• 복식
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• 제55권7호
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• pp.1-21
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• 2005

The purpose of this research was to re-illuminated the artistic value of costumes that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde an. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the style of art that Larionov and Goncharova introduced in the 20th century. The research method defined the formation and the progress of the development of the Rayonism centering the works of art by Larionov and Goncharova. Based on this method, larionov and Goncharova designed the set and the costumes for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing an. The result were as follows. First of all, Larionov's costumes of art were all manufactured based on the theme of nature and genesis. In other words, Larionov represented the sun as a humanistic god through the white night, the natural weather condition of northern Russia. His costumes also displayed the symbolic meaning of the personification of animals like birds and cats, which emphasized the importance of both nature and tradition. However, he used Rayonism expression when he designed costumes by applying the nature themes. On the other hand, Goncharova applied the Spanish passion, the Russian folk art lubok, and goldern cockerel or religious icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume design. her design displayed the Rayonism influence through the separation between the lines and the surfaces, whic defined the costumes as a decorative art experiment. Therefore, the study of Larionov and Goncharova had one realize that Rayonism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Larionov and Goncharova reflected the miracle of the transformation of the 20th century in their costume designs.

• 복식
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• 제54권6호
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• pp.101-117
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• 2004

Opposed to following the contours of the human body, the voluminous enlargement in costume, which characterizes the distinguished enlargement in space rather than the contour of human body, mean the enlargement aspect involving the vertical protrusion and the expansion of shape and volume as well as the extension of length. The costume enlargement as a different method of expression is a symbol showing a meaning of something and an aesthetic expression containing man's will. This voluminous enlargement of costume, as an aesthetic expression, has different formative characteristicsand immanent meanings according to ideals and thoughts as well as social and cultural background of each age Accordingly, the aesthetic consciousness also differaccording to the change of the times. To study the aesthetic consciousness of costume's voluminous enlargement, focous had been given to milieus that show comparatively conspicuous voluminous enlargement Periods that have been subjected to this study include costumes of the ancient Egypt, the Gothic period in the Middle age, the Renaissance, the Baroque Rococo of the recent times, and the modern era (Empire, Romantic, Art Nouveau. etc) With focus given to the principle of design obtained through this study were used to analyze the aesthetic characteristics, Futhermore, based on the spirit of the times and the socio-cultural symbolism, research on immanent meanings, as supported by objectivity and universal validity, was also made, the enlargement beauty of costume had been placed under the aesthetic category and, by interpreting the analogies of presented in aesthetic consciousness, the true nature of the voluminous enlargement in costume had been traced. To Conclude, the aesthetic consciousness of the voluminous enlargement of the costumes in history was found to have following characteristics: (l) Metaphorical (2) Unlooked-for irregularity (3) feeling of satisfaction driven by self-enlargement (4) Dignified sublimity (5) Symbol of wealth and class (6) Ceremonial dignity (7) Tradition of the nobility (8) Aesthetic ornament (9) Ideal contour of the body

• 대순사상논총
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• 제35집
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• pp.509-539
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• 2020

大巡真理會以《典經》為主體, 闡述神與人的思維於教義之中, 含括神聖性, 宗教性與教義性等探討價值 ; 神與人的傳統意義, 經由《典經》的詮釋, 超越倫理性, 傳統性和社會性, 跨越世俗性的終極關懷。從《典經》的角度分析, 有助於了解大巡真理會的宗旨, 組織的推行方針與未來走向。召會以《聖經》為主體, 將神與人的關連, 作為經歷神聖生命與性情的植入, 而與人的生命與性情調和 ; 神聖的生命是一直不斷地與人的生命調和, 並使之成為神聖的人, 或可稱為屬人的神聖者。此即「神人」的原因, 使人的生命成為神人的生命, 生活是神性調著人性, 作為外顯的行事為人, 性格與生活 ; 因此, 「神人調和」的說法, 作為神與人的關係詮釋, 專注於神與人之間的神聖關連, 從而延伸至召會的範圍。大巡真理會與召會, 代表著歷史, 文化, 語言, 宗教等不同的分野, 卻在神與人的超然解釋上, 各自提出「神人調化」, 「神人調和」等見解 ; 二者可尋覓出論點上的類似點和相異觀, 作為探究的區分與貢獻。

• 미술이론과 현장
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• 제16호
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• pp.257-272
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• 2013

This paper analyzes six different ways of articulating the relationship between art and politics. It calls attention to the differences that lurk behind the seemingly simple phrase-everywhere in vogue today-the "politics of aesthetics." Five of these models are drawn from contemporary discussions regarding the politics of art. The last model is the attempt to develop an account of the politics of aesthetics that is faithful to the difficult and ambiguous dimensions of the aesthetic experience that were hinted at by the texts of classical philosophical aesthetics. Most notably, this paper is concerned with the idea that the aesthetic experience can be understood as a form of disinterested contemplation-one that is not reducible to cognitive or moral considerations-and with some of the consequences that this entails. It explores some of the political significance that can be attributed to this idea of disinterested contemplation, arguing that the aesthetic should be understood as a withdrawal from the world's pre-established meanings. Unlike some of the other thinkers discussed in this paper, this author doubts that a single, uniform meaning can be ascribed to the aesthetic experience. I thus argue that we need to approach the aesthetic through the networks of textual significance that have been built up around it. Throughout this paper, I attempt to explain how the efforts to link art and aesthetics to politics simultaneously give rise to ideas about the nature of the human community. In looking at the sixth and final model, what I have called the "anarchical politics of aesthetic ambiguity," I argue that the aesthetic tradition offers a rather unique way of understanding the relationship between the individual and the community. Here, we see that the aesthetic is prone to a number of paradoxes, central among them the one that makes art the bearer of a solipsistic pleasure in which we nevertheless discover our capacity for genuinely communicating with others, outside of cliches and banalities.

• 복식
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• 제40권
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• pp.51-65
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• 1998

In this study the features expressed by the Korean dresses and its ornaments have been examined through the objects of this thesis, the concept of the pair, under the basis of Korean myths, from which esthetic and spiritual values have been derived. At first, the beauty of the balance pursuing the neatness. Since the pair is made with two piecess, at the time of the placement, the sense of the balance is obtained by the arrangement acccording to the dichotomous principle such as up and down or left and right. Sometimes, the pair could yield the natural pictorial composition, but almost of the time symmetrical composition. This kind of composition is made symmetrical like the structure of the human body, and it is resulted in a neat beauty, which visually presents a harmony, stability and intimacy. At second, the beauty of the harmony in the spirit of the oneness. From the dualistic combination basing on Korean myths, the common features and the significance of the co-existence, obtained from the combination of the pair of the pieces, could be found. By the oneness of the both elements, the creation principle, which is the basic one for a new life, could be established, and the mystery of the creation and the sense of the harmony could be found in it. At third, the wholeness of the completeness concept. The completeness could be felt rather by two than by one, and is provided with a room to be filled with the other one. Consequently, the outer dress is completed with the under dress, and its own beauty could only be made out when the two elements are harmonized. So, it is called as the pair. Like this, the concept about the pair taken roots in the ground of Korean emotions, is basing on the creation principle of the dualistic elements formed from the tradition of Korean myths, and the fact that the mental meaning pursuing the harmony dwells in Korean dress and its ornaments could be confirmed.

• 한국의류학회지
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• 제32권12호
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• pp.1971-1980
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• 2008

본 연구의 목적은 전통적인 니트웨어에 대한 의미와 깊이를 파악하고 베르그송과 들뢰즈의 연속성 이론을 배경으로, 전통 니트의 대표적 패턴인 아란 모티프를 응용한 니트웨어의 디자인 전개와 개발을 해보는데 있다. 현대패션에서 보여지는 주름, 종이접기, 공기주입시스템, 방울이나 꼬임 등에서 느낄 수 있는 소통, 공간적 느낌, 해체적 유동성 등이 연속성 이론의 기본이 된다. 아란 니트는 역사적 전통성을 가지고 있으며, 아란 니트에서 보여지는 모티프는 이러한 연속성의 이론에 부합하고 있다. 본 연구에서는 아란 모티프에서 연속성의 대표적인 케이블 모티프와 연속성 이론을 바탕으로 5점의 핸드 니트웨어를 디자인, 제작하였다. 전통적인 아란 니트와 연속성이론에 기초한 작품 제작 결과를 통하여 새로운 의미를 전달할 수 있는 니트 디자인 개발이 지속적으로 이루어지길 바란다.

• International Journal of Advanced Culture Technology
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• 제11권1호
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• pp.212-220
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• 2023

The meticulous figure painting is one of the wonders of traditional Chinese painting and has blossomed in art history with its unique and interesting style. The period from the Warring States period to the Song and Yuan dynasties was a glorious period in its history, after which it tended to decline due to changes in painting materials and many socio-historical reasons. The extensive cultural exchanges in the world today, the penetration of Western values and the expansion of information technology have brought a huge impact on Chinese meticulous figure painting, which has developed an active way of thinking and expression after absorbing certain elements of Western culture and thought on the basis of inherited tradition. Contemporary Realistic Figure painters continue to explore new developments in meticulous figure painting in the contemporary context, and give contemporary meticulous figure painting a new cultural and ideological connotation, forming a new look that meets the requirements of the times, with richer and more lively content, subject matter and formal language. Traditional meticulous figure painting is characterised by a highly refined use of line and coloring composition. Contemporary meticulous figure painting focuses on the use of purely formal language and the expression of the personality of the creative subject, with a new outlook on the world of painting. In the contemporary multicultural context, new formal language and methods of expression are constantly being explored to create a new look. In the process of development, contemporary meticulous figure painting has merged the best qualities of traditional and contemporary culture, making it an art with a subtle language, rich in meaning and with the charm of the times and oriental characteristics. The author in the form of contemporary fine brushwork figure painting language as the research object, explore new form of fine brushwork figure painting, and in the contemporary society and multicultural context factors. Innovation, enrich and develop new forms of art language of contemporary social form and aesthetic temperament and interest.

• 한국의류산업학회지
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• 제4권1호
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• pp.19-30
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• 2002

The word 'lace' comes from the Latin, lacium, meaning a knot. There are two broad categories of lace: needlepoint lace and bobbin lace. Lace has enjoyed a multitude of uses, embellishing both liturgical and domestic objects. It has also played a major role in the history of western fashion, adorning the apparel of men as well as women. Lace lappets and cap crowns, cravat ends and veils were made for those who could afford them. Before the end of the sixteen century, more complex techniques were employed. The baroque period, needlepoint lace evolved from the early simple geometric patterns of punto in aria Which enhanced ruffs, to deeply scalloped designs, often referred to as collar lace, and thence to the bold and magnificent relief effects of Venetian gros point. Through the seventeenth century is noted for the infinite variety of its cravat, collar and kerchief, most of them lace trimmed and all artfully contrived for the wearer. The type of sleeve in women's dress reaching just below the elbow, ending in ruffles of lace which was called engageantes. Sometimes the ends of a fichu or headdress decorated of lace. In the nineteenth century, empress Eugenie's love of lace resulted in a marked increase in the use of that lovely, delicate fabrication. It was lavished upon sleeves, hats, capes, and handkerchieves. Entire flounces, parasols, jackets, and shawls of lace were created by skilled lace makers of Europe. By the time this magnificent piece was created, most lace was being produced by machine. Today, the tradition of handmade lace continues, but glorious examples are no longer made. However, the techniques have been taken up and revitalized within the fiber art movement.

• 비교문화연구
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• 제19권
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• pp.149-179
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• 2010

This article is concerned about the symbolic meaning of the transvestism Renaissance perspective through analysis of Triumph Over Persecution work and The Merchant of Venice, and Jealous Ioan Tornese. The transvestism is frequently present in the comedies of the golden age. A woman author Maria de Zayas has a special interest in female identity with critical and defying view. Also the subject of the transvestism in Spanish literature originated in Italian tradition. In Italian literature, there were two types of disguised women, who urge for love and warrior-heroine(amazon). Both types are also listed in Spanish literature. The dress-crossing heroine of Triumph Over Persecution displays a type of heroine, who corrects a male prejudice and reset a harmonious order. Shakespeare is also one of the Renaissance writers under the influence of the Italian Renaissance novel. Heroine of Merchant of Venice symbolizes a triumphant challenge against the blocks of the patriarchal system. In spite of the social system blocks, cross-dressing women may receive in the patriarchal scenes without problems. Based on the notion of paradox and irony, the Italian novel reflects popular psychology of the time when the link between the internal identity and social outside puts into question. The cross-dressing Torneses' wife, symbolizes the mockery or renaissance deception. Their deception emphasis on an ironic way in the point view of inhuman man who consider women material belongs to the man without any free-will. The costume of the characters make it possible to change their original identity into the other. From this point of view, we can say that the transvestism in these works could be interpreted in two ways: first, the destruction of the traditional categories of women's identity and second, the burlesque contempt on the patriarchal renaissance society.

• 대순사상논총
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• 제18권
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• pp.123-134
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• 2004

The aim on this paper is to explain the present state and circumstance in the course of arranging historic classical books in China. In order to approach its purpose, it should make it clear to define the word of "The present"(當代). Furthermore, we need to take a deep notice on the arrangements itself of historic classical books, its influences and contributions, reflecting this process carefully with those historical, cultual and social points of view due to the meaning of "The present" in China. Starting from this considerate view, first of all, I would like to determine the accurate time of "The present" to be the period of time from October, 1949 to December, 2003. It can be described very suitably well as "bamboo sprouts grow fast after a rainfall"(雨後春荀). This tremendous works in the arrangements of Classics have gone through sweets and bitters of times during 50 and several years. However, this work in process has overcome so much troubles and exclude obstacles in doing so, gradually begun to bear tasteful fruit of many publications, about 10,000 works so far. Although it has gone far with very little amount of works in comparison with the remains that would be put in order in the incoming future, it succeed effectively to the spirit and soul in Chinese culture and people. Illuminating the development in its historical steps and analyzing elaborately flows in cultural and ideal elements, it is known that this work of arrangements not only give a very firm basis for excellent Chinese cultural tradition, but also extend high level of idea and thoughts in their thoughts so that build up the spirit in socialism on the solid foundation. This paper will give a explanation and analysis on this works and its contributions. At the same time, it examine and give a good, careful, and close look on the arrangement of historic classical books in China by various means of classifying into various types and style, searching for many methods, and showing indication and directions that might be right in "the present".