• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.61-72
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• 2015

The capitalistic resistance movement attempted in most modern art areas was carried out through a complete convergence of the art and skill, which was the new formation of the symbolic boundary. Although this resistance movement was aimed at restoring artisan art through the revival of tbe work of handicraftsmen, it consequently caused the stratification of the art and became a de-artisan art excluding the autonomous labor. Hereupon, this study would focus on Bauhaus which attempted to dismantle the symbolic boundary through the convergence of the technology and art which actively used the condition the great industry brought only as an effort for the restoration of artisan labor, and would examine the actor-network of Bauhaus. Therefore, this study would examine the Bauhaus' artistic trend, the 16C Renaissance art promotion movement, and the 19C art crafts movement in the network-oriented relation, and would analyze the Bauhaus' ideological source which expressed design democracy through the bridging role of and analyze the artisan art and the mechanism that had the new technology fused. Furthermore, the convergence possibility of the 'collaboration spirit' being embodied as a philosophy of the democracy in the design continues with the tremendous influence of the new technology.

• Asian Journal of Innovation and Policy
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• v.4 no.2
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• pp.132-153
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• 2015

Rural enterprise clusters in India have often been characterized by low-end products, poor income earning options and a near-absence of innovativeness. This has implied limited market access, inadequate organization of production and distancing from sources of formal knowledge. Policy neglect of rural industrialization notwithstanding this paper explores the nature of institutional constraints to innovation through intensive case studies of five rural artisan clusters (handlooms and handicrafts) in as many Indian states. Whether it relates to access to loan finance or technology support or linking to markets, the formal institutions (public or private) have been distanced by informality that typifies most rural enterprise clusters. An obsession with a sectoral approach to cluster development has negated addressing infirmities of the space of enterprise, even as scope for learning from some Asian economies in rural enterprise promotion exists. The paper also enquires if the innovation systems have been inclusive and pro-poor.

• Korean Medical Education Review
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• v.14 no.1
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• pp.11-18
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• 2012

The purpose of this article is to discuss the enhancement of medical professionalism and the artisan spirit proposed by Yu and to suggest curriculum content and methods to improve medical professionalism. Professionals are those who can share their knowledge with others and proceed under self-reflection on moral values and social expectations. The goal of medical education is to cultivate students to be good as well as to do well. To achieve this goal, educators should foster students to be good doctors for 99% of patients, rather than to be high performers for 1% of patients. There are two types of curriculum for medical professionalism: hidden and formative curricula. In these curricula, we doctors may be good role models for medical students. The curriculum contents and the methods for implementation that are based on accumulated experience can be embedded into education on professionalism. In addition, as suggested by Miller, how to evaluate medical professionalism based on a framework of clinical assessment must be discussed. Finally, it is suggested that the process of education on medical professionalism should be a kind of cultural movement to raise good doctors.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.100-115
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• 2023

The modernization of najeonchil, or mother-of-pearl lacquerware, began in the latter era of the Joseon period and started to set in during the phase of industrial development after the Korean War. Especially, the rise and fall of najeonchil during the first half of the 1900s fluctuated more compared to other types of craft. This paper focuses on the production, supply and demand activities of the works by Min Jong-tae, who was born in 1915, began his career in 1929 and devoted 70 years of his life creating najeonchil craft and furniture. As an apprentice under Jeon Sung-gyu, who revived the craft of najeonchil, Min Jong-tae was not only an artisan who ranked alongside Kim Bongryong, Song Juan, Shim Bugil, Kim Taehee, but also a businessman. In particular, Min led the boom of modern najeonchilgi during the 1970s-80s in Seoul, which was the most important market at that time. However, studies about Min Jong-tae are almost non-existence, despite his accomplishments. This study first describes how Min Jong-tae began the craft of najeonchil and early days of his career around the liberation period, then retraced his efforts in building a supply and demand system in the 1950s-60s. Moreover, this paper covers not only his creations of large-scale najeonchil furniture in the advent of an era of 'wardrobe culture' in the 1970s-80s, but also his exported pieces to Japan, including incense boxes and tea containers. In conclusion, this research derives the historical significance of Min Jong-tae's role as an artisan of najeonchil- designated as Seoul Intangible Cultural Heritage No. 14 in the field of craft.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.126-149
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• 2021

The reign of King (later Emperor) Gojong of the Joseon dynasty (later the Korean Empire), which lasted from 1863 to 1907, was a period of turmoil caused by political and social instability at home and military incursions by foreign powers. It was also a period in which Joseon was proclaimed as the Korean Empire and, accordingly, the royal seals of the dynasty underwent a major change. Records show that some 135 seals were produced during the reign of Gojong. The present study of the makers and styles of the royal seals aims to reveal a wealth of information on the seals, which typically had handles in the shape of either a turtle or dragon. Among the seal makers of this era, Jeon Heung-gil was particularly highly regarded as a Golden Royal Seal Artisan (Geumbojang) because he was highly skilled at making both turtle and dragon handles. Kim Eun-seok, a master Jade Royal Seal Artisan (Okbojang), also excelled in the production of turtle and dragon handles for his jade seals. Another master Jade Royal Seal Artisan, Yi Jung-ryeo, is noteworthy because he developed a new style of jade royal seals, which eventually became the dominant style after 1890, when Kim Eun-seok was not active. Furthermore, after the 1890s, his style was also applied to the production of the gold royal seals and developed as the dominant style. Regarding the dragon handles adopted after the proclamation of the Korean Empire, both the golden and the jade royal seals were made in the same style by the same artisans in the service of the Joseon dynasty. They adopted the style of Chinese imperial seals when they began making seals with dragon handles for the Korean Empire, although the basic shapes of both handle and dragon were copied from those made during the Joseon period. As a ceremonial object symbolizing the authority and legitimacy of the royal or imperial family, the style of the royal seals was influenced mainly by changes in the political situation at home and abroad. As Gojong's reign was a period in which more royal seals were made than in the reign of any other ruler, the seals originating from his reign constitute a richer source of information about the efforts of the dynasty to preserve the tradition while effectively dealing with the changes of the new era.

• The Research Journal of the Costume Culture
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• v.21 no.3
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• pp.452-456
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• 2013

Velvet is a luxury cloth. In Fashion it dresses the Elite. In Interiors, it covers palace walls and upholsters elegant furniture. In every culture throughout its history velvet's sumptuous surfaces denotes luxury, status, power, privilege and wealth. My humble aim is to reveal the artisan in the art-to comprehend the mastery of weaving techniques, to understand the design principles, to study the everyday practice of the weavers at work. In the few ateliers that still weave silk velvet by hand, I have documented their processes and now want to share this knowledge with the broader textile community in hopes of expanding the appreciation of their art. I approach as a fellow weaver striving to learn the mechanics, the practical aspects that guide the work from initial idea to finished cloth. I leave the difficulties of establishing provenance and other important analyses to my more learned textile historian colleagues.

• Journal of the Korea Furniture Society
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• v.23 no.1
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• pp.57-67
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• 2012

Recently, shows the possibility of providing such dyed-gathered woods after forming single boar This studyds with using cheap timbers generated by the thinning. It is helpful for master artisans are suffering from finding qualified materials. Traditionally, the master artisan has been used the beautiful grained wood from around roots of old zelkova trees and black persimmon trees. Instead, this study shows that dyed-gathered woods replace the natural grained wood and also produces a furniture made of an aggregate and a plate from walnut trees and ash trees which are a contrast to dyed-gathered woods. Dyed-gathered woods can reproduce the various colors to satisfy people's tastes, and the dignified grains that we can see in the old woods. Besides, dyed-gathered woods can replace rare materials and provide higher reliability of supplies.

• Proceedings of the Korea Water Resources Association Conference
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• 2008.05a
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• pp.2122-2126
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• 2008

With the degradation of water quality and, at the same time increased water usage, the sources of high quality, for examples, river/stream, municipal reservoir, wells, artisan and surface water, are diminishing. Therefore, the importance of water quality has been emphasized over the years through publications and various literature sources. Even though considerable research has resulted in significant strides for providing interpretive information and mitigation strategies for improvement of waters, the quality of which is still questionable. This study aims to propose a completely independent self-contained system for purifying waters, solar-powered ozone generator. It is a semi-permanent and cost effective environmental solution. Functions of ozone treatment are: 1) to maintain oxidative flexibility, 2) remove harmful chemicals, wastes, and other substances, and 3) prevent epizootic microbial outbreaks. Recent advances in technology have allowed the development of the practical, self-contained and independent solar powered device. Solar electrical producing panels that charge batteries are the key to using these systems anywhere electrical power is not available. This paper invites the readers to examine the problem and consider the viable, proven solution the solar powered ozone purifying system. This paper also introduces basic concept and background of solar powered ozone generators and examine its feasibility for improving water quality in rivers and streams.

• Journal of the Korea Furniture Society
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• v.26 no.2
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• pp.171-178
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• 2015

Furniture is very important in our lives. Especially traditional wood furniture of Korea has been developed practically in the area of form, compositions, manufacturing technique and etc because of the rapid environmental changes. Jang Sung has a very efficient geographical characters to get the adequate timbers for furniture. And the late Mr Seol SeokCheol had devoted all his life to out-and-out artisan spirit for the purpose of korean wood furniture manufacturing. In this paper, l try to explain regional and cultural characteristics of JS, special designs for wood furniture of JS, manufacturing process of traditional wood furniture, especially in the center of his works. Tradition is an essential power to a country and a race. Now we are living living in the state-of-art age and we share all the cultures and merchandise globally but nevertheless, a nation and a race who has a unique tradition is still a cultural advanced country and these works of our ancestors are the best souvenir for the tourists. So we have to memorize these facts and we will have to raise and develop our power of traditional cultures, including from the traditional wood furniture.

• Journal of Korea Society of Industrial Information Systems
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• v.5 no.3
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• pp.56-64
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• 2000

The purpose of this study is to analyze the success factors of the Sam Bo Hwa Seong Co., Ltd. this research is case study. In order to accomplish the objective, 1 had personal interview with the present Kim and reviewed business policy and company regulation. The main success factors of the Sam Bo Hwa Seong corporation are as following: first, a large experience of the top management, second, the artisan spirit and a mission sense of the CEO, third, a strong thrust of the present Kim, fourth, the partnership between labor and management, fifth, an exhaustive credit and a perfect quality control, sixth, research and development investment for the technical improvement. The result of this research will be a useful information to the management in small-medium firms and to the reserve management who wants establishment of the corporation.