceramicwares and silverwares were mass-produced thanks to the Industrial Revolution and then diverse directions of dining space could be possible in middle class. At the same time, it was the time that the production of bone china, which is main current in modem times, became established, ironstone china began to be developed, and white ceramic wares were accomplished. In addition, factors for the direction of dining space were mass-produced and Gothic style, Classic style, Majolica style, Renaissance, and Neo-rococo style had come back into fashion. Therefore, diverse designs coexisted and had great effect on dining space in this times. This study purposed to establish the decoration theory of dining space following historic flow through researching the designs and the direct factors for dining space in the age of Queen Victoria.

• 한국실내디자인학회논문집
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• 제15권3호
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• pp.14-23
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• 2006

As a proto-modernist work the Amsterdam Exchange has been regarded as a specimen of Structural Rationalist's architecture. Because of its ma]or steel structure, use of geometry, and reminiscence of Gothic the designer of the building was labeled by Kenneth Frampton as one of the apostles of Viollet le Duc. The architect was Hendrick Petrus Berlage. Contrary to above Nicolaus Pevsner claimed that Berlage's architectural discourse was 'Anti-Rational' because of its anachronistic formal language, Expressionism. In terms of structure Berlage's idea is rational, whilst formally 'Anti-Rational'. These polarised view points were due to the legacies of Modern Architecture that was controled by hegemonic figures in terms not only of practical field but of historiography. The hegemonic figures wanted to see Berlage as what they wanted to see. With this idea, this paper is one of endeavours to collect fragmented history in the early modern architecture. The Amsterdam Exchange has a long term story until the opening. Without understanding the story we have to withhold an evaluation of Berlage's architecture.

• 대한건축학회논문집:계획계
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• 제35권7호
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• pp.73-80
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• 2019

This paper tried to investigate the features of French garden pavillons (jardin pavillons) in the 17th and 18th centuries, in which the royal built them, publicly enjoying culture or privately having a refuge. The scope of the garden pavilions covered those associated with a pleasure place that accommodated performances, dancing, and dinners. They included not only rustic, Chinese, Turkish and Gothic pavilions but also grottos, nymphaeums, and artificial ruins built for banquets and festivals. This paper identified the features of the 17th and 18th century French garden pavilions as follows: Those pavilions firstly established French Neoclassicism, secondly applied the techniques of pastiche, thirdly reflected women's influence, and lastly revealed the short cycles of their vicissitudes. In conclusion this study, with the summary of the main text, explained the influence of the French pavilions on Europe and America.