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김옥광(KIM, OCK-KWANG) 한국조형디자인학회 2003 조형디자인연구 Vol.6 No.2
타블랫 위빙은 직조 기계 없이 생산할 수 있는 띠 형태의 직물로서,고대시대부터 사용되었던 방법이다. 이 직물은 카드 위빙으로도 많이 알려져 있는데,그 역사가 매우 깊다. 현존하는 가장 오래된 타블렛 위빙의 유물은 945-745 B.C시대의 이집트 것이다. 고대시대는 이집트를 중심으로 성행하다가 중세에는 유럽에 널리 퍼져 그 전성기를 이루게 된다. 그 후 산업 혁명으로 직물 생산의 기계화에 밀려 타블렛 위빙은 쇠퇴하기에 이르나,다시 현대에 와서 공예가들의 다양한 기법의 표현 욕구로 인해 다시 소개되고,조금씩 그 활용범위가 넓어지고 있다. 타블렛 위빙은 직기를 사용하지 않으면서 간단한 도구로 매우 튼튼하고,다양한 무늬의 띠를 만들수 있으므로 좁은 공간에서도 제작이 가능하고,운반이 용이 하여 수직 애호가들에게는 매우 관심 있는 분야가 된다. 현대 섬유예술의 한 분야로서 이렇게 홍미가 있고 무한한 가능성이 있는 타블렛 위빙을 계속 탐구해야 할 것이다. Tablet Weaving which is as called card weaving also, is originated from ancient period. The earliest piece of tablet weaving in existence is Egyptian: bands of linen and ramie dating from the 22nd Dynasty(945 - 745 B.C.) In ancient period, the tablet weaving was popular in Egypt. we can find many good works at its full flory during medieval times. Thereafter, it declined due to machine weaving s ince the Industrial Revolution. Now it becomes rest ored gradually in fabric weaving applicat ion for garments. Tablet weaving is the unique texti le technique which can produce the strong and beau tiful patt erned band without using complex big loom. This fact makes many fiber Artist s be interested in tab let wea ving. For the reason, Tablet weaving should be studied technically more as a important part of contemporary fiber arts.
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김옥광 한국공예학회 1998 조형디자인연구 Vol.1 No.-
There were various classes and levels of handy craft works from simple households to higher level works of art in Yi-dynasty, Korea. One of them, Pojagi, warpping cloth, is an antiquity which shows the women's sense of beauty And we can understand the section of the Yi-dynasty's fiber craft art thru analyzing its expressive technique and structure. Pojagi is very useful to wrap something without charging big volume and has very decorative effect in small inner space. The expressional techniches showed in Pojagi are dyeing, emboidery, patching, quilting and paper works. Basically dipping techniques in dye and drawing on cloth using Chainese paint (Dangchae) and printing patterns using wooden printing plate were applied on Pojagi Dangchae painted Pojagi mainly used in the Royal court are excellent but various type of tie dyeing technique which were prevalent in the period of the three Kingdoms and in an era of an acient Korea state, were not appear. Embroidery techniques appears in many. Pojagies made by private citizen, those are the living embroidery works which are mostly simple and rough feeling. Popular patterns used in embroidery are symmetrical plants and animal design and also character design for long life and happiness. Patched Pojagi shows the common people's good spirit of saving cloths and utilization of waste. Geometrical connection of patch work shows the genius abstract beauty of composition comparing to Mondran's painting. Quilting techniques were applied for Pojagi used in winter. Paper works shows the utilization of oiled paper and technique of cutting, rolling and twisting Hanji, (Korean traditional paper) like glass beads were applied to some decorative Pojagi. Embroidery and patching techniques are aften used but I feel sorry for the rotrgression of the various techniques of weaving and dyeing in comparison to the period of three. Kingdoms and acient Korea state. Even various kinds of fiber art expression techniques are limited, the women's high sense of beauty were designed and embodied to Pojagi under the limit of stringent and distinct difference of social position. I expect that continuous studying Pojagi and the korea image expressed in Pojagi contributes the worldwide crafts and art works and contrubutes industrialization thru getting sympathy of contemporary artist and craftman.
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김옥광 한국공예학회 1999 조형디자인연구 Vol.2 No.1
Women, who had little opportunity to participate in social affairs due to the predominace of men over women, spent lots of time in the home and made various kinds of handicraft work. One of these works, POJAGI, has been produced widely. From common people to the palace, and the expressional techniques and applied patterns are very varied. Patterns applied to POJAGI for patch work wrapping cloth are usually straight line compositions in geometrical form and popular patterns for embroidery wrapping cloth are feminine plant designs. Patterns in DANGCHAE printed POJAGI are usually composed of geometrical forms and character forms on every side. Two quarters pattern in the border, arabesque in the background, and a chinese phoenix in the center depict a high level palace handicraft design. For POJAGI printed using a wooden plate, patterns are composed of plant and animal designs showing the mood of the common people, and in quilted POJAGI, patterns are expressed by a composition of curved and straight lines. POJAGI mostly shows womanlike patterns. It is hard to find patterns which show or symbolize the authority of men, such as a dragon. Purpose of the POJAGI expression is to transfer the symbolic meanings of the patterns or designs to the worker and the user instead of looking for a decorative sense of beauty. The plant patterns mean harmony, fortune, fecundity, wealth and frame. Character patterns portray long life, happiness, peace, and prosperity of descendants. Animal patterns depict strong, long life and authority. Expressive patterns in POJAGI show a form of simplicity near to reality without distorting it. Simple composition based on naturalism rather than being excessively decorative make POJAGI naturally modernized and look better in its work nature.
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