Journal of the Korean Society of Costume (복식)

The Korean Society of Costume (한국복식학회)
권호 표지

A Study on the Figuration of Floral Pattern of Rococo Textiles

Rococo 직물에 나타난 플로럴 패턴의 조형성

  • Published : 2009.12.31
Download PDF
⟨ Previous Next ⟩

Abstract

The shape of floral pattern in the period of Rococo are a pots, a flower and ribbon style, a flower and a stripe style, a lace style and a scene style etc, and also in that time an apperance of softness of curved line, delicacy and smoth line, irregular and unrestraint line, motive of tiny and extra ordinarily, little bunch of flowers, and stripe style was a feature. The style of presentation were a presentation of fixed style such effect as lace, and a presentation of realistically style emphasized a massiveness and a cubic effect, and also used a natural color, and the presentation of abstract expressed like imagined anything and fancied. Weaving expressed delicate, brilliant, fantastic, and an atmosphere with elegant. embroidery was expressed in creation with emphasized in reality. Printing was fantastic with exotic in development of chintz due to effection of orient. The based on a salon civilization, the refind beauty of taste of royalty gave a refinded feeling with over affectionate in preference with a softness of curved line, and a motive of tiny and extra ordinarily. The classical beauty of elegant was realistic in being concentrated on building up blance and homony. The natural beauty of romantic was in being devoted the theme with soft and fantastic.

Keywords

References

  1. 이경순 (1994). 텍스타일프린트디자인, 현암사, p. 58
  2. 차임선 (1998). 텍스타일디자인, 예경, p. 86
  3. 佐野敬彦 (1988). フランスの染織 現代工藝. 裝飾デザ イン, 3号, p. 57
  4. Kax Wilson (1979). A History of Textiles, Westview press, pp. 185-186
  5. 이선화..권영숙 (2002). 바로크시대 직물에 나타난 플로럴 패턴의 텍스타일디자인 연구. 한국의류산업학회, 4(2), pp. 117-127
  6. 이선화.권영숙 (2002). Baroque직물에 나타난 플로럴패턴의 조형성. 복식, 5(7), pp. 1-11
  7. 장문호 (1977). 서양미술사. 형설출판사, p. 169
  8. 宮川淳譯 (1964). 18世紀 フランヌ 織物. 東京: 美術出版社, p. 243
  9. 北村哲郞譯 (1976). リヨン織物美術館 第Ⅲ卷. 東京;學習硏究士, p. 256
  10. Kax Wilson (1979). A History of Textiles, Westview press, pp. 185-186
  11. 장문호 (1977). 서양미술사. 형설출판사, p. 99
  12. 佐野敬彦 (1988). フランスの染織 現代工藝. 裝飾デザ イン, 3号, p. 61
  13. 北村哲郞譯 (1976). リヨン織物美術館 第Ⅲ卷. 東京;學習硏究士, p. 101
  14. Jacques Anquetil (1995). Silk. Flammarion Paris. p. 71
  15. Jacques Anquetil (1995). Silk. Flammarion Paris p. 110
  16. British Museum (1980). British Textile Design, 1, Tokyo: Gakken co., p. 239
  17. 北村哲郞譯 (1976). リヨン織物美術館 第Ⅲ卷. 東京;學習硏究士, p. 239
  18. British Museum (1980). British Textile Design, 1, Tokyo: Gakken co., p. 119
  19. Marinis, F. (1993). VELVET. Milan: Idea Books, p. 58
  20. Jacques Anquetil (1995). Silk. Flammarion Paris. p. 92
  21. Musees et Monuments de France (1990). The Textile Museum Lyon, p. 68
  22. Musee des Tissus de Lyon (1998). Lyonnaises D'Art et D'Histoire Lyon, p. 180
  23. 조규화 (1989). 복식미학. 수학사, p. 167
  24. 北村哲郞譯 (1976). リヨン織物美術館 第Ⅲ卷. 東京;學習硏究士, p. 91
  25. 北村哲郞譯 (1976). リヨン織物美術館 第Ⅲ卷. 東京;學習硏究士, p. 102
  26. British Museum (1980). British Textile Design, vol.1, Tokyo: Gakken co.,p. 256
  27. 北村哲郞譯 (1976). リヨン織物美術館 第Ⅲ卷. 東京;學習硏究士, p. 166
  28. 北村哲郞譯 (1976). リヨン織物美術館 第Ⅲ卷. 東京;學習硏究士, p. 263
  29. 北村哲郞譯 (1976). リヨン織物美術館 第Ⅲ卷. 東京;學習硏究士, p. 229
  30. British Museum (1980). British Textile Design, vol.2, Tokyo: Gakken co.,p. 99
  31. British Museum (1980). British Textile Design, vol.2, Tokyo: Gakken co.,p. 244
  32. Chintz : 어원은 다채색이란 의미의 힌두어'chinto'에서 유래하며 이는 실내장식과 의복을 위해 사용되고, 목판이나 기계날염을 이용한 5도 이상의 다양한 색상의 목면지(木棉紙)를 말함
  33. Anne Kraatz (1995). VELOUR. Paris: Adam Biro. p. 78
  34. Steele (1988). V, Paris Fashion. New York: Oxford University, p. 201
  35. 정흥숙 (1998). 서양복식문화사. 경춘사, p. 241
  36. British Museum (1980). British Textile Design, vol.2, Tokyo: Gakken co.,p. 289