한국현대금속공예에 나타나는 스토리텔링 사례 연구

남화경 한국디자인문화학회 2019 한국디자인문화학회지 Vol.25 No.2

‘스토리텔링’은 인류와 함께 오래전부터 존재해 왔었고 현대사회에 들어서면서 미디어의 발전에 의해새롭게 그 가치가 주목받게 된 이야기 방식이다. 현시점에서 스토리텔링이 주목받게 된 가장 큰 이유는 끊임없이 이야기를 향유하고 창작하고자 하는 인간의욕구와 이를 통해서 삶을 좀 더 풍요롭게 하고 소통하고자 하는 과정에서 비롯되었다고 볼 수 있다. 예술활동에서의 ‘스토리텔링’은 작가의 환경과 정신과의상호작용의 결과물이라고 할 수 있으며, 주변의 사물과 둘러싼 환경과의 관계형성을 작품에 적용시켜 삶에 영향을 주는 매개체의 역할을 한다. 본 연구에서는스토리텔링의 조형적 시각화가 아이디어의 근원이 되는 창조성과 감성에 어필하고, 미래를 만들어내는 힘의 원천인 상상력과 소통의 바탕이 될 것이라는 관심이 연구의 배경이 되었다. 이에 스토리텔링이 작가의작품에 적용되면서 보다 풍부해지는 정서적 교감의사례를 금속공예작품을 중심으로 살펴보았다. 이를 통해 생활에 사용되는 용품으로서의 전통적인 공예품의역할에서 확대되어 감성적 전달로서의 매개체가 되는한국현대금속공예작품의 역할과 가치를 조명하는 데에 연구의 목적을 두었다. 연구 방법으로는 문화콘텐츠로써의 스토리텔링과한국현대금속공예의 특성 및 흐름을 살펴보고, 오랜기간에 걸쳐 일관되게 특정한 스토리를 가지고 구상적 묘사를 바탕으로 작가 내면의 이야기를 표현하는데 주목해 온 한국금속공예가의 작품들 중 조형물, 기물, 소품, 장신구 등 다양한 분야에 걸쳐 선정하였다. 본문에 사례로 제시된 금속공예가들의 작품은 전시, 연구논문, 전문서적 등을 통해 발표된 작가의 대표작으로 범위를 한정하였으며 이 작품은 각각 ‘명상, ‘추상’ ‘기억’, ‘환타지’, ‘상상’ 등의 주제로 추상적인 자신의 내면적 이야기를 조형적 언어로 구체화하고 표현해낸다. 작품들은 작가들의 ‘이야기’를 바탕으로 그들만의 독특한 스토리텔링을 이루고 이는 금속공예라는조형언어를 통해 기물(器物)이 되고, 오브제가 되고, 조명과 테이블이 되고, 장신구가 되어 인체에 착용 되면서 단순히 생활에 쓰이는 물건으로서의 공예품의역할만이 아니라 작가가 전하고자 하는 스토리와 함께 서로 교감하고 소통하게 하는 조형적 사물의 역할을 한다. 본 연구는 이처럼 스토리텔링이 입체를 다루는 조형작가의 작품에 적용되면서 보다 전달력을 가지고이를 향유하는 이의 삶을 풍부하게 하는 사례로 작가와 사용자 간의 정서적 교감을 확대시키는 금속공예작품을 살펴보았다. 이 연구를 통해 스토리텔링이 가지는 긍정적인 소통의 힘이 입체조형예술에 적용됨으로써 메말라가는 현대 산업사회에서 좀 더 감성적으로 소통하게 하고, 풍부한 정서적 전달로서의 매개체가 되는 한국현대금속공예작품의 역할과 가치를 재조명 할 수 있게 되기를 바란다. ‘Storytelling’ has existed with mankind for a long time. And it is the way of story that the value has been newly attracted attention by the development of media in the modern society. The main reason that the storytelling is noticed at this point is the human desire to enjoy and create the story. And it can be said that it came from the process of enriching and communicating life through this. Storytelling in art activities is the result of interaction between the artist’s environment and psychology. It acts as a medium that influences life by applying the formation of the relationship between the surrounding objects and the surrounding environment to the work. This study started with the interest that the visual visualization of storytelling appeals to the creativity and emotion that is the source of the idea, and it is the basis of the imagination and communication which is the source of the power to create the future. Therefore, in this study, I examined the case of emotional sympathy that the storytelling applied to the artist’s works, focusing on metal crafts. The purpose of this study is to investigate the role and value of Korean contemporary metal crafts which is a mediator of emotional communication. The method and scope of the research include various works such as sculptures, objects, art jewelry, ornaments of Korean metal craftsmen who have been paying attention to expressing the inner story of the artist based on the conceptual description with a certain story consistently over a long period of time. And the representative work of the artists were presented as an example and the contents were studied. The works presented were presented through exhibitions, research papers, and specialized books. They were expressed in the formative language of their own internal story by abstract themes such as ‘meditation’, ‘abstract’, ‘memory’, ‘fantasy’, and ‘imagination’. The works have their own unique storytelling based on the artists’ stories. It becomes an object through the formative language of metal craft, lighting, table, ornament, and is worn on the human body. Through this, the artist plays a role of a formative object that allows the story to be communicated with the story to be told. This study examines the case that storytelling is applied to the work and enriches the life of the person using it with the communication. For this, I looked for metal works that expand emotional sympathy between the artist and the user. Through this study, I hope that the positive communication power of storytelling will be applied to stereoscopic art, allowing us to communicate more sensitively in modern industrial society and re-examine the role and value of Korean contemporary metal crafts, which become a medium for rich emotional delivery.

기호의 변형을 통한 신체장식 연구

남화경,박종숙 건국대학교 생활문화연구소 2003 생활문화ㆍ예술논집 Vol.26 No.-

Man lives in relations with something that is of much composedness and superficiality. that is when our looking at object to connect among such a social phenomenon of relations with men, various information, and also, relations with personal & social history to connect yesterday with tomorrow as its object, I has an interaction as the method of communication. When the human beings reads other's thought and expresses their thought. and also man recognizes media information among such a number of relations. they give and take their message to use various signs with one another. The starting point of this thesis came from the clarification that represents a simple type of signs with act of signification to be generated from actions to share and to produce meaning and analyze it through such signs. A form and act of signs is two major code to settle in this thesis. and also, it is a core of subject which the researcher has to deform. The researcher made from a new form which frames a simplicity of a sign form by making plans to carry out the sign form into a concrete deformation The forms which gained in the process is especially acted by hands of the human body. The hands is a means of various expression as a face of human body. The hands which appeared on the process of study take effect continually to create No. 3th sign by itself which happened and strangely through a harmonic motion with the work besides possession of the existing thing. The signs to be expressed by the researcher is to enlarge to transfer a meaning which have the sign characteristics into act of beauty by relations to various forms which is made with a three-dimensional properties of matter by the hands. The working is concreted as an ornament form, namely a finger ring, an bracelet in processing of visual surface for action of beauty in the inner area. Selecting the hands, namely, as the method of setting as concept of environment at exhibition to h d an further abundant experience from an individual object in a working process, it means to transfer as the subject of experiment that an ornament enables us to be free from function in such settings. The ornament stays at nearest place to man and seems that it is like a small ventilating facilities to inspire a warmth of art for a spectator as well as a wearer, Thus, the researcher has completed my work tuning of the spectator's sight to look at such experiences and the wearer's subject experiences objectively.

Cryopreservation of Bovine IVM/IVF/IVC Blastocysts by Vitrification

남화경,김은영,이금실,윤산현,박세필,임진호,Nam, H.K.,Kim, E.Y.,Lee, K.S.,Yoon, S.H.,Park, S.P.,Lim, J.H. The Korean Society for Reproductive Medicine 1999 Clinical and Experimental Reproductive Medicine Vol.26 No.2

본 연구는 체외생산된 소 배반포기배를 발달 단계 및 배양일에 따라 구별하여 초자화 동결 및 융해하였을 때, 그 발달능을 유지하는지 확인하고자 실시하였다. 체외수정 후 8일간 배양된 배반포기 배는 20% ethylene glycol에 3분 동안 평형시키고, EFS40 (40% ethylene glycol, 18% ficoll, 0.3M sucrose 그리고 10% FBS가 함유된 mDPBS) 동결액에 30초 동안 노출한 후, 액체질소에 침지하여 초자화 동결되었다. 체외 생존 여부는 응해 24시간 및 48시간에 재팽창 및 탈출 또는 완전탈출로써 평가하였다. 그 결과를 요약하면 다음과 같다. 1) 체외수정 후 8일간 배 양하였을 때, 난할된 배의 배반포기 배로의 발달율은 41.0%였다 (초기 ; 7.6%, 팽창; 22.9%, 탈출; 4.6%, 완전탈출; 5.9%). 2) 배반포기배를 동결액에 노출 또는 초자화 동결하였을 때, 초자화 동결된 배반포기배의 재팽창율 (73.3%)은 대조군 및 동결액에 노출된 경우 (100, 97.0%)보다 낮았다 (p<0.05). 그러나 융해 48시간 후 탈출 또는 완전탈출 배반포기배 형성율은 초자화 동결된 경우 (66.7, 46.7%)와 노출된 경우 (66.7, 39.4%)는 유의한 차이를 나타내지 않았으나, 대조군(100, 100%)과는 차이를 보였다 (p<0.01). 그러나, 완전탈출까지 발달한 배반포기배의 총 세포수를 조사하였을 때, 각 처리군간의 유의한 차이는 없었다. 3) 배반포기배의 발달 단계에 따른 체외 생존율을 비교하였을 때, 재팽창율은 실험군간에 유의한 차이를 보이지 않았다 $(64.5{\sim}75.6%)$. 그러나 융해 48시간 후, 탈출 또는 완전탈출로써 평가된 초기 배반포기배의 발달율 (25.8, 9.7%)은 팽창 (69.7, 39.4%)및 탈출 배반포기배 (53.3, 43.3%)의 발달율보다 낮게 나타났다 (p<0.05). 4) 또한, 배양 7, 8 그리고 9일의 팽창 배반포기배를 초자화 동결하였을 때, 8일 및 9일간 배양된 배반포기배의 재팽창율은 7일간 배양된 경우보다 낮게 나타났다 (7일; 93.9%, 8일; 75.8%, 9일; 87.5%) (p<0.05). 그러나 완전탈출 배반포기배로의 발달율에서는 처리군간에 유의한 차이를 보이지 않았다 (7일; 36.4%, 8일; 36.4%, 9일; 31.3%). 이러한 결과는 EFS40을 이용한 2단계 초자화 동결 방법이 체외생산 된 팽창 및 탈출 배반포기배의 동결에 유용하게 이용될 수 있음을 시사한다. The objective of this study was to examine the effect of developmental stage and embryo age of in vitro produced bovine blastocysts after vitrification and thawing. In vitro cultured day 8 blastocysts after IVF were equilibrated 20% ethylene glycol (EG) for 3 min. and were vitrified using EFS40, which is consisted of 40% EG, 18% ficoll, 0.3M sucrose and 10% FBS added in mDPBS for 30 sec. before being plunged into $LN_2$. Also, survival in vitro was assessed by re-expansion and hatching or hatched at 24 hand 48 h postwarming, respectively. The results obtained in these experiments were summarized as follows; 1) When the embryos were cultured for 8 day after IVF, 41.0% of the cleaved embryos developed to the blastocysts (early; 7.6%, expanded; 22.9%, hatching; 4.6% and hatched; 5.9%). 2) When the embryos were exposed or vitrified to the freezing solution, the re-expansion of vitrified embryos (73.3%) was significantly lower than that of control and exposed embryos (100, 97.0%) (p<0.05). But the formation rate of hatching or hatched blastocysts of vitrified embryos (66.7, 46.7%) at 48h after thawing was similar to that of exposed embryos (66.7, 39.4%) but not control (100, 100%) (p<0.01). However, in the total cell numbers of those developed hatched blastocysts, there were not significantly different among the treatment groups. 3) When the embryo survival rates by different developmental stage were examined, the re-expansion was not different among the groups $(64.5{\sim}75.6%)$. After warming 48 h, the hatching and hatched formation of early blastocysts (25.8, 9.7%) was significantly lower than those of expanded (69.7, 39.4%) and hatching blastocysts (53.3, 43.3%) (p<0.05). 4) In addition, when the expanded blastocysts at day 7, 8 and 9 were vitrified, the re-expansion of day 8 and 9 embryos was significantly lower than that of day 7 (day 7; 93.9%, day 8; 75.8% and day 9; 87.5%) (p<0.05). However, the rates of development to hatched blastocysts were no difference among the groups (day 7; 36.4%, day 8; 36.4% and day 9; 31.3%). These results suggested that in vitro produced expanded or hatching blastocysts can be efficiently cryopreserved by the two-step vitrification method using EFS40.

Establishment of In Vitro 3-Dimensional Culture System of Mouse Endometrial Cells;I. Cytohistological Study on Mouse Endometrium

남화경,김은영,이금실,박세영,박은미,권중균,윤산현,박세필,임진호,Nam, Hwa-Kyung,Kim, Eun-Young,Lee, Keum-Sil,Park, Sae-Young,Park, Eun-Mi,Kwon, Jung-Kyun,Yoon, San-Hyun,Park, Se-Pil,Lim, Jin-Ho The Korean Society for Reproductive Medicine 2000 Clinical and Experimental Reproductive Medicine Vol.27 No.1

연구배경: 본 연구는 마우스의 자궁에 있어 착상시 일어나는 자궁내막의 변화를 미세구조적 측면에서 관찰하고, 이러한 기초 자료를 바탕으로 마우스 자궁내막세포를 이용한 3차원적 체외 배양시스템을 확립하는데 있다. 실험동물은 임신이 유도된 $6{\sim}8$ 주령의 ICR을 이용하였다. 연구재료 및 방법: 생검 조직은 hCG 접종 후 D1과 D5에 자궁 전체를 적출하여 획득하였다. 채취된 조직은 2.5% glutaradehyde와 1% osmium tetroxide를 이용하여 고정시킨 후, 탈수, 포매 및 절편 과정을 거쳐 염색시키고, 광학현미경, 투과전자현미경을 이용하여 관찰하였으며, 주사전자현미경을 이용한 관찰을 위한 표본은 고정된 조직을 탈수, 건조 및 코팅 과정을 거쳐 획득하였다. 결과: 1) 광학현미경상에서, 후기 분비기인 D5의 생검 조직은 초기 분비기인 D1의 조직에 비해 결합조직의 증가에 따른 기질층의 확장이 두드러졌으며, 이와 함께 자궁내막선과 혈관이 크게 발달되어 있었다. 2) 투과전자현미경상에서, 마우스 자궁내막의 미세구조는 단충원주형의 표면상피세포층, 기저층 및 기질층의 3층을 이루고 있었다. 또한, D5에서는 미세융모, 소포체, 골지체, 지질, 글리코겐 및 분비 과립 그리고 기저층의 표면적이 크게 확장되어 있었다. 3) 주사전자현미경상에서, 분비기가 진행될수록 마우스 표면상피세포의 주름의 정도와 미세융모의 분포가 크게 증가함을 알 수 있었으며, 특히 마우스의 착상시기인 D5에서는 자궁 수용성의 표지자인 자궁돌기의 출현이 두드러졌다. 마우스의 자궁돌기는 자궁내벽을 따라 불규칙적으로 좁은 지역에 분포하고 있었으며, 동일표본 내에서도 서로 다른 발달 단계를 보여주고 있었다. 결론: 마우스 자궁내막의 형태학적 변화에 관한 이러한 관찰 결과는 마우스의 자궁내막이 발정주기 중 특히 착상직전의 시기에 커다란 형태학적 변화를 경험함을 보여주었다. This study was designed to identify the ultrastructural changes of mouse endometrium during peri-implantation period and obtain the fundamental information for the establishment of 3-dimensional culture system of mouse endometrial cells in vitro. The used female ICR mice ($6{\sim}8$ wks) were conducted on pregnant. The biopsies were obtained from whole uterus at cycle day 1 (D1) and day 5 (D5) after hCG injection and mating. The biopsies materials were fixed 2.5% glutaraldehyde and 1% osmium tetroxide. Subsequently, for observation using light and transmission electron microscopy (LM and TEM), they were dehydrated and embedded in Epon and the embedded biopsies were sectioned and stained. For scanning electron microscopy (SEM), the fixed specimens were dehydrated, dried and coated with gold. 1) For LM, the biopsied materials at D5 (late secretory phase) were appeared the extended stromal layer by increased connective tissues and the fully developed endometrial glands and vessels compared with D1 (early secretory phase). 2) For TEM, the mouse endometrium was consisted of 3-layers, a simple polarized columnar epithelial cells, basement membrane and stromal cells. At D5, the distribution of microvilli, endoplasmic reticulum, Golgi body, lipid and glycogen deposits, secretory granules and surface area of basement membrane were increased. 3) For SEM, the degree of folding and microvilli of surface of mouse epithelial cells was became more and more according to the process of secretory phase, and at D5, implantation time of mouse, the appearance of pinopodes as a specific marker of uterine receptivity was found. The uterine pinopodes of mouse were found in narrow sites at the luminal surface, irregularity and appeared the different stages in the same sample. Therefore, these results indicated that the mouse endometrium was experienced dramatic morphological changes during peri-implantation period.

삼국시대 이식(耳飾)을 응용한 문화상품 디자인 연구 : 기법과 문양을 중심으로 focused on techniques and patterns

남화경,김장원 건국대학교 생활문화연구소 2002 생활문화ㆍ예술논집 Vol.25 No.-

Recent universal trends in consumption show that there is a high preference for products that reflect a unique culture and tradition of a specific country, while high-tech products are also preferred due to practical convenience. Such a tendency can be interpreted as wishes to enjoy leisure time accompanied by pursuing convenience in daily life by utilizing high-tech products. Cultural products, normally high value-added goods, are created through a certain process in which existing goods are seasoned with cultural factors These good might also be materialized souvenirs. Designing products based on traditional culture can present a nation-specific, innate way of crafting; enable cultural identity to be established and protected; launch public relations activities for enhancing national image; and try to meet the consumption trend worldwide. Further, national culture speaks for every single aspect of the nation by means of cultural identity. This paper will attempt to re-recognize the tradition through research on the earring patterns in the era of the Three Kingdoms among traditional crafts in Korea, and it will focus on suggestion of new designs for modern living space. The accessory culture in the era of the Three Kingdoms was a starting point of Korean craft history as well as the heyday of Korean accessory history. Its molding reflected an aesthetic sense native to Korean ancestors. Put another way, the foundation of Korean traditional craft styles comprises this era' s accessory culture. Therefore, this paper closely examine patters of earrings in the era of the Three Kingdoms, unearthing the most diverse types, and apply them to new designs of table wear grafted into modern era. Among the traditional ways of crafting observed in the earrings of the Three Kingdoms era, granulation will be mainly applied to these designs. In terms of the shape of each unit, types of Sabokmoon and tuksalmoon will be adapted toward geometrical and simplified designs. Until now, most of Korean cultural products have been excessively restricted in embodying the national image and, more seriously, preserving the traditional prototypes. Recognizing the problem, this paper tries to go beyond maintaining the tradition, creating new designs connected with a modern aesthetic sense. It is sincerely expected that this endeavor and trial, though not sufficient in maturity, could contribute to enhancement in creating future cultural products.

인간군상 이미지를 응용한 금속공예 표현

남화경,이현정 건국대학교 생활문화연구소 2001 생활문화ㆍ예술논집 Vol.24 No.-

We human feel spiritual abundance and freedom when we are in touch with art and this kind of purification act can be referred to as the social responsibility of artists. Henry Moore once remarked that an artist should keep in contact with society when he works. This remark emphasizes that an artist should have a continued interest in society and create his or her piece of work that reflects social phenomena and influences society. All human beings form a social group and play his or her own role within the group. In this context, getting interested in human being who belongs to the same social group and whom we get into touch constantly is the starting point of this thesis. This work of art thesis attempts to portray human beings becoming alienated from the modem material civilization and the feelings and thoughts aroused from the actual experience of interaction with them in the form of group image. The work was mainly done by using the 'open work' technique and no restriction was placed on the usage of materials and the form of expression. Diverse work was possible ranging from personal ornaments and tableware to small work of art and interior models to which we have easy access in our daily life.

금속 합금에 의한 표면 착색 연구

남화경 건국대학교 생활문화연구소 1998 생활문화ㆍ예술논집 Vol.21 No.-

AbstractThis study is about the alloy and coloring experiment of metals such as the most proffered metal, copper based on traditional methods, various allot and coloring methods (boiling and immersion technique) are researched. as a result can be applied to many metal crafts, such as jewellery, tableware, object, interior expressing deep and wide value.

아르누보 장신구의 조형적 특성 연구

남화경(Hwa Kyung Nam),송수경(Su Kyung Song) 한국디자인문화학회 2009 한국디자인문화학회지 Vol.15 No.3

산업혁명 이후 근대에서 현대로 접어들면서 인간 사회가 겪은 변화의 양상은 과거 어느 시기보다 역동적인 것이었다. 그러한 시대를 바탕으로 이전 사회의 역사적, 전통적 예술양식으로부터의 차별과 새로운 모티브를 배경으로 유럽에서 발전한 예술양식이 아르누보(Art Nouveau)이다. 아르누보는 유기적 형태의 모티브를 장식미술로 적용하였으며, 기존의 전통양식을 과감히 탈피하고 작품에서 재료의 재화적 가치가 아닌 디자인 자체의 예술적 가치와 창의성을 추구함으로써 현대 디자인의 시초가 되었다고 평가된다. 더불어 미술을 모든 생활에 실용화 하였다는 점에서 아르누보가 가지는 역사적 의미는 매우 크다. 본 연구에서는 아르누보 양식의 고찰과 아르누보 장신구의 조형적 특성을 살펴보기 위해 선행적으로 관계문헌과 논문 등을 통해 자료를 수집조사 하였다. 먼저 전반적인 아르누보 양식의 역사적 관점에서의 이론적 배경과 특징을 살펴보았고, 다음으로 아르누보 장신구의 대표적 작가와 작품을 중심으로 살펴본 다음, 마지막으로 아르누보 장신구의 조형적 특성을 연구하였다. 과학기술의 도래와 기계화의 역기능으로 인해 21세기에도 `자연주의`는 중요한 화두가 되고 있다. 따라서 아르누보 양식과 아르누보 장신구의 연구를 통해 현대장신구의 발전방향을 모색해보는 기회를 가져보았다. The desire to be embellished reflects the situation of a society and the time, so each appears to have unique and distinctive style. with the transition from the modern time to the present time after the industrial revolution, the changes that human society experienced were more dynamic than any other times in the past. The art style that has developed in Europe with the differentiation from the historical and traditional art style of the previous society and with a new motive based on such situation of the time is Art Nouveau. Art Nouveau was applied to decoration art using motives in organic forms. It has been evaluated to have boldly gotten out of the traditional styles and become the beginning of modern design by seeking for artistic values and creativity of design itself instead of monetary value of materials. in addition, it has a historical significance in making the practical use of fine arts in every aspect of life. In this study, data were collected and reviewed from relevant literature and articles to preliminarily review the style of Art Nouveau and the formative characteristics of Art Nouveau ornaments. First, the theoretical background and characteristics were reviewed from the historical aspect of Art Nouveau style, and then the characteristics of Art Nouveau style ornaments were reviewed. Lastly, the formative characteristics of Art Nouveau ornaments were investigated based on the representative artists for Art Nouveau ornaments and their works. Because of the advent of science technology and the negative functions of mechanization, `naturalism` still emerges as an important topic to us living in the 21st century. Due to the influence of naturalism and romanticism, the recent advent of Art Nouveau ornaments based on `naturalism` provides a chance to re-evaluate Art Nouveau. This study also provided an opportunity to seek for the development direction of Art Nouveau style ornaments for the future.

합금 개발을 활용한 주얼리 재료와 표면착색 연구

남화경(Nam, Wha Kyung) 한국디자인문화학회 2015 한국디자인문화학회지 Vol.21 No.3

인류는 오래 전부터 여러 가지 방식으로 장식의 욕구를 표출함으로써 주얼리의 역사를 만들어왔다. 주얼리 제작에 가장 많이 사용되어 온 귀금속 재료들은 빛나는 아름다운 광택과 희소성 그리고 공기나 물에 안정적인 물리적⋅화학적 특성으로 인해 많은 사랑을 받아왔다. 그러나 금이나 은은 그 색상이 제한적이고 희소성으로 인해 높은 가격대를 형성하여 주얼리산업 발전의 저해요인이 되고 있다. 본 연구는 기존에 상용되는 주얼리 재료의 한계를 초월하여 다양한 재료와 형태, 기법 등을 통해 경제적 효율성을 높이고 표현영역을 확대하고자 함에 목적을 둔다. 이를 위해 주얼리에 주로 사용되는 금속의 특성에 대해 알아보았으며 현대주얼리 시장의 어려움을 극복할 수 있는 재료 및 표면 기법연구에 주안점을 두었다. 특히 금⋅은⋅동의 합금과 표면처리 기법 중 착색에 의한 표면마감과 변화를 시도 하는 것으로 범위를 한정하였다. 연구내용으로는 금속재료와 표면마감에 관한 전문서적과 선행 연구들을 참고하였으며 귀금속시장의 동향을 파악하기 위한 관련 기사 등을 참고 하였으며 주요 주얼리 재료인 금과 은에 적동을 합금하고 각각의 금속 합금 비율을 점층적으로 달리함으로써 색상의 변화를 유도하였다. 또한 동에 적용되어 화려한 색감을 내는 일본 전통착색기법인 녹청착색을 통해 더욱 다양한 색감과 질감을 낼 수 있는 가능성을 모색 하였으며 착색의 효과를 극대화 하고자 촉매제가 되는 첨가물을 넣어 색상의 변화를 유도하였다. 그리고 연구 결과물인 합금속과 착색을 활용하여 절상감(切象嵌 marrige of metal) 기법으로 주얼리를 제작하였다. 합금을 통해 고가의 금속인 금과 은의 순도를 조절하여 재료의 가격적 측면을 고려한 금속 재료 연구 및 표면착색 연구가 제품개발로 이어져 침체된 주얼리 시장과 연구 분야에 활력을 주고 주얼리 산업의 활성화에 도움이 되기를 기대한다. The human beings have made a history of jewelry through creation of various expressions to their desire on the decoration since a long time ago. The materials which have been mostly used in manufacturing of jewelry are loved by jewelers, due to the beautiful gloss and their scarcity. In addition, they have characteristics that well harmonized with air or water in perspective of physical and chemical. However, the limited color and scarcity of gold or silver makes the price and cost as a high level, and this seems to provide negative cause to the growth of jewelry industry. This research is aiming to contribute on enhancement of economic efficiency and development of design opportunity for the production of jewelry, together with overcoming to inherent limitation of existing jewelry materials. Alloy method can adjust to purity of gold or silver with making the lower price of material. Especially, the scope of this research is limited in alloy and surface treatment technique trying to change color by patination among alloy gold or silver with copper. For this, there are many books about materials and articles about jewelry market which are useful for reference. Gold and silver, main jewelry materials, were alloyed, respectively, with copper. Then, gradual adjustment of ratio for each material led to change of its color. In further, the research tries to find the probability on making various sense of color and texture for jewelry through performing of patination technique, which was developed in Japan as a traditional coloring technique and applied to copper. Moreover, to maximize coloring effect, ingredient added on patination, this leads to making various colors. As the result of research, jewelry was produced by marriage of metal, alloy and coloring. Since alloy method can adjust to purity of gold or silver with making the lower price of material, it will be linked to diversified research on metal material and coloring of the surface with creation of various opportunities on product development. Therefore, this research would be expected to contribute on vitalization of jewelry industry and recovering of the depressed market.

브랜드 티파니(Tiffany & Co.)주얼리에 나타난 아르누보 양식의 특성 연구

남화경(Hwa Kyung Nam) 한국디자인문화학회 2010 한국디자인문화학회지 Vol.16 No.4

본 논문은 오랜 전통을 이어 온 주얼리 브랜드 티파니사(Tiffany & Co.)의 주얼리에 나타난 아르누보 양식의 조형적·개념적 특성을 분석하고자 하였다. 작은 선물용품점에서 출발한 티파니사는 19세기부터 현대에 이르기까지 세계의 주얼리 역사의 중심이 되어왔으며, 기업이 가지는 경제적 가치만큼이나 큰 문화적 가치를 가진 브랜드로 자리매김 되어왔다. 따라서 본 연구에서는 세계적 주얼리 브랜드로 오랜 역사와 전통을 이어 내려오고 있는 티파니사의 역사와 아르누보 양식 주얼리의 특성을 보여주는 티파니사의 주얼리 작품들의 특성을 조사하였다. 또한 현대에 이르기까지 티파니사에서 어떠한 방식으로 아르누보의 양식을 형태적인 측면에서뿐만 아니라 개념적인 면에서 계승·발전시켜오고 있는지를 파악하였다. 이를 위해 우선 아르누보 양식의 특성을 조사하였고 티파니사의 설립과 발전양상, 그리고 당시의 시대적 배경을 파악하고, 티파니사의 주얼리 속에 나타난 아르누보 양식의 조형적·개념적 성향을 연구하였다. 또한 아르누보의 개념을 지속해오면서 다양한 디자인을 개발하고 있는 현재의 티파니사가 추구하는 주얼리 디자인의 성향을 조사함으로써 현대의 주얼리 브랜드의 역할에 대해 제고해 보고자 하였다. 이를 위해 티파니사에서 발행한 각종 홍보물과 서적 및 전시자료, 그리고 주얼리의 역사를 다룬 주얼리 관련서적, 인터넷 사이트, 논문 등을 참고 하였다. 이 논문을 통해 국내 주얼리 디자인 연구개발의 중요성을 강조함과 동시에, 주얼리 브랜드의 문화적 가치향상의 필요성을 제고하고자 한다. This thesis is to analyze the formative characteristics of art nouveau style appeared in the jewelry of Tiffany & Co., which is a worldwide jewelry brand with a long tradition. Thus, this study examined the characteristics of art nouveau style at first, while grasping the foundation of Tiffany & Co. and its development aspects and historical background and, finally, investigating the formative tendency of art nouveau appearing in the jewelry of Tiffany & Co. Starting from a small gift shop, Tiffany & Co. has been the historical center of the world`s jewelry from the 19th century to the present time and become a worldwide brand having a cultural value as high as the economic value the company has. Therefore, this study attempted to grasp the characteristics of jewelry works produced by Tiffany & Co., which shows the history of Tiffany & Co. and the formative characteristics of art nouveau-styled jewelry. In addition, by using those new findings, this study also attempted to help the progress of various future designs.