Tapestry의 歷史的 考察 = A Historical Study of Tapestry(For Tast & Present)
저자
成玉姬 (家政大學 生活美術科)
발행기관
建國大學校生活文化硏究所(The Research Institute of Human Environment & Art Kon-Kuk University )
학술지명
권호사항
발행연도
1977
작성언어
Korean
KDC
590.4
자료형태
학술저널
수록면
51-75(25쪽)
제공처
소장기관
In this study I summarized a general survey on Tapestry, which should be distinguished itself from the Embroidery, whose unique position occupied in the history of lengthy Korean Industrial Arts. Furthermore, I conducted a survey on present status of the Art of Tapestry in Modern Industrial Arts, and simultaneously clarified the direction that the Tapestry Art should take.
Though there is no any definite data for the origin of Tapestry however, there is a positive proof that it had been applied actually by the ancient Middle and Near East followed by American Continent before the discovery of continent by Columbus.
In discussion of Ancient Tapestry, we can not exclude the fact that the Coptic Tapestries were produced by Coptic people, who introduced Christianity into the Egypt in the most early period. Coptic Tapestry is a sort of product through Byzantine in transition period from Ancient Middle and Near East to Medieval Europe.
In case of Orient, although there is a silk tapestry called "Haengju Tapestry" produced in the Dang Dynasty period of China but there exist no a sufficient piece of the works to definitely study the over-all nature of the then Tapestry.
We, at this time, have to note the fact, through all the eras and continents, all the tapestries were produced consistently by the same principle as in which the tapestries had been weaved on warp with the colored woof.
Medieval Art was a Fine Art of Christianity which formed and developed on the base of Christianity. While the art of Tapestry is an extravagant art and at the same time, it is art for Church, the King and Peers, and Noblemen.
It is clear fact that there is no data regarding it when the Technology of Weaving (Jong Kwang) started in Europe but there were weaving machines which applied wool as warp and woof in 12th and 13th centuries.
Medieval Tapestries which may be called beautified mirror of society and history of Medieval are detailed, ardent and definite records for the then clothes, labor and daily life of those days, and they reflect the spirit of the public in those day through integration of other fields of arts such as Architecture, picture, Dessin, Decoration miniature, narrative, poem and novel.
A famous tapestry in Renaissance era is the work "The Acts of the Apostles" made by Raffaello, Italian Great Artist and it has been a sort of fashion and format ever since its emergence and then it resulted in new era in history of Tapestry.
It is because that since then, the Tapestry has been belonged to picture for a considerable period. While, in these days, Gobelin Woven, goods were broadly known and the tapestries produced in those days had basically influenced on the tapestry until the year of 1940.
An unique fact is that the tapestry had been participated as role of picture in France until the year of 1780 and that the tapestry was a Public and State art in nature.
Two most important facts in history of Tapestry of Renaissance are; One is that Medieval tradition was disregarded to destruction and the other is that the tapestries were made in Art-Work Room of Monarch in various countries and also in the Art-Work Room established by the King of France and therefore, they had been patterned after the same mode as mentioned previously and they belonged to Picture.
After Renaissance, the Teniers style had been developed for a considerable times and we have to note the fact that, after the latter half of the 17th century, the history of Tapestry is, so-called, the history of the Golelins and thereafter, the word "Golelins" had become the synonyum as the Tapestry for three centuries.
Tapestry become a lovable and precious piece of fine art and the religious and exorbitantly exaggerated products disappeared and Tapestry become the art which may make the people happy and pleasant only.
France had taken the lead in the arts of the world from 18th century through 19th century and it played an active part in tapestry art prominently. In the 19th century, the tapestry had a great renoation and the conception was found that Tapestry can not be the work for imitation of picture merely and also, in the last period of the 19th century Mechanical Civilization had been completed in dissemination and it came into wide use for practical use as a part of household furniture and daily neccesities and in this stage, the campaign for study on beauty and purpose of Tapestry from new angle of point had emerged and developed in all the countries.
Lur??at, Painter in France made an authentic renovation in history of Tapestry art and Lur??at made a success largely as Painter by the year of 1939.
Lur??at started to show the aspect of Dessin Painter for Tapestry in few years before the World War Ⅱ and the Basic principle of Lur??at Art existed in the Medieval Tapestry and it was established in accordance with the following three principles:
The First : Coloring is restricted and controlled in use.
Second : Method of perspective is rejected.
Third : Decoration of the edge is excluded.
The First International Biennial of Tapestry Exhibition was held in Laus??nne, sponsored by the C.I.T.A.M. which was initiated by Lur??at as its promotor on June 15, 1962 and the 8th International Biennial of Tapestry Exhibition was held from Jun. 4, through Sept. 25, 1977.
We may point out the following three traits in modern tapestry art works:
First : Well known painters such as Picasso and Chagall largely engaged in the works of duplication of original picture with it as picture base and then transfer it to the wool cloth.
Second : Lur??at style painter advocated independence of tapestry at the inception in mind of producing tapestry through weaving it by one ply with cooperation of weaving worker, which is traditional method.
Third : The creators as well as Weaving workers are still producing tapestry. But their works are nothing but a sheet of woven goods and or a piece of metal sculpture.
The history of Tapestry of Korea is not clear in traditional terms, it emerged in the latter half of 1960s and their works are mostly the same patterns as the previous second of modern tapestry. In this sense, we can say that Korea tapestry art is on status, which just passed the starting point.
In order to develop the Korean Tapestry Art, we have to challenge the Modern Ultraindustrialized Society and Technology, which are playing as omnipotence, so as to restore manual rights of human(and) as well as to rehabilitate the humanity.
서지정보 내보내기(Export)
닫기소장기관 정보
닫기권호소장정보
닫기오류접수
닫기오류 접수 확인
닫기음성서비스 신청
닫기음성서비스 신청 확인
닫기이용약관
닫기학술연구정보서비스 이용약관 (2017년 1월 1일 ~ 현재 적용)
학술연구정보서비스(이하 RISS)는 정보주체의 자유와 권리 보호를 위해 「개인정보 보호법」 및 관계 법령이 정한 바를 준수하여, 적법하게 개인정보를 처리하고 안전하게 관리하고 있습니다. 이에 「개인정보 보호법」 제30조에 따라 정보주체에게 개인정보 처리에 관한 절차 및 기준을 안내하고, 이와 관련한 고충을 신속하고 원활하게 처리할 수 있도록 하기 위하여 다음과 같이 개인정보 처리방침을 수립·공개합니다.
주요 개인정보 처리 표시(라벨링)
목 차
3년
또는 회원탈퇴시까지5년
(「전자상거래 등에서의 소비자보호에 관한3년
(「전자상거래 등에서의 소비자보호에 관한2년
이상(개인정보보호위원회 : 개인정보의 안전성 확보조치 기준)개인정보파일의 명칭 | 운영근거 / 처리목적 | 개인정보파일에 기록되는 개인정보의 항목 | 보유기간 | |
---|---|---|---|---|
학술연구정보서비스 이용자 가입정보 파일 | 한국교육학술정보원법 | 필수 | ID, 비밀번호, 성명, 생년월일, 신분(직업구분), 이메일, 소속분야, 웹진메일 수신동의 여부 | 3년 또는 탈퇴시 |
선택 | 소속기관명, 소속도서관명, 학과/부서명, 학번/직원번호, 휴대전화, 주소 |
구분 | 담당자 | 연락처 |
---|---|---|
KERIS 개인정보 보호책임자 | 정보보호본부 김태우 | - 이메일 : lsy@keris.or.kr - 전화번호 : 053-714-0439 - 팩스번호 : 053-714-0195 |
KERIS 개인정보 보호담당자 | 개인정보보호부 이상엽 | |
RISS 개인정보 보호책임자 | 대학학술본부 장금연 | - 이메일 : giltizen@keris.or.kr - 전화번호 : 053-714-0149 - 팩스번호 : 053-714-0194 |
RISS 개인정보 보호담당자 | 학술진흥부 길원진 |
자동로그아웃 안내
닫기인증오류 안내
닫기귀하께서는 휴면계정 전환 후 1년동안 회원정보 수집 및 이용에 대한
재동의를 하지 않으신 관계로 개인정보가 삭제되었습니다.
(참조 : RISS 이용약관 및 개인정보처리방침)
신규회원으로 가입하여 이용 부탁 드리며, 추가 문의는 고객센터로 연락 바랍니다.
- 기존 아이디 재사용 불가
휴면계정 안내
RISS는 [표준개인정보 보호지침]에 따라 2년을 주기로 개인정보 수집·이용에 관하여 (재)동의를 받고 있으며, (재)동의를 하지 않을 경우, 휴면계정으로 전환됩니다.
(※ 휴면계정은 원문이용 및 복사/대출 서비스를 이용할 수 없습니다.)
휴면계정으로 전환된 후 1년간 회원정보 수집·이용에 대한 재동의를 하지 않을 경우, RISS에서 자동탈퇴 및 개인정보가 삭제처리 됩니다.
고객센터 1599-3122
ARS번호+1번(회원가입 및 정보수정)