• 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).

• 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.

• 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 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.

• 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.

• Fashion & Textile Research Journal
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• v.18 no.4
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• pp.412-423
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• 2016

This paper explores the possibility, and suggests an experimental procedure, of industrial application of traditional textile design techniques, such as hand silkprinting and natural dyeing. Theoretical and traditional background of this study is William Morris and his followers' Arts and Crafts Movement from the late 19th century to the early 20th century, which laid the philosophical as well as technical foundations of modern textile design tradition. Based on the basic understanding of the design philosophy, and starting from the design techniques of Morris and his successors, I made some experimental and systematic color plans reflecting and exploiting the physical traits and structure of jacquard woven silk material fabrics. And I applied hand silkscreen printing techniques on the jacquard silk fabrics of my own making, while testing various color combinations of natural dyes. After finishing final processing of design samples, I could get textile design products which met the criteria of my original expectation, i.e., eco-friendly and aesthetic design samples that can also be produced in automatized mass production system of contemporary textile industry. The conclusion of this experimental study is that I can expect the natural dyeing techniques, jacquard silk fabrics design techniques, silkprinting techniques, and the basic processes used in this study to be safely applied for contemporary commercial textile industry utilizing automatized silkscreen printing system and digital printing devices.

• 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.

• Archives of design research
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• v.2 no.1
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• pp.13-41
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• 1989

The raw materials for plant-stalk-folkcrafts are cultivated in the whole country. Most Korean farmers, to increase their income, have produced mats and containers with various plants as a side line from very long ago. At first, they began from the instruments of life and then made folkart and at last get to manu\ulcornerfacturing of industrial folk craft. The folkcrafts, made of plant-stalk, which could nor conform to changing society, are partly declined and partly handed down as the traditions. The social change today, however, makes living conditions more speedy and multisided, accordingly the characteristics of demand also become in\ulcornerdividual and various. While the demend is various like this, suppliers cannot answer demendants' requirements, and consequently, the demand and profit cannot be increased. According to this, the purpose of this study is set up to give an answer to the situation that is at the traditional standstill, through an examination of the motives. I. The crafts of plant-stalk are made only in an organized relationship between agriculture, industry and art as it is compounded art of gathering raw material, manufacturing, producing, improv\ulcornering design and production conditions. It may be possible that a farmer gathers material and weaves it manually but in others, it is im\ulcornerpossible to refine, bleach and dye because the process requires a professional industrial treatment. It is impossible to make art works to a farmer as every farner does not always have aesthetic sense. Though a farmer or producer has these all abilities, it is not desirable to him from economical view. 2. The development or improvement is essential in many sides but the most important thing seems to he in design. According to reports, it is, howevt!r, fact that the crafts improved in design of existing works have more expanded the sales than newly developed works. Therefore, ir appears advisable to improve designs of existing things positively as they have merit of occupying a position already, but on the other hand, new crafts have to be also developed and the producer should grasp the proper time. 3. Building up an industrial complex to improve design with collecting the producing districts for this works scattered allover the country is very desirable for speedy communication, intensive educa\ulcorner tion or training, and effective guidance. 4. In producing for export abroad, before everything, must know the life environment, custom! and manners, main thought of the country, and then produce according to these. S. The crafts of plant-stalk are the fIrst industry in present but in the futher it should change intc second or third industry. 6. A synethetic organization for supporting side line should be established for effectiveness, and experts have to be secured and also the educational-industrial complex and activation of study should be preceded.

• Journal of the Korean Geographical Society
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• v.30 no.3
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• pp.269-295
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• 1995

This research is concerned with the social division of labor within the traditional industry district: Damyang bamboo ware industry district and Yeoju pottery industry district in South Korea, Damyang bamboo ware and Yeoju pottery are well known of the Korean traditional industry. The social division of labor in an industry district is considered as an important factor. The social division of labor helps the traditional industry to survive today. This summary shows five significant points from the major findings. First, Damyang bamoo ware industry and Yoeju pottery industry have experienced the growth stages until 1945, the stagnation in the 1960s, and the business recovery in the 1980s. Most Korean traditional industries had been radically declined under the Japanese colonization; while, Damyang bamboo ware industry and Yeoju pottery industry district have been developed during above all stages. The extended market to Japan helped the local government to establish a training center, and to provide financial aids and technical aids to crafts men. During the 1960s and 1970s, mass production of substitute goods on factory system resulted in the decrease of demand of bamboo ware and pettery. During the 1980s, these industries have slowly recovered as a result of the increased income per capita. The high rate of economic growth in the 1960s and 1970s was playing an important role in the emerging the incleased demand of the bamboo ware and pottery. Second the production-and-marketing system in a traditional industry district became diversified to adjust the demand of products. In Damyang bamboo ware industry district, the level of social division of labor was low until the high economic development period. Bamboo ware were made by a farmer in a small domestic system, The bamboo goods were mainly sold in the periodic market of bamboo ware in Damyang. In the recession period in the 1960s and 1970s, the production-and-marketing system were diversified; a manufacturing-wholesale type business and small-factory type business became established; and the wholesale business and the export traders in the district appeared. In the recovery period in the 1980s, the production-and-marketing systems were more diversified; a small-factory type business started to depend On subcontractors for a part of process of production; and a wholesale business in the district engaged in production of bamboo ware. In Yeoju pottery industry district, the social division of labor was limited until the early 1970s. A pottery was made by a crafts man in a small-business of domestic system and sold by a middle man out of Yeoju. Since the late 1970s, production-and-marketing system become being diversified as a result of the increased demand in Japan and South Korea. In the 1970s, Korean traditional craft pottery was highiy demanded in Japan. The demand encouraged people in Yoeju to become craftsmen and/or to work in the pottery related occupation. In South Korea, the rapid economic growth resulted in incline to pottery due to the development of stainless and plastic bowls and dishes. The production facilities were modernized to provide pottery at the reasonable price. A small-busineas of domestic system was transformed into a small-factory type business. The social division of labor was intensified in the pottery production-and-maketing system. The manufacturing kaoline began to be seperated from the production process of pottery. Within the district, a pottery wholesale business and a retail business started to be established in the 1980s. Third the traditional industry district was divided into "completed one" and "not-completed one" according to whether or not the district firms led the function of the social division of labor. The Damyang bamboo ware industry district is "completed one": the firm within the district is in charge of the supply of raw material, the production and the marketing. In the Damyang bamboo ware district, the social division of labor w and reorganized labor system to improve the external economics effect through intensifying the social division of labor. Lastly, the social division of labor was playing an important role in the development of traditional industry districts. The subdivision of production process and the diversification of business reduced the production cost and overcame the labor shortage through hiring low-waged workers such as family members, the old people and housewives. An enterpriser with small amount of capital easily joined into the business. The risk from business recession were dispersed. The accumulated know-how in the production and maketing provided flexiblility to produce various goods and to extend the life-cycly of a product.d the life-cycly of a product.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.483-484
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• 2010

Accessories originated from men's ornamental instinct in the beginning as a body ornament. Women's accessories in the Joseon Dynasty have splendid structure and rich symbolism, so they are enough to be a target of the study for being contents of Korea's cultural archetype. Traditional accessories are the foundation of excellent formative and functional characteristics due to the extreme beauty of crafts. This study aims to develop archetype of excellent formative factors by making traditional accessories digitalized for perpetuation in order to apply them to the culture industry. In addition, it is to prepare the educational foundation by reinterpreting traditional accessories in a modern way. Therefore, this researcher intends to develop constituents of traditional accessories by means of digital images and suggest digital contents methods of accessory techniques by dividing constituents, techniques, materials, symbolic meaning, and attire and wear.