지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2019.2
- 수록면
- 101 - 121 (21page)
- DOI
- 10.7233/jksc.2019.69.2.101
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초록· 키워드
오류제보하기
The purpose of this study is to analyze the reconstitution of materials which started to appear in Western dress designs from the Renaissance era to the Rococo era, focusing on the visual tactility of texture. The research includes a literature survey and content analysis to probe the following three research questions. How do the material reconstitution techniques appear as classified in the dress texture? What are the characteristics of early modern dress textures and the applied techniques? What are the features of visual tactility from the Renaissance era to the Rococo era, using the extracted reconstitution ratio as the point of comparison? This study answers these questions by analyzing the reconstitution techniques of materials and their characteristics through 487 photos gathered from books and museum collections published between the 15th and 18th centuries.
As a result of the analysis, the techniques can be divided into frontal and multifaceted reconstitutions, based on their frontality and their multifaceted nature. These were in further subdivided as “low-relief texture,” “high-relief texture,” “cut-style texture,” and “attachment-style texture,” depending on the properties of surface texture. The study classified the reconstitution of materials used in early modern Western dresses as “one-dimensional visual tactility,” “two-dimensional visual tactility,” and “three-dimensional visual tactility,” based on the material and technique applied. Consequently, the reconstitution of materials in the Renaissance era dresses were mostly comprised of two-dimensional visual tactility using a single technique to build a three-dimensional silhouette. In contrast, the surface combination of qualitatively different materials created a preponderance of three-dimensional visual tactility in the Baroque era. Lastly, Rococo dresses exhibited a prevalence of two-dimensional visual tactility to establish artificial forms and three-dimensional visual tactility emphasizing flexible decorativeness.
As a result of the analysis, the techniques can be divided into frontal and multifaceted reconstitutions, based on their frontality and their multifaceted nature. These were in further subdivided as “low-relief texture,” “high-relief texture,” “cut-style texture,” and “attachment-style texture,” depending on the properties of surface texture. The study classified the reconstitution of materials used in early modern Western dresses as “one-dimensional visual tactility,” “two-dimensional visual tactility,” and “three-dimensional visual tactility,” based on the material and technique applied. Consequently, the reconstitution of materials in the Renaissance era dresses were mostly comprised of two-dimensional visual tactility using a single technique to build a three-dimensional silhouette. In contrast, the surface combination of qualitatively different materials created a preponderance of three-dimensional visual tactility in the Baroque era. Lastly, Rococo dresses exhibited a prevalence of two-dimensional visual tactility to establish artificial forms and three-dimensional visual tactility emphasizing flexible decorativeness.
목차
ABSTRACT
Ⅰ. 서론
Ⅱ. 복식의 텍스츄어로 분류한 재료의 재구성
Ⅲ. 근세 복식에 나타난 텍스츄어의 시각적 촉각성 분류
Ⅳ. 재료의 재구성 비율로 추출한 근세시대별 시각적 촉각성 특성 분석
Ⅴ. 결론
Reference
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UCI(KEPA) : I410-ECN-0101-2019-381-000495968