• 디자인학연구
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• 제16권4호
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• pp.365-374
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• 2003

The purpose of the present study was to improve the artistic qualities in the future fashion design by investigating how the art to wear was applied to the inspiration in the modern fashion design in the late 1990s. For this purpose the present paper examined characteristics in art to wear and their impact on modern fashion design in the late 1990s. Distinguished from the traditional costume, art to wear disregarded a fixed concept on design elements such as the socio-cultural images, materials, and forms. The artists in art to wear freely expressed their "selves" and their individuality to their works in a variety of ways. In fashion design in the late 1990s the creative characteristics of art to wear were reflected in four ways: (1) eco-look, (2) humor, (3) deformation, (4) materials. The present study suggests that the creativity of the art to wear can establish the potentials and possibility in modern fashion design, and art to wear can be a crucial mediator in opening art into the real world.

• 복식문화연구
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• 제14권4호
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• pp.670-683
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• 2006

Such trend offers new fashion designs as a formative art with creative spontaneity. The purpose of this study is to seek to work out fashion design methods whereby fashions can be developed into an art form embracing handicraft premium textures, geometric formativeness and traditional beauty so as to satisfy the individualist expression desires of modern people who pursue practicality, originality, and beauty of simplicity. This art form also allows new images to be expressed. The corresponding methods studied include the space and technique of patchwork that can create artistry and aesthetic functionality into differentiated levels of images, and geometric ion from Mondrian' works. Fashion designs based on patchwork technique and the characteristics of Mondrian's works reveal that the patchwork technique using diverse materials is an artistic technique with high handicraft value. This technique provides new value to traditional aesthetic materials of clothing, and that Mondrian's unique designs are very effective in developing new fashion designs because they provide artistry and unique effects to modern fashion expression.

• International Journal of Costume and Fashion
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• 제8권2호
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• pp.11-19
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• 2008

Materials from the 1960's such as pearl, glitter, paper, vinyl, and metal are being used identically in modern make-up, communicating various messages as creative works of art incorporating design-related factors of expression which are difficult to express generally, three-dimensional factors of decorative effects, and symbolic factors considering cultural aspects. The present study investigates the futurism apparent in 1960's fashion and art, and aims to observe how the materials used in 1960's futurism are expressed in modern make-up. This was performed by collecting and analyzing data, mostly from related thesis dissertations, fashion centered magazines, and internet sites. Results were analyzed in terms of a figurative perspective on the characteristics of futurist make-up, categorizing it into aspects of form, color, and texture, yielding the conclusion that modern make-up has been consummated as a form of creative art.

• 디자인학연구
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• 제15권4호
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• pp.47-56
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• 2002

본 연구는 초현실주의적 사조가 현대조형예술에 어떻게 구현되고 있는지를 규명하고 초현실주의의 입장에서 표현한 아트메이크업을 제안하는 데 있다. 또한 초현실주의적 아트메이크업을 표현함으로써 메이크없 또한 예술의 사조와 흐름을 함께하는 예술적 존재라는 사실을 재확인하고자 하는 것에 본 연구의 목적이 있다. 이론고찰에서 얻은 결과를 작품을 통해 이론과 실제를 연결시켰다. 기존의 초현실주의 회화에서 모티브를 착안한 작품과 본 연구자가 초현실적 표현을 시도해 본 작품으로 제목은 다음과 같다. <작품1-DALI's expression>, <작품2-MAGRITTE's expression>, <작품3-ERNST's expression>, <작품4-첼로>, <작품5-ZIPPER>, <작품6-A DROP OF WATER>로 총6점을 제작하였다. 본 연구의 작품제작을 통해 얻은 결론은 다음과 같다. 첫째, 초현실주의 회화에서 많이 보여지는 소재와 이미지를 응용하여 인체에 구성한 결과 현대적 조형감각과 선 감각이 표출되었다. 둘째, 색이나 표현, 주제, 기법, 재료 등에 구속받지 않고 예술적 이미지를 위한 아트 메이크업의 특성이 표출되었다. 셋째, 극히 주관적인 초현실주의 회화와 이념을 여러 각도로 응용하여 다양한 소재의 메이크업과 흥미로운 표현방법으로 인한 무한한 창작의 가능성을 부여하였다.

• 한국문화재보존과학회:학술대회논문집
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• 한국문화재보존과학회 2004년도 제20회 발표논문집
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• pp.25-32
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• 2004

All the works including sculpture created by modern artists contain a message that represents both the ideas and spirit of an era. We are entrusted with the responsibility of transmitting to future generations modern art in as nearly as perfect condition as possible. Thus despite the challenges we face in preserving modern art, we are obliged to conserve it. Especially, outdoor sculpture can be considered as not only works of art themselves, but also a public art. The work of contemporary sculptors often refers to the complexity of social relationships between the art and the public space, so that the public space tends to include the actual public in the art. The conservator at this point needs to preserve tile concept of the public art which is incorporated in the public participation in the sculpture, in addition to the materials of the sculpture itself. Once the sculpture is damaged, it will need restoration. Restoration may be essential to prevent further deterioration, or it may be necessary in order to make an object usable again. It is difficult to generalize about restoration because, as with preventive treatment, the acceptable degree of intervention varies from one discipline to another The degree of treatment including restoration may depend on such variables as available resources, the future use of the object, and the needs of the particular discipline to which it belongs. When conservators start to treat artworks or during the treatment, they will face many moments where they have to make a choice. Codes of ethics are necessary in order to provide a basis for making choices. Even though ethics have always been subject to change depending on an era or culture, the ethics subject will be much easier to reached an agreement on than one involving aesthetic value. The aesthetic value will be one of the most prominent factors for defining the damage: even minor loss of parts or discolouration can be considered as fatal damage for artworks. Sometimes, an alteration of the appearancecould be intended by the artist himself so that the artist's intention could be important factor for judging the damage of artworks. But, modern hermeneutic theories show that the artist's intention cannot be the only factor for consideration, so that the interpretation and application of artist's intent should be an interdisciplinary task regarding distinctive social and cultural backgrounds.

• 패션비즈니스
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• 제9권4호
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• pp.94-112
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• 2005

This study focuss on the futurism expressed in Paco Rabanne's works. Paco Rabanne, who has created experimental and prophetic avant-garde fashion by cutting edge techniques and revolutionary new materials, is known as one of the most influential fashion designer of modern times. First, Light, one of the most important element in Paco Rabanne's fashion design, shows some influence of medieval symbols of love and salvation. Second, the artistic trends which influenced on Paco Rabanne's fashion include surrealism, op art and kinetic art. His use of new materials and avant-garde style represents the influence of surrealism. His experimental use of waving plastics and glittering metal during his early period is especially related with op art and kinetic art in the early 1960's which emphasize the artistic effect of light and movement. Third, the characters of Paco Rabanne's works are the harmony of technology and the beauty oh machine by the geometrical figures like triangles, rectangles, and circles and represent and movement,and the innovational creative methods, voluptuous beauty.

• 헤리티지:역사와 과학
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• 제57권2호
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• pp.52-78
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• 2024

본 연구는 근대기 한국 불교미술의 주요 인물인 석하시찬(石霞施讚, 1893~1958)의 조각 예술을 분석하여 그의 작품이 한국 불교미술사에서 차지하는 위상과 기여를 재조명하였다. 시찬은 스승 완호낙현(玩虎洛現)으로부터 받은 전통적 조형 기법을 바탕으로 독창적인 양식을 개발하여 근대기 한국 불교미술의 경계를 확장하였다. 시찬의 작품 특징과 조형적 변화를 중심으로 그의 예술적 발전 과정을 규명하였다. 시찬의 초기 작품은 석굴암 본존불을 모델로 한 작품과 스승 완호낙현(玩虎洛現)의 영향이 짙게 드러나는 소형 조각들로 구성되어 있다. 후기 작품에서는 육중한 괴량감이 느껴지는 조형감, 작품의 대형화, 자세의 직립화, 불상과 대좌의 일체화, 그리고 옷주름의 장식화 등의 특징이 두드러진다. 이러한 변화는 시찬이 사회적 변화에 대응하며 자신의 내면적 성찰과 예술적 탐구를 작품에 반영한 결과로 해석된다. 본 연구는 문헌 조사와 새롭게 발견된 시찬의 작품을 통해 스승 완호낙현(玩虎洛現)의 영향, 퇴운원일(退雲圓日)과의 협업, 후원자 김지성화(金至誠華)와의 교류, 계승자 금춘성필(金春性必)과의 사승 관계 등을 밝혀냈다. 시찬의 작품과 그의 예술적 변화 과정은 근대기 한국 불교조각사의 중요한 이정표로, 전통과 근대적 감각을 융합한 독창적인 조형성을 보여준다. 본 연구는 시찬의 예술적 유산이 후대에 어떻게 계승되고 발전했는지를 보여주며, 한국 근대 불교조각사 연구에 중요한 자료를 제공한다.

• 한국패션뷰티학회지
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• 제4권2호
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• pp.42-49
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• 2006

This study aims to revive modernized upstyle technique by analyzing the formative characteristics of hairstyle in Rococo ages. As a methodology, book-form literatures, periodicals, theses, and photographic materials including portraits related to Rococo ages, which had been studied from the time when Louis XIV died, to the advent of French Revolution in 1789, reaching a period of seventy-four years, were reviewed. Those materials for hairstyle revealed in modern fashion included related literatures and theses and photographs involving designers' works in fashion magazines, photographs of hairstylists' works, and movies with background of Rococo ages. Based on such materials, the formative characteristics of hairstyle in Rococo ages were studied for modernized upstyle. First, the formative characteristics of hairstyle in Rococo ages were divided and analyzed in Fontnage style, in Pompadour style Marie Antoinette style. Second, this study researched those examples wherein the characteristics of Rococo's hairstyle were expressed in modernized style, and manufactured modern upstyle works based on the research. Rococo ages featured various fashion trends and created sensitive and magnificent style with romantic theme in art field. Also, since the hairstyle in Rococo ages featured various styles that were magniloquent and magnificent, it is revived in today's hair shows and fashion shows in the same way or altered way. It is expected that this study will help understand the formative characteristics of hairstyle in Rococo ages and shed light on study on modern hairstyle in more various perspectives.

• 한국의류산업학회지
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• 제13권4호
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• pp.472-477
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• 2011

In the tide of globalization, culture products play pivotal role in effectively introducing our tradition and culture to the world. This research is about developing culture products using our traditional lady's art craft work to attain the purpose of modern application through recreation of tradition along with modern technology. First, the types of traditional lady's art craft work include pouches, wrapping clothes and other accessories made by sewing except costumes. The materials used were cotton, silk, ramie, hemp and decorating techniques involved were embroidery, patchwork, quilting, knot. Second, the purpose of this study is developing culture products with traditional images which also satisfy modern sense. Therefore, items that could be used readily in daily life were selected. Such items include bags, mufflers, name card cases, brooches. In addition, the Korean traditional Patchwork images which have both western-style and modern sense were selected out of the many kinds of traditional lady's art craft works. Third, cultural products (bags, mufflers, name card cases, brooches) were created by DTP in silk with sacdong and free-styled division Korean traditional Patchwork images and quilting technique. The significance of this study lies in examining the possibility of developing modern culture products using traditional lady's art craft work. A way to further develop this study would be to shed new light on traditional crafts and local cultural resources and actively carry on the study of cultural product development to provide the foundation for developing cultural products with modern applications.

• 한국실내디자인학회논문집
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• 제13권3호
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• pp.153-161
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• 2004

Organic Modernism was inaugurated by Alvar Valto as an alternative plan to the formative limitation of Geometrical Modernism. It began to appear in the 1930s in the fields of Architecture, Furniture, Product Design and so on. It is known that began with organic formative language is closely related to surrealistic artists Andre Breton as well as other artists and sculptors in that era. Such Formative Language formalized a stream of Organic Modernism Furniture Design unique to the regional and cultural characteristics of Scandinavia. After crossing over to America, mass production of Furniture was born and new materials were linked by industrialization. The Characteristics of Organic Formation in Modern Art such as Three -Dimensional, Biological Morphological, Symbolical, Primitive, Fantastical, Non-Realistic, Incidental, Irregular, transmit to Furniture Design. They are as Characteristics especially with Three-Dimensional, Biological Morphological and Symbolical aspects. Histories of Art and design, there are some examples showing mutual Interchange between Functional and Artistic Character. This thesis also clarifies the Formative Relationship that the Furniture designers who pursued Functionality and Mass Production had obtained from Modern Artistic works and the Artists, through the process of comparing and researching the typical Artists and their works.