• 한국가정과학회지
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• 제2권1호
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• pp.129-141
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• 1999

The purpose of this study is to investigate the effect of historical costume style and painting on Vivienne Westwood design. For this purpose, the costume style after 16C and the rococo painting of 18C are researched. And through Westwood's recent designs, the external form and internal symbol are compared. The results of this study were as follows : 1. From Renaissance, Rococo, Crinoline, Bustle, S style were showed on Westwood design. 2. In external method, historical costume styles were expressed by silhouette, detail, costume item, textile and various cuttings. 3. In the case of painting, it focused on Rococo painting of 18C. Costumes in painting were realized or painting itself were used for textile. 4. Most of her design was cut in the round rather than in the flat, bold cutting and slash were employed. 5. These works are symbolizing the harmony of tradition and future, at the same time through the transformation of orthodox style, containing ridicule to the authority and a challenge to society as well as sex. These results let us know that Westwood is versatile to transform the history and harmonize the tradition and 20C Fashion successfully. (Korean J Human Ecology 2(1):129∼141, 1999)

• 복식
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• 제26권
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• pp.233-250
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• 1995

The purpose of this research is to open new horizon in the plastic art centering the clothings, to examine the characteristics of the clothing style of Surrealism closely which is being lighted up again newly in the recent culture that is in a state of flux, and futher to contribute to the cre-ation of future clothes by analyzing Surrealism once again which is considered to have affected most in the aspects of idea and technique from the era of modernism to the era of post modern-ism, to understand and develop the relation of modern style of paintings and clothing which consist of many complicated and diverse elements. As for the method of research, after analyzing the formation and characteristics of painting style of Surrealism, painting style of Surrealism, painting style of Surrealism were classified largely into D paysement and Automatism, which were then reviewed. And the characteristics of fashion style of Surrealism were compared and analyzed with painting style of Surrealism, for this, fashion of Surrealism dur-ing recent five years from 1990 to 1994, among the fashion from Pr t- -Porter concentrated re-view was made for the ones made public at Paris-London Collections. By the result observed through this research, the trompe-l'oeil double image technique of many clothes created by E. Schiaparelli who was strongly influenced by Surrealism in 1930s were succeeded with its inspiration of Surrealism by the radical fashion designers recently and we were able to know that it is being created again by fresh senses. Followings are the discussions on homogenity of the characteristics of fashion style of Surreal-ism with the painting style of Surrealism Therefore if we analyze the characteristics of fashion style of Surrealism, Automatism ex-pression style which takes out only image borrowing the power of unconsciousness, instead of factual transposition, is forming the main cur-rent after 1990s. We can find the fashion style of this Surrealism appear persistently, entirely irrel-evant to the silhouettes of 20th century.

• 복식
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• 제53권6호
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• pp.11-23
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• 2003

Japonese woodblock printing has been accepted with a great curiosity at first, and it has been called as 'Japonisme' or 'Japonaiserie' in which the school of Impressionism accepted the Japanese type of art and developed it in Europe. The term of Japonisme is the concept that does not refer to one style but to the taste for Japanese painting, craft, fashion and the like in Europe proved as the historical phenomenon through Japanese works. That is, it means every Japanese disposition including all artistic techniques and contents relating to Japanese tastes in Europe. Fashion of dress as Japanese expressed in European painting works not only symbolizes the 'modernity' expressive of the aspiration and nostalgia for Japan but presents the Japan of exotic taste as the inquisitive object of sexual interest. And the expressive method of the peculiar the beauty of the body was described in Japanese painting works because of the fashion characteristics that the frontal side of Japanese clothing was presented in a more decorative and formative way than its reverse side due to decorative design and belts. It could be found that this was introduced actively into the painting works of the impressionist school. This study attempts to discuss the expressive style including the pictorial style, technique and theme shown in the accommodating process of Japanese painting in the Impressionistic school and investigate the phenomenon of Japonisme that was conducted in the western Europe. Accordingly, this study attempts to find out that clothing takes an important place as the aesthetic category of one historical point in time by investigating the Japanese clothing of the times shown in impressionist painting works and that clothing forms the stylistic characteristics and formative characteristics of painting. It could be found that dress existed not only as the instrument capable of illustrating the aesthetic attitude or will of the human being as visual identity but as plastic art and became the prime mover for reinterpreting and changing the plastic style of art frontier.

• International Journal of Advanced Culture Technology
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• 제11권1호
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• pp.241-252
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• 2023

Watercolour painting was introduced to China over a hundred years ago, and in the last two decades, it has developed rapidly, presenting a situation of diversified development. While Western-style watercolour painting has been adopted by Chinese painters, they have also expanded on it with their own aesthetic awareness and cognitive styles. As a result, Chinese watercolour painting has developed a set of expressive techniques that highlight the cultural characteristics of the nation in terms of aesthetics, concepts and techniques, resulting in a painting style with a distinctive national personality at present. Although Chinese watercolour painting has taken on a variety of styles with the intervention of modern and contemporary art, realistic watercolour painting is still the mainstream. However, there are obvious differences between the "realism" of Chinese watercolour painting and the "realism" of Western watercolour painting in terms of expression. The most distinctive feature is the "imagery" language of expression, which is closely linked to the cultural heritage of Chinese tradition and is of great value for research. I interpret the aesthetics, composition, colour and brushwork of Chinese realistic watercolour painting from the perspective of traditional Chinese aesthetics in order to deepen the understanding of Chinese realistic watercolour painting and to provide a reference for the further development of the art of Chinese realistic watercolour painting.

• 한국의상디자인학회지
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• 제12권4호
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• pp.115-135
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• 2010

Regarding the figure painting of the T'ang period, by Yeomipbon, a representative painter of the early T'ang period, shows a traditional painting style. Figure paintings of the Prosperous T'ang period, influenced by Odoja's painting style, are characterized as illustrating the lives of noble women delicately with brilliant colors. They include Janghwon's and in which Chinese traditional and Western painting styles were combined. , and , which were painted by Jubang in the mid T'ang period, were the developmentally succeeded the figure painting style of the previous times, illustrating even the psychological and emotional states of painted figures in a sophisticated way. Skin make-ups shown in figure paintings of the T'ang period are mostly baekjang in type. Besides, other different types of the make=up such as bihajang, dohwajang and juwoonjang can be seen. The paintings, show that the tone of skin got more and more red as the times moved from the early to the late T'ang periods because rouge was more and more used as the times passed between the periods. As a type of forehead make-up, aekhwang is found in Janghwon's and of the late T'ang period. Hwajeon is seen in lots of figure paintings made between the Prosperous the late T'ang periods. Most eyelid make-ups shown in the figure paintings are round-shaped wolmi and yuhyeopmi in type. Besides, other creative types like gyeyeopmi, paljami and iljami are found. Lips are found made up clearer and more red as the times went from the early and the late T'ang periods. The types of cheek make-up like sahong and jangyeop can't be found in figure paintings of the T'ang period.

• Human Ecology Research
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• 제53권1호
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• pp.81-92
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• 2015

Daily dance Ganggangsullae is recommended for youth to help their diet, improve their team life and know Korean culture. Its performance costumes were fusion hanbok and casual wear shown at the Second Daily Dance Ganggangsullae Contest Conference of Myeongryang Battle Festival in 2013. A fusion hanbok shows the Korean traditional spirit, but it is not practical. Casual wear is practical, but it does not show any Korean identity. Therefore, their combination is needed to reflect the Korean identity and practicality. For this, a literature review and an online search were conducted for the history, purpose and dance motion of daily dance Ganggangsullae. And photographs of participating teams were gathered from Jeonnam Information & Culture Industry Promotion Agency. Goguryeo costumes were used for design motifs. Four designs were sets of T-shirts and pants for the summer. Style 1 is designed using sam, jikryeong, go, round and triangle pattern with rippled cotton. Colors were from Wang Huiji's mural painting. Style 2 is designed using dansuui, beonryeong, go, round and quadrangle patterns with rippled cotton. Colors were from a Deokheungri mural painting. Style 3 is designed using sam, round ryeong, go, quadrangle patterns, prints with cotton jersey and denim. Colors were from a Gamsinchong mural painting. Style 4 is designed using dansuui, jikryeong, go, a flame pattern, a bow and arrow shape with cotton, knit and jersey. Colors were from a Muyongchong mural painting. This study is helpful to anyone who wants to develop Korean-style performance costumes.

• 한국의류산업학회지
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• 제5권5호
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• pp.481-494
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• 2003

The Gamrotenghwa of the Choson Dynasty is a unique genre of buddhist painting in that the destiny of the dead souls and the guidance to nirvana are expressed in reality. More than 50 of the Gamrotenghwa are known to be present, and the lower part of the paintings includes a wide assortment of folk customary scenes reflecting the social life style of the time when the painting was drawn, such as difficulties in life. public life, punishment and war. Changes in the costume of the people shown on the customary scenes of the Gamrotenghwa according to the time based changes in painting style were investigated in this study. The results are summarized in three points. First, the costumes of bureaucrats showed a tendency of preservation without any major changes in the painting. On the other hand, costumes of public and entertainer in the scenes were very close to those worn by the people at that time. The realistic description of public life in the painting may establish the value of the Gamrotenghwa as the historical documents. Second, the costume of the people in the painting showed a dual structure as the social positions; bureaucrats wore various official hats, large coats and belts to expose their social prestige. while the general public wore simple and convenient clothing which is divided into shirt and pants. The dual structure of the costume in the painting is in well accordance with that of the later period of Choson dynasty, suggesting that the customary scenes in the painting represent the social life style of the period. Finally, the customary scenes in the Gamrotenghwa are very variegated. which shows a variety of beauty of wearing even though they look coarse in a sense. The diversity of wearing beauty in the picture may contribute to the recreation of the beauty of shape in the new design of Hanbok.

• 한국기록관리학회지
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• 제1권2호
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• pp.159-183
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• 2001

이 연구는 조선 초에 제작된 익안대군(益安大君) 방의(芳毅)발원의 "묘법연화경(妙法蓮華經)"제 5권 사경의 경우 발원문에 관한 연구 및 표지화, 변상화, 서체에 관한 고찰이다. 발원문에 관한 연구는 정확한 연대와 발원에 실제적으로 참석한 인물에 관한 연구에 집중하였다. 이 사경 발원문에는 정확한 연대에 대한 기록은 없고, 개국정난정사지원공익안대군(開國靖難定社止功原益益安大君) 방의동실정혜옹주최씨(芳毅同室貞惠翁主崔氏)라는 기록이 보여 상당한 혼란을 가져오게 한다. 표지화는 연화 - 당초문의 표면에 있어서는 고려 말로 호림미술관소장의 묘법연화경 7권분의 표지화로부터 시작된 굵은 태선으로 윤곽선을 그리는 양식적 특징이나 묘선의 경직화가 보다 심화된다. 이러한 특징은 조선적인 것으로 보아도 무방할 것 같다. 변상화는 향우(向右)의 설법화에 나타난 수미단의 계단에 산화가 그려지고 있는 점등이라든지 도식화된 지운(地雲)등에서는 고려말 조선초의 양식을 나타내고 있다. 그러나 석가의 형상이나 광배는 태종 15년(1415)에 제작된 내소사소장 "묘법연화경(妙法蓮華經)" 7권본 한질의 변상화에서 보여주는 특징과 거의 같아 이러한 점은 조선적인 특징이라 할 수 있다. 서체에 있어서는 충선왕 이후, 고려후기 사경 중에 나타나고 있는 송설체(松雪體)가 엿보인다. 이러한 고찰을 통해 조선초 왕실발원 사경의 양식적 특징을 명확히 함으로서 년대 불확실한 고려사경의 년대추정에도 어떤 기준을 미련 하고자 했다.

• 헤리티지:역사와 과학
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• 제42권4호
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• pp.112-131
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• 2009

강원도 홍천군 수타사에서 소장하고 있는 삼신불괘불도는 베 바탕이 아닌 종이 바탕인데다, 채색방법 또한 조선시대 불화의 가장 일반적인 진채화법(眞彩畵法)의 그림들과는 다르게 밑그림본인 초본(草本) 형식에 담채기법(淡彩技法)을 사용하고 있어 주목된다. 그럼에도 불구하고 그림 자체의 화기(畵記)라든가 "수타사사적(壽墮寺史蹟)" 또는 "수타사고기록(壽墮寺古記錄)"등 어느 곳에도 이 삼신불괘불도 조성에 대한 기록이 전혀 남아 있지 않아 조성시기가 불명확하였을 뿐만 아니라, 진채화법의 그림이 아니라서 다른 괘불도들과의 본격적인 양식 비교 역시 원활하지 못하여 그동안 연구가 이루어지지 못하고 소개 정도에 그쳤었다. 그러나 최근 보존처리 시 그림 뒷면의 배접지를 제거하는 과정 중에 크기가 세로 118cm 가로 87.5cm인 별도의 한지에 써서 붙인 묵서명(墨書銘)이 발견되었다. 내용은 부처님 법을 올바르게 따르기 위하여 지켜야 할 몇 가지 금지 행위를 알리는 일종의 '방(榜)'으로서 1690년 4월 15일에 썼음이 밝혀졌다. 이 묵서명은 수타사 삼신불괘불도의 조성년대를 추정케 해주는데 매우 귀중한 자료이자, 그림의 정확한 내용 분석 및 성격 파악 등 구체적인 접근을 위해서도 필요한 중요한 단서이다. 수타사 삼신불괘불도의 현상과 형식 및 양식적 특징을 고찰한 다음 이 묵서명을 바탕으로 괘불도의 조성시기를 추정해 본 결과 첫째, 수타사 삼신불괘불도는 화기 대신 뒷면에 첩부되었던 '방'으로 미루어 보아 1690년경을 즈음하여 조성되었음을 추정할 수 있다. 둘째, 조선시대 삼신불괘불도 중 공주 갑사 삼신불괘불도(1650년) 이후 가장 기본적인 도상을 보여 주는 최초의 입불형식(立佛形式) 삼신불괘불도일 가능성이 크다는 것이다. 또한 수타사 삼신불괘불도는 3불(佛)의 형태라든가 화면 구성력과 배경처리, 근엄한 듯 자애로운 얼굴표정 묘사, 조화롭고 적당한 신체 비례 등에 있어 유사한 형식의 18세기 삼신불괘불도는 물론, 19세기 삼신불괘불도에 이르기까지 진채화법 괘불도들에 많은 영향을 끼쳤을 것으로 볼 수 있다. 셋째, 수타사 삼신불괘불도는 비록 완성본이 아닌 밑그림(초본(草本)) 형태이기는 하지만 필선(筆線)이 뚜렷하게 드러나는 전형적인 담채기법을 보여주고 있어 필력을 구체적으로 이해하고 분석하는데 자료적 가치 및 불교회화사적 가치가 크다고 하겠다. 비록 형식 및 표현기법 상 수타사 삼신불괘불도와 동일한 유형의 괘불도 자료가 많이 남아 있지 않아서 충분한 비교 고찰은 이루어지지 못했다고 하더라도, 조선시대 18-9세기 입불형식 삼신불괘불도 연구에 밑받침을 이루고 있다는데 연구의 의의를 두고자 한다.

• 한국패션뷰티학회지
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• 제5권3호
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• pp.92-98
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• 2007

This study analyzes the women's hair style and costume in late Chosun Dynasty appeared in Shin Yoon Bok' genre painting. Conclusions are as follows; First, in case of woman costume, the Jergori was short and the Chima was too long. The trend of simplified clothes on upper body and abundant clothes on lower body appeared. In addition, as 'geodulchima' became popular, women came to of en show an erotic beauty by exposing their underwear below chima. Second, in the women's hair style appeared in Shin Yoon Bok' genre painting, a unmarried woman did the braids and a feme covert did 'Ungeon Meori' and 'Tremeori'(a swept-back hair with the chignon) regardless of status. We can imagine the women's hair styles of a higher class who imitated those of 'Kie-sangs' through the features of Kie-sangs who were illustrated by Shin yoon bok.