• Journal of the Korea Furniture Society
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• v.27 no.2
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• pp.145-153
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• 2016

Today, furniture design, which is changing and diversified, a movement to search a new formative world while reviving our traditionality is continuously proceeded, that implies a new possibility in our culture. In respect of such diversified materials, Korean traditional paper, Hanji (韓紙), has already been acknowledged with its excellence. Also, Hanji is a material that fully contains aesthetic consciousness of Korean people, accordingly, this research investigated and analyzed mainly with Sarangbang furniture among Joseon antique furniture, in order to study the possibility of Hanji decorated furniture as the objet in our interior space. This research utilized Paper cut technique (剪紙技法) among Hanji Crafts technique of expressive elements of Sarangbang furniture using Hanji, which is to make patterns and attach them by cutting out or engraving colored papers using scissors or graver to the wooden frame (白骨). Through this, this research could investigate production process utilizing Paper cut technique, also, Sarangbang furniture utilizing such Paper cut could be settled down as the objet with functional aspect and aesthetic completion in our interior space. Also, the researcher presents value of our original furniture by suggesting final output and considers that systematic researches should be conducted continuously on furniture henceforth utilizing Paper cut technique.

• Journal of the Korean Home Economics Association
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• v.24 no.4
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• pp.139-146
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• 1986

The purpose of this study was to identify aesthetic concepts of‘Sarangbang’furniture during the Yi-dynasty period and aesthetic descriptions indicating each concept expressed by experts in traditional furniture. The furniture selected for the study includes desks, table bookcases, document and stationary boxes (mungab), letter holders (Kobi) and inkstone boxes (younsang) with lacquer and oil finish on. The respondents were 72 traditional furniture experts; researchers collectors, sellers and artists related to period furniture. The important points of aesthetic descriptors were collected 123 from related literature. From experts' answers, 47 representative descriptors were selected. Data were analyzed with the SPSS using frequency, Percentage mean, factor analysis, t-test and C2. The results were as follows; 1. The aesthetic concept of sarangbang furniture during the Yi-dynasty can be categorized into 9 aspects; appearance of beauty, stability the interior space, naturalness, nobleness/harmony of lines, detail/refinement, simplicity, diversity solidity and surface division. 2. The characteristics of the Korean traditional furniture can be described using 47 descriptors explaining 9 concepts mentioned above.

• Korean Institute of Interior Design Journal
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• v.21 no.6
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• pp.147-157
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• 2012

This paper aims to examine the fundamental relationship of what principles cause the aesthetic shapes in Korean sarangbang furniture of the $19^{th}$ century. Focusing on the Greimas' isotopic and semantic structure analysis, this research analyzed the traditional Korean men's furniture in four steps; signifier analysis, isotopic analysis, semantic structure analysis, and comprehensive interpretation. The results show that the expressive qualities of sarangbang furniture included visual symmetric aesthetics, and the hues of natural materials with dark tones. The manufacturing process emphasized the characteristics of natural materials; while diversity was respected in decorations, function as restrained form was also important with a concise image. Through these characteristics, sarangbang furniture revealed a balance, a harmony of contrastive elements, and a restrained aesthetics. Within these qualities, it was seen that aesthetic principles, such as "severance and communication," "artifice and nature," "restraint and manifestation," "toughness and softness," "filling and emptying" and "decoration and utility" were in a mutually supplementary relationship. At the basis of this aesthetic thought appears to be Confucianism, which had been the model for seonbi politics and scholarship.