• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.205-216
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• 2012

Korean traditional wedding ceremony was conducted with some regular procedure and there were used special Gyubang crafts for wedding ceremony. Nowadays there is common the western style wedding ceremony and then the use of wedding Gyubang crafts have being decreased. Purposes of this study are to investigate characteristics of and to propose some idea of preservation and application them in the life of today. The results are as follows; Wedding Gyubang crafts can be classified Bojagj(wrapping clothes), Jumeony(cloth bags), ornaments, items related to sewing and others. They were apt to be traditionality, symbolism and shamanism, and were superior in aesthetic sense, the effect of decoration and technical skill. So there was needed preservation them. Some way of preservation and applications them were suggested ; alternation in keeping with modern needs, use of ornament, alteration in present-day life, application their image to Korean cultural products, textile design and so on. Several works were developed by ways suggested and exhibited in order to arouse new understanding Wedding Gyubang Crafts to public.

• Journal of Korean Society of Rural Planning
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• v.20 no.1
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• pp.175-188
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• 2014

This study is to achieve the slow-city planning based on resources in Cheongsong-gun. To this end, the natural landscape and old houses of the village set up potential of the core, and three complementary elements were traditional food and traditional crafts, nature trails. The vision and objectives were established, characterization plan by spacial areas was considered. The actionable items of the project by divisions such as; conservation and utilization of natural resources, old house villages, traditional crafts, traditional foods, landscape composition, social awareness training, to attract visitors, slow-city environmental policy, were proposed. And step-by-step implementation plan was proposed, Division of roles between public authorities and residents of the implementation process was considered.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.72-79
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• 2024

This study focuses on combining traditional craft lacquer thread sculpture and augmented reality (AR) technology to develop digital educational content. In this way, we not only make it easier and easier for children to learn and understand the traditional craftsmanship of lacquer thread sculpture, but also finds a new direction for traditional craft education. First, through literature research, the production process of traditional craft lacquer thread sculpture is summarized. Through an in-depth understanding of traditional craft lacquer thread sculpture, it provides a theoretical basis for subsequent AR digital content development to achieve educational goals. Next, we used AR technology to design and produce the digital content of the traditional craft lacquer thread sculpture. This study proposes the application of AR technology and the design and production methods of digital content. It is hoped that the methods and experiences we have proposed will not only provide reference for the development of similar digital content in the future, but also provide new educational methods for the inheritance of traditional 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.

• Journal of Ocean Engineering and Technology
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• v.24 no.6
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• pp.103-108
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• 2010

WIG crafts are high speed vessels with the features of a dynamic supported craft. These crafts, which are predominantly lightweight and operate at substantially greater speeds than conventional craft, could not be accommodated under traditional maritime safety instruments. WIG crafts inherently possess more hazard factors than conventional ships because of their relatively high speed, lightweight, and navigational characteristics, and an accident is likely to cause damage to the ship and a high loss of life. Because WIG crafts are composed of many systems and subsystems, the safety assessment of a WIG must use a commercial software system in the design stage. This paper reviews a safety assessment process and methodology proposed by the IMO interim guideline, which were developed in view of the configuration of WIG crafts. This safety assessment system was developed to fit the WIG's safety assessment process using a reliability analysis system widely used in commercial systems. The FHA was performed on the functional hazards of systems in the conceptual design stage.

• International Journal of Contents
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• v.9 no.2
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• pp.70-76
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• 2013

Bunjang is one of the oldest and the best known traditional pottery technique in the Korean ceramic history, which still remains popular today. This research designed for understanding origin and changing history of Bunjang, Birth of Buncheong ware, Definition of Buncheong ware, process of Bunjang, Texture of clay, Glaze, and firing, form, decorative pattern, technique of Bunjang, CIngredients and Raw material: Proportion of raw materials. Bujang technique that can be called beginning of modern ceramic art in Korea, in this research, we can recognize the aesthetic value of Bujang and how modern ceramic artists are going to take advantage of Bunjang technique for their own use.

• Journal of the Korea Convergence Society
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• v.9 no.9
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• pp.441-447
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• 2018

Korea has been designated as a National Intangible Cultural Heritage with outstanding value among intangible cultural heritage. We have supported various exhibitions and performance activities, and the Intangible Cultural Heritage Public Events. However, in recent years, more diverse policies have been pursued in order to revitalize transmission activities and the State is leading the Completion examination system. In order to improve the utilization of crafts, we introduced a Craft Bank System. In addition, to increase the marketability of crafts, we have implemented the certification system for crafts. For the diversity of transmission activities, we are promoting the Transmission Education School System. In order to fuse traditional activities, the Intangible Cultural Heritage Exhibition is being held and the World Heritage Forum is being pursued. In this study, we analyze various policies of the new intangible cultural heritage and investigate the problems and seek ways to improve them.

• Korean Journal of Human Ecology
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• v.16 no.3
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• pp.615-622
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• 2007

Jeonju is well-known as a native place of traditional Hanji from ancient times because of it's proper weather, soil, and sunlights. Traditional Hanji is selected one of the Traditional Cultural Contents Industries of Jeonju nationally, and can produce synergy effects on gaining competition if we develop traditional Hanji industry into high-technology by relating cultural contents. The purposes of this study was to identify consumer attitudes and behaviors toward traditional Hanji products. The results of this study were as followed: 1. Representative products of Jeonju City were a rice with vegetables, a traditional Hanji, and a Korean-style house, and these results showed a consistancy with Han-Brand products promoted by Ministry of Culture and Tourism. 2. Many consumers experienced of a box, a copy paper, a book or notebook made of Hanji, but less experienced of fashion accessary products. Consumers had higher interests in wall or window paper and copy paper, but had lower interests in fashion accessary products such as necktie, shawl, and folding fan. More consumers intended to use wall or window paper and copy paper, but intended fashion accessary products less. Many kinds of Hanji products were produced and displayed on a Hanji Crafts House, but only few consumers had experiences. 3. Younger generations had higher interests and experiences of Hanji products, and unmarried officiers or full-time house wives had experiences Hanji crafts more. 4. Consumers were interested in daily necessaries or interior products made of Hanji.

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

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.376-388
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• 2011

The purpose of this study is to examine the types and characteristics of Chinese indigo dyed designs performed until today in private houses of Chinese minority races and to examine the modern value of traditional dyeing crafts of minority races by investigating the cases of utilizing modern private Chinese indigo dyed designs. As the research methodology for theoretical study about the history of Chinese traditional pattern dyeing, the origin, types and characteristics of Chinese indigo dyed designs, the preceding research data, photo data, and Internet data were utilized, and for the empirical research on Chinese traditional dyeing techniques and the cases of utilizing today Chinese indigo dyed designs, the on-site survey on Guizhou and Yunnan was conducted during February and March 2008 and the data were collected and analyzed. Based on the results of this research, it was found that Chinese indigo dyed designs represented Chinese traditional pattern dyeing, which was inherited and developed mainly in Chinese minority races and Chinese. It could be seen that according to geographical distribution and characteristics of each race, the types and characteristics of dyeing techniques were formed, which are classified into the batik of the Miao of Guizhou in the Chinese southwestern region, the tie-dyeing of Bai of Yunnan, and Chinese blue calico(resist printing) of Chinese private houses in the Hunan and Huseo regions, and these represent the three typical Chinese dyeing techniques today. Based on the results of empirical research on the utilizing cases, focusing on the traditional living handicrafts of Chinese minority races, traditional cultural articles, and artworks, the modern values such as practical, cultural, and artistic values of Chinese indigo dyed designs could be rediscovered.