• The Journal of the Korea Contents Association
• /
• v.7 no.12
• /
• pp.74-82
• /
• 2007

The territorial characteristics of the korean artifacts refer to the characteristics of the korean artifacts works that bring out what is popular in some geographic areas and that which carry features that depict territorial uniqueness or something which form regular tradition of certain territories. Native craft artists can fully utilize and create works according to their material characteristics and therefore, are able to produce many beautiful craft art pieces. Territorial characteristics have provided artists some enriched materials to choose from so that eventually they can reflect their spiritual subjectivity in their work.

• 한국패션뷰티학회:학술대회논문집
• /
• 2006.05a
• /
• pp.19-19
• /
• 2006

• Proceedings of the Korea Society of Design Studies Conference
• /
• 1998.10a
• /
• pp.52-53
• /
• 1998

• Korea Multimedia Society
• /
• v.6 no.3
• /
• pp.55-60
• /
• 2002

• Conservation Science in Museum
• /
• v.24
• /
• pp.75-80
• /
• 2020

X-ray computed tomography (X-ray CT), which is often applied to the investigation of the interior structures of cultural properties, is very useful for studying production methods used in lacquerware that would otherwise be difficult to observe with the naked eye. Lacquerware inlaid with mother-of-pearl is an important subject in the study of traditional Korean craft. However, it can be a challenge to specify the production methods used in the framework of a lacquerware item unless the object has been structurally damaged. Studies of lacquerware inlaid with mother-of-pearl have thus far focused on the techniques of lacquering and of inlaying the mother-of-pearl. Production methods for the framework of lacquerware has received little academic attention. This study conducted X-ray CT on a lacquerware item from the Joseon period to reveal the materials and woodworking techniques used for the framework. The study revealed that softwood was used for the framework, and the post (gidungmok) and apron (soemok) were joined using a three-way miter joint (sambang yeongwi jjaim). Other pieces were joined with nails.

• KOMUNHWA
• /
• no.57
• /
• pp.233-261
• /
• 2001

This Study was contrived to analyse strategies for developing traditional craft industry as tourist resources through a case of Kyungju Folk Craft Village and to find the way of making economic value from components of Kyungju history and culture. Accordi

• Journal of the Speleological Society of Korea
• /
• v.30 no.31
• /
• pp.55-67
• /
• 1992

산업의 경영도 국가경영, 집단경영, 개인경영으로 구분되어 있으나 국가경영은 오히려 능률이 낮고, 개인영업이 능률이 높은 것으로 인식되고 있었다. 국가경영의 1일 노동은 8시간 근무제이다. 개인경영은 6시부터 새벽 1시까지도 근무하고 개인은 열심히 일하고 급료도 많으며 service도 좋은 편이나 집단·국가경영도 급료 및 service도 낮은 편이다. 개인의 경우는 자가용은 꿈도 꿀 수 없는 상황이다. 호텔은 합작으로 동남아 화교들이 진출하여 건설중에 있고 경제합작, 경제특구로 심천, 광주가 지정되어 외국인 업체가 진출하고 있다. 특히 일본과의 합작이 많고 자동차, 오토바이 등이 거의 일본 제품이다. 상품은 백화점, 국영상점을 제외하고는 정가가 없고 호객 행위로 50% 할인이 보통이었다. 상품은 하등품으로 섬유, 공예품 등을 중심으로 다양성이 없었다.(중략)

• Journal of the Korean association of regional geographers
• /
• v.21 no.1
• /
• pp.79-97
• /
• 2015

Regional specialty products should be representative of the regional characteristics for a long time, this was not done for geographical research. This study examines current the regional specialty products on 12 web-site of the cities counties in 2013 and the products registered on the Tosan(土産) category from old Jiriji(古地理誌) in Chungcheongbuk-do. Futhermore, the study analyzed periodical change and regional distribution characteristics of regional specialty products. Major findings are as Follows. First, current the regional specialty products types are 4 products(crops, marine products, forest products, livestock products) and 3 manufactures (processed food, handicraft, cosmetic products). Among the regional specialty products, various crops and processed food were distributed in all the regions. Second, the traditional products types are 5 products(crops, marine products, forest products, livestock products, mineral products) and 1 manufactures(handicraft) that registered on the old Jiriji in the Joseon Dynasty period. The jujube, ginseng and honey were cultivated in the most regions. Third, the traditional products types are 4 products except for marine products and 1 manufactures(handicraft) that registered on the old Jiriji in the period of Japanese colonial rule. Its total item numbers of the regional specialty products are greatly decreased, but items of handicraft relatively increased in the Danyang and Goesan regions. Finally, regional analyzing of current local items shows that there are only a few regional specialty products(18 items) that have historical traditionality.

• Archives of design research
• /
• v.12 no.4
• /
• pp.5-14
• /
• 1999

From the middle of 1970s were founded new basis for the development of craft through the co-operation of the civilians and the authorities. First, Korean Culture and Art Foundation founded in 1973 held the 'Invitation Exhibition for the Craft Artists All over the Country' in 1974 and 1975 and The National Museum of Modern Art held the 'Exhibition of Modern Korean Handicraft Art' in 1975. Second, the policy emphasizing the export and tourism provided the basis for the development of design for export goods and souvenirs of tour. H\therefore the exhibitions of such goods were held by many organizations. ] In 1970s departments of craft and design were newly established in the universities so that the third generation of Korean craft was on the rise and their groups began to hold exhibitions in commercial galleries. Reflecting on such circumstances, 1970s was the period of blossom for Korean craft while 1960s was a sprouting season.

• Korean Journal of Heritage: History & Science
• /
• v.47 no.3
• /
• pp.160-171
• /
• 2014

The provision of support for the art of making these items needs to be considered with the focus on the following factors: the local situation of the areas where such traditional handicrafts are still made, the craftspeople involved in their production, and their communities. So far, discussion about how to reinvigorate traditional handicrafts, including those mentioned above, has been concentrated on the measures taken to promote them as part of the handicrafts industry and the allocation of the government's budget for important intangible cultural heritages. The government runs a traditional handicrafts management system and provides financial support for the craftspeople and spaces for exhibiting their work. This form of support has led to systematic management of traditional handicrafts and heightened public interest in cultural heritage, as well as publicizing the country's traditional crafts, but has made little progress in the following areas: the fostering of young people willing to learn traditional skills, diversification of the types of skills to be maintained, or establishment of the networks of collaboration among the craftspeople. The most important aspect among the efforts mentioned above is to maintain cultural traditions that are unique to each region by encouraging local craftspeople to engage in their work with a solid sense of pride backed up by financial support. This study was carried out in connection with the need to reinvigorate the art of making tanggeon (horsehair crown), manggeon (horsehair headband), and gat (black horsehair hat), which few people wear as they are used only for ornamental purposes nowadays. This study examined the circumstances surrounding the artisans engaged in the production of horsehair handicrafts prior to their designation as a cultural heritage, and the changes that occurred in the local communities associated with their production after the designation, in order to assess the status of inheritance of this tradition.