• Journal of the Korea Furniture Society
• /
• v.21 no.1
• /
• pp.1-16
• /
• 2010

Furniture is a medium to interconnect the living space to human, and it is the closest environmental element that limits the functions of the space, defines the style of the living, and adjusts the actions and behaviors of human. Therefore the furniture can be said to be one of the craft arts that reflects the culture and living style as they are according to the periodical, regional, and social stratum characteristics. Within this context, this study tries to suggest new design and living culture that can harmonize with the modern residence living culture and incorporate the traditional varnishing technique with lacquer that had been discontinued. Coming to the modern days, the varnishing with lacquer is getting attention again with its environment friendly characteristics and antibiotic functions, and is being applied to various applications. To inherit and maintain such an excellent traditional culture, I would like to improve the practicality by applying to modern furniture, and to contribute to develop and tell the world about the superiority of our culture.

• Journal of the Korea Furniture Society
• /
• v.28 no.1
• /
• pp.80-87
• /
• 2017

As modern society attaches important to a value in mental aspect and characteristics of consumers who become diverse and individualistic, lighting design also changes closely with everyday life. This study suggests a new concept of indoor lighting design, combining natural objects with lattice and Korean paper, one of our representative traditional materials in lighting design used in everyday life. In particular, it was designed with aesthetic sense of traditional culture and Korean sentiment besides external effect and function by combining Korean paper with natural objects such as insect and plant, material that could be easily obtain around us. As a result, it is intended to enhance quality of life and pursue happiness by suggesting a new concept of lighting design which is modern, harmonizes with everyday life of modern humans who become individualistic, and can arouse sensibility, overcoming the limitations of traditional lighting in indoor lighting.

• Journal of Digital Convergence
• /
• v.19 no.7
• /
• pp.303-312
• /
• 2021

The Possibility of contemporary ceramics creation through the convergence of materials In modern society, the creation of new values through convergence is emerging as a new trend. Modern potters are also trying to expand a new concept of art by combining various materials with other media. In craft, materials are essential and the most fundamental elements of expression. Therefore, from the viewpoints of various fusions, the significance of the fusion between materials will be explored. Also, focusing on paperclay, which is the most likely to be transformed material, we explore creative possibilities in the process of producing materials and works. Chapter 2 presents the concept and significance of fusion and material properties, and introduce the trend of fusion used in contemporary ceramics as material expression. In Chapters 3 and 4, characteristics and possibilities are examined through paper clay production and presentation based on the structure of the previous analysis. As a result, it is intended to present the direction that modern ceramics should pursue through a fusion phenomenon such as bonding between materials in the future and to explore potential possibilities for development.

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

• Journal of Korean Medical classics
• /
• v.32 no.3
• /
• pp.59-71
• /
• 2019

Objectives : This paper looks at the history of East Asian acupuncture and moxibustion in the context of the general orientations of craft and art. It is understood that acupuncture and moxibustion was the ultimate integration of reason and craft in which text and experience mutually influenced each other throughout its development. In Joseon, the pursuit of integration between the body and the order of the Heaven and Earth was particularly prominent. Methods : As in the words of Zhunagzi(莊子), the state in which something that deeply touches the mind manifests in the hands has been understood as the ultimate state in modern and ancient art. Starting here, I examined the possibility that Korean acupuncture and art has evolved from such foundations step by step. Major acupuncture and moxibustion texts were examined historically, starting with "Shenyingjing(神應經)", leading to "Junggan-Shenyingjing (重刊神應經)", "Chimgu-Gyeongheombang(鍼灸經驗方)", "Chijongjinam(治腫指南)", "Chijongjinam-Joseonchambon治腫指南朝鮮?本", "Chimgutaegilpyeonjip(鍼灸擇日編集)", "Chimgu-Myeonggam(鍼灸明鑑)". Introductions and main contents of the texts were analyzed and presented appropriately. Results : East Asian acupuncture and moxibustion has developed based on the study of pathways that correspond to Shen, of the accordance and harmony between body and the order of Heaven and Earth together with theoretical refinement, technical development, and acceptance of new discoveries. In the perspective of craft, this was motivated by artistic passions such as '得於心 應於手' and '醫者意也'. In the case of refined acupuncture methods, due to their difficulty in education and transmission there has been some fluctuation. Conclusions : Korea, China, and Japan share a largely similar philosophical and cultural basis. Reason and craft, text and experience mutually influenced each other while the core of refined acupuncture was widely shared. However, a certain bifurcation point could be detected.

• The Journal of Art Theory & Practice
• /
• no.8
• /
• pp.7-31
• /
• 2009

This thesis is a study on Sook-Jae Lim(1899~1937) and Korean modern design. In modern Korea, design like most cultural advances came from western culture, that was introduced via Japan. So Korean design can be betterunderstood from observing Japanese modern design history. The research on Japanese modern design, however, is not being done actively. Sook-Jae Lim was the first Korean to graduate from the Department of Design at Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). He died at a premature 38 years old, so very little of his works exist. That makes the study about him very difficult. From this perspective, the study aims to examine modern design concepts and styles accepted into Korea from Japan and position Lim as an early design pioneer in Korean design history, by using research of Korean and Japanese design fields in the modern era with focus on Lim and his works. Chapter II researches the process of how the concept of design was formed in modern Japan and how the "Art-Nouveau" style not only represents early modern design but also features Lim's works dominantly. Chapter III looks into the process of how the concept of design was formed and which design styles were introduced and applied in modern Korea. Chapter IV analyzes how Lim's viewpoint on design and his works were developed with observations about the tendency of the Japanese design field and curriculums of the Tokyo Fine Arts School during the period of his college days.

• Journal of the Korea Furniture Society
• /
• v.25 no.3
• /
• pp.173-181
• /
• 2014

Since the onset of the 21st century, digital technology has been widely adopted in various fields of art; it has enabled artists or designers to try diverse and brand-new ways of expression in literally every possible field of art, including painting, sculpture, and other design work. Furniture design is no exception. From the initial design step to the final production of furniture, modern digital skills are broadly utilized, creating a whole new set of designs that would otherwise be hardly conceivable and realizing a highly efficient furniture-making mechanism. More recently, the 3D printing technique, which is called a 21st century alchemy, has been successfully commercialized and is getting more popular, heralding yet another innovative shift in the area of furniture design and production. In this context, this study discusses the background of the furniture design using digital technology, and identifies the correlations between the modern digital technology and furniture design by redefining the concept of such digital technology. By reviewing multiple real-life cases, some of the key digital expressions found in modern furniture design are also analyzed. This study aims at suggesting the reason why digital technology is significant and promising in diverse ways for the development of modern furniture design.

• Lingua Humanitatis
• /
• v.8
• /
• pp.79-93
• /
• 2006

The modern play is going through a change that is differentiating it from the plays of yesterday. The importance of narration through language, specifically that of words spoken on stage as a means of communication is being replaced by images and minimalism of words. The narration that depended on spoken words today depends more on the images that are conjured on stage. This movement shows also the very development of stage and its craft in the domain of theater and especially holds true in the avant-garde theaters of today. The avant-garde theater, in trying to duplicate the reality does not confine itself to oratory rhetorics that we see in the traditional plays of the past but expresses itself by mimicking the reality to the utmost possible.

• Journal of the Korea Furniture Society
• /
• v.12 no.2
• /
• pp.91-103
• /
• 2001

Modern Art Furniture has been represented new idea and energy for futuristic furniture design by interacting and confronting with 3 points of view, which are; the idea and emotion of art, the form and concept of design, and the technique and materials of craft. Besides, meanings of modern Art Furniture are also can be described as followed. First, offend of concept of furniture design area to art, second, help to raise the social status of people by making art to be popularized, third, present a new direction of futuristic furniture design culture. Art Furniture design area, which has been trying to make a constant approach to human consideration and sensibility, leads new furniture design culture as an independent art genre in this 21st Century.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
• /
• 2008.10a
• /
• pp.42-45
• /
• 2008

Derivation of modern products from the by gone age has contributed much for the new modern living. It has been generally recognized that the various ethnicities in Borneo with different backgrounds had made Borneo a place of cultural diversity. However as time passed, most indigenous products are no longer in used or are stored in poor condition. Most products nearly aged over a century are still in a good condition with invaluable sentiments. Indigenous product is an artifact that had been designed and used by certain community of people such as tools, clothing, crafts and goods. Each design may have its own identity to the community. Some of the indigenous products which are no longer in use at present are kept by the community as their collections. The research reveals similarities in the interests of indigenous products, concerns and realities of indigenous communities from the different regions. The study suggests that learning about indigenous materials, such as hand-made products and machine-made products is necessary for the local industry to develop a product identity that is distinctly local. Most indigenous products show evidence of connections to old traditions, yet are new to the design market.