This research focuses on the relationship between mathematics and visual art from a perspective of chaos theory which emerged under the influence of post-modernism. Culture and history, which transform dynamically with the passing of time, are models of complexity. Especially, when the three periods of Medieval, Renaissance, and 17-18 Centuries are observed, the Renaissance period is phase transition phenomenon era between Medieval and 17-18 Centuries. The transition stage between the late Medieval times and the Renaissance; and the stage between the Renaissance and the Modern times are also phase transitions. These phenomena closely resemble similarity in Fractal theory, which includes the whole in a partial structure. Phase transition must be preceded by fluctuation. In addition to the pioneers' prominent act of creation in the fields of mathematics and visual an serving as drive behind change, other socio-cultural factors also served as motivations, influencing the transformation of the society through interdependency. In particular, this research focuses on the fact that scientific minds of artists in the Renaissance stimulated the birth of Perspective Geometry.
This paper presents a study on the Palazzo Firenze of B. Ammannati, designed between 1550~572. He was active in Rome and Firenze in the middle of 16th Century. His most important project, such as Palazzo Pitti, is located in Firenze. But there are some projects that are important as well as Palazzo Pitti in Rome, such as villa Giulia and Palazzo Firenze. Usually, in the history of Western Architecture, the period in which Ammannati was active is denominated as late-Renaissance or Mannerism. In this period there was very important progress in field of artistic theory. There were active many great Masters such as Michelangelo, Vignola and Giulio Romano. But, over the all, the most important characteristic of this period was a transition period between Renaissance and Baroque. This paper try to reveal such characteristics reflected in architectural projects designed in this period, focusing on, over the all, B. Ammannati and his Palazzo Firenze project.
Journal of Korean Library and Information Science Society
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v.9
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pp.115-144
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1982
In ordinary modern wester expression 'the Renaissance' was used to denote the impact made by dead Hellenism civilization in western Christendom, particularly Italian literary and artistic movement at Northern and central Italy in the late medieval period. However, A.J. Toynbee examined the renaissance from the different aspect of view. In his great work "A Study of History" in vol. IX, he succeeded in establishing the theory of historic civilization encounters in space and in time; and in time, civilization of the present and the past or between dead and infant successor contacts on the analogy of parenthood and sonship in the relation of A n.0, pparentation-and-Affiliation. The distinguished his view of 'Renaissance' was illustrated in the sense of encounters between a grown-up civilization and the 'ghost' of its long-dead predecessor. The renaissances (by the process of evocation of ghost of its parent society) has not only one single aspect of literary and artistic field but also in politics, law, science and philosophy, languages and literatures and visual arts, and religion. The main theme of this study is to examine the development of libraries and its historical meaning through Toynbee's literary renaissance. His renaissance of Languages and Literatures has three typical steps: They are: 1st step-to restive the dead literature's remains: 2nd step-to remaster their meaning: 3rd step-to reproduce them in counterfeits... Through its first and second steps, collecting and editing, annotating by compiling an anthology, thesaurus, lexicon or encyclopedia, and in its third step publishing mostly imitation of classics took place. Toynbee depicted the five outstanding eminent representatives of literary renaissance who had a n.0, ppeared on the state of history down to the time of writing. They are: Assurbanipal, Constantine prophyrogenitus, Yung Lo, K'ang Hsi, and Ch'ien Lung and the last four had all been emperors of imperia rediviva. As the result of the examination of these five emperors with three steps of literary renaissance, the common result may be summarized as follows: 1. Those emperors of imperia rediviva interested in intellectual work and study, they also were deeply involved in collecting classics in an ostensible reason. 2. There were strong political intention of collecting materials as an a n.0, ppeasement policy of civilization by transferring scholars energies to an intellectual field. 3. Under the rulers of a resuscitated universal state, the literary renaissance were a product of political plane and that the total size of collection and work were huge. 4. Since there were strong exercise of sovereign power, an active censorship by distortion and elimination was inevitable. 5. There existed newly developed strained atmosphere between grown-up and long-dead parent civilization, whenever the book collection movement had occurred. 6. Over adhesion to the parent civilization caused imitation of classic work and the creative activities were stagnated.stagnated.
In the Middle Ages it was customary to cover up the hair, but the Renaissance brought uncovered coiffures with the revival of humanism. In those days, silk and linen veil, ribbon, string of pearl used for covering, wrapping round with the hair. During the Baroque period, the style of hair was to pursue the beauty of imbalance in form, reflecting the atmosphere of the time. Hurluberlu and Fontanges hairstyles were in fashion. Then in the Rococo period, huge, resplendent coiffures of exquisite beauty were invented as a symbol of power, and these modes of hairdo were a dominant force in the culture of personal adornment of that time. Pouf and enfant hairstyles were in fashion. As a reaction against the extravagance of the proceding modes, late 18th and early 19th centuries brought revival of simpler hairstyles of ancient Greece and Rome by the influence of neoclassicism. The latter half of the 1820's onwards saw he reappearance of voluminous coiffures as well as an enormous variation of knots with combinations of false knots and chignons. Late 19th through early 20th centuries was the period of beautifully waved hair, the style of which was an integration of Marcel waves and Art Nouveau. The 20th century saw the epoch-making invention of permanent waves using electricity. Concurrently, with an increasing participation of women in social affairs since pre-and post-World War I periods, as well as with Art Deco in full flourish, bobbed hair was created in pursuit of lightness and nimbleness, quickly showing the change of women's modes of life. Hair fashions thoroughly embody the aesthetic sense of each period, reflecting the landscape of contemporary society.
Mannerism style evolved from the Renaissance style adopting the concept of grace as the ideal beauty, Having its ground on Neoplatonism the main goal of mannerism art was the realization of the invisible beauty over reality. Mannerism style in dress flourished in the sixteenth century court society, when courtly manners and courtly grace became the most important qualities in social relationship. Courtiers thought that courtly grace the ideal of beauty could be realized in the cultured and studied elegance. Mannerism style in dress evolved from the process of transforming and manipulating the Renaissance look for the abstract of beauty. The clothes of Mannerism style were against the natural movement of the human body. There was a tendency of refining and polishing the whole clothing and various technical skills were experim-ented on the mannerism style. The outstanding elements of this tendency can be found in the details like ruffs fathingale padding slashing puffing and etc. Mannerism intended to reconstruct the human body artificially to express courtly grace and novelty. During that process the new pose 'figura serpentinata' which is bizarre convoluted pose with full of flexibility was created. The expression of human body became more slender with elongated legs a torso with a long neck and a tiny head. This tendency of distorting the natural body forms were reflected in the formal characteristics of Mannerism dress style which is geometrical abstr-action unnatural elongation complex disposition and control with perfect ease.
Journal of the Korean Society of Clothing and Textiles
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v.30
no.8
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pp.1288-1300
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2006
Glamour in fashion, which stands for attractive physical feature with certain mystique, has been used without accurate analysis thereof. This thesis is purported to provide comprehensive study of glamour in fashion and to contemplate glamour look reflected in fashion history, thereby to establish the styles of glamour expressed in fashion trends and to provide the basis which can be utilized in the categorical basis of fashion design. For such purposes, this thesis first provides the study on the glamour in fashion, and to conduct a case study by analyzing photographic materials. The glamour expressed in the fashion design can be classified into the following six aesthetic values: luxury, excess, masquerade, appropriation, sensuality and decadence. In the modern history, glamour looks in fashion design started out as so-called Blooming Age Glamour Look, dating from the late nineteenth century to the late 1920s, which was represented by luxurious haute couture style of courtesans. Thereafter Golden Age Glamour Look appeared in the movie costumes in the Hollywood from the late 1920s to mid-1950s. Sensuality, decadence and masquerade are the central features. Subsequently, Pop Age Glamour Look appeared with fashion styles of pop stars, which can be characterized by appropriation and excess. In the 1980s and the 1990s, Glamour Renaissance Look appeared as glamour looks which were spread out to people in various classes, which is characterized by luxury and appropriation. Based upon the foregoing historical survey, there are four representative styles in glamour looks, including (1) luxury glamour derived from Blooming Age Glamour Look, (2) hyperfeminine glamour derived from Golden Age Glamour Look, (3) kitsch glamour derived from Pop Age Glamour Look, and (4) romantic glamour derived from Glamour Renaissance Look.
The considerations on the costumes of the past, which have been conducted to the present for the purpose of creating a new design, are not just a simple imitation, but playing a role as a re-creation of fashion. A corset, one of the underwear items, has an important role to exaggerate, emphasize, or modify the beauty of a human body. It also contributes to form a beautiful silhouette of the outerwear. Specifically, the role of a corset today is more than a physical modification: making an underwear into an outerwear; using detailed decorations or materials of an underwear in the part of other garments. In doing these, decorative functions of costumes have been more and more emphasized. Therefore, a study on the composition or design of a corset would be an important study on the garment item that reflects fashions required by this age. The significance of the study is in its potential to provide reference materials needed in creating new underwear designs or the designs that can be made into outerwear products, by trying and producing a corset of the past. To make the corset, the definition of underwear and the characteristics of a corset were explored based on the review of the materials in the foreign museums, relevant photographs, and literature. The corset was made after understanding its minute details and examining its patterns. Pattern drawing was carried out using a Pattern CAD. As an intial phase of reproducing the corsets in the 17th, 18th, and 19th centuries, the scope of the present study was limited to the late Renaissance age, when corsets began to appear.
The late period of Choson was the renaissance of the modern literature and art of the 'common-people'. Appearance of the common-people class following the emergence of such literature and art highlighted the common costume culture and evoked a fashion. The common trend of fashion of all classes at that time included a exaggerated hair style, a jacket short and tight enough to expose the breasts, a belt looking like a sensual silhouette of a woman body were expressed.
Appreciating the human body could be regarded as some social advances at that age, when all the woman's clothing behaviors were restricted and controlled by the Confucian rules. Although eroticism itself is quite dependent on the basic instinct of a human being, this way of expressing eroticism had a social significance, in that women tried to be freed from the long-lasting social bondage. Therefore, the erotic mode during the late half of Choson reflected the society as well the women's repression. In addition, was the disclosure of humanity shadowed by the crusts of the hypocritical and superficial Confucian morality. It implied advances and modernity of the literature and art of the common-people at that time.
Under the assumption that techniques of interior decoration often frequently used by people of the antique Greece and Rome became basis for scientific perspective in the period of Renaissance, this study analyzed characteristics of wall paintings excavated as relics of the antique Greece and Rome. The result of the study can be summarized as follows ; (1) Decorative wall paintings which were and have been excavated from relics of the antique Roman cities are characterized by single and multiple point techniques as their perspective. The two techniques were later adapted by people of the Baroque in the 16th century who recognized and expressed space through putting it into a certain framework. (2) Such antique wall paintings drawn using the technique of single point clearly indicate that the technique was not fully created in the period of Renaissance but developed by people of the antique Greece and Rome. Unlike its present form, the technique was unsophisticated and poor in many respects when first created. Since then, it has become manipulated as spatial recognition has been developed in various ways. (3) Illustrations on vase surfaces or wall-decorative painting panels of the antique Greece were painted mainly through the technique of multiple points which helped changes in the sense of space. The technique were later complied with by the theory of cubism which was emerged in the late 19th century. In other words, the technique was developed over times into a basis of the theory. (4) Some of the antique Roman and Greek wall paintings were drawn by using the method of single point perspective. When the height of the wall foundation, 90cm, as specified in [Ten Books of Architecture] by Vitrubius, the viewpoint for the method almost complied with the height of spectators' view, or 150cm. This height is almost same as the height of the view point employed by wall paintings in the Renaissance period.
Journal of information and communication convergence engineering
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v.8
no.5
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pp.595-601
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2010
The strategy through visual sense is one of the ways that subject builds the outside world and communicates. The visual sense seems higher level of dependence than the other senses and contributes to intercommunication. For this reason, the desire of image dates back to primitive art and visual image(visual media and visual culture) has dialectically developed in the history of mankind. Visual subject, based on perspective of Renaissance, was moved from God to human beings. Andre Bazin's 'la genese automatique' through technical art has epochally changed the paradigm of visual art and visual culture. From primitive art to photo and film, the image, based on visual sense, has reflected human wish, appealed visual desire and led to evolution of image. In the late 20 century, without dialectical evolution of technology and culture, rapidly progressive digital image has changed social and cultural implication over rational strategy of production and distribution and it strengthened authority of image through visual approach of endless desire. The goal of this study is to analyze the value change of digital image developing a new Renaissance through production, reading, communication, and implication of evolution due to digitalized image, which has evolved as object and tool of desire.
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