• 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 Korea Convergence Society
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• v.12 no.4
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• pp.151-159
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• 2021

The purpose of this study is to attempt a convergent study by analyzing modern funk ceramic artworks through 'Irony', which was mainly used in rhetoric and literature. The irony has come to modern times and has embraced the type of irony by Jung Keut-Byul, a literary critic who has discovered that the classifications and definitions are different from each other, and who has solved these problems and has newly classified the irony (the irony of oxymoron, the irony as a counterstatement, the irony of dramatic turn, the irony as a poetic truth) as a framework for analyzing the works of 20th century punk potters. As a result, the formative language found in funk ceramic art had many similarities with the irony of duality of surface and reality, and its humorous and comic character was more prominent than the heavy, melodramatic tone shown in literature. It was also found that the media characteristics and craft properties of ceramic art, such as clay and glaze, have become the drivers for ceramic sculptors to draw attention in funk art.

• Archives of design research
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• v.21
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• pp.15-26
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• 1997

The aim of this study is to suggest a comparative and interpretative study by quantatitative analysis (by applying information value's calculating rule that Shannon has developed) about modem and postmodem ceramics product design centering around form description among many evaluating and analyzing elements by applying analysis model that Hong ik university' professor, Kim Bock Young, has researched and developed

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.104-123
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• 2019

Various European countries were active rather early on in the formation and research of Korean ceramics, which are considered a representative genre of Korean art. Of these, England is especially noteworthy due to its relatively large volume of extant archival material related to the procurement of Korean ceramics in modern Britain. The material is important in that it contributes to our understanding of the formation and economic worth of these collections. Especially meaningful are the previously unknown documents dating to the period when institutions such as the British Museum and the Victoria & Albert Museum were most actively collecting Korean ceramics. These documents provide insight into the circumstances-process, prices, standards, perceptions, etc.-of procurement for the Korean ceramics now in British collections. The changes in the perception of Korean ceramics and the intention for forming such collections in modern Britain can be divided into three periods. The first, starting from the late 1870s and ending in the late 1880s, is categorized by the collectors' misguided ideal of Korean ceramics in the absence of a true understanding of the subject. During the late 1880s up until 1910, the Korean ceramics entering British collections were mostly ethnographic in nature and examples of implements used in Koreans' daily lives. Lastly, from 1910 to 1940, Korean ceramics were regarded as art objects to be collected, and Goryeo celadons formed the core of many of the British collections being assembled at the time. As for the matter of collecting standards and processes, the matter is examined through the study of three individuals who visited Korea and acquired Korean ceramics in the early 20th century. After 1910, the British started to make trips to the Far East via boat or the Trans-Siberian Express and purchase Korean ceramics during their travels. It has been confirmed that former bureaucrats were able to acquire 'good and old Goryeo ceramics' at reasonable prices from either tomb robbers or through direct visits to regions where such wares were being excavated. In addition, this study also focuses on the previously unfamiliar company Kavanaugh & Co, which made important sales and provided transport of various objects, including Korean ceramics, to its Western clients. The final part of this study examines the standards of appraisal for the Korean ceramics collected in modern Britain. The main criterion the balance between form and price of the piece. In other words, the best pieces were those that were of superior quality but acquired at the cheapest prices. British collectors particularly valued not only the Goryeo celadons favored by the Japanese but also Joseon ceramics for their innovative form, design, and technique. These standards of aesthetic and form were important factors that influenced the formation of diverse Korean ceramic collections in modern Britain.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.622-629
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• 2009

Modern figurative work is designed to have more creativity and characteristic traits by pure thought of the formative ceramic arts. In compliance with the demand which is various the design development could be satisfied an individuality and a taste is become accomplished. In this view, this study looks over expressive aspect of Cubism to present partition as a independent formative ceramic arts is able to contribute emotionally to our whole lives. In this procedure, this work is produced to express a three-dimensional effect and a spatial effect, approaching a figurative side. This is to overcome the limitation of Cubism art expressed in a two-dimensional surface in spite of its multi-dimensional observation of a given object. Accordingly, this study tries approaching pre-understanding of expressive aspect of Cubism which was the important turning-point in 20c art and expansion of the modern ceramic art field before producing the work. This study shows the possibility to become a creative and practical ceramic art work, approaching the new point of view breaking from the established conception. Consequently, the field of ceramic art could be expanded to a part of modern ceramic art as an object of study in art of life.

• (The)Study of the Eastern Classic
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• no.32
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• pp.425-441
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• 2008

Most of Korea's Kyungmaedorock(auction book: 競賣圖錄) and pictorial record of exhibitions in the modern times were usually published in the 1930s. Although 1930s were periods of the Great Depression when economic slump continued because of the aftereffect of the slump in the stocks issued by the US in 1929, during this period, Japan began regular continental invasion starting from invasion of the northeastern area of China. To curio dealers, the 1930s were 'boom period of curio transaction' and in urban cultural aspects, the period is evaluated as the one when the first step of modernism was formed. Collection, photo-printing and arrangement of the data related to modern exhibitions including the Auction Book being published at that time are very important because they enable us to know characteristics of fine arts in the transition period from paintings & writings to fine arts in addition to enabling us to revert the circulation history of our paintings & writings and curios. Furthermore, these data will become important data for reconstitution of the circulation history of the Eastern Asia's modern art works. Although the pictorial record of Joseon's Exhibitions of Chinaware and Wooden Works(朝鮮陶磁木工展) is a small and thin one, it records our country's high level chinaware and wooden works. Although we can't know the exact time for 'Joseon's exhibitions of chinaware and wooden works', they are assumed to have been held in Tokyo, Japan in the 1930s and there seems to have been sale of works, too. As such, studies of the books such as the auction book and exhibitions under Japanese imperialism have the first importance in the fact that through which we can examine the course of outflow of our art works to Japan. Furthermore, they can be studies of art-sociology that examine flow and phase of recognition and taste of art works of those days. And from now on, comparative studies of auctions and exhibitions being held in Japan such as Tokyo, Osaka and etc. as well as art markets in Seoul during modern times would also be necessary.

• Korean Journal of Heritage: History & Science
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• v.47 no.3
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• pp.128-145
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• 2014

After independence, more introductory books on Korean culture were published in both Korea and Japan, along with various papers briefly presenting relevant materials. There are differences depending on the research field, however, a considerable number of articles about Buddhist paintings were published. Research on Korean sculpture was quite active among Japanese scholars. And numerous articles and publications on Korean painting were also presented in both Korea and Japan. Publications on Korean ceramics were increased as much as in other fields. From the late 1980's through late 1990's, research on Korean cultural properties continued to increase, as many young scholars began to conduct research very actively in Korea, producing many articles to introduce new materials. A small number of Japanese scholars also continued to research Korean cultural properties. The overall number of Korean researchers also increased, as existing scholars were joined by students who went to Japan to study and conduct research, thereby helping to significantly expand the area and topics of research. In this period, the exchange exhibitions between Korea and Japan were increased. Also the substantial research reports was began to be published by the national institution. From the early 2000 thrugh present, in all fields, research has progressed and improved since the late 1990's, with many individuals pursuing a microscopic approach to their artifacts and works. More graduate students have been focusing on Korean cultural properties in Japan as the subject of their master's or doctorial thesis in art history, and overall number of researchers in various areas has increased. In the field of Buddhist painting, painting, and Buddhist crafts some important books and articles have been published. However, research achievements have been somewhat uneven. In the area of ceramics, several significant examples of substantial research reports were published by the National Research Institute of Cultural Heritage. These publications are outstanding references that illustrate the future direction of research on Korean cultural properties in Japan.

• Conservation Science in Museum
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• v.8
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• pp.13-24
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• 2007

The Department of Fine Art requested the conservation science team to examine the technique of painting with gold powder on the gold painted porcelains, which were made in Korea and China, among the items possessed by National Museum of Korea in order to publish it in the research paper collection of the Exchange Exhibition of Korea and China Porcelains. Among the items possessed by National Museum of Korea, such items were included as, an item of Koryo inlaid celadon (No. Gaesung 106), called the celadon with inlaid work (Korean name: Cheongjasanggam suhawonmun geumchaepyunho), which was decorated in the layer of glaze using gold power, an items of tea cup called "Temmku da wan" (No. Bongwan 10011), which was manufactured in the time of Song dynasty of Chinese history, an items of gold cup called "Siyuchohwamun hwageumwan" (No. Bongwan 2027), and an items of a porcelain called "Siyuwan" (No. Duksoo 3322). As the result of the examination, the stabilizing method of baking the decorated porcelains is similar, after they are painted with the pigment mixed with fine gold powder and the glaze solvent, but the treatment method of the colors is a little different among them. In other words, there is a big difference between them, for example, in the case of Koryo celadon, because the gold coloring was painted carefully one by one on the splendid decorations of inlaid works, while in the case of Chinese porcelains, butterflies or arabesque designs are decorated on the layer of the glaze in the porcelains of no decoration, using the stencil skill. According to the result of this examination, the part of the porcelain, whose layer of gold color was peeled off, could be restored, and as the result of the restoration, it was confirmed how beautiful and splendid the gold porcelain had been at the time of being manufactured.