韓國의 染色工藝 디자인 敎育과 그 問題點에 關한 硏究

南相敎 漢陽大學校 師範大學 1986 論文集 Vol.- No.4

· The dyeing craft in a modern meaning is directed to dual areas: dyeing craft art in the artistic area on one hand and textile dyeing printing on the other hand. Thus, the modern meaning of the textile dyeing design is turned out there-after. The direction of the manual dyeing craft art in the artistic area takes the look, exploits its way, and thus assumes the major role as the expressive technique is improved in a variety of trends, thanks to the change of times, the development of raw material and its processing and the progress in the expressive skill. Like-wise the dyeing industrial art takes the look for the textile dyeing printing and assumes the major role for the dyeing art industry. That is because the world-wide competition under the high economic growth encourages the production of daily necessities along with the development of material and its processing, and the improvement of facilities. In our case, the education for the dualized textile dyeing design, art and industry, has been done for the past twenty years since a department of the industrial craft was newly established at colleges relevent to the line of "design": classes for the textile dyeing craft art in 1959 and for the textile dyeing printing in 1964. However, this educations unlikely to much affect the society and industry in actual terms, externally as well as internally. Therefore, as a thorough investigation is conducted for examining relevant factors, this study finds the following conclusion. Since the title of the special department belongs to the artistic category, a discrepancy in opinions possibly exists for the needs of times. The educational direction of the special department could be interpretted on a subjective view, according to the spirit and the psychological status on setting the direction, the needs of times and so on. Likewise, a problem could be found in organizing courses. In many cases a course is offered by the special department as an individual subject and three or four hours weekly are allotted to the course at best. It is very questionable to consider the course as the specification in the view of its content and its quality. Accordingly, it is estimated that this question should be checked over for the current educational aspects, as th issue of the special education is raised in viewing department and course for the professional field. The direction of the dyeing craft art education is confirmed in such a way as mainly producing artistic processing and the after-treatment processing are essential to artistic works at the fundamental stage. But only half of respondents perform essential procedures. This fact can not neglected even though that is merely the fragmentary measurement of trainees. The direction of training and artistic work is mainly concerned with the education for manual dyeing craft art. On the contrary, the desire for the textile dyeing design education is pretty high bit the number of students taking this course comes only to 2.4% of all respondents. the fact actually shows the weakness of the education and thus the education for the dyeing industrial art design becomes a big problem. For the career plan of trainees after their graduation, the survey shows that one third of trainees wish to work as professional artists, teacher, researcher, and so on. However, two-thirds of them want to work for industrial areas or for themselves. This indicates that the education for the textile dyeing printing design is urgently neeeded. For the analysis of relationship between industry and school, the personal composition of the textile dyeing printing industry shows that workers without having college education takes a large portion. It means the lack of high-quality manpower having the special education. Likewise, the area needing specialist is "design". In addition, the survey of supply and demand for manpower confirms that the industrial world is ready to accept the specially educated workers. As a result, this phenomenon indicates that there is no close relationship between industry and school. It is clear that the good education for the textile dyeing craft design can, meet the timely request for training textile dyeing craft artists as well as textile dyeing printing design industrials. In conclusion, some programs of the special education for the textile dyeing craft design are urgently required.

紙工藝품의 動向에 關한 考察 : 韓紙工藝를 中心으로

南相敎 漢陽大學校 師範大學 1989 論文集 Vol.- No.6

우리나라 固有의 風習, 環境, 材料等 立地條件에 따라 獨特한 民俗工藝로 啓導 되어온 韓紙工藝는 역4史와 함께 지내오는 동안 社會의 變遷, 環境의 變化를 겪고 이미 殉命 또는 變形된 것도 많다. 日帝에게 崩壞된 朝鮮朝以後 傳統韓紙工藝는 潛在期와 과頹期를 거치는 동안 製作者와 需要者를 漸次로 잃히 始作하여 立體造形的인 韓紙工藝中 紙繩, 剪紙, 紙糊工藝 技術은 大部分 殉命되어 固有의 貌襲을 찾기 힘든 狀況에서 外來文明의 急激한 導入과 우리나라의 山業社會로의 變革은 生活環境條件을 變貌시켜 需要의 特性이 個性化, 多樣化, 高度化 되어 갔다. 그러나 이에 副應할만한 與件이 助成되어 있지 못한 까닭에 需要의 壙大 相互利益의 增大를 期할 수 없게 되자 一部 愛護家들은 先人들의 魂氣가 담긴 遺蹟을 崇尙, 保存, 保護하기 爲하여 遺品을 紹介하기에 이르렀고, 一部 傳承人은 紙繩, 剪紙, 技法의 一部 品目들을 傳承的 再現에서 生産하고 있는 實情이나 需要者의 감소로 생활이 窮乏하게 되자 漸次的으로 萎落되어 가고 있는 現實이다. 本硏究는 韓지工藝를 時代的 與件과의 副應을 시킬 意想에서 生産工程및 Design을 改善할 爲計로 그 動何을 把握하여 啓導하는데 目的을 두고 史料와 博物館의 所藏品을 對象으로 그 要因을 糾明한 結果 다음과 같았다. 1. 韓紙工藝中 什物生産은 時代的 變遷에 따라 한 分野에서는 純粹한 造形藝術의 嶺域에서 一品生産的인 手工藝 藝術로서 進路가 啓導되어야 하고, 또한 한 分野에서는 生産體制下에서 實用的인 量産工藝的인 嶺域에서 進路가 啓導되어야 現時代와의 副應이 可能할 것으로 判斷되었고. 2. 一品生産的인 純粹工藝 藝術作品의 生産方式은 傳統性을 追從하여도 無放하나 量産的 生産은 壓型工程 方法에 依해 生産하면 傳統의 氣稟이 維持도 되고 生産性向上도 시킬수 있었다. 3. 器物 表面裝飾의 施紋方法도 一品作品의 境遇와 量産의 境遇는 染色工程改善(本 硏究에서 提示한 方法)을 土台로 그 問題를 解結할 수가 있다. 4. 전7統韓紙工藝의 紙繩, 剪紙, 紙澔工藝는 그 生産工程이 獨自的인 性格을 간직하고 있다. 獨自的인 製作工程과 技法을 復合的으로 製作을 試圖한 結果, 裝飾的인 效果, 現時代的인 感覺의 誘導, 造形性의 啓導, 製作工程 및 Design 啓導등도 圓滑하게 誘導할 수가 있어 韓紙工藝의 多樣化, 個性化를 解決할 수 있는 要因이 되므로 時代的인 與件에도 副應시킬 수 있는 效果를 얻었다. 5. 生産의 方向, 方式의 改善으로 現社會의 與件과 副應시킬 수는 있었으나 流動的으로 急變하는 社會와 呼吸을 같이 하면서 便乘하기 위해서는 이를 啓發하고 啓導하는 敎育이 先行되어야 問題解決이 促進될 것이다. Recently, the industrial art for Hanji(한지)-traditional Korean paperpartially transformed or completely disappeared in teh course of time with social and environmental change. The art has been developed into unique folkcraft according to original Korean custom, circumstance and resources. Since Choson dynasty fell to Japan, the traditional Hanji-art started to gradually lose its craftsmen and consumers as the latency and decay time passed. Actually, among the cubic, plastical art for Hanji, the arts of Chiseung(지승)-paper ropf-, Chonji (전지)-trimming-, Chiho(지호)-paper paste-are almost disappeared, there-after their original form also vanished. Besides, Korea introduced foreign culture rapidly, and changed herself into industrial society, and naturally the social-life condition was also greatly changed. Accordingly, the demand showed the characteristics of indivisualization, highness, diversification. But some amateurs of the art began to introduce their relics, that held their ancestors' spirit, in public to protect or preserve or respect them because there were no satisfiable condition for enlargement of demand and increase of mutual profits. Some devotees to this art have produced the items from Chiseung and Chonji in the traditional way, however, as they could not manage their life for decrease of consumers, the industrial art for Hanji is disappearing gradually. The purpose of this study was to make plain the method that this Hanji-art adjusted itself to contemporary Korean society, by recognition of social tendency to improve the process of production and design for the art. For this, investigated the historical material and the posessions of museums, and got following results: First; With the changes of times, to produce household goods, on an hand, should be lend to pure art that create an item manually, on the other hand, should be lead to mass-production art that make products under the effective and practical system by machine to adjust itself to present society. Second; It does not matter to create the pure art with traditional way, but in the case of mass-production, it is advisable to produce by compression method that may keep the traditional and natural endowments and heighten productivity. Third; The troubles from design-inlay may be solved by the improved process dyeing, that is presented in this study, for both pure art and massproduction. Fourth; The traditional art of Chiseung, Chonji and Chiho in the creating process, has had the original character individually. But to attempt to transform these original processes into compositely, could got easily following effects; decorative effect, creation of modern sense, advancement of creativity, study of production-process and design-making. Therewithal, this research make answer to diversification and indivisualization. Fifth; With the improvement of direct and fashion of production, this art may possible to adjust itself the social condition today, but in order to keep in step with the changing rapidly society, and education for this art should be preceded, then the troubles will be solved much more easily.

草莖製品에 對한 捺染加工에 關한 硏究 : 莞草製品을 中心으로 A Case of clover Products

南相敎 서울여자대학교 1977 서울여자대학논문집 Vol.- No.6

약초는 그 껍질 표면과 이면에 진흙과 철각, Calcium, Magnesium등 여러가지 불순물이부착되여 있을뿐 아니라 수지질 성분이 있으므로 이것을 제거하기 위하여 정연처리를 반드시 하여야 한다. 정연처리는 그 방법에 따라 염색가공 및 날염가공에 난역가 생기고 제품의 질에도 영향을 가져온다. 종내 일반전가나 생산자가 실시하고 있는 방법은 단순히 물에 씻고 낮에는 햇볕에 표백시키고 밤에는 이슬을 맞추어 표백하는 정도였다.

17 차 학술세미나 초록 : 한국의 전통미 ; 민속공예의 발생과 전개

남상교(Sang Kyo Nam) 한양대학교 한국학연구소 1988 韓國學論集 Vol.14 No.-

農産物 手編加工技術 및 Design開發에 關한 硏究 : 莞草 싸리材를 中心으로 Especially the Use of Bulrushes and Bush Clover Materials

Nam,Sang-Gyo 서울여자대학교 1975 서울여자대학논문집 Vol.- No.4