• Korean Journal of Rural Living Science
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• v.10 no.1
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• pp.43-57
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• 1999

A style of art is an expression of human aesthetic desires, social environment and other cultural yeatures of that time. costume as a means of physical existence of such expression cannot be studied apart from the art style of any given time. In this paper an attempt is made to find out the characteristics of costumes in Renaissance and Barogue by examing the theory of Wolfflin. The organic relationship with the manifestation of human beauty in the genuine art and its formality was clear so that the fact that the dress and its costume are actually a synthetic art and there is close connection with genuine art were made clear. In conclusion, costume and art style are in different genre, they pursued the same way in the same category of Wolfflin's theory in Renaissance and Baroque.

• Korean Institute of Interior Design Journal
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• v.26 no.1
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• pp.142-152
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• 2017

This study investigated Renaissance and Baroque architectural characteristics found in contemporary public buildings in Seoul, which are National Museum of Modern and Contemporary Art Seoul Branch(MMCA) and Dongdaemun Design Plaza(DDP). Among H. $W{\ddot{o}}lfflin^{\prime}s$ five categories for Renaissance-Baroque art study, four categories (Clearness/Unclearness, Plane/Recession, Closed form/Open form, Multiplicity/Unity) are applied for the analysis as the architectural issues of Transparency/Concealment, Exhibited/Experienced Depth, Formal/Figural, and Composed harmony/Generated Unity. As a result, MMCA showed the characteristics of the extreme of Modern classic such as transparency, homogenization of space, formalism, and composition of multiple elements. Meanwhile, the study could find various Baroque characteristics from DDP such as separation of indoor and outdoor, phenomenological depth, rule breaking, and generation of figure. The study finally argued that DDP would not be an anti-modern, but try to inherit and overcome the modern architecture to explore different possibilities, and that the similar relationship between Renaissance and Baroque art could be found in these two cases.

• Journal of architectural history
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• v.1 no.2 s.2
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• pp.159-171
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• 1992

Renaissance Age is called the Period of Discovery because of great development of the economy and the science, and is known the Period of scientific analysis of Man and of interest of Nature out of a blind obedience in the Middle ages. Especially in visual art architecture, painting and sculpture, the rational spirit of Renaissance actually and distinctly communicates the meaning of Work through the scientific and mathematical expression after a finding Perspective by Brunelleschi. So the puropse of this study is to clarify the substancial meaning of Renaissance Art by investigating the expression applied Perspective to the works of Brunelleschi's architecture, Donatello's sculpture and Masaccio's painting.

• Journal of architectural history
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• v.15 no.1 s.45
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• pp.61-76
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• 2006

The stage is ceremonial and legendary space unlike the ordinary world. Performance is not simply scrip-staged, but spatial art based on tempo that transmits extreme condition. The stage art is a visual art combined with stage settings, lighting, customs and the like. I exemplify the stage of Middle Age and Renaissance in the history of the art of public performance and so I review that what meditative functions each stage perform and that as what pattern of media it can be conceptualized. In this thesis, I divide the places of public performance Into the spaces of proscenium and polygon and also set up the concepts of hot and cool that McLuhan presents for each space. So, the degree of participation could be different according to the distinction of quantity of information, which is communication following the patterns of spaces. The basis of public performance might be the communication between co-actors and audiences. Since the sense of the art of public performance is the art in the process of establishing the meaning based on the communication with co-actors, it is not a confirmed and fixed one, but rather a reflexive one that can be created and changed continuously. Therefore, audiences should be regarded as the subjects, who are making the art of public performance with co-actors.

• The Journal of the Convergence on Culture Technology
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• v.10 no.6
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• pp.371-376
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• 2024

This paper analyzes the main characteristics of proto-humanistic art theory in the book Il Libro dell'Arte by the artist of the early Renaissance, Cennino Cennini. His book, written in the late 14th century, opened the door to the Renaissance and attempted to make art independent from the poetic implications and rhetoric of literature for the first time in history. Cenini tried to have the creative nature of art, especially painting, recognized by society. Since Cennini's will became the starting point for the development of great art theories published by Alberti and Leonardo in the 15th and 16th centuries, the historical necessity of studying Cennini is fully acknowledged. Therefore, this paper examines the historical achievements of Cenini as an art theorist, who aroused academic interest in the social status of artists as well as the intellectual potential of art. Chapter 1 of this paper first examines the background of the birth of Libro. In the main body of this paper, the theoretical characteristics of Cennini's Libro as the first humanistic art theory are categorized into three areas: 1) the relationship between painting and liberal arts, 2) disegno as a bridge between mind and hand, and 3) pedagogy of painting. Through this process, this paper discovered that Libro combined practical guidelines and ethical recommendations for painting through its unique non-systematic structure. Cennini's attempt is defined as a historical practice for the intellectual emancipation of art and a historical foundation that provides inspiration for the production of Renaissance humanistic art theory.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.15-29
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• 2007

H. $W\"{o}lfflin's$ methodology created viewpoint of art history which is an essential factor of art, and proposed formal analysis as an academic methodology specific to art history. H. $W\"{o}lfflin's$ expressed the see-form a as the five pair concepts which are summarized by 'linear-painterly' 'the plane-the deep'. 'closed form-open form', 'multiplicity-unity', 'absolute clarity-relative clarity'. His methodology is not only in the field of art and architecture but also clothing because during the same period have a relative tendency of thought, culture, politics and economics each other. As the result of this study were as follows. Renaissance of 16 century, the style of dress was enormous and dignified by body support outfit, hard puffs, slashes, padding and expansive jewels. It make appearance of man and woman absolute clarity because Classicism styles of aesthetic consciousness is geometrically perfect form and symmetry and restrained harmony, magnificent. Baroque of 17 century, the style of dress was vigorous mobility and subtle balance by abundant and free silhouette, soft collar, magnificent ribbon loop and tassel without body support outfit. It make appearance of man and woman comfortable and natural because Baroque styles of aesthetic consciousness is extraordinary degree of originality and creativity that was evident in the devising of new styled.

• The Journal of the Convergence on Culture Technology
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• v.10 no.6
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• pp.239-244
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• 2024

This paper analyzes the art theory of Giorgio Vasari, the author of Le Vite de più eccellenti architetti, pittori, et scultori italiani, da Cimabue insino a' tempi nostri, which is considered the world's most important book on art history. Le Vite established a new status for artists and art works by containing facts, knowledge, and criticisms about approximately 200 Renaissance artists, as well as interesting facts that have been handed down to the world. In addition, by describing the sociocultural environment surrounding art, it established itself as a place for standardizing the language of art history. Therefore, Le Vite has a status as a compilation of art theories that describe the successive context of Renaissance art history and the major terms invented, as well as its own ontological value. Accordingly, this paper examines the formation background and each meaning of the core concepts of Renaissance art theory proposed by Vasari through Le Vite. The terms such as disegno and fantasia, and Vasari's position on paragone, which are discussed in the main text of this paper, are the result of a long debate that took place during the Renaissance in the 15th and 16th centuries. Vasari's art theory leads to the universal acceptance that all arts are equal and 'sisters' with a common purpose. In this process, Vasari's Le Vite functioned as a historical testimony to the intellectualization process of art. It also exerted a strong influence on the humanistic education system of Europe and participated in the cultural function of society and citizens.

• Journal for History of Mathematics
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• v.19 no.2
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• pp.59-76
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• 2006

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.

• 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.