• Cross-Cultural Studies
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• v.35
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• pp.215-235
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• 2014

The purpose of this paper look at the basis of the cultural differences of Korean and Japan by comparing the craftsmanship. Korean craftsmanship and master craftsman making traditional handcrafts and artwork would die out at a critical moment. The craftsmanship and system could not be established because of discrimination in the traditional four classes of society( scholars, farmers, artisans and tradesmen), invasions of other countries and discontinuity of tradition from modernization. On the contrast, in Japan, it was possible to establish traditional handcrafts and artworks, technique and craftsmanship with apprentice system and various social privilege and treatment even in the same traditional four classes of society ( scholars, farmers, artisans and tradesmen). It was common to pass down the family business for a hundreds of years with self respect between Japanese master craftsmen and lots of people succeed the family business will now. Japanese craftsmanship is originated from 'worship to god' Medieval Japanese believed that the thing changes human mind, artistic talent, masterpieces and faith were connected to sacred power. Therefore, master craftsmen and their works were also made by the power of god. In this context, craftsmen were protected and treated in socially and nationally. It is that the social treatments and supports in national level and their own pride and continuous training of techniques and abilities as the main driving force to maintain the craftsmanship in Japan. Korea has the sale level of competitive tradition and technique in comparison any other countries. Japanese craftsmanship study will be a critical data in the protection and maintenance of Korean traditional and technique.

• Journal of the Korean Institute of Rural Architecture
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• v.12 no.3
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• pp.19-26
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• 2010

This study is aimed to look into the craftsmanship non-educated constructors in Korean-style secondary stations(Gong-So) of Naepo region which is located in the northwestern Chungcheongnam-do. Although the area was persecuted as one of three cradles of Korean Catholicism, Catholic activities flourished there. The 13 cases of Korean-style secondary stations were selected through a survey report list about modern cultural assets of Chungcheongnam-do published in december 2004. This study examined the methods of plan layout and framework of Gong-So to look into craftsmanship of non-educated constructors, the results are as follows; The methods of plan layout are divided into three types according to existence and arrangement of inner column(Nae-Ju); 'Layout with Nae-Ju' is considered as the primary form of Korean-style Gong-So with using regular Nae-Ju. 'Layout with the different position of the center between Nae-Ju and exterior column(Oe-Ju)' and 'layout without Nae-Ju' is appeared in Korean-style Gong-So which is important to assembly and alter function. The methods of framework are appeared variously according to different plan layout for securing worship space. The unusal beam(Chung-Ryang) is used to solve different spans of altar and narthex. When space was formed widely without Nae-Ju, diagonal members and M letter type rafters are used, they are influenced by the technique of western wooden roof truss.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.164-179
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• 2008

The Purposes of this study are to analyze the couture-like design characteristics expressed in modern fashion and to grasp its sociocultural meaning. For this, the documentary study and practical case study have been executed. Fashion writings and visual sources in Gap Pret-a-porter Collection, www.style.com, www.firstviewkorea.com are used. The results are as follows. First, couture ran be featured as a luxurious made-to-order design for individual clients with high quality fabrics, hand-craftsmanship, painstakingly perfect details and finishing. It is valued on authentic originality, uniqueness, aestheticism, and luxury. As the relationship between couture and mass fashion has changed, there appeared not only traditional couture for few privileged people, but also demi-couture which bridges the gap between luxurious couture and pret-a-porter. Second, couture-like designs in modern fashion are classified as (1)the adaption of house archive (2)retro with couture-like silhouette (3)hand-craftsmanship in details and finishing (4)individualization for only one client. They have sociocultural meanings, which are the reaction to the crisis of originality, new luxury for differentiation, the pursuit of new individualism thinking. Ultimately, it ran be thought that couture-like design in modern fashion results from the mutual needs between elitism fashion designer struggling in the hegemony of originality and reproduction, and modern consumer seeking for luxury, individualization.

• The Research Journal of the Costume Culture
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• v.20 no.5
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• pp.775-781
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• 2012

There are various kinds of patterns on Li brocade textile of Hainan province in China. Those patterns are rich and colorful. Li (黎族) traditional brocade is an ancient exquisite craftsmanship and a world cultural heritage. This study analyzed and categorized Li brocade pattern of traditional Chinese textiles. Li (黎族) traditional brocade is an ancient exquisite craftsmanship. Based on the research of classifications of Li brocade patterns, expound the application of women's costume. The patterns of Li brocade textile of Hainan province analyzed through three levels: design transforming, meaning prolongation, and refining spirit. The patterns were explored the feasibility way to inherit the patterns of Li brocade for the modern fashion product design. The results showed that Li brocade textile pattern of Hainan province were images sourced from local environment and geographical terrain. They contained the nation's history memory, religion, hope for life of the Li nationality. Those patterns can be categorized as human figure pattern, animal pattern, geometric pattern, appliance or architecture pattern, and Chinese character pattern.

• Journal of the Korea Furniture Society
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• v.28 no.4
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• pp.314-325
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• 2017

Hans Wegner, one of the legendary designers who led the 20th century Nordic modern design, is a representative furniture designer of Danish Modern. His beautiful proportions, elaborate structure, lightweight and simple chairs show the essence of Danish modernism for mass production. Designed and built over 500 chairs, he demonstrated the essence of chair design through a fully structured prototype. He shows his passion and craftsmanship as a designer through over 1000 designs. In addition, chair design shows the value of timeless design and is loved by modern times. Therefore, this study aims to study the characteristics of chair design by Hans Wegner and to help furniture design education by analyzing design, structure, function and material.

• Architectural research
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• v.12 no.1
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• pp.33-38
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• 2010

Many theorists acknowledge that Modern architecture denied the architect's crafty gesture for the sake of pure formal and compositional status of a building. As well, modern technology in construction has been prevailing as the sole support for modern architecture. But there exists architects who proposed a dialectic development of traditional and modern techniques. This thought was prominent in Germanic circle where technological development was in advance. Throughout $20^{th}$ century, the works of Adolf Loos, Mies Van der Rohe, and Peter Zumthor are representatives in each period. A common point begins from their apprenticeships as craftsmen: Loos and Mies as stonemasons, Zumthor as a cabinetmaker. More than this fact, their craftsmanship is embedded in their works and express creativity of architects. While mass production system raises non-participatory practice that merely require assemblage of products, the adjusted techniques with craftsmanship brings forth a participatory practice that does not limit the creativity of architects.

• Journal of the Korea Furniture Society
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• v.28 no.1
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• pp.27-35
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• 2017

Wooden artifacts are generally manufactured by lacal materials with cultural characteristics. Bamboo crafts province In recent years, production decreased due to products using resin and new materials, and in particularm the traditional bamboo craftsmanship is in a situation of extinction. Among the techniques of bamboo craftsmanship, Lamtae lacquer technique which lacquers on bamboo crafts made of piece bamboo and weaving pattern is applied to wooden craft, and the purpose of this study was to develop the products that can be utilzed in the modern residential space, and to make the skill of wood crafts using bamboo be developed and spread the prototype was made of traditional bamboo acts and crafts, furniture made of piece bamboo and weaving pattern, and wooden artifacts such as stationary goods and lighting.

• Journal of the Korea Furniture Society
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• v.14 no.1
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• pp.59-69
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• 2003

When harmonized with modem design, the Korean traditional lacquered woodenware with a history of about two thousand years has the potential to appeal to the global sense of industrial craftsmanship as it is superior to any in terms of material used and is very friendly environmentally. To maximize this potential, however, it is necessary to develop a firm infrastructure for the supply of lacquer, including the forestation for the lacquer wood, the production of lacquer, the improvement of refining skills, and the development of better paints. Also ways must be found to induce the craftsmanship at the turning lathe to be elevated to a major independent industrial craft. Only then the mass-produced lacquered woodenware for everyday use and as tourist goods, showing the best merits of the Korean lathing technique, will be displayed and accepted with a new appreciation.

• Journal of the Korea Furniture Society
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• v.17 no.4
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• pp.115-129
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• 2006

This study explored the literature review for intending to make contemporary furniture expressed as postmodern aesthetics accessible to the broadest possible public, particularly through an examination and realization of art and everyday life, using qualitative analysis about the related literature as the principal methodology. The postmodern furniture aesthetics of communication expressed through double-coding, which was seen by Charles Jencks as the defining element of Post-Modernism, is characterized by the use of ideas from the traditions of craft. Hence, I dealt with pre-Modern furniture and Modern-furniture aesthetics as the background of postmodern furniture called New design furniture. As a result, contemporary furniture called New design furniture represented the use of ornament, craftsmanship, or beauty from the traditions of craft, which was a main source for communication value in postmodern furniture aesthetics.

• Journal of the Korea Furniture Society
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• v.14 no.2
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• pp.63-74
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• 2003

This study explored roles of the ornament in contemporary furniture that contemporary furniture designers make their furniture different, convey a metaphorical message, and competitive. Contemporary furniture involved in the ornament is decorative, beautiful, and characterized by craftsmanship through eclecticism and pluralism reestablished in furniture design in the postmodern era. Also, the ornament has been presented in the context of the blurring of art/craft distinctions. Thus, the contemporary furniture is called as art furniture/craft furniture which is diverse from minimal decoration to maximal decoration. Hence, by using all of the ornamental context, the furniture designers try to satisfy and communicate with the largest possible number of people, and have numerous opportunities to select according to their characteristics or taste. Finally, their furniture in the futuristic mode may be cross-cultural work that everybody in the earth can understand, enjoy, and appreciate in his/her daily space through his/her everyday use.