1920년대 패션에 나타난 피타고라스학파 수학철학의 특성 고찰 -장 파투, 잔느 랑방, 마들렌 비오네, 소니아 들로네의 작품을 중심으로- (A Study on the Characteristics of Pythagorean’s Theological Mathematics Appeared in Fashion Design in the 1920s -Focusing on the Works of Jean Patou, Jeanne Lanvin, Madeleine Vionnet, and Sonia Delaun)

서지정보

· 발행기관 : 한국복식학회
· 수록지 정보 : 복식 / 72권 / 4호 / 48 ~ 69페이지
· 저자명 : 김이슬, 박신미

초록

This study aims to examine the characteristics of the Pythagorean’s theological mathematics that appeared in fashion in the 1920s, focusing on the works of Jean Patou, Jeanne Lanvin, Madeleine Vionnet, and Sonia Delaunay. This research aims to explore the followings: First, the concept of the Pythagorean’s theological mathematics. Second, the definition of the components of the theological mathematics called arithmetiké, harmoniké, geometria, and astronomía and the conceptual attributes of theological mathematics extracted based on this. Third, the kind of relationship between theological mathematics's conceptual attributes and fashion design's characteristics in the 1920s. Fourth, the features of the theological mathematics inherent in the collections of Patou, Lanvin, Vionnet, and Delaunay. This study’s research methods are based on the study of literary and content analysis. The theological mathematics is an intellectual worldview regarding the harmony between the metaphysical concept of human, the universe of natural philosophy, and the hypothesis of numbers. The concept Tetrakys established the source of creativity by revealing the order in which the numbers from 1 to 10 are made and the axiomatic correlation between each of them. Meanwhile, fashion designers in the 1920s explored modularized formative beauty and proportional beauty through the harmony between their spiritual and material worldviews developed by the scientific proofs of time and space. This aesthetic concept identified by the balance of heterogeneous elements is aligned with Pythagoras’s expression of the inherent polarity of the mind and body, God and human, ethics and axiom, and metaphysics and reason. Monad was derived from the differentiation in the world and revealed the source of harmonious creation through spiritual purification. Therefore, the theological mathematics of the Pythagorean was the basis of fashion design in the 1920s, characterized by the harmony of heterogeneous elements such as positivity, abstraction, functionalist artistry, geometric body beauty, and pure decorativeness.

영어초록

This study aims to examine the characteristics of the Pythagorean’s theological mathematics that appeared in fashion in the 1920s, focusing on the works of Jean Patou, Jeanne Lanvin, Madeleine Vionnet, and Sonia Delaunay. This research aims to explore the followings: First, the concept of the Pythagorean’s theological mathematics. Second, the definition of the components of the theological mathematics called arithmetiké, harmoniké, geometria, and astronomía and the conceptual attributes of theological mathematics extracted based on this. Third, the kind of relationship between theological mathematics's conceptual attributes and fashion design's characteristics in the 1920s. Fourth, the features of the theological mathematics inherent in the collections of Patou, Lanvin, Vionnet, and Delaunay. This study’s research methods are based on the study of literary and content analysis. The theological mathematics is an intellectual worldview regarding the harmony between the metaphysical concept of human, the universe of natural philosophy, and the hypothesis of numbers. The concept Tetrakys established the source of creativity by revealing the order in which the numbers from 1 to 10 are made and the axiomatic correlation between each of them. Meanwhile, fashion designers in the 1920s explored modularized formative beauty and proportional beauty through the harmony between their spiritual and material worldviews developed by the scientific proofs of time and space. This aesthetic concept identified by the balance of heterogeneous elements is aligned with Pythagoras’s expression of the inherent polarity of the mind and body, God and human, ethics and axiom, and metaphysics and reason. Monad was derived from the differentiation in the world and revealed the source of harmonious creation through spiritual purification. Therefore, the theological mathematics of the Pythagorean was the basis of fashion design in the 1920s, characterized by the harmony of heterogeneous elements such as positivity, abstraction, functionalist artistry, geometric body beauty, and pure decorativeness.

참고자료

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