• Acta Via Serica
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• 제3권1호
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• pp.11-25
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• 2018

The Renaissance is generally said to be the rebirth of the ancient civilizations of Greece and Rome, and was centered around Italy from the 14th to the 16th century. This includes the temporal peculiarity of the Renaissance as a sudden phenomenon after the Medieval Ages, and the spatial peculiarity of what happened only in Europe. However, if we remove the European-centered bias here, the horizon for interpreting the Renaissance becomes much wider. There have been claims that similar cultural phenomena resembling the Renaissance existed in other civilizations at the same time. This paper seeks to investigate two possibilities. The first is the possibility of a spatial expansion of the Renaissance. This suggests that the Renaissance was created by long-term exchanges with the Eastern, Middle and Western Hemispheres. The second is the possibility of a simultaneity of the Renaissance in the 14th and 16th centuries. This suggests that it was a global phenomenon that occurred in different civilizations. The Renaissance, therefore, was a crystallization of a complex of civilizations created by the crossing of various cultures along the Silk Road, and should be referred to as the 'Global Renaissance' instead of the 'Western Renaissance.'

• 고려인삼학회:학술대회논문집
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• 고려인삼학회 1974년도 학술대회지
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• pp.115-118
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• 1974

• The International Journal of Costume Culture
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• 제4권2호
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• pp.138-145
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• 2001

This study aims to compare the beauty of costume in the Gothic with that of Renaissance periods. By analyzing the beauty of costume which reflects the ideal of the age, this study attempts to provide the insight which can predict the beauty of future costume The characteristics of Gothic costume is the from of the loose enveloping of the body, which can be accounted for from the influence the Christian religion, and the emphasis on the vertical line influenced by the steeple in the Gothic architecture expressing the enthusiasm of the religion. The emphasis on height in the Gothic cathedrals was reflected in the hennin, pointed shoes, and lengthy sleeves of Gothic dress. The beauty of Gothic costume lies in the from of slender, the emphases on the vertical line, the we of heraldry and parti-color, and pointed hat and shoe. The Renaissance architecture shows a broad horizontal appearance. There is the similarity between the Renaissance costume and Renaissance architecture. The beauty of Renaissance costume lies in the form of the exposing body, the exaggerated silhouette, the emphasis on the horizontal line, the use of ruff and slash in order to display the beauty of human body and the beauty of cubic. The ideal beauty of Gothic and Renaissance costume was influenced by the spirit the age and was in contrast.

• 한국수학사학회지
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• 제19권2호
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• pp.59-76
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• 2006

본 논문은 탈근대화의 영향으로 등장한 카오스 이론의 시각으로, 수학과 미술의 관련성을 연구하였다 중세 말에서 르네상스로 접어드는 13-14세기, 르네상스의 개화기인 15, 16세기 그리고 16세기말에서 바로크 시대로 접어드는 세 시기에 시대정신이 역동적 체계에서 어떻게 구축되는지를 조망하였다. 시간의 흐름과 더불어 역동적으로 변모해가는 문화와 역사는복잡계의 전형이기 때문이다.

• 한국주거학회:학술대회논문집
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• 한국주거학회 2008년도 춘계학술발표대회 논문집
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• pp.405-409
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• 2008

After latter half of the 1990 it has come out urban decline in big and middle & small cities. The purpose of this study is to review the methods of resident participation for community revitalization in civil renaissance through literature study. This study is divided into fourth parts. In the first part, the history of civil renaissance in Japan, German and England for getting grip on the situation is studied. In the second part, concepts of resident participation and community is dealed with. And the tendency of resident participation for community revitalization in civil renaissance is investigated through preceding researches. The third part and the last one are methods and conclusons and suggestions of resident participation revitalization in civil renaissance.

• 한국실내디자인학회논문집
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• 제23호
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• pp.50-57
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• 2000

The purpose of this study was to examine the application tendency about the elements of the western classical style which appears in Korean commercial space. The examined objects were 436 pictures of 106 commercial spaces from the different monthly magazines between Sep. 1994 to Sep. 1999. The results of this study were as follows: 1. The tendency of application according to the kind of space, it has appeared much in restaurants and cafes which are being made into high-class centering around Kangnam area. As for the single application in commercial space, Renaissance style was shown most, and the cases applied through the mixture of Renaissance style and Neo-classic style appeared most. 2. The tendency of application arroding to the composition elements of space, the wall of Renaissance style and N대-classic style appeared similarly, and the ceiling of Renaissance style, the window and door of N대-classic style, the column of Renaissance style, and the furniture of Rococo style were being applied much.

• Acta Via Serica
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• 제5권1호
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• pp.23-56
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• 2020

The study of Putin's Russia should be placed in a broad historiographical context, prevailing in the West. While in the beginning of the post-Soviet era, most observers believed that Russia would reach a Fukuyamian "end of history," the situation is quite different now. At present, Western observers see Putin's Russia as the manifestation of authoritarianism. While this assumption is undoubtedly true, it does not provide much insight into the regime's operational model. Here, a comparison with Renaissance and early modern Europe might provide a clue to the operational model of the regime. Similar to early modern European rulers, Putin limits the use of direct and wide use of force, preferring manipulation, corruption, and the targeted killing of his most important enemies. In foreign policy, Putin has tried to avoid wholesale conflicts and broadly uses mercenaries, whose relationships with the Kremlin are downplayed. The similarities between Putin's regime and early modern European regimes do not mean that their destinies will be the same. In Europe, the Renaissance led to centralized states, whereas in Russia, the "Renaissance" could well lead to the country's disintegration.

• 복식
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• 제48권
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• pp.53-70
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• 1999

The theatre costume in English Renaissance which is scarce in its historical materials can be inferred and imaginarily reconstructed from classifying it according to types of theatre costumes and considering its specific form in that age. The history of fashion could be also approached in the light of theatre costumes and it might be some help to the present theatre costume. Thus the purpose of this thesis is for contributing to the study of theatre costume by inferring the English Renaissance theatre costume from classifications and research of its pattern in detail. This thesis consists of the overview of the periodical background of English Renaissance and then analysis of the stage surroundings ar that time and classification of the theater costume acording to the types and finally inferences of the pattern of forms of the theatre costume. The theatre costume in English Renaissance can be divided into these group:(1) for foreigners such as Roman Turk Spanish and Jews (2) for supernatural beings such as a nymph god, goddess, ghosts, and witches(3) for professionals such as a clown, a clergyman. doctors and senators(4) for cast of animals such as a lion a bear and pigs. In the Elizabethan period theatre costumes were used together with Elizabethan costumes on the stage. Generally the theatre costumes in the age were typically made of very expensive materials and spectacles to the audience and compensating for the poor stage settings.

• 한국생활과학회지
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• 제24권4호
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• pp.531-539
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• 2015

The purpose of this study is to analyze the aesthetic characteristic of men's costume in the Renaissance period. Fashion is a reflection of Zeitgeist. The ideal aesthetic values of each period create the concept of ideal beauty for that period. Costume represents the ideal beauty of a particular period. The aesthetic characteristic of men's costume in the age of Renaissance was analyzed in terms of four categories: the beauty of male body, sublime beauty, sensual beauty, and artistic beauty. First, for the beauty of male body, the men in the age of Renaissance enlarged their chests and shoulders by inserting a pad in them in order to express their masculine beauty of human body by emphasizing their sexual organ. Second, for the sublime beauty, men's costume was exaggerated by using a pad, a ruff collar and slash. In this period, men intended to represent their power and dignity through horizontal extension in their costume. Third, for the sensual beauty, erotic emphasis were made through physical elements. In order to show off sexual charms, men padded their costumes and introduced the codpiece. Last, for the artistic beauty in the age of the Renaissance, men's costume showed proportional, balanced and symmetrical beauty. And men's costume was made of rich brocades, which were embroidered and encrusted with jewels.

• 패션비즈니스
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• 제10권4호
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• pp.78-94
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• 2006

The purpose of this study is to analyze and to compare the makeup style and the ideal beauty of the Renaissance and the Baroque by examining the portraits. The result of this study is as follows. Firstly, as for the Renaissance makeup, they preferred a broad forehead and thin eyebrows. The color for lips and cheeks makeup was orange and light orange in fashion. Secondly, as for the Baroque makeup, they preferred a broad face with double chin, dark and thick eyebrows and small lips. The color for lips and cheeks was reddish and clear. Finally, as for comparison the these ages, the Renaissance ideal beauty was a little plentiful women with a broad forehead, thin eyebrow. But the Baroque ideal beauty was totally plentiful women with thick eyebrows, clear reddish lips and cheeks. The color of lips and cheeks was more reddish and clear in Baroque. The Baroque women had the smaller lips than the Renaissance women and they are more plentiful and modern with a flourish than the others.