• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.146-165
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• 2022

The purpose of this study is to identify differences in the formative characteristics and system of Jobok by comparing the three relics Ui, Sang, and Daedae, which comprised Jeon-Sik's Jobok, with the data in the literature and five excavated Jobok relics, Sin Kyung-yu, Kwon-Woo, Hwasan-Gun, Milchang-Gun, and Lee Ik-jeong, from the 17th and 18th centuries. Jeon-Sik'sJobok was designated as a Gyeongbuk tangible cultural heritage, Sangju JeonSik Jobok and Crafts, in 2021. The three components of Jeon-Sik's Jobok are valuable as historical data since they are the oldest relics confirming colors. Regrettably, the edging fabric of the Ui made of red twill was mostly lost, with only traces remaining. Based on records, it was presumed that the edging fabric was black. It was confirmed that white decorative lines were yet to be used. In Jeon Sik's Sang, only the three front widths and one rear width remain, but the shape of the four rear widths can be inferred, and the creases were held only at the waist. Eighteenth-century Sang was connected at intervals at the end of the waist. Seventeenth-century Sang was connected with a slight overlapping of the rear Sang below the front Sang; therefore, it is assumed that Jeon Sik's Sang was also connected by overlapping the rear by more or less than 5cm below the front. After Hwasan-gun, the Sang was first made using black lines, then white lines were inserted, and, finally, it was pleated from the waist to the hem. The Daedae made the Yo and the Sin by folding the corners to form a 冂 shape with a single long band. The white Ju(紬) and the green yumunsa were used for the Daedae and the edges. This matches the color of the Daedae seen in the Jobok portraits of Milchang-gun, Lee Ik-jeong, and Jeong Hwi-ryang from the 18th century. In the 17th century, the Daedae made the Yo and the Sin by folding a long band like the Daedae of Jeon-Sik. After the 18th century, the Yo and the Sin were made separately and connected. To tie the Daedae to the waist, thin straps were attached at both ends. The relics of Jeon-Sik can be evaluated as reflecting the 17th-century Jobok system in terms of color and shape. Furthermore, it can be said that they are important historical data complementing the insufficient or inaccurate records of the Gukjoolyeui-seolye and Gyeongguk-daejeon.

• Korean Association of Arts Management
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• no.51
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• pp.5-34
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• 2019

This study is a qualitative study conducted to identify environmental factors that impede emerging artists' ongoing creative activities, focusing on the local cultural ecosystem that they are part of. By doing so, we tried to understand the dynamics between key stake holders in the ecosystem that these young artists interact with and how they build and perceive their own, local cultural environment. The central research question of this study is: what factors impede the continuous creative activities of young artists and what causes them to leave local art scenes? The research was conducted thoroughly on the basis of emerging artists' experience and perspectives and applied to Creative Sector Holistic Model for analysis. The data of this research were collected based on two national-funding projects to support young artists from 2016 to 2018. The main research method of this study was interviews: official and casual interviews were executed with 29 young artists aged 20-34 who work in the fields of painting, literature, sculpture, video, korean traditional music, visual design and crafts. For the analysis of the data, the Creative Sector Holistic Model(Wyszomirski, 2008), which had applied the ecological logic to the creative industries, was applied. The result of this study shows that economic difficulties were not the only hindering factor in their sustainable art-making process. Various impeding factors derived from the local cultural ecosystem have been identified within the Holistic Model, demonstrating that these factors are all intertwined and connected. Thus, analyzing and understanding one's local cultural ecosystem can provide keys to long-term and lasting impacts when a local authorities wish to support young artists for the future of local cultural environment.