• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.104-113
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• 2012

Traditional weaving crafts has the history, environment and lifestyle of country where the country is located. Thus it has been an regional industry because it has the representation of country due to a long history. However it has faced a threat which comes from lifestyle changes. Therefore a law on the protection of traditional weaving crafts was established and took action to protect weaving crafts. It was played importantly as protection system on weaving crafts. But traditional weaving crafts was a regional industry from long time ago, accordingly we need to think as not only cultural heritage but also crafts industry. This study will demonstrate how sustainable as designated cultural heritage and traditional crafts industry with case of Ojiya-chijimi and Echigo-jofu (Japanese traditional weaving crafts).

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.47 no.4
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• pp.168-176
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• 2015

The history of paper folding had continued before that the paper manufacturing technique was spread in the 3rd century and it was used for witchcrafts and rituals. Fold means as was used with the word Cheop and Jeopji. In the Three Kingdoms period, the conical hat with fabric spread as customs, then it was made of the paper that led the popularization of paper folding form the early Joseon Dynasty. Paper crafts and living things with paper are mostly derived from fabrics except the paper written for saint's name related God. In the period of the tribe nation, witchcrafts and rituals brought to Japan via the Korean Peninsula, as a result Kami which means God in Japanese that becomes the paper. The first folding fan was made to develop from the fan, Baekseopsun in the end of Goryeo Dynasty. It was an outstanding application of paper folding crafts. Since the early Joseon Dynasty, paper flower folding has considered as the virtue of savings and has developed one of the Korean traditional paper arts. Paper folding has also developed in the practical uses like the other Korean paper arts but paper folding that was developed as seasonal customs, playing or religious purpose showed a different trend from Korean paper arts.

• The Journal of the Korea Contents Association
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• v.10 no.12
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• pp.181-189
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• 2010

Crafts in our country designated as an Important Intangible Cultural Property. Are protected, but not being utilized less than in everyday life. But now that the culture industry has important strategic and cultural factors that influence the competitiveness of the industrial era was. So on the activation of traditional crafts growing interest and demand, but the nature of traditional crafts are still several issues that are faced. Of course, for the protection and industrial policies and institutional mechanisms, but not without a very negative and is weak. Therefore, preservation of traditional crafts and industrial use of the technology to effectively carry out two tasks have the policy should be sought from every angle. In this study, the kind of important intangible cultural heritage of the traditional craft techniques from various angles by category, by systematically analyze the characteristics of modern man with the utilization of real-world craftsmanship with the highest tradition of finding and preserving traditional craft skills in the limit popular and can be out of the technology industry as a potential development is proposed.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.216-239
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• 2021

Inlay (入絲), a poetic technique of digging grooves in the surface of crafts and decorating them with metal materials, was used throughout the royal daily routines, ceremonies and government officials of the Joseon Dynasty. The government-owned handicraft industry in the Joseon Dynasty was composed of craftsmen belonging to central and local government offices and was operated mainly by government-owned craftsmen. The inlay craftsman was transferred to the central government office and was in charge of inlay poetry for crafts. The current records of Korean inlay craftsmen are concentrated in the state-owned handicraft industry. In the state-owned handicraft industry, the government offices of inlay craftsmen can be divided into Kongjo (工造), Sangeuiwon (尙衣院), and the military. Here the election of a temporary government office for airspace is added. The government offices and military inlay craftsmen who use inlay crafts are assigned, and the inlay craftsmen are placed separately in the temporary office where the fine division of labor is developed. It can be made by utilizing craftsmen. The operation of these production systems was indispensable in pre-modern Korean society, where crafts had to be produced by hand. In this paper, we investigated the roles and job types of craftsmen in the state-owned handicraft industry during the Joseon Dynasty, focusing on inlay craftsmen. Although the details applied to the characteristics and materials of the field, labor supply and demand, etc. are different, Korea pursued crafts for various purposes through craftsmanship within the framework of the basic state-owned handicraft policy . The institutional equipment for implementation was almost common. We believe that adding and analyzing some literature records and relics will help us to study the crafts of the Joseon era in more detail.

• Journal of the Korea Furniture Society
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• v.12 no.2
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• pp.51-59
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• 2001

Opening 21th Century, all the Countries of the world has been focusing on build up the foundation of cultural infrastructure in a various way, since the awareness of importance for cultural design products has been turnover. On the other hand, our cultural crafts＇ industry has not escaped from poor working environment and lagging behind conventional product system, and yet there is no complete system for mass production. The study is collaboration with Tourism Industry Innovation Center in Kwangju University for development of cultural products of wooden crafts by using cultural resources in Kwangju area and CNC M/C which is up-to-date digital technology. It aims to make possibility of mass production and discrimination on design for wooden crafts which is based on highly skilled technical manpower and creativities, and expects to develop and merchandise global wooden cultural products.

• Journal of Digital Convergence
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• v.10 no.5
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• pp.327-331
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• 2012

Although crafts industry in Chungcheongbuk-do where Cheongju International Craft Biennale is held has an excellent infrastructure, it is backward comparing with other regions. So we face up to the reality and desire to contribute to the creation of added value and the development of local crafts culture through study on the here and the hereafter of Chungbuk crafts industry. We figure out the customer satisfaction and the potential customer preference for cultural products on sale currently. Then, we establish a detailed marketing strategy and study the way how we can solve the current difficulties including design, technique and marketing.

• Journal of Digital Convergence
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• v.13 no.10
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• pp.527-532
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• 2015

There are crafts industry has a complex nature of the artistic and cultural features. Artistic features are deemed to be areas of strong artistic personalities of the artistic and intellectually formative activities that embody creative ideas. Crafts and cultural features of the culture industry "creates" are as that meet the essential needs of human being sand has been used on part of cultural goods industry. Cultural industry crafts cultural products in terms of culture and traditional craft industry is tinge creativity to express ethnic uniqueness production is intended to study the part of the surge in demand by examining income levels and cultural life of modern man. In this study, we investigate the status of the craft industry for cultural goods. Based on this study of what is likely a problem with the craft industry and research, we propose away to melt complex ways.

• Journal of Digital Convergence
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• v.11 no.10
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• pp.689-694
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• 2013

Craft culture industry 'crafts and culture made up of industry meaning of' rather than 'as a craft industry'. Culture it is desirable to see Roy. Craft culture industry features, technology, techniques, or by indigenous raw materials to the foundation, which is produced as a plastic product manufacturing process, characteristics of the main part of the craft industry with a means to manufacture products. Historically, over the years, which has been formed by tradition, culture, crafts related to specific industries. Only by looking at the craft cultural industries have unique features and understand the value and no longer making craft activity does not remain only in the dimensions of the production, distribution and development of craft industries and national and ethnic culture has inherited expression traditionality a representative craft, culture as a development plan for the industry through the development of market research is to propose ways.

• The Journal of the Korea Contents Association
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• v.14 no.6
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• pp.73-83
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• 2014

This paper is to analyse how Industree Crafts, social enterprise in the field of crafts, could generate profit and create a sustainable growth for the last 30 years out of dependence on government grants in India. Success factors was drawn from the findings as follows. First, bringing stakeholder value: it preferred social mission as a goal for generating the value of stakeholders respectively and shared value mutually. Second, building distinctive internal business processes: it adapted unique business model and 4P strategy into its internal organization system and introduced the way of management to support the independence of self-help groups aimed at creating greater added value. Third, promoting learning and innovation culture: it challenged with the help of new design strategies continuously, was unafraid of change, and promoted learning culture to turn trial and error into the organization learning. Finally fourth, securing right finances and resources: it obtained proper finances and resources such as trying joint-sale, attracting investment from a private company, and acquiring enough skilled artisans at every scaling up.

• Steel and Composite Structures
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• v.49 no.6
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• pp.633-643
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• 2023

In this study, the natural frequencies of Functional Graded Materials (FGM) plates are predicted using Artificial Neural Network (ANN). A model based on Third-order Shear Deformation Theory (TSDT) and FEM is used to train the ANN model. Different training methods are tested to simulate input and output dependency. As this is a parametric model, several architectures and optimization algorithms were tested. The proposed model allows us to minimize the CPU time to evaluate candidate material properties for FGM plate material selection and demonstrate their influence on dynamic behavior. Consequently, the time required for the FGM design process (candidate materials for material selection) and the geometric optimization of the FGM structure would remain reasonable. The ANN model can help industries to produce FGM plates with good mechanical properties of the selected materials. I addition, this model can be used to directly predict vibration behavior by testing a large number of FGM plates, representing all possible combinations of metals and ceramics in today's industry, without having to solve any eigenvalue problems.