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This study aimed to explore the integration of artificial intelligence (AI) technology with art to develop innovative art makeup designs, reflecting the contemporary convergence of creativity and technology. Specifically, it examines the formative characteristics of Piet Mondrian’s Cubist works as a foundation for artistic expression. The research involved analyzing key visual elements in Mondrian’s compositions—dots, lines, planes, and colors—and applying them to art makeup design using Midjourney, an AI-based image generation model. The findings of this study are as follows: First, the application of AI in design broadens creative possibilities, offering diverse and innovative approaches. Second, when Mondrian’s distinctive visual elements are processed through AI, they generate new aesthetic effects in art makeup design. Third, by conceptualizing and visualizing AI-assisted art makeup, this research emphasizes the evolving relationship between AI and artistic creation. The results suggest that AI-driven creative algorithms have the potential to revolutionize and expand the boundaries of makeup artistry.

本研究旨在以蒙德里安立体主义作品的造型特征为基础,结合艺术与AI技术的时代融 合性,开发艺术化妆设计.研究方法上,通过分析蒙德里安作品的核心造型要素(点, 线, 面及色彩) ,并利用人工智能图像生成模型Midjourney,创作了五款艺术化妆设计作品.研 究结果显示:第一,AI的应用能够扩展设计构思的素材多样性;第二,蒙德里安的造型特征 通过AI技术为艺术化妆设计提供了新的视觉效果; 第三,通过创作并可视化艺术化妆设计,体 现了AI技术与艺术融合的时代性,其变化的创作算法及成果有望推动化妆艺术设计的扩展.

현대인들은 시각적 욕구가 다양해지고 개성화되면서 감성적인 수준의 향상은 예술과 디자인 분야의 관심이 증폭되었으 며 그로 인해 미용 또한 단순한 아름다움을 표현하고자 하는 디자인이 아닌 인간의 내적 외적인 자기표현수단으로 중요 하게 부각되어 미용디자인과 예술의 융합은 앞으로도 지속적으로 요구될 것이다. 따라서 예술은 네일 디자인의 창작에 큰 영향을 미치고 있다고 볼 수 있으며 특히 조형적 요소 중 점, 선, 면, 색채는 네일 아트에도 매우 중요한 디자인의 요소로 작용하고 있다. 이에 본 연구는 네일아트와 조형예술의 통합을 네일 디자인에 적용하고자 추상주의의 선구자이 며 신조형주의의 이론을 확립한 몬드리안의 작품을 조형적으로 분석하고 수직, 수평선과 삼원색의 모티브를 응용하여 네일아트 디자인에 접목하여 제작하고자하였다. 이러한 디자인 발상은 좀 더 차별화된 네일아트디자인에 대한 요구와 네일아트 디자인 발전에 기여할 것이라 사료된다.

In modern society, people’s visual desires have become more unique and diverse. The improvement of the level of sensitivity has increased the interest in art and design, which has resulted in design targeted cosmetology or the expression of beauty emerging as a self-expressive means of both inner and outer beauty. Therefore, it is anticipated that demand for the convergence between cosmetology design and art will continue. For this reason, it appears that art will continue to have a significant influence on the creation of nail designs. Among plastic elements, point, line plane, and color play significant roles in nail art. Due to these circumstances, this study attempted to apply the integration of nail art and plastic art to nail design. For this, it analyzed the works of Piet Mondrian, a pioneer of abstract painting, who established the theory of Neo-Plasticism and applied horizontal and vertical lines and three primary colors to nail design. It is expected that such design ideation would contribute to the request for more differentiated nail designs and the development of nail art.

본 연구의 목적은 몬드리안(Piet Mondrian, 1871∼1994)의 신조형주의 후기추상작품이 지닌 ‘해체적’ 특징을 신지학적 관점에서 분석을 시도함으로써 몬드리안 후기시기양식과 신지학 사상과의 연관성을 밝혀보고자 한다. 신지학 사상과 몬드리안 예술의 연관성은 초기작품을 포함한 그의 신조형주의양식이론의 배경에서 연구되어왔다. 이는 몬드리안의 고전기 신조형주의 양식이 그가 삶 속에서 갈망한 우주론적 삶의 구현이라는 절대적 질서와 보편성이라는 신지학 사상의 배경에서 쉽게 읽혀질수 있기 때문이다. 일반적으로 몬드리안의 회화세계는 형식주의라는 모더니즘적 맥락에서 해석되어온바 후기시기에 나타난 양식적 변화는 부정적 평가로 제한되어온 측면이 있다. 그럼에도 불구하고그가 후기양식에서 보여준 해체적 특성은 모더니즘적 시각의 범위를 넘어선다는 점에서 그의 작품에대한 새로운 접근이 필요하다. 이에 따라 그의 후기작품 속에서 나타나는 ‘해체적’ 특성은 다른 각도에서 그의 예술에 반영된 신지학 사상의 발전적 해석을 가능하게 한다. 이러한 맥락에서 본고에서는몬드리안의 후기추상양식의 작품 속에 나타나는 ‘해체’적 특성의 분석을 통해 급격하게 변화된 신조형주의 양식과 그 배경에 자리 잡고 있는 신지학이라는 종교철학의 연관성을 짚어보고자 한다.

This thesis aims to find the relationship between Mondrian’s late-Neo-plasticism style and ‘Theosophy’ through the analysis of his late-abstracts paintings in which has ‘re-construction’ traits in the context of ‘Theosophy’. It is mostly studied to focus Mondrian’s early paintings in his Neo-plasticism for the relation to ‘Theosophy’ until now, and is easily read to Mondrian’s classical Neo-plasticism style which is to show his’s desire rlated to ‘Theosophy’ which is to realize the universal life which is the harmony and the absolute order. Generally, Mondrian’s Paintings is approached to the analysis with ‘Formalism’ in which is context of Modernism, and the evaluation of the drastic change in his late-painting style is noted to the skeptic evaluation in one hand. Nevertheless, ‘re-construction’ traits in his late-paintings style is to need re-interpretation regarding to the right analysis for his art world, the traits makes possibly his late-paintings to the developing analysis in the context of ‘Theosophy’ concept. In this context, this thesis tries to find the relationship Mondrian’s ‘Neo-plasticism’ which contains to ‘re-construction’ in his traits late-abstract paintings and ‘Theosophy’ which is the religional philosophy and is related to Neo-plasticism.

본 연구의 목적은 도미노 니트 조직이 니트웨어의 표현영역 확대 및 독창적인 디자인 개발에 활용될 수 있는지를 몬드리안의 신조형적 특성을 차용한 니트웨어 디자인에 도미노 니트 조직의 기법을 도입함으로써 규명하고자 한다. 이를 위해 몬드리안 회화에서 도출한 모티브를 신조형적 특성인 수직․수평선과 삼원색, 삼무채색에 의한 색상 대비 및 면의 분할로 재구성한 니트웨어 디자인에 도미노 니트 조직 기법으로 제작한 3 작품을 제시한다. 작품 I은 몬드리안의 ‘Red Tree'에서 도출한 모티브를 응용하여 도미노 니트 조직의 평면 뜨기로 제작한 네트 가방이고, 작품 II는 몬드리안의 ‘Composition with Red, Blue, and Yellow'에서 도출한 모티브와 재해석한 몬드리안 룩을 응용하여 가터뜨기와 도미노 뜨기를 혼합하여 제작한 H-Line 원피스이다. 작품 III은 몬드리안의 ‘Composition with Red and Black'과 ’Lorenge composition with Red, Black, Blue and Yellow’에서 도출한 모티브와 재해석한 프라다의 몬드리안 룩을 응용하여 가터뜨기와 도미노 뜨기를 혼합하여 제작한 H-Line 원피스이다. 결론적으로, 도미노 니트 조직의 표현기법을 니트웨어 디자인에도 접목시킬 수 있음을 재 규명하기 위함이다.

The purpose of study is to establish by reviewing the technique of domino-knitting stitch for knitwear design based on Mondrian's Neo Plastic characteristics in order to establish the possible development of creative design and expand domain of expression of knitwear through domino-knitting stitch. To achieve this, 1st, to consider the Neo Plastic characteristics based on the horizontal line & vertical line and the three primary color & three achromatic color, and the concept of Domino-knitting stitch. 2nd, to present knitwear design works recreating motive derived from Mondrian's paintings based on color contrast and division of face. Work I is the net bag knitted by domino-knitting stitch using motive derived Mondrian's 'Red Tree'. Work II is the H-line one-piece knitted by a mix of garter stitch and domino-knitting stitch using motive derived Mondrian's 'Composition with Red, Blue and Yellow' and reinterpreting Mondrian look. Work III is the H-line one-piece knitted by a mix of garter stitch and domino-knitting stitch using motive derived Mondrian's 'Composition with Red and Black' and 'Lorenge composition with Red, Black, Blue and Yellow' and reinterpreting PRADA's Mondrian look. Consequently, it is to reinterpret to add technique of domino-knitting stitch to various knitwear design.

Akutagawa Ryunosuke’s last work, Saihonohito(TheWesterner), is a sequence novel which consists of 37 principal chapters and a sequel of 22 chapters. Saihonohito embodies a dual structure in which stories are presented in a dry numeric list in <form> while Jesus Christ’s Passion constitutes <content> for the form. This study focuses on the dual structure of the work and analyzes the structure from an aesthetic perspective. The climax of chapter 32 (Golgotha) and Chapter 33(Pieta) in the principle portion of the novel reminds readers of the paintings of Christ, such as Grunewald’s The Crucifixion and Michelangelo’s Pieta. The life of Christ’s carrying the Cross is described as the scene of ‘a broken ladder in the storm’ at the end of the principle portion of the work, and the message of the Resurrection is finalized as the image of ‘Emmaus travelers’ at the end of the sequel. These picturesque scenes leave a lingering imagery. The message which Akutagawa tried to deliver through this work is more emphasized in the sequel, which promises Resurrection in the future, like Resurrection, the second portion of Grunewald’s Isenhimer Altar, than in the principal portion, which describes the past. Saihonohito composed of metaphorical content and numerical form, condenses all of the author’s life and death situations, and this dual structure was a means to deliver the objective truth while repressing the writer’s emotions as much as possible. The structure has aesthetic profundity, and this makes the novel worthy to rank with Mondrian’s entirely abstract paintings which exclude all forms of affectation and are refined to grid level.

수학이론과 미술작품의 조형성의 관계에는 어느 정도 연관도가 있음이 최근의 많은 연구에서 발견되고 있다. 이러한 발견은 과거 시대의 예술 작품에 대한 과학적 분석 연구를 가능하게 해주는 근거가 되고 있다. 본 논문에서는 이러한 이론들 중 프랙탈 차원을 이용하여 미술 작품을 분석하였다. 프랙탈 차원은 측정 대상의 결(texture) 복잡도와 촘촘한 정도를 측정하는 도구이다. 본 논문에서는 4명의 화가에 대하여 각 화가별로 47점의 작품을 사용하여 프랙탈 차원을 측정하였다. 실험결과 4명의 화가들에 대한 프랙탈 차원의 차이가 확연하게 존재함을 확인할 수 있었으며 각 화가의 연대별 차원의 변화 또한 확인할 수 있었다. 이러한 과학적 분석을 통한 연구 결과는 다양한 분야에 적용 가능하므로 그 기대 가치가 크다 하겠다.

Between mathematical theory and plasticity of paintings, the relationship of a degree of association has been found in many of the recent researches. These discovery is the basis that enabling scientific analysis about paintings. In this paper, we analyzed paintings using the fractal dimension among these theories. The fractal dimension is a tool to measure the coarseness and complexity of object's texture. For experiments, we measured with four painter and 47 images per painter by using the fractal dimension. Throughout experimental results, we could confirm the existence of difference among painters. And we also could confirm the chronological dimension's movement of each painter. The research results which were analyzed by scientific methods are valuable because they have enough potential for being used in various fields.

Abstract art was regarded as a triumph of 20th century art, as part of pure aesthetics cut off from the material world and cut short. It was in this context that leaders of 20th-century abstract paintings such as Wassily Kandinsky, Piet Mondrian, Kazimir S. Malevich were noted. However, despite the difference in degree, all of them believed or followed Blavatsky's modern theosophy and the theory or the doctrinal system of the modern theosophy permeated into their abstract aesthetic discourse. It is not understandable without the influence of the perspective of modern theosophy that their abstract discourse, such as "super conscientiousness" and "sixth sense," help them go further to experiencing the true universe-or celestial sphere. In this context, the ultimate goal of this discussion is to see how fundamentally the theoretical or doctrinal system of modern theosophy, which influenced the discourse of abstract painting, is opposed to the gospel faith based on the Christian Bible. For example, in the gospel faith of Christianity, humans are sinners before God, but humans who speak in modern theosophy are able to move on to the gods inherent in their existence through spiritual evolution through some spiritual training. These comparisons will help us read 20th-century art in a spiritual context with a sense based on the gospel.

By introducing Mondrian's creative world into the field of fashion design, I examined how its application can satisfy not only visual expressions but also the desire of fashion design for its simplicity, individuality, and sensitivity. As a program developing designs and guiding how to produce, the textile CAD system helps to develop a variety of textile systems. In case of dying or textile printing, a variety of free expressions of print patterns and functional color simulations are possible by the configuration of colors or enlargement of design. It can also confirm the flexible simulation with a variety of color changes through the monitor by treating the knit design with dots. Especially in case of consulting for the design with ordering customers, the system is very speedy and effective, because it is possible to correct on the spot those complicated elements of designs and color sensation and see the prints in the light of marketing, processing and artistic value. Mondrian's Art, beauty of balance and proportion in the Mondrian's plastic forms, the changes of coloring and texture were added into vertical and horizontal lines and the divisions of faces for the dressmaking. Whether they were the reciprocal action of human body, texture and color or the reciprocal action of human body and colors, these changes will be interpreted differently, depending on the individuals' experiences and psychological moods of situations. The emphases of the sense are also different, depending on the activity and functionality.

This study analyzes music visualization characteristics in modern fashion based on Wassily Kandinsky's music visualization theory. Alexander McQueen's 2014 Spring Ready-to-wear Collection (as inspired by Mondrian's paintings) was selected as the research subject. First, an analysis of Mondrian's paintings based on Wassily Kandinsky's theory shows that music visualization characteristics can be categorized into spatiality, mobility, and duality. Second, McQueen applied Mondrian's paintings to the overall design, structured the model's shape in the painting, or created patterns using colors and lines that introduced them in clothes; symbolic forms were also introduced as part of or a decorative factor of the clothes. Third, spatiality refers to the creation of a feeling of space through emptiness or fill using lines, colors, and shape. Musical atmosphere such as dissonance were expressed in clothing through the application of color contrast, lines and silhouette dynamics, and symbolic format and patterns by Mondrian. Fourth, mobility generally refers to motion caused by a certain stimulus. Mondrian expressed vibration, internal resonance, sound level in music that emphasized color irregularity, primary color contrast, and rough brush touches as well as free and organic patterns. McQueen expressed this with primary color contrast using different materials, rough touch based on texture, and pattern repetition through transformation. Fifth, duality generally refers to the artistic effect caused by overlap. Mondrian created a resemblance of dissonance and music through line and color as expressed through the duality of clothing design components based on the artistic sense of the designer.

피에트 몬드리안은 단순한 직선과 원색 구성의 추상화로 유명하다. 추상화가 생성된 배경에는 강렬한 정신적인 원천이 자리하고 있는데 바로 신지학적 신비주의 사상이다. 작가는 당시의 여러 예술적 영향을 수용하고 신비주의 사상을 결합하여 새로운 조형 원리라는 의미에서 신조형주의 이론을 발전시킨다. 초기에 몬드리안은 구상미술로 출발했다. 화가는 회화를 통해 내적 세계와 외부 현실 그리고 정신과 물질 사이에서 균형을 잡으려고 하였다. 그는 신지학협회에 가입하면서 신비한 영적 깨달음을 추구했다. 세계를 움직이는 우주적 현상과 원리에 몰두했다. 삶과 죽음, 자연 및 우주의 신비에 대해 성찰한 미술가는 구체적인 이미지의 세세한 묘사들을 제거해가면서 점점 더 보편적인 조형원리로서의 추상화로 나아갔다. 선과 도형의 기하학적 형태와 에너지로서의 색채의 본질만을 회화작품에 담아내게 되었다. 본고는 몬드리안의 초기작품이 이후의 엄격한 기하학적 추상화로 나아가기 위하여 작가의 종교적 철학적 사색을 조형적으로 정립하는 과정임을 보여준다. 미술가의 개인적 삶과 시대적인 조건들을 분석하여 몬드리안이 어떻게 정신을 예술적 질료 형식으로 변환시켰는지 해석을 시도할 것이다. 그리하여 그의 미술이 세계를 신비주의적으로 해석함으로써 현실의 모방이라는 한계를 극복하고 고차원의 정신적 예술로 진화하였음을 고찰한다.

Piet Mondrian expresses mystical thoughts in his early works. He transferred religious and philosophical reflection to the Neo-Plasticism art theory. His mystical art is a more universal formative principle that connects life and art, and leads to Mondrian’s unique abstract world. His figurative art shows the effort to balance between material reality and inner mentality and reflects mystical spiritual enlightenment. He indulges in theosophy and joins the Theosophical Society, focusing on the phenomena and principles of the cosmic processes that move the world. Deeply reflected in the essence and phenomena, life and death, and the mysteries of nature and the universe, the artist uses lines and geometric shapes, compositions and colors to create energy and harmony. This paper analyzes the artist’s internal and historical conditions in the early art that examines the artistic background of Mondrian’s growth and his artistic development that has emerged from the symbolism in the end of century. And this analyzes how Mondrian tried to convert religious and philosophical thoughts into the form of artistic material. Thus, Mondrian’s art will be released from the constraint of faithfully reproducing reality, presenting a modern view of art as the subjective interpretation of reality.

연구 목적: 이 연구의 목적은 남성헤어의 새로운 디자인을 표현하는 것이 필요하다고 사료되어 기하학패턴의 특성인 수직, 수평을 표현이 용이하다고 판단되어 몬드리안의 신조형적 특성을 적용하여 남성헤어 디자인의 창의성과 다양성을 제안하고자 한다. 연구 방법: 연구방법은 몬드리안의 작품을 대표하는 세 작품을 선정하고 몬드리안의 선, 삼원색, 무채색을 사용하여 남성헤어 작품의 클래식, 스트렉처, 영 패션, 펌 디자인을 접목시켜 디자인을 구성 및 분석하여 Adobe Illustrator CS6 프로그램을 활용하여 일러스트 작업을 진행하였다. 연구 내용: 연구내용은 교곽과 바다, 컴포지션, 브로드웨이 부기우기 작품을 모티브로 하여 수직 수평을 활용한 작품 3가지를 제작하였다. 결론 및 제언: 본 연구결과는 다음과 같다. 작품1 수직선의 균형 및 대칭적인 균형. 클래식의 사각형태의 선이 강항 남성 이미지를 표현한 작품. 작품2 직사각형의 형태의 클래식의 고전적인 남성미를 강조한 이미지를 표현한 작품 작품3 수직 수평선의 기하학적인 사각형의 형태와 삼원색을 활용하여 펌 헤어스타일을 표현한 작품이며, 향후 다양한 예술작품을 모티브로 하여 남성헤어 디자인의 특성을 살려 작품연구가 진행된다면 디자인 개발 및 발전에 도움이 될 것으로 사료된다.

Purpose of Study: The purpose of this study is to propose the creativity and diversity of male hair design by applying Mondrian’s neologetic characteristics, as it is considered necessary to express a new design of male hair. The study method selected three works representing Mondrian’s work, and used Mondrian’s line, trident, and achromatic colors to organize and analyze the design by combining classical, straight, young fashion, and perm designs of male hair works. The study content produced three works using vertical horizontality based on the subject, sea, composition, and Broadway boogie-goo works. The results of this study are as follows. Art 1 Balance of vertical lines and symmetrical balance. Classic rectangular lines represent strong male images Works 2 Expressing the classic masculine beauty of a rectangular classic 3 It is a work that expresses perm hairstyle using geometric squares and three primary colors on the vertical horizon. If research is conducted using the characteristics of male hair design as a motif, it will help design development and development.