• 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.

• Archives of design research
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• v.11 no.2
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• pp.251-262
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• 1998

This study is about the special quality which has craft-kitsch as a typical objects in modern mass consumption society. Today, kitsch is one of the most general object for understanding of our lifestyle. Accordingly, there is close correlation between craft objects and kitsch. But, discussions on the relation between craft and kitsch have not dealt quite satisfied up to the present. This paper draws up as a basic study on craft-kitsch. The purpose of this study was to examine the relation of kitsch and craft in modern society. The result of the study were summarized as follows: kitsch-characteristics in craft production 1. style of compromise 2. a false presentation kitsch-characteristics in craft reception 1. nostalgia in the past 2. ostentation and distinction 3. cultural enjoyment as self-consolation 4. self-satisfaction as possession

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.192-203
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• 2021

This paper investigates the process of change in the meaning of the term gongye (工藝) (nowadays it means craft) during Korea's transition to the modern era. The Annals of the Joseon Dynasty (朝鮮王朝實錄) will serve as the basis for the examination of pre-modern usage, and the Korea-United States Treaty of 1882 for the changes that occurred between the translation from Chinese and from Japanese following the opening of the port . After the port opened, the meaning of gongye, which once broadly referred to the wide range of work of people from different fields, was narrowed down to singularly represent the manufacturing industry. Following the example of Japan, the first East Asian country to succeed in modernization, this new meaning of gongye was generally used in the context of embracing Western culture and creating industry. As industrialization emerged as a national mission, and new terminology was needed to express these new concepts, the Chinese characters used by the Japanese to translate Western concepts were directly imported and used without making any changes. Gongye was similar in meaning to gongeop (工業) (nowadays it means industry) at the time, and the two terms were used interchangeably. However, following the Japanese annexation of Korea, the cultural administration of the Governor-General imbued the term with artistic concepts, and gongye was differentiated from gongeop, As such, examining the establishment of terminology and concepts can be helpful for understanding the contradictions and problems of the Korean crafts scene, which were derived from a period in the past called the modern era.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.100-115
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• 2023

The modernization of najeonchil, or mother-of-pearl lacquerware, began in the latter era of the Joseon period and started to set in during the phase of industrial development after the Korean War. Especially, the rise and fall of najeonchil during the first half of the 1900s fluctuated more compared to other types of craft. This paper focuses on the production, supply and demand activities of the works by Min Jong-tae, who was born in 1915, began his career in 1929 and devoted 70 years of his life creating najeonchil craft and furniture. As an apprentice under Jeon Sung-gyu, who revived the craft of najeonchil, Min Jong-tae was not only an artisan who ranked alongside Kim Bongryong, Song Juan, Shim Bugil, Kim Taehee, but also a businessman. In particular, Min led the boom of modern najeonchilgi during the 1970s-80s in Seoul, which was the most important market at that time. However, studies about Min Jong-tae are almost non-existence, despite his accomplishments. This study first describes how Min Jong-tae began the craft of najeonchil and early days of his career around the liberation period, then retraced his efforts in building a supply and demand system in the 1950s-60s. Moreover, this paper covers not only his creations of large-scale najeonchil furniture in the advent of an era of 'wardrobe culture' in the 1970s-80s, but also his exported pieces to Japan, including incense boxes and tea containers. In conclusion, this research derives the historical significance of Min Jong-tae's role as an artisan of najeonchil- designated as Seoul Intangible Cultural Heritage No. 14 in the field of craft.

• 베이커리
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• no.11 s.316
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• pp.174-175
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• 1994

• 베이커리
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• no.1 s.450
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• pp.54-54
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• 2006

• 대학교육
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• s.26
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• pp.97-101
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• 1987

• Journal of Digital Convergence
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• v.15 no.8
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• pp.359-366
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• 2017

As the quality of life increases and the aesthetic value of the product is emphasized, it tend to consider the sensitivity of consumers in designing goods. The importance of storytelling is becoming more prominent as the purchasing factor of products shifted from the center of the product to emotional of products. In this paper, the purpose of developing emotional marketing craft design using storytelling is to understand the storytelling concept and analyze the case of craft design using storytelling. Craft is an easy-to-value or aesthetic value of the goods in the fields of design, diversity and originality can be pursued and has unlimited potential. Now, in addition to the semantic value of expressive values with a consumer sensibility needs requires the development of this research craft crafts design industry has established itself as a high value-added industry could do more to take advantage of the Foundation.

• 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.

• The Korean Publising Journal, Monthly
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• s.223
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• pp.8-9
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• 1997

금속을 재료로 한 우리 선조들의 유물에는 장인정신이 담긴 기품과 정교함이 깃들어 있다. 그 섬세한 예술혼을 따라 한국의 금속공예에 평생의 연구집념을 바쳐 오롯한 결실을 맺은 이호관씨의 저서는 금속공예를 다룬 국내 첫 저술이라는 점에서 더욱 의미가 깊다.