• 기계저널
• /
• 제19권1호
• /
• pp.314-319
• /
• 1979

우리 국립극장 대음악당의 음향특성을 측정하여, 해석하고 그 정식음향평가를 최초로 시도했다. 여기서 문향악과 가극연주에 대한 평가에 있어서는 특히 공시의 음향특성 Data로부터 만석시의 음향특성을 세심하게 연역해 냈다. 결과는 주로 생동감의 심핵한 결지으로 말미암아 그대로는 낭만파음악과 전형교향악은 물론이고 고전음악까지도 연구가 매우 곤란하고, Baroque 음악만이 겨우 연주가 가능할 따름이다. 가극에 대해서도 Wagnerian Opera 는 힘들고, Italian Opera 만이 어느 정도 만족스럽게 연주가 가능하다는 것을 알아냈다. 끝으로 이 음악당의 음향특성 개선을 위한 수정방안을 수개제시하고 언급해 놓았다.

• 건축역사연구
• /
• 제18권6호
• /
• pp.85-101
• /
• 2009

The Purpose of this paper is a study on the characteristics of Campidoglio hill plan by Michelangelo. 1. The plan of the Campidoglio hill is composed of the harmonized and united space, in spite of the existing conditions of a steep flight of land, a irregular site shape, a building of each other different dimension and form. And it is newly changed by site left through the modification of existing building elevation, utilization of existing building for new planning, connection with existing building and newly planned building from plaza composition of trapezoid form. 2. The concept of planning of the Campidoglio hill is planned by compromising for requirements of Baroque after Renaissance which urban planning characteristics of Baroque is as the relation with urban street through a inclined stairs and process such as street-approach stairs-plaza-symbol of inside plaza-building. 3. The section plan of the Campidoglio hill is planned by which can be easily approached to the plaza through the inclined stairs of gentle angle from street at the center east-west direction of main axis such as main axis, utilizing the existing site shape, and it is composed of the convex shape ascending gently at the center central part of the plaza. 4. The plan of the Campidoglio hill is composed of the elation with the axis of existing Senatorio palace, building planning of perfect balance, plaza composition of reversed trapezoid form bybuilding planning, central concentrated planning of buildings surrounding plaza. 5. The three palace of the plan of the Campidoglio hill is composed of the concept as theater which the stage background forms the front elevation of Senatorio palace higher two palace and the wings of either side of stage form the front elevation of Conservatori palace and Nuovo palace, surrounding three palace elevation around plaza of trapezoid form.

• 한국의류산업학회지
• /
• 제9권1호
• /
• pp.15-23
• /
• 2007

In the Middle Ages it was customary to cover up the hair, but the Renaissance brought uncovered coiffures with the revival of humanism. In those days, silk and linen veil, ribbon, string of pearl used for covering, wrapping round with the hair. During the Baroque period, the style of hair was to pursue the beauty of imbalance in form, reflecting the atmosphere of the time. Hurluberlu and Fontanges hairstyles were in fashion. Then in the Rococo period, huge, resplendent coiffures of exquisite beauty were invented as a symbol of power, and these modes of hairdo were a dominant force in the culture of personal adornment of that time. Pouf and enfant hairstyles were in fashion. As a reaction against the extravagance of the proceding modes, late 18th and early 19th centuries brought revival of simpler hairstyles of ancient Greece and Rome by the influence of neoclassicism. The latter half of the 1820's onwards saw he reappearance of voluminous coiffures as well as an enormous variation of knots with combinations of false knots and chignons. Late 19th through early 20th centuries was the period of beautifully waved hair, the style of which was an integration of Marcel waves and Art Nouveau. The 20th century saw the epoch-making invention of permanent waves using electricity. Concurrently, with an increasing participation of women in social affairs since pre-and post-World War I periods, as well as with Art Deco in full flourish, bobbed hair was created in pursuit of lightness and nimbleness, quickly showing the change of women's modes of life. Hair fashions thoroughly embody the aesthetic sense of each period, reflecting the landscape of contemporary society.

• 한국콘텐츠학회논문지
• /
• 제13권6호
• /
• pp.86-94
• /
• 2013

2000년대 한국영화는 자본의 영향으로 인해 민감한 문제를 정면에서 이야기 하는 대신 알레고리로 우회하는 것이 하나의 특징으로 나타났다. 복수3부작을 연출한 박찬욱은 이를 대표하는 감독이다. 박찬욱의 복수3부작 중 <친절한 금자씨>는 바로크 미학이 두드러진 작품으로, 이 논문에서는 발터 벤야민의 알레고리 개념을 중심으로 분석했다. 벤야민에 의하면 알레고리는 총체성으로 대표되는 상징과 달리 파편화된 것들을 직관에 의해 재구성하는 것으로 가상의 논리적 일관성을 위해 억압된 것들을 드러내는 작업이다. 이러한 모습이 잘 드러난 것이 바로크 시대 독일 비애극이다. 독일 비애극의 모습을 차용한 <친절한 금자씨>에서 박찬욱은 해방과 건국의 신화를 해체하여 오랫동안 역사서술에서 배제되어 왔던 사회주의자들과 무정부주의자들을 역사의 전면에 복원했다.

• 복식문화연구
• /
• 제15권6호
• /
• pp.965-981
• /
• 2007

Since the latter half of 20 century, in Korea, there are many discussions on the identity of Korean itself in several divisions, in which the discussion on the identity in the part of the costume or the part of the art reflecting the life, is the subject which must not fail to be noticed. So, we try to study the common structure manifested in the Korean painting and the costume as a part of basic recognition of problems and the way of problem-solving for the research on the Koran formative characteristics. The method and the process of this study is first, to consider the characteristics of the plastic and style of the Oriental arts and the Occidental arts by discourse implicate the difference between Oriental and Occidental view and the recognition of the body in the two worlds. And in the study we try to apprehend the dynamic modern artistic value of Korean style through assimilation between the Korean style and Baroque style according to the theory of $W\ddot{o}lfflin$ about the classical style and Baroque style. We will describe the Korean identity by analyzing the Korean plasticity with the Occidental style of dress and paintings reflecting the Occidental culture and thought and the Oriental things, and modern paintings and dress in the present age. As a result, we can try to recherche the way of use of new design for the identity of Korean style, in the concept of the ellipsis, repetition of the retrait, obscur silhouette, and superimposition.

• 한국실내디자인학회논문집
• /
• 제15권6호
• /
• pp.27-34
• /
• 2006

This paper present a study on the $\lceil$Parere su Architettura$\rfloor$ of Piranesi published in 1765. In the 18th century, there were fundamental cultural and social changes in Europe. This paper intends to discover the influences of these changes on the field of architectural theory, and it also intends to reveal its characteristics and meanings. The $\lceil$Parere su Architettura$\rfloor$ of Piranesi was composed as a dialogue between two architects, named Didascalo and Protopiro. In this paper, Didascalo represent the Master and Protopiro the Novice(according to the translation of Kaufmann). On the artistic theory of the Enlightenment, Didascalo proclaims as a dogma. Then he inveighs against the rigorists, using strong language quite up the attacks of the Novice. The modernistic Protopiro assails every kind of embellishment. The dialogue non only helps us to understand Piranesi, but also reflects the artistic situation in the 18th century. The summary of the result of this study is as follows: 1. The book of Piranesi represents a controversy of the romanticism against the architectural rationalism. 2. The negation of the originality of the Roman architecture has been considered as the negation of the Baroque architecture that was the artistic base af Piranesi. 3. Piranesi had ideological intention to defend the hegemony of the Italian culture through strengthening of the Etruria-Roman-Baroque cultural tradition.

• 복식
• /
• 제61권8호
• /
• pp.18-31
• /
• 2011

Gianni Versace was a designer who established his unique fashion world by thinking creatively and using rich design sources. The purpose of this study is to present designers a methodology for creative and characteristic design development by searching Gianni Versace's idea source for fashion design. As a method of the study, visual and textual data were investigated for Versace's fashion and design source especially focusing on those elements that inspired him. Versace was born in the southern area of Italy in 1946. Ever since his childhood, he had a lot of experience with clothes because his mother was a dressmaker. His first collection was made in 1978, and Versace became one of the most famous fashion designers in the world within 20 years. He used a wide range of design sources such as history, culture, and art and created his design world with it. He focused on four important epochs. They were classicism, Byzantium, the eighteenth century centering on Baroque, and the 1920s and 1930s centering on Madeleine Vionnet and Madame Gres. Among cultural elements, costume design for ballet and opera and rock 'n' roll music inspired him greatly. Also, Pop art and various paintings such as Chagall's and Delaunay's had a huge effect on Versace. With these elements, he created a bold and unique coordination of style by mixing & matching history, genre, material, and style into his design. Thus he completed an extraordinary and original fashion style by emphasizing on decorative and glamorous points and changing a way of thinking.

• 복식
• /
• 제61권8호
• /
• pp.73-84
• /
• 2011

Upholstery style is the form which bulges a shape by putting fillings in the support and covering them with patterned textile or pile fabric. Modern upholstery style was combined with the various socio-cultural products and artistic styles and expressed in interior furniture and costumes of historical time periods. The style first originated when people built houses for settlement and made furniture to decorate its interior. The characteristics of upholstery style came to be prominent in the Renaissance, Baroque and Rococo times with the development of science and textile industry. The interior furniture represented the ages of the Renaissance, Baroque and Rococo and were made with similar images of the architectural style from those different time periods. Textiles, tapestry, velvet, corduroy, damask, brocade, and the most frequently used velvet are elements that make up the structural and figurative features of the architectural style. The upholstery style of furniture also shows the forms of clothing that represents each of the different periods. This style still continues to be used today. In modern day fashion, the figurative characteristics of the upholstery style that derives from interior furniture and clothing from the different time periods are bulkiness, asymmetry and exoticism. Such figurative characteristics have evolved through the combination of diverse genres but it still maintains similar designs and forms.

• 트랜스-
• /
• 제3권
• /
• pp.137-162
• /
• 2017

벨기에 출신의 영화감독 제라르 꼬르비오의 영화 <왕의 춤>은 17세기 프랑스의 궁중을 배경으로 루이 14세가 어떻게 강력한 절대군주, 태양왕 루이 14세로 거듭나는 과정을 실존했던 예술가들의 활동을 통해서 보여주는 작품이다. 영화는 바로크시대의 예술 애호가였던 루이 14세가 예술을 어떻게 즐기고 권력의 수단으로 사용했는가를 흥미롭게 보여주고 있다. 하지만 영화가 그리고 있는 모습은 역사적 사실과는 맞지 않는 부분도 상당히 많다. 본 연구는 영화가 묘사하는 당시의 예술계와 역사적으로 고증된 예술계를 비교하면서, 과연 영화가 말하고자 한 진짜 목표가 무엇인지를 찾아내려 한다. 언뜻 영화는 루이 14세에 대한 영화로 소개되는 듯하다. 하지만 보다 자유로운 시선으로 바라본다면, 이 영화는 루이 14세의 총애를 받던 궁정 음악가 장 바티스트 륄리의 관점에서 그려진다는 사실을 발견하게 된다. 이를 통해 제라르 꼬르비오는 당시 예술과 예술가들의 모습을 한 예술가의 시선으로 바라보며 그리려 했다. 그리고 륄리에 비견되어지는 극작가 몰리에르의 모습 또한 영화에서 잘 활용되고 있다. 왕의 총애를 받았으며, 지금도 위대한 극작가로 평가되는 몰리에르가 영화에서는 지금과 같은 평가를 기대하기 힘든 인물로 그리고 있다. 그의 문학적 업적으로 높이 평가받는 혁신적이고 진보적인 모습은 영화에서 찾아볼 수 없다. 이 두 예술가의 비교는 영화가 사용하는 예술적 이미지의 핵심이 '아이러니'란 점을 기억 할 필요가 있다. 영화는 '태양왕'의 이미지를 통해 루이 14세가 감추려 한 내면적 고통을 묘사하고, 이와 동시에 댄스 장면을 통해 루이 14세의 압도적인 예술을 향한 애정의 관점을 그려낸다. 이처럼 영화 <왕의 춤>이 사용한 화려한 미장센의 양면성을 본 연구는 '예술'이라는 매개물을 통해 17세기를 들여다보는 아이러니한 장치로써 접근한다.

• 한국의류학회지
• /
• 제31권3호
• /
• pp.451-462
• /
• 2007

The purpose of this study is 1) to find out the dominant clothing ornaments in Europe in the 16th, 17th and 18th centuries, 2) to examine the changes of such clothing details as neckline and collar, sleeve and stomacher from 16th to 18th century 3) and to classify the ornaments of these 3 centuries according to Yin and Yang's traits. An analysis was conducted of 405 pieces of art out of 10 books of costume history. Of these pieces, 121 were from the Renaissance era, 107 were Baraque and 177 were Rococo. The analysis found that the distinctive ornaments in 16th century were ruff, slash, chain and girdle decoration. The distinctive ornaments of Baroque period were tassel, fringe, loop and binding. The Rococo period were distinguished by falbala, sash belt and fabric necklace. With regard to the changes over the 3 centuries necklines changed from high to lower. Sleeves became shorter. Stomacher which was long and sharp became wider and shorter. As to the Yin and Yang's traits there was also an evolution. Renaissance costume with Yang's style was decorated mostly Yang influenced ornaments. Baroque clothing was a mixed of Yin and Yang, as were the ornaments. By Rococo both clothing and ornaments reflected Yin's traits.