• Journal of the Korean Society of Food Culture
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• v.19 no.5
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• pp.477-483
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• 2004

The aim of this thesis is to study how tableware china has developed, on the basis of social and cultural changes, during the latter period of Chosun Dynasty. First, general sociological background of Chosun Dynasty has been reviewed. To examine the kinds of tableware china and their use during this period, this thesis is based on Asakawa Dakumis 'A ceramic ware of Chosun Dynasty' one of the most thorough references available in the field. Various antiques and remains of different periods were compared to study the changes in tableware china types and uses In conclusion, the development in food culture brought the changes in tableware china. Tableware china and food has developed together complementarily throughout the latter period of Chosun Dynasty.

• Journal of the Korean Society of Food Culture
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• v.21 no.6
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• pp.571-576
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• 2006

The purpose of this study, where the subjects are people with the job related to cooking or are culinary expert, is to investigate factors that influence consumer's satisfaction on the tableware seen on broadcast, magazine, food service industry and/or other media. First, this study demonstrates three factors that influence on consumer's satisfaction : first factors of the shape, the color, the size of the tableware, second factors of the shape, the color, the quality of the food, third factors of the design, the color, and the quality of the tablecloth.Lastly, this study shows satisfaction that can be affected between the tableware and the food, between the food and the tablecloth, and between the tablecloth and the tableware.In conclusion, the primary factors that influence on consumer's satisfaction are the color of the food, tableware, and tablecloth, that reflects that visual role plays an important role in the food service industry. From now on. more study that will go into details is expected.

• Journal of the Korean Society of Food Culture
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• v.23 no.3
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• pp.308-317
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• 2008

Throughout history, tableware has attained an important position in human culture, and historical eras are clearly reflected in the shape of tableware items, which are tied to the cultural background of foods. In particular, the distinctive qualities of foods within a food-culture, such as the means for cooking, storing, or eating, have impacted the usage and shape of tableware along with the food behaviors of individuals. Korea, China, and Japan have all played important roles in producing limitless amounts of high quality porcelain products and take pride in being leaders of the world's porcelain production industry. Based on their natural geographical proximity and political and cultural exchanges, these three countries have long influenced one another not only in terms of technical concepts but also in improving quality within the tableware industry. Thus, by comparing Korea, China, and Japan's evolutionary interdependable variance with regard to their tableware, food-culture, and food-behavior, one can provide information on the historical stream and cultural exchanges relevant to china and porcelain. Ultimately, through the examination of tableware, the conclusions of this conceptual study offer researchers a deeper understanding of the historical stance of food-culture and contribute new and useful information for the future.

• Smart Media Journal
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• v.11 no.7
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• pp.39-51
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• 2022

Tableware is among the important necessities of daily life, and children's tableware is especially valued by the society. Under such social background, a study centered at users of children's tableware was conducted from four aspects, including health & safety, sensory experience, behavior guide, and emotional cognition. Children's tableware products were evaluated using the Q method to understand users' cognition of children's tableware products. The interviewees' views about children's tableware design in China can be divided into four types,and put forward different psychological needs for these four types, In the interviews, some interviewees suggested that the ergonomic and regional cultural differences shall all be considered during children's tableware design. Therefore, this study evaluates the design preferences of Chinese children tableware and validates the results of the paper based on the results.

• Journal of the Korean Dietetic Association
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• v.26 no.4
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• pp.269-277
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• 2020

The perception volume, intake volume, and satiety rate of rice, soup, and side dishes using tableware and food trays were analyzed. Rice, beef, soup, and side dishes in tableware (1^st week) and the same menu in food trays (2^nd week) were served to twenty-nine female college students over two consecutive weeks (BMI 22.1 kg/㎡, Age 22.9 yr). The results showed that the perceived volume of soup served in tableware was significantly higher than when served in a food tray. On the other hand, except for the perception volume of soup (tableware: 174.80±19.40 g, food tray: 136.14±12.77 g, P<0.05), there was no significant difference in the food perception volume and food intake volume using tableware and food trays between the two groups. The satiety rate of the food tray group (6.68) was significantly higher than that of the tableware group (7.42) after one hour (P<0.05). However, except after one hour, the two groups' satiety rate showed a similar pattern. In most of the comparisons, the results showed no difference between table ware and food trays. Besides, the use of food trays has advantages in terms of easy to manage and convenience. Therefore, food trays might be a better option instead of a tableware.

• Archives of design research
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• v.14 no.4
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• pp.65-75
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• 2001

The movement towards fashion and east-west culture in housewares has placed a requirement upon tableware to be varied and segmentized meals have become more than simply what to eat, where to eat, and how to eat This issue created demand for both practical and aesthetic tableware, that satisfies modern eating habits and lifestyles. Therefore, the following research was commenced in order to assess the development of contemporary tableware and tablecloths that try to harmoniously accommodate tradition and modernity while evoking a younger feel and sophistication. The direction of this study lies in introducing an innovation to tableware, one not based on predetermined combinations, but on an unlimited number of open coordination concepts, an innovation that satisfies movements towards itemization, specialization, and variation of the fashion and fusion represented in the culture of the dining table, and furthermore, the objective of this study lies in the transformation of the conservative image of the Woo Il Yo brand in order for it to exhibit modern sensibilities through a harmonious combination of tradition and modernity, as seen in a new tableware design that provides various table settings that implement color coordination through a mix and match concept The development objective of the design efforts was focused on lunch ware comprising of the following: 15 pieces of tableware items based on 15 tableware designs, 4 pieces of tablecloth items based on 3 tablecloth designs, all combined, comprising 19 pieces of design. Additionally, a dinnerware line was also developed comprising of 8 pisces of tableware items originating from 8 tableware designs and one tablecloth design resulting in one item. As a result of the research, S/S lunch ware line was developed comprising of 15 items of tableware and three tablecloth designs, and a F/W oriented dinnerware line was developed comprising of 5 items.

• Journal of the Korean Society of Food Culture
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• v.28 no.1
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• pp.31-40
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• 2013

The purpose of this study is to analyze external elements of 'time series table serving' and to discover any problems in the table setting. We selected two traditional Korean restaurants in five-star hotels and two representative traditional Korean style restaurants and analyzed the tableware arrangement of their table settings. The results are as follows. In restaurant A, the arrangement of different styles of tableware made from a variety of materials seemed relatively natural. However, the dessert plates were 'Buncheong' ware made with 'Bakji' method; in this case, the pattern was larger than the size of the fruits served and made the food inconspicuous. Rather than using plates made with a 'bakji' method, using plates with small patterns in the 'johwa' method would complement the food. In restaurant B, the space between the tableware, spoon and chopsticks was narrow, and the spoon and chopsticks sets would not fit on the table pads when large dishes or multiple dishes were served. In this case, changing the dishes to smaller sized dishes, considering the size of the table pad, or not using the pad at all would solve the issue. In restaurant C, too many small dishes were laid on the table, making it look disorderly. We believe that recovering tableware that is no longer in use, laying dishes and cutlery inside of the table pads or not using the table pad would be better. In restaurant D, the same style and color of dishes were provided 9 times. The lack of variety could be tedious to customers. The forms and colors of dishes should be changed in accordance with the order of the meal served. However, when using tableware created by different methods such as 'Buncheong' ware or white porcelain, the same pattern should be chosen in order to elevate the dignity of the table menu through uniformity. These issues in tableware arrangement indicate that external forms of banquet table setup should be studied so that the culture of Korean traditional cuisine can be enriched.

• International Journal of Contents
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• v.9 no.4
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• pp.92-101
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• 2013

Chinese auspicious element is a kind of art which is used to express yearning of a happy life. It is one of the great treasures of China, with not only emotional value of the people but also an aesthetic value. Chinese auspicious element derives from the aspiration of luck, enthusiasm of life and conciseness of eliminating malicious. It is of great cultural connotation and widely used in interior design, graphic design, fashion design and such. There are many research papers on application methodology of auspicious elements; however, there are very limited research papers on three-dimension product, let alone application in tableware. This paper focuses on illustration of Chinese representative auspicious element "auspicious fish" in tableware design. The research of its application of auspicious element's styling characteristics is of important significance in auspicious element spread and tableware design. This dissertation aims to provide referential design methodology and experience for later researches on related topic.

• Journal of Science of Art and Design
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• v.2
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• pp.42-89
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• 2000

Industrial ceramic of Korean industrial design, especially tableware show different characteristics in their forms between 1940s-1960s, and 1970s-1990s. The shift of such changes can be verified objectively by module measurement. The validity of the results applying this method is supported by the investigation of the change of aesthetic modes in Korean society. The most obvious change in the figurative characteristics of tableware is in the outline of their external shapes. 'Module' is used to describe and analyze the changes of such an external shape more strictly as the objective method and measuring the module is employed. This method was developed by the combination of the method analyzing figurative art works by Re Corbuise who uses 'module' with Hambidge's method to describe and analyze the works by means of the golden section. The shift of flgurative changes of tableware could be examined objectively and elaborately by such a newly developed method. The industrialization of tableware production in Korea was begun in 1940s. Then its design was not activated, but as the society has been stabilized through the liberation and civil war, design was settled in 1960s. After that, the design has played the essential roles in 1970s. And as the importance of design in producing goods has been recognized according to the economic growth. The design of tableware shows a remarkable difference based on 1960s and 1970s in such an economic growth. It is resulted from the scientific data analysis of the design since 1940 without any preference. According to the results which analyze the external shapes of tableware for last 50 years, the tableware designs show much differences between 1940s-1960s, and 1970s-1990s. The figurative changes of Korean tableware show the similar trends to the transitional aspects of the society. Design is the manifestation of aesthetic modes which have been developed in a close relationship to society and especially economy. In Korea the development of design was initiated by the economic growth and the Korean aesthetic modes were also changed with the economic growth. The transitional shift of aesthetic modes shown in the figurative characteristics of tableware which are divided on the basis of 1960s and 1970s was peak in 1970s with the development of economy and design started in 1960s.

• Smart Media Journal
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• v.11 no.8
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• pp.47-54
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• 2022

It is necessary to discover Korea's diverse traditional culture and publicize it to the world to continue the Korean Wave and develop it in a more positive direction. The present study proposes methods for publicizing little-known 'traditional Korean ceramic tableware' by focusing on Hansik, which is the most frequently published in the British Oxford Dictionary among Korean traditional cultures and can best represent Korean food. To this end, the present study measured cultural recipients' emotions regarding traditional Korean ceramic tableware to derive the 'representative emotions felt regarding traditional Korean ceramic tableware' as a method to reflect it in the design. First, the Delphi Technique was carried out based on 182 emotional vocabulary items collected from existing studies to create 33 groups of emotional vocabularies with similar concepts. In addition, among the emotional vocabularies included in each of the 33 groups, those of overlapping concepts were regrouped based on the characteristics of traditional Korean ceramic tableware, and the most appropriate emotional vocabularies were extracted and reduced to 75. A survey was carried out with 135 cultural recipients experienced with traditional Korean ceramic tableware to derive 32 representative emotions felt regarding traditional Korean ceramic tableware. Finally, from the results of a factor analysis of 32 representative emotions, this study classified vocabulary into six emotion categories including 'aesthetic, pleasure, freshness, ownership, satisfaction, and comfort'. The six emotion categories and 32 representative emotions derived from this study's results can be utilized to measure emotional levels felt by cultural recipients while using traditional Korean ceramic tableware.