• 보존과학연구
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• s.37
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• pp.27-41
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• 2016

This study surveyed color awareness and color systems according to pedigree(Ilseob, Woljoo, Hyegak, Manbong ect.) targeting Dancheongjang (craftsman) who has inherited Dancheong (traditional multicolor). From the survey of color awareness, standardized color system of 'traditional color' awareness by Dancheongjang is 'the color inherited by the master' and it was identified that there is the standardized color system in awareness and its standard is either same or similar to traditional Dancheong. Also, according to each period, colors of Dancheong have been changed, it was thought that change in color materials and preference had went with times. From eleven main colors of Dancheong, chromaticity materials which were preferred by Dancheongjang were analyzed by the faction of Dancheongjang and colors and it resulted in a variety of color ranges over all. In the case of Yangnok, Noerok, Juhong it showed a high deviation with a wide color range while there was a low deviation with a narrow color range in Hayeop, Daja, Seokganju. Through this study it was difficult to identify clear correlations and tendencies of color system by the faction of Dancheongjangs. This is judged to be a reflection of the subjective artistry of the members.

• Journal of Fashion Business
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• v.24 no.2
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• pp.44-59
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• 2020

This investigated the romanticism of Alessandro Michele who leads new trends in fashion industry as a creative director for Gucci. In this study, 307 women's wears exhibited by Alessandro Michele for 3 years in Milan collections from 2015 F/W to 2017 F/W are categorized according to the aesthetic characteristics of romanticism. Additionally, the five aesthetic features of Gucci's fashion design are an addition since the appearance of abnormally large size under the influence of postmodernism. The results based on the study purpose are as follows. First, the decoration makes the garments stand out by using fancy materials, splendid multicolor combination, applique embroidery and three-dimensional objects. Second, exotic style is expressed from an occidental perspective using Chinese traditional fashion or textiles, and exotic accessories. Thirdly, sensuality is manifested using see-through materials to emphasize women's breasts, or the beautiful and sexual expression of women's body. Fourth, the new creations are designed by combining contrasting elements, such as disparate materials and, different genders. Furthermore, traditional cultures like baroque and rococo, and the 1970's vintage looks inspires the creation of retro-style. Finally, the appearance of extremely large shoulders, silhouettes, and details of the human body can be explained with expansive tendency. The aforementioned results further suggest that diverse characteristics are expressed via reflection of contemporary art and trends.

• SUVANNABHUMI
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• v.2 no.2
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• pp.1-28
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• 2010

This paper offers a brief introduction to Vietnamese folk paintings. The discussion compares Vietnamese folk paintings with the Korean folk painting tradition. Among the main purposes of this paper is the exploration of directions for future research on Vietnamese folk paintings. Vietnamese folk paintings, although extensively influenced by their Chinese tradition of minjian nianhua (folk New Year pictures), form an independent tradition, reflecting the local lifestyle and religious practices of Vietnam. However, compared to Korea or Japan, China remains the dominant source of influence for Vietnamese folk paintings. They were either created using a combination of painting and woodblock printing techniques, which was also the case with minjian nianhua, or using multicolor woodblock printing techniques. In cities like Hang Chong, the combination of painting and woodblock printing techniques was used mainly, following the customary practice in Yangliuqing in Tianjin, China, in which colors were added to the drawing printed from the woodblock. Meanwhile, folk paintings produced in rural areas such as Dong Ho are wholly color woodblock prints, similar to minjian nianhua from Yangjiabu in Weifang. In Lang Sinh, simple drawings, intended for casual purposes, were also created using the combination of woodblock printing and painting techniques. Folk paintings produced in cities and rural areas were distinct from each other, not just in techniques, but also in terms of style and theme. Vietnamese folk paintings show a certain degree of thematic similarity with Joseon folk paintings. This is mainly due to the fact that the two countries' folk paintings developed and evolved in parallel with their Chinese counterparts, minjian nianhua. Also noteworthy is the fact that Vietnamese folk paintings, while they share the simplicity and candidness of Joseon folk paintings, are at the same time somewhat more decorative than the latter. For best results, future research on Vietnamese folk paintings should be conducted together with research on minjian nianhua. Traditional pigments constitute an important area of research in this field. Attention should be also paid to the religious paintings of ethnic minorities in Vietnam, as they are discovered in the future.