올림픽 記念品으로서 觀光民藝品 開發에 關한 硏究

추원교 한국관광학회 1984 관광학연구 Vol.8 No.1

韓國民畵의 發生에 關한 硏究 : 17,8世紀 李朝民畵를 中心으로

秋園敎 朝鮮大學校 1977 綜合論文集 Vol.1977 No.-

다이아몬드 반지 디자인의 가치평가에 관한 연구

추원교,허순범 한국조형디자인학회 2007 조형디자인연구 Vol.10 No.1

제품의 다양한 디자인 가운데 소비자들이 어떠한 요소를 중요시 하며, 이를 바탕으로 어떠한 가치평가를 내리는가는 디자이너와 마케터에게 있어서 매우 중요하다. 이를 기초로 디자이너는 상품을 디자인하고, 마케터는 마케팅 전략을 수립할 수 있기 때문이다. 또한 소비자들이 원하는 만족을 주어 기업성과에 있어서도 디자인을 핵심 경쟁수단으로 활용할 수 있음을 보여준다. 본 연구에서는 디자인의 중요성이 큰 다이아몬드 반지를 그 대상으로 선정하여 소비자들이 디자인 가치를 어떻게 평가하는지를 알아보았다. 연구는 20대-50대의 다이아몬드 반지 구매의 의사결정권을 가진 여성 고객을 대상으로 이루어졌다. 먼저 정성연구를 통하여 다이아몬드 반지 구매 시 중요하게 고려되는 속성들과 디자인 요소들을 추출하였고 그 결과를 토대로 대규모 설문이 이루어졌다. 본 연구 결과 첫째, 다이아몬드 반지 디자인 단계에서 디자인 가치평가가 어떻게 이루어지는지를 밝히는 이론적 의미와 둘째, 다이아몬드 주얼리 디자인에 있어서 향후 디자인 전략의 기초 자료로 사용될 수 있으며, 시장에 제품을 내놓기 전에 자체적으로 디자인 가치 평가를 통한 사전 디자인 평가의 방법론적 의미와 실무적인 시사점이 논의된다.

한국공예의 육성정책

추원교 한국공예학회 1999 조형디자인연구 Vol.2 No.2

This paper is designed to explain the governmental policies of aiding and promoting the modern craft art in Korea since 1945 and to study the interrelationships among the governmental policies, the educational system, and society. It explores how the Korean government supports the organizations of small craft businesses, artists, and apprentices by using the policy guidance, the financial and educational systems. It emphasizes the importance of the educational system as a point of connection between the companies and artists. Finally this paper discusses the role of the artistic events such as competitive exhibitions organized by governments and craft art associations in the development of the craft art. It seeks to demonstrate that the government, the educational system, and society cooperate closely in Korea to promote the modern craft art. Since 1945 the areas of the modern craft art has become divided into three different areas. As a result artists, merchandisers, and the policy-makers of the government cannot work together to promote the craft art. The crafts in the first area have been produced by small business merchandizers without any artistic interest. These items include domestic wares and decorative objects. The second area has been developed by artists who pursue their craft art for their own artistic purposes. The third area exists as the traditional craft which preserves the traditional techniques of the craft art by raising the apprentices. After the new Korean government has decided to promote the knowledge and cultural industries for the 21C, modern craft art businesses have begun to attract attention from Korean society. Yet the above three areas do not know how to cooperate one another. This paper suggests that it is urgent to find a way in which merchandizers respect and accommodate the artistic intentions of the craft artists. Merchandizers and artists also pay careful attention to incorporate the inherited traditional techniques in their respective areas. The close cooperation among three areas will contribute to developing the industrial craft art.

한국산업공예의 활성화 방법 연구

추원교(Choo, Won-Gyo),이형규(Lee, Hyung-Kyu) 한국조형디자인학회 2000 조형디자인연구 Vol.3 No.1

The parad igm shift in indu stria l cra ft at the end of 20th Century is so fast that produ cers. managers. and cra ftmen need to adapt themsel ves to the cha nge. Due to the government' s emphas is on ex port. se rious att enti on and in vestment have been made in indu strial design departm ents . Yet the role and Iuction of industri al craft department has been dimini shed. Thi s study takes a historical approach to explain the formati ve peri od of indu stri al craft and to find an alte rnative pl an for the indu stri al craft ac tivatio n meth od in the 2 1s t Century in Korea. It also seeks to provide a new vision in the area of industrial craft. It explains the degree of general publ ic' s recog nition of Korean industrial craft, the sys tem of craf t education in the uni ver siti es, the gove rnmental polic ies, the sys tems of produ ction, marketin g, adve rtisement, and the composition of design in comparison with those of foreig n countries. This study suggests that the following steps must be taken to activate industrial craft. First, it is necessar y to es ta blis h a special guidi ng craft fac il ity . We hav e not o nly an organized gove rnmental supporting sys tem, but also have a clear concept for industri al craft in Korea. It needs to develop and increase togeth er busin ess and creating product so that it can improve the effect. Seco nd, it is necessary to protect design property right in industrial craft. It has long and such harmful coping design history, and that is why some of investors hesitate to invest their capital. The produ ct s with pir ated design must never be so ld anymore in any mark et with mor ally matured soc iety. Third, it is necessary to deve lop a corporation sys tem between industrial craft companies and un iversit ies . The soc iety and government have responsibiliti es to ree duca te designer s and mac hanics , and techni cians for impr oved qualit y of the design. Also craf t companies co uld have bett er chance to have goo d designer s if they take co llege stude nts as intern employees before their graduation. The intern students can famil iari ze themselves company sys tems and develop practical knowledge. Forth, it is necessary to cultiva te cultural and socia l poli cies. It is bett er to have simple rmarketing and distr ibuti on struc tures to activate industri al craft business. It will be helpful to open all-year-round ga llery and museum for craft products , to develop databases, long term plan s, and information centers. Creative design from cultura l identity can only survive in the internat ional market. Fifth, an effort needs to be made to guide our dayli fe co nsumer patt ern s with usin g good quality crafts pr odu ced within the se nse of our traditi on al valu es and th e tim es . Mod ern cra ftmen and busin essmen in Korea must coo perate to produ ce new images of cultural crafts for the buildup of international marketin g potent ials. The importance of cultural identiy must be emphasized as a point of connection between the industrial products and creative cra ft arts. This pape r concludes that it is urgent to find a way in which diverse craft areas can coopera te to deve lo p a lon g-t erm plan . A devel opment of new desi gn produ ct s , an improvement of dist ributi ve struc ture, a rev ision of gove rnmental supporting sys tem, and the achievement of international competitiveness will contribute to developing the industrial craft art in Korea.

조선시대 관복본 초상화에 나타난 족좌대의 변천과정

추원교(Won Gyo Choo),방진희(Jin Hee Bang) 한국디자인문화학회 2013 한국디자인문화학회지 Vol.19 No.3

본 연구는 조선시대 초상화에 그려진 족좌대에 관한 연구이다. 공신이나 관직에 있었던 사람들이 교의나 의자에 앉아 발을 얹고 있는 초상화에 족좌대는 거의 필수적이었지만 현존 유물이 없는 실정이다. 조선 초기 초상화는 고려 말을 계승하였고, 족좌대도 마찬가지다. 1453년경의 <신숙주 초상>은 고려 양식을 이어 조선의 족좌대 양식을 보여주는 최초의 초상화이다. 이 양식은 공신상 족좌대의 모범으로 1712년 연잉군 초상까지 이어졌다. 공신상의 족좌대 양식은 정면과 측면의 머름칸 구조와 구름형태로 정교하게 조각된 다리이다. 머름칸 안에는 <손소 초상>부터는 4가지 도형들이 그려졌다. 조선 중기에는 중국 초상화의 팔자형 혜나 호피깔린 의자, 자연스러운 나무결을 좋아했다. 17세기부터 청(淸) 말기까지 지속된 정면관은 잠시 조선에 나타났다 사라지고, 8~9분면의 조선 초상화 양식으로 돌아선다. 중기에는 중국풍의 영향을 <김석주 초상>에서 보듯 천판 위나 아래에 호피나 표피머리가 있고 정면은 다리가 없이 기하학적 안상문(眼狀紋) 형태로 오려낸 족좌대가 선호된다. 천판에는 18세기 중반까지 청색이나 녹색테를 두른 민돗자리가 깔리기도 하지만, 18세기 초부터 화문석이 깔리기 시작해 조선 말기에는 화문석이 거의 놓여진다. 후반기에는 족좌대 형태도 낮은 다리굽이거나 없는 형태에, 전면은 길상문, 불교적 보상화문 등이 조각되며, 목재의 색은 중후한 느낌을 주는 짙은 자단같은 목재의 색감이 선호되고, 19세기 말 <이하응 초상>에는 다시 머름칸 구조 양식에 장석으로 감싸주는 형식이 등장한다. 족좌대는 중국이나 일본 초상화에도 있지만, 고구려 벽화에는 보이지 않는다. 족좌대는 송(宋)의 발받침 양식과 원(元)의 교의 습속이 어우러지면서 발전된 양식으로 생각된다. 조선 초상화에서 족좌대는 공간의 허(虛)를 채워주었고, 보여지는 나를 중시하던 조선의 유교적 문화에서 품격있는 모습을 보여줄 수 있는 조선 특유의 초상화가 창조한 양식이었다. This study deals with footstools shown in the portraits of the Joseon Dynasty period. A footstool was an indispensable element in the portraits of either meritorious retainers or government officials, who sat down on a chair and put their feet on it. Unfortunately, now we have no existing relics of those footstools in the portraits. In the beginning of the Joseon Dynasty, the way of drawing portraits succeeded that of late Goryeo. As such, the footstool did too. <Shin Suk-ju’s Portrait>, drawn around 1453 in accordance with Goryeo``s drawing style, was the first portrait with a Joseon-style footstool. The footstool in Shin Suk-ju’s portrait represents that which was used to portray meritorious retainers, and continues to appear up to Prince Yeoning’s portrait in 1712. This footstool in the portraits of meritorious retainers shows the wainscot structure on both the front and the side while the leg is exquisitely carved with cloud patterns. Since <Shin Suk-ju’s Portrait>, or the so-called <Son Soh’s Portrait>, the paintings used four kinds of Fig.ures in the space of wainscot. During the mid-Joseon Dynasty period, Chinese-style elements such as 八-shaped shoes, a chair with the rug of tiger skin, and natural wood grain gained popularity. In this context, the splendid expressions made with gold dust on the varnishing or the front style, which existed from the 17th century until the end of the Qing dynasty, appeared for a short period in Joseon Dynasty, only to disappear soon after. Then, Joseon``s portrait style returned to the typical 8th to 9th-division portrait. With the influence of the Chinese style in mid-Joseon, as shown in <Kim Seok-ju’s Portrait>, one can observe a preference for a footstool with the fur of a leopard or tiger head either on or below the top board. Furthermore, the front of the footstool does not have legs while it shows a pattern in the shape of an elephant’s eye carved in. Until the mid-18th century, a plain-pattern mat surrounded by either a blue or a green frame was spread on the top board, However, from the beginning of the 18th century during King Sukjong’s reign, a flower patterned mat replaced the plain one. Since then, in most cases during the late Joseon dynasty period Fig.ured mats were spread on the top board. During the latter period of Joseon Dynasty, the form of footstools was characterized by its low or no heels while the front was carved with patterns symbolizing happiness and longevity or Buddhistic floral medallion motives on the 2nd or 4th column. In terms of the colors of the wood, the most popular one was that of thick rosewood which delivered a sense of solemnity. At the end of the 19th century, in <Lee Ha-eung’s Portrait>, one can find resurgence of the patterns of the wainscot structure, now surrounded by metal strips. Footstools were drawn in both Chinese and Japanese portraits, whereas they cannot be found in Goguryeo’s murals. In this vein, it can be inferred that footstools may have been developed from a harmonized amalgam of two strands: Sung (宋)’s leg-rest style and Yuan (元)’s fold-down chair style. In Joseon Dynasty’s portraits, the footstool had mainly two functions. First, it filled in the emptiness of space. Second, considering Joseon Dynasty’s Confucian culture which places much importance on how it is seen, it contributed to exhibiting dignity in the portraits of the Joseon dynasty.

한국남성의 신변장신구에 내재된 문화적 정체성

추원교(Choo, Won-Gyo) 한국조형디자인학회 2003 조형디자인연구 Vol.6 No.1

Korean men of the late Joseon Dynasty lived in a culture where the philosophy of Chu Hsi, or Neo-Confucianism, prevail ed as the ruling ideology of rural society and religion . In particular, scholars , who cons tituted the ruling class in that era , tried to follow the cour se of nature in all that they did. They took pleasure in arti stic pursuits such as poetry, calligraphy and ink and bru sh painting in everyday life. Also, Korean men at that time were highly conscious of what others thought of their beha vior and put honor before practical gain. They thought much about moral duty and cultiva tion of charac ter and thus valued the intern al and mental aspects of life. In this cultural contex t, Korean men extended the beauty of accessories to the arti stic and moral dimensions. Th ey expressed the elega nce of quiet rural life and th eir belief in poor but honest living in their personal ornaments . Except for those used in ritual cerem onies, Korean men's acce ssories were neither gaudy nor fancy, even when ornamented with high quality materials. The maj or charac te ristics of men 1 s accessories in the late j oseon Dynasty were as follows. First, although various materials were used to make the acce ssories, the kind s of materials used depended on the social status of the wearer. Second, although rules were frequently made to prohibit luxury, the yangban cla ss, Korean noblemen in the ]oseon Dynasty, rarely observed the rules, wherea s the common people were strictly required to do so. Third, there was an emphasis on hair orna ment and therefore many accessories for the hair. Fourth, elements of folk religion and social values were expressed in the pattern s decorating their accessories. In parti cular , Korean men of the late j oseon Dynast y enjoyed wearing acce ssories carved with pattern s expressing loya lty and fidelity. In conclusion, the sty le of Korean men' s accessories was formed in the late j oseon Dynasty in a culture where scholars and "middle people" - those belonging to the rulin g clas s but engaged in technical jobs - put great importance on honor and form. Though they wore acces sories, they tried to stick to a simple and modest lifestyle. Th erefore, their accessories were simple and plain, as seen in the narrow belt s that men wore around their waists.

선비의 문방용품에 내재된 문화적 정체성

추원교(Won Gyo Choo) 한국디자인문화학회 2004 한국디자인문화학회지 Vol.10 No.4

The spirit of Seonbi centered on neighbors and national development was a support for the society. Since Seonbi concentrated only on studying while paying no attention to their family affairs, rooms where they usually spent time came to get characteristics as a study room. The Culture of Stationery took root in the leading group of the society during Three Kingdoms, and it spread even to the general public in the Corea Dynasty. When it comes to manufacture technology of 4 main stationery, Baekmu paper of the Sinra Dynasty was spread even to China, and paper and inkstones of the Choseon Dynasty as well as ink stick called Songyean of the Corea Dynasty were compared to treasures by Chinese scholars. The 4 main stationery (brush, paper, inkstone and ink stick) all reached a high level. Symbols or expressions implied in the 4 main stationery or other writing materials are about studying, spirit, integrity and dream. Seeing the Culture of Stationery of the Choseon Dynasty as a part of Confucian culture is a exterior view, and a insight into nature was contained in it. With a scent of nature in itself, it is precise and simple without vulgarity. Mild, order-oriented, clear and right spirit of Seonbi, seeking a poor but honest living as the most important principle, can be expressed as elegance of ume flower, scent of orchid, gloss of mum, and clearness of bamboo. The beauty of stationery in the culture of Seonbi gave birth to an elegant, clear and simple style.

한국 산업공예의 인식도 조사

추원교,남미경,이형규 한국공예학회 2000 조형디자인연구 Vol.3 No.2

This study surveyes the degree of recognition of industrial crafts in Korea. The period of time for this survey was from October 10, 1998 to November 15, 1998. The 234 people over than twenty-year-olds working men and women, including students, bussinessmen, teachers and customers answered Q & A paper. The survey investigated 50 questions. The questions are put under the titles of: ① general, ② the design of industrial crafts in Korea, ③ the quality of industrial crafts in Korea, ④ the price of industrial crafts in Korea, ⑤ the information activity about industrial crafts in Korea, ⑥ the distribution process of industrial crafts in Korea, ⑦ the process of the manufacture of industrial crafts in Korea, ⑧ the recognition of the differences between the industrial products and craft arts in Korea, ⑨ the comparison with foreign countries' craft arts, ⑩ the perspective of industrial crafts in Korea. The study reviews the developmental process of industrial craft paradigm with emphasis on systems of market, advertisement, and database of craft design in Korea. This paper concludes by discussing the future role of Korean artistic crafts with cultural identity designed and marketed by the organizations of artists, industries, and government. It seeks to demonstrate that the government, the educational system, artists, and society need to cooperate closely to promote the future craft art in Korea. The producing creative functional art would be the only way to survive and enhance economic well-beings of their country or company from now on. Competitiveness of each country and company would ask more originality and creativity in design than before. After the new Korean government has decided to promote the knowledge and cultural industries for the 21C, industrial craft art businesses have begun to attract attention from Korean society. But each areas do not know how to cooperate one another. This paper suggests that it is urgent to find a way in which all cooperation of Korean craft areas focuses and processes the long term of developmental cycle. Under the plan of long term developing cycle with cooperation, support system by government, and new cultivating design will contribute to developing the industrial craft art in Korea.

위성용 고 신뢰성 Proto-type 보조전원 공급기 개발

추원교(Won-Gyo Choo),김현구(Hyun-Gu Kim),우형제(Hyung-Je Woo),구자춘(Ja-Chun Koo) 한국항공우주학회 2010 韓國航空宇宙學會誌 Vol.38 No.1

위성용 보조전원 공급기는 임무기간 운용 중 위성체 부하에 전원을 안정적으로 공급하여야 한다. 이 보조전원 공급기는 고 신뢰성을 위해 몇가지 제한 사항을 요구한다. 본 논문에서는 이 제한 사항을 모두 만족 시키도록 보조전원 공급기를 설계하였다. 또 보조전원 공급기를 제어하는 회로는 다수결 판정회로를 사용하여 단일 기점 결함이 없도록 설계하였으며, 이를 증명하기 위해 견본을 제작하였고, 시험되었다. The auxiliary power supply for satellite should make the power safe and support it for subsystems during its operational lifetime. Several contstraints should be required to get high reliability. In this paper, the auxiliary power supply was satisifed and designed to be satisified with some contstraints. Control circuits for the auxiliary power supply used majority voter circuits to remove the single point failure. To verify majority voter circuits, proto-type auxiliary power supply was manufactured and tested.