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西洋陶磁器 文化에 보이는 東洋趣味 : 18세기 유럽도자기를 중심으로
朴春順 충남대학교 자연과학연구소 1983 忠南科學硏究誌 Vol.10 No.1
In this paper, an attempt was made to make clear the formative process and characteristic of western porcelain pattern specifically developed in the 18th century from the standpoint of East-West cultural exchange process. By virtue of the chinese motif, the spirit and trend of European formative art had become affluent in the 17th and 18th centuries. Among the pattern of European porcelain the Meissen ceramics had the strong smack of the oriental element and motif. In the period of Bo¨ttger Europeans were busy imitating chinese porcelain and the imitation of Kakiemon style of Japan was prevalent in the period of Kaendler. By the middle of the 18th century such imitation of the oriental porcelain, however, was over and it merged into European style. Rousseau's naturalism had a great influence on the Meissen ceramics. Such naturalistic trend emerged as a transient style before Rococo style was converted into new classicism.
朴春順 충남대학교 자연과학연구소 1982 忠南科學硏究誌 Vol.9 No.2
The term, baroque use to described the tendencies prevailing in European art during part of the 16th, the 17th and the first of the 18th centuries. It is uncertain derivation, one explanation being that it springs from the Spanish word barrueco, a large irregularly-shaped pearl. The word denotes the greater freedom, irregularity dynamics and masculinity which succeed, in European art, the static equipoise, harmony and restraint of Renaissance. In this paper, an attempt is made to find out the aethetic consciousness in the costume of that time by examining the spirit of baroque art which reached its development in the 17th century. In conclusion, the baroque art seeks to replace the absolute by the relative and grater strictness by greater freedom. In addition, it makes us feel the violent sense of movement and the will to eulogize the blessings of freedom running at the bottom of the works. The costume of that time, derived from such spirit of baroque art, was the decorative one based on the sense of dynamics respecting nature, and made the most of the various decoration to express natural feelings. Particularly, the baroque costume seeked for freedom as much as possible in the process of unity with body, and exercised an influence on external space by representing energy and feelings existed in it. The baroque costume had the intrinsic mobility without fixed form, just as the fine art of baroque style was full of the sense of dynamics and life.
朴春順,具仁淑 충남대학교 자연과학연구소 1986 忠南科學硏究誌 Vol.13 No.2
Modern gentleman garments, suits were originated in 18th century. At that time men's suits were tinged with the inclination of women's dress, and they were at the zenith of splendor in golden days of Rococo style. After that time suits had been sloughed off the inclination of women's costume, and the practical use of costume were emphasized more and more. Incidentally, they were increasingly simple and plain because of the influence of English costume. The mode of suits similar to modern jackets were appeard in the mid-nineteenth century. Suits were gradually refined and became the so-called modern jackets. The mode of modern jackets however, was not changed for nearly ten years. In other words its mode was constantly popular for nearly one hundred years, although its mode was partially changed. In this paper an attempt was made to examine the establishing process of suits from 18th century of mid-twentieth century. In addition, the process which became the formal dress was also examined.
박춘순,오춘자 충남대학교 자연과학연구소 1984 忠南科學硏究誌 Vol.11 No.1
Chinoiserie felt to reflect Oriental decorative qualities or motifs is a style in costume which was brought in French decorative art and made rapid progress in 18th century. How was natural spirit reflected in the western dyeing and weaving pattern of 18th century? And also, how was Oriental Culture in accord with naturalism? These are the major topics which was examined and analyzed in this paper.
사마르칸드 아프라시압 궁전벽화복식의 문양 특성 : 연주문을 중심으로
박춘순,이자연 한국의류산업학회 2002 한국의류산업학회지 Vol.4 No.5
Since the early 20th century, there are numerous archaeological excavations in the Central Asia. The Wall paintings of the Sogdian period in Afrasiab of Samarkand, Uzbekistan, provide us with very important materials in our discussion of the art and wall paintings along the Silk Road. This paper aims to categorize the patterns of many linked pearls of the wall paintings of Afrasiab and their symbolism. The linked pearl border includes animal motifs. The motifs include exotic creatures from that region such as boar's head, ibexes(lll ducks, lions, elephants, winged horse, and peacock. The bird is decorated with ribbon both around the neck and on its wings. Most of these motifs appeared in single units. Patterns with repeating units are mostly composed of laterally linked pearl roundels. The linked pearl in roundel is also found on wall painting along in sites along the Silk Road.