• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.61-72
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• 2015

The capitalistic resistance movement attempted in most modern art areas was carried out through a complete convergence of the art and skill, which was the new formation of the symbolic boundary. Although this resistance movement was aimed at restoring artisan art through the revival of tbe work of handicraftsmen, it consequently caused the stratification of the art and became a de-artisan art excluding the autonomous labor. Hereupon, this study would focus on Bauhaus which attempted to dismantle the symbolic boundary through the convergence of the technology and art which actively used the condition the great industry brought only as an effort for the restoration of artisan labor, and would examine the actor-network of Bauhaus. Therefore, this study would examine the Bauhaus' artistic trend, the 16C Renaissance art promotion movement, and the 19C art crafts movement in the network-oriented relation, and would analyze the Bauhaus' ideological source which expressed design democracy through the bridging role of and analyze the artisan art and the mechanism that had the new technology fused. Furthermore, the convergence possibility of the 'collaboration spirit' being embodied as a philosophy of the democracy in the design continues with the tremendous influence of the new technology.

• Archives of design research
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• v.14 no.2
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• pp.197-207
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• 2001

A designed object reveals its meaning and image through form, color and material. Among these three elements, material has more powerful influence with its tactile and visual characteristics. In Korea, traditionally materials itself were mainly used to design artifacts rather than various color or formal decoration. The purpose of this study is to investigate the Korean traditional materials, and to classify them by the characteristics of their texture. For this study, the pictures of Korean traditional artifacts were collected from the national museums and literature. Those are architectural and interior elements, furniture, cloths and textiles, arts and crafts. Total of 533 collected artifacts were classified into seven categories, metal, day, stone, paper, wood, straw, fabric things. : 59 metal things, 115 clay things, 62 stone things, 73 paper things, 80 wood things, 47 straw things, 97 fabric things. Each materials were classified into its forming methods and surface treatment focused on the he characteristics of their surface texture. Throughout this study, the uniqueness of forming method and surface treatment of each materials in Korea has been clarified. And furthermore the classification by this various traditional methods of materials will provide plentiful information and ideas to today's designers of the world.

• Cartoon and Animation Studies
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• s.43
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• pp.185-209
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• 2016

Pattern refers to singular or repetitive decorative form in a blank surface, Also pattern is not just something to simply fill in the blanks, and has more meanings. Pattern reflects the specific culture or regional feature. So Depending on which pattern to use, creator can give particular of identity. which is generally utilized in visual arts such as painting, architecture, craft, as well as animation. Pattern in animation plays a role of decorating background or surfaces of characters' outfits or props. And Parttern is effective way to describe the story of the times and space environment of the background. Tomm Moore, an animation director in in Ireland mainly produces animations based on traditional folk stories or myths. He usually utilizes cultural and artistic factors related to the themes in his work production. One example is the insertion of pattern closely associated with the narratives and backgrounds of animations to create profound scenes. Tomm Moore used the Irish Celt pattern in Secret of Kells (2009) and Song of Sea (2014) and Islam geometric pattern and plant pattern in a short nimation named On Love from Kahlil Gibran's The Prophe (2014). This study attempts to examine the historical and cultural foundation and the narratives of these two animations, Song of Sea(2014) and Kahlil Gibran's The Prophet: On Love (2014) in which Tomm Moore participated as the director and producer, exploring their relevant traditional patterns. Moreover, it also attempts to analyze how these traditional patterns are utilized in the animations.

• Science of Emotion and Sensibility
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• v.21 no.1
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• pp.99-114
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• 2018

Saekdong is a unique Korean fabric that has been used since ancient times, and it is woven with the plain or satin weave so that vertical stripes appear by various colored warp threads of equal spacing. Saekdong means pleasure, joy, serenity, heavenly blessing, spirituality, wind, and abundance, expressing the optimistic and positive sentiment of Korea's forefathers. This study investigated how ancient Saekdong occurred with meanings. As a research method, this study used literature review and surfing newspapers and photographs, museum and internet search, even from other fields such as earthenware, bronze, and traditional dance. We collected Saekdong and the lifestyles of ethnic Koreans living in China, investigated the Asuka culture of Japan, and the tomb murals of Takamatsu-Chong, which are Baekje and Goguryeo settlement areas. The results are as follows: First, it expresses happy occasion, pleasure, and joy, and expresses a desire for good things to be repeated and lasting. Second, it symbolizes simple beauty, order, equality and harmony of many tribes. Third, Saekdong is life and power which represent a sacred, heavenly, mysterious bird. Fourth, it symbolizes abundance and wealth, rain, wind or fields. Finally, this study showed the brilliance and pride of Korean hanbok through Saekdong. The significance of this study is to examine the symbolism and inherent aesthetic characteristics of Saekdong and to show the unique value and spiritual heritage of the Korean people.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.1
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• pp.63-72
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• 2017

Gardening activities, plant raising, and general flowerbeds the public makes today can be found in the original form of cottage gardens in the United Kingdom. A cottage garden is a popular garden style of modern Britain, implying unique Englishness including ethnic sense and vernacular. In addition, the purpose of this study is to consider the modern movement in the United Kingdom in the past 200 years and read Englishness of cottage gardens through style differentiation and background of occurrence of cottage gardens appearing in this process. Therefore, this study is summarized as follows. First, a view of nature of the Englishman loving freedom and landscape acts as a key part of patriotism and is connected to the preservation of idyllic England. For this ideal of the Englishman of the country, idyllic British characteristics are found in various literatures and artistic fruits; cottage gardens, that is a form of new garden, were made with invigoration of supply and collection of plants. Second, an early form of cottage gardens was the domestic garden, in which there is a vegetable garden by middle-class move to a suburb according to urbanization, but evolved into a form of garden having both artistry and regionality, vernacular, and ecological characteristics with various situations of modern society(handicraft promotion movement, preservation of remains, and ancient building restoration movement). Wild gardens occurring in this process are a type of garden realizing wild fields and forests in the United Kingdom;they have made a big impact on many garden designers up to now. Cottage gardens, reflecting a variety of Englishness, is a subject of city planning and flower shows and is a culture symbolizing the United Kingdom.

• Journal of Digital Convergence
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• v.10 no.11
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• pp.603-612
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• 2012

When it comes to a country's traditional ideas. that country's geographic setting and religious thought show the people's consciousness, and the characteristics of historic sites and relics show their cultural aspects. Our country has 5000-year cultural history. Especially, the Baekje cultural history created very remarkable relics in our history. With regard to Baekje's own patterns and workmanship, their ornaments were more focused on the beauty of soft and voluptuous curves than that of Goguryeo and Silla This study researched design characteristics of ornaments and symbolic aspects of the patterns by focusing on crowns, crowns' accessories, earrings, necklaces, chignon ornaments of the Baekje's ornaments, To put emphasis on Baekje's ornaments by comparing Baekje's ornaments with Goguryeo's and Silla's. This study collected data on Baekje's ornaments, and reviewed domestic references and specialty publications at the Buyeo National Museum, Gong-ju National Museum, home and abroad, and studied the images of Baekje's metal crafts and patterns through theses. Baekje had splendid and glorious artistic culture, but there are not many historical data and supportive relics left these days. Therefore, a lot of attention, researches and development on Baekje culture are needed. This study found that the ornaments of the Baekje era have not only ornament functions but also the people's creative mind. The culture contents in recent technological development and industrialization change people's recognition, and now they have interest in Baekje culture. Therefore, the purpose of this study is to widely popularize Baekje by studying the patterns of the Baekje era more and developing various and new designs.

• 보존과학연구
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• s.27
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• pp.129-143
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• 2006

This report is on a scientific investigation of 3 pairs of 금제태환이식 which were excavated from 황남대총 납분. 태환 is a main part of 태환이식 and it could be classified with 4 types in how to produce, especially how many the golden petal was used. In this investigation, they,3 pairs of 금제태환이식 from 황남대총 남분, were in 3 of 4 types and also I could find that this result was not on the technical progress but on the ingredient of metal. Also, In the result of ingredient assay, I could find that although they were in one pair of 태환 one piece was made in gold and silver alloy and the other piece was made in 99.5 percent of pure Ag with gold amalgam plating. And the another pair was getting red from others because of making in 33percent of Ag and 77 percent of gold, high Ag content. And All pairs of 태환 have a small quantity of Copper. As above, although they are one pair they have the difference of how to produce and the difference of volume and ingredient content, it means that these pairs of 태환 from 황남대총 남분 were made in pressure of time. From now on, if we investigate the ingredient and how to produce of 태환이식 in the local comparative analysis, namely natural science method, we can find out the metal art technique and the social aspect of the ancient times as not analogical inference but scientific basis.

• Journal of Digital Convergence
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• v.10 no.7
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• pp.237-243
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• 2012

Human beings were constantly developing and using tools. This implies the history of humans have been creatively maintained and developed. Humans put its utmost efforts to the development of civilization to lead better life at the same time constantly pursuit to the cultural development such as formative characteristics for the satisfaction of aesthetic needs. Gyubang crafts are regarded as extremely feminine and contained emotions of Korea while being classified as a genre of Korean culture & art. Gyubang crafts were created independent & unique formative beauty on the basis of then social, cultural, religious background, in which those sewing kits being called friends of ladies express the emotion of arts contains cultural depth of its appearance of life as well as its spiritual world of happiness, anger, sorrow and pleasure of ladies. And it was aimed to sought the possibilities to start itself in various ways under the assumption capable to be expressed detail & contemporary taste of the sewing kits that lived together with the ladies in their historic life through linking with ornaments arts with convergence and harmony of formative image. As stated, it could be an opportunity to rediscover the formative characteristics, harmony of convergence, elegance, delicacy, aesthetic beauty focused on sewing kits among Gyubang crafts filled with ladies' scant and spiritual hope and to be re-understood the excellence and the aesthetic beauty of traditional culture & arts through personal ornaments.

• KOMUNHWA
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• no.59
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• pp.112-147
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• 2002

This article is contrived to analyse the present situation and social practices of culture goods in Gyungju, historical city. For this, I collected Materials from agencies and organizations concerning of production, distribution, consumption of culture go

• Archives of design research
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• v.17 no.4
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• pp.211-222
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• 2004

During the 1980s, Textile design achieved a remarkable growth in creating aesthetic effect and in establishing its standing by responding to demands of the time effectively and seeking changes proactively. This was a period when Textile design constructed its modern concept as it was attempting a qualitative improvement through advanced technology, high class, and differentiation. The advent of advanced materials through the development of textile engineering, employment of craft techniques to further cultural and artistic orientation, and restoration of decorativeness in pursuit of sensitivity, all these developments of the 1980s contributed to the rise of above characteristics. In this study, attempts are made to grasp the new trend of Textile design during the 1980s and to review diverse methods of aesthetic creation and plastic possibility which this trend presented for the Textile, and thus to recognize the role of Textile design and its importance in a new light. The new trend of Textile design during the 1980s can be summarized as follows: 1) An appreciation of the creative aspect of the Textile. As attempts are made to emphasize visual and sensitive aspects of the medium, Textile tended to become an object of art itself. 2) A new awareness of the representative and plastic capacity of the fiber material. As attempts are made to develope the creative potential of the Textile, representation of the material tended to become more diversified. 3) A recognition of the Textile as a proper means to deliver the spirit of the time. As the medium accommodates and fuses diverse cultures including traditional culture, more emphasis was place on cultural contents of the Textile. In the process of pursuing these changes, Textile design of the 1980s has also contributed to the creation of new values, laying the groundwork for its emergence as an advanced high value-added industry.