• Journal of Digital Convergence
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• v.12 no.10
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• pp.509-514
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• 2014

It is said that ceramic arts which reflects the sprit of the age and culture is one of the representative cultural assets in Korea. Ceramic arts has the longest tradition and it has been used in our everyday life from a historical perspective. Unfortunately, most textbooks we use nowadays just show some art works for appreciation. It is impossible to teach unique techniques of ceramic arts with those textbooks. Traditional culture is not considered as a main part of educational contents but surrounding elements. Therefore it is hard for students to learn about our traditional culture deeply and it is also difficult to know the importance of the ceramic arts in secondary schools. Through the education of ceramic arts students can understand our traditional culture and they can also experience the formative arts by using plane and dimensional techniques. Teachers have to focus on historical background, types, functions, and sense of beauty of ceramic arts when they teach students in school. Students can use the knowledge in their daily lives. The education of ceramic arts encourage students to create new culture for ceramic arts.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.79-93
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• 2013

In the Korean literature, records of systematic gold thread manufacturing such as gold foil(金 箔匠), gold foil bonded with fabrics(付金匠), gold foil bonded with paper materials(金箋紙匠), refining gold(鍊金匠), cutting gold(裁金匠), and making gold thread(絲金匠) can be easily found. We can infer from these literatures that the Korean people used to make gold threads. However, is not existent the gold thread making technique. Thus, a research was done using 67 pieces of gold thread artifacts used in textiles craft of Korea, China and Japan. The purpose of this research was to identify the characteristics of the Korean gold thread by studying the artifacts' form classification, gold foil, glue and the base. First, gold thread is divided into flat gold thread and wrapped gold thread. Wrapped gold thread was made in more various methods such as with a paper on the flat gold thread, metal thread and wrapped gold thread with gold foil on top. Compared to the flat gold thread, wrapped gold thread uses a thread that has a thinner and wider. Through this analysis, even making of the base of the gold threads was different according to the type. Secondly, we looked into the characteristics of materials according to form structure of the gold thread. After analysis of experiment results, we could know that to attach Korean gold thread, glue and the mixture of materials such as Red soil(朱土) was also added. The kinds of the base of gold threads were identified as paper, leather and intestines. Among those materials, for paper, Korea's Dakji, China's Sangpiji(桑皮紙) and Jukji(竹紙) and Japan's Anpiji(雁皮紙) seemed to have all been used, so because of the difference among countries, we can prove that Korea has also produced gold thread. By looking at the research, the base of gold threads and making features hugely vary according to the area.

• Journal of Digital Convergence
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• v.12 no.11
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• pp.505-513
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• 2014

Modern metal craft is losing our tradition and personality with simple expressive methods and limited techniques without artistry with the purpose of mass production. In order for development of modern metal craft and to succeed our unique culture, there is a need to consider traditional craft techniques that have been delivered since the ancient. Inlay craft requires high concentration and technology, and it is typical traditional metal craft techniques that show contemporary culture and ideas well. the period of the Three States was the time when inlay technique was introduced the first, and it can be seen in Baekje, Gaya and Silla. Furthermore, when inlay craft is applied for modern metal craft, a possibility was found to grant artistic expression and historical value of our unique artistic expression and historical value. For this purpose, it is expected to establish development of modern metal craft and our unique individuality firmly when continuously seeking practical measures that can accept contemporary crafts and expanding opportunities of education to learn traditional techniques.

• Journal of Digital Convergence
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• v.18 no.3
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• pp.349-355
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• 2020

The Fourth Industrial Revolution has emerged, and technologies of various industries are being converged, compounded, or clouded computing, mobile, or big data. The emergence of a variety of skills and new jobs to match them is bringing the public out of the education and occupation of traditional metal crafts. In this change, craft education should find and study the education method suitable for the present times, and apply it to the educational field to raise public interest and revival. To this end, we will investigate the cases of education in other industries where new materials or technologies have been introduced, and use them in education of traditional metal craft techniques. In addition, we will investigate various cases and features of 3D printing technology and use it for education in craft techniques that have limited time, space and resources.

• Korean Journal of Heritage: History & Science
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• v.50 no.3
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• pp.44-63
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• 2017

'Bukpo' is called 'Tongpo' or 'Balnaepo,' which respectively mean hemp fabric that goes into a small bamboo tube and women's table utensil 'bari' in Chosen. It is fine hemp fabric produced in Yukjin, Hamgyeong province. Korea has been divided into North and South since the Korean War in 1950. As it is hard to get information about Northern life style or their traditional technology, their hemp fabric production is also left unknown. This study demonstrates characteristics of the production of 'Bukpo' through "Ojuyeonmunjangjeonsango", the only document that marked about 'Bukpo' making process of the late Chosen dynasty. It aims to analyze the transition of the technique and the meaning by comparing the characteristics of the production of 'Bukpo' with the modern era's documents. In this process, I discovered that the hemp fabric production technique at 19th century shares some sort of similarities with that of Europe or Chinese Miao(hmong). But the hemp fabric production technique changed before the 20th century. The evolution of Northern hemp fabric production technique can be a good example to examine the context of the traditional craft technique.

• Acta Via Serica
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• v.8 no.1
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• pp.31-54
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• 2023

The article deals with issues related to the tradition of carpet production on the territory of Kazakhstan where, for the most part, tribes engaged in nomadic livestock raising lived. Analyzing the technological component of this traditional craft, the author focuses on the main factor that influenced carpet weaving along with arts and crafts-the nomadic method of production of the Kazakhs. The study of the ideological component that accompanies the process of making various types of carpets allows us to conclude that it has a sacred meaning and subordination to myth, rite, and ritual. At the mythmaking level, the process of making carpets, like any other activity among nomads, personified the process of creating the world, the marriage of Kok-Tengri (Heaven) and Zher-Su (Earth), and the creation of the Cosmos from Chaos. The process of carpet weaving, as well as the process of making felt, symbolized the act of creation, the marriage of Heaven and Earth, and male and female principles. The study of various types of ornaments that Kazakhs and their ancestors used to decorate carpets allows us to conclude that the ornament applied to carpet products was the bearer of the most valuable information about the mythological worldview of the people. Carpets in their structure reproduced the structure of the Universe, which has a binary, ternary, and quaternary system. The ornament has turned into a kind of coded text, reflecting ideas about the cosmogonic structure of the Universe and an awareness of the harmony of the world. The location of Kazakhstan on the northern routes of the Sogdian Road (Great Silk Road) allowed the spread of various ideas, due to which carpet weaving was influenced by other peoples in technical and stylistic design.

• 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.

• Journal of the Korea Furniture Society
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• v.24 no.1
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• pp.1-14
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• 2013

Since the 1980s the development of American art furniture was embodied its concept by second-generation furniture artists affected and educated from the first generation that has implanted art furniture fundamental values. Besides, embracing inevitably needs of the new era going with the social change rather than dwell on the nature of mere handicraft era, it has evolved with economic revival in the United States, the attention and increased consumption of the public, and ongoing government-sponsored. And more recently, the American contemporary Art Furniture faces another change in the non-boundary phenomena between art and design. American art furniture since the 1980s are summarized as three major trends: Art furniture embellished with traditional hand-craft, Art furniture featured the individualistic avant-guard characteristic, Art furniture eroded the distinction between art and design. By analyzing focusing on the furniture artists and their works in contemporary art furniture deployment aspects since the 1980s, the purpose of this study can be utilized as a method to measure the forward direction, internationally competitive, creativity, and artistic value of the domestic art furniture.

• Journal of the Korea Furniture Society
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• v.26 no.4
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• pp.373-382
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• 2015

In this study, select the Republic of Korea mother-of-pearl lacquerware Lim chung hyu coach, I tried to find out the until the background and coach of his growth. And it was done looking for the elements of the future development of the mother-of-pearl lacquerware through the tendency of his work after the coach has been. Lim chung hyu coach is, unlike other mother-of-pearl lacquer craftsman, confirmed the affection and passion to his mother-of-pearl lacquerware as seen through the work to manufacture in his unique way. Through the mother-of-pearl lacquer-ware production processes and trends of his works of Lim chung hyu coach it increased the overall understanding of the mother-of-pearl lacquerware. The work of Lim chung hyu coach was studied analysis confirmed the superiority of the mother-of-pearl lacquer crafts that are completed through a number of steps. Through the work trend of the traditional while it adheres to craft system in pursuit of modernization together the Republic of Korea lacquerware masters Lim chung hyu coach, has described a vision for the potential of the development of the mother-of-pearl lacquerware to pursue him.

• Journal of the Korean Home Economics Association
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• v.44 no.1 s.215
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• pp.101-113
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• 2006

The purpose of this study was to investigate and compare the characteristics of the motifs on cultural goods in In-Sa-Dong Street, Seoul, with those in Art Street, City Hall, Kwang-ju. For this study, 607 cultural goods were collected from the two cities: 265 in Seoul and 342 in Kwang-ju. Total cultural goods were classified by accessories, decoration pieces, stationery and ceramics and were studied by repetition patterns, motifs types, representative techniques, and representative types. The results were as follows. First, for repetition patterns of motifs, there were 219 simple repetition patterns in Seoul, and 289 in Kwang-ju, and 46 compound repetition patterns in Seoul, and 53 in Kwang-ju. The ratio of simple repetition pattern was higher than that of compound repetition pattern in both cities. Second, for motif types, floral, animal, letter, and graphic motifs were used far more frequently than any other motif types. Third, for representative techniques, embroidery was far more frequently used than any other representative techniques. Metallic crafts, chil-bo and paper techniques were also favored. Fourth, for representative types, realistic types were more common than abstract types.