WILLIAM MORRIS의 TEXTILE DESIGN연구

김옥광 부산여자대학 1993 釜山女子專門大學 論文集 Vol.15 No.-

Since the beginning of the 19th century, interests and expressions through design were highly regarded around the world as an integral part of a human being's life. Conceptually, every life-form that exists in the world posses a direct relation with some form of design concept to the pressent-day world environment. Especially " Textile Deslgn", textile design is broadly used throughout the world to express individual and nationality customs, decorative expression, primarily indoors, and for the protection of the human body from the elements. The origin of contemporary textile design was introduced by William Morris, a pioneer of the 19th century design movement. He recognized that human life is greatly related with the organic order of nature, and understood that combining harmony with nature produces the best axpressions of design. Based on his unique socialist philosophy, he set out to spread his innovative design movement toward art democratic theory; for the masses, by the masses, and of the masses worldwied. William Morris's theory and doctrine receive much praise and acceptance by many artists and some artists who study his doctrines seriously, participate on practical design for the masses projects. One of the major key factors of William Morris’'s theory is " Arts and crafts movement" introduced along with Ruskin. It is considered that equipment used for mass production, destory the quality of human life and makes all living appliances monotones and expressionless. So as to maintain agreeable human lifestyle, one should shun machines and produce goods which express human sensitivity and creativity. Therefore, William Morris advocates restoration of past Gothic style and handicrafts. He applied his theories in various kinds of textile desi후. felds ; tapestries, rugs, carpets, woven textile goods, printed textlles and etc. Likewise, the level of workmanship of his product were excellent based on the quality of materials used, and techniques used. Even though this was the case, it was not always acceptable to the masses, because the price for products, especially hand crafted products using top quality materials are very expensive, allowing for only the wealthier class of society able to afford them. Based on this phenomenon, William Morris’'s theories provide an inconsistency with his overall doctrine, and eventually he agreed that the " machine" is useful if it is properly controlled and utilized. He failed to embody his thoughts and theories uniformly, therefore, some of his theories and doctrines had to be modified, But regardless of any flaws in the implementation of his design movement, his design in textiles; flowers, trees, birds, ect. on which organic order in naturalism are applied, allowed us to feel liveliness and positive motion, and the repeated pattern showed rhythmic balance. William Morris’s effort to prevent deterioration in sensible quality as evolved during the Industrial Revolution Period and Democracism were sympathized by worldwide artists, and those theories contributed to establish the fundamentals of contemporary designer's " value" point of view.

William Morris의 Tapestry 연구

김옥광 부산여자대학 1994 釜山女子專門大學 論文集 Vol.16 No.-

The purpose of this paper is to lead designers and handicraftsman who love to make tapestries the sound value of creative design and hand-craftsmanship, through William Morris’s enlightening thoughts as rendered in his tapestry and design concepts. William Morris thought that the quality of human life decreased due to the poor quality products produced by machines during the lndustrial Revolution of the 18th century. He understood the essence of Functionalism affected by Ruskin and was reluctant to use machinery. He preferred hand-crafted products intending to restore human’-s quality of life lost by the poor machine manufactured products. The 따s and crafts movement declined due to reaction to industrialization. This decline is considered a result of mechanized manufacturing environment dividing the work process. His aversion to machinery led him to become fascinated with tapestry which was totally hand-crafted. He was interested with several types of textile work. The primary theme of his tapestry was sinular to the motif popular in France during the medieval period. Because he didn't like tapestries which were reproduced from the late nuddle age’s oil painting, he studied and developed original design for tapestry. Naturalism is emphasized in natural landscapes with animals and human beings. His sequential works tell a story and makes us feel the human culture. Simple and repeated patterns which have rhythmic movement show basic principles of modem design. His unique design for tapestries was new and different enough to specify redeveloping design approach in modem tapestries. We, modem designers, cannot deny his endeavor to make modem tapestries, developed and newly recognized as textile art. But we see distinct inconsistencies between his ideology and his work, as a socialist he pursued art for the people. Ordinary people could not enjoy and possess his unusual hand-crafted tapestries which were only ordered made by rich and high class society people. Therefore, in order to fulfill William Morris's socialistic art ideology, modem artist who make tapestries, should make an effort to produce tapestries for people through developing an effective weaving 100m and through weaving innovations which provide hand-crafted texture.

COPTIC TEXTILE DESIGN 연구 : A Study on the Coptic Textile Design

김옥광 부산여자대학 1990 釜山女子專門大學 論文集 Vol.12 No.-

The Copts are the native Christians of Egypt. Therefore, Coptic Textile Design is the term generally used to designate fabric design produced in Egypt in the early Christian era. This Coptic Art is considered to cover from the 2nd or 3rd Centry to the 7th centry. More recently. some scholars seem agreed to advance the date to the 12th centry. At that time Egypt was a major province of the Roman Empire, with numerous Greeks in its urban centers. It was not until the Arab conguest about 640 A.D. that Egypt became a part of the Islamic World. Coptic Art is much greater participated by the population who were the more fervent christian. It is analogized thre a numerous textile works in christian motifs. The Copts's weaving technigue is much advanced one, and the function of 100m is good enough to produce elaborate tapestry. They also like to adorn plain tunics with highly decorative materials in various forms and in expressive technigue. This kind of custom style is shown in both lay and clerical robes in late roman period. In comparison with such a highly developed weaving, dyeing was not relatively developed. We cannot find various existing dyeing technigue in existing Coptic Art except dyeing linen and wool fiber with natural dye. Sometimes, to make textile gorgeous, embroidery was applied and to express outline distinctly, embroidery was used on the weaved feature. There are many works showing human feature affected from Hellenism and Christian motif (Christ, celebrants, etc) in the earlier textile design. Cross, plant and animal motifs pattern design are common, ranging from naturalistic to guite abstract. Geometrical elements display symbolic representation and they are regarded as archetype of contemporary abstract painting. What is chear, at any rate, is that the Egyptian textiles of the early centries A. D., Known as Coptic, are among the great heritages from antiguity and one of the finest groups of textiles in the history of art. Also, even these days those works give us much attractive imagination and inspiration for sure.

WILLIAM MORRIS의 TEXTILE DESIGN연구

김옥광 亞成出版社 1993 釜山女子大學 論文集 Vol.15 No.-

Since the beginning of the 19th century, interests and expressions through design were highly regarded around the world as an integral part of a human being's life. Conceptually, every life-form that exists in the world posses a direct relation with some form of design concept to the pressent-day world environment. Especially " Textile Deslgn", textile design is broadly used throughout the world to express individual and nationality customs, decorative expression, primarily indoors, and for the protection of the human body from the elements. The origin of contemporary textile design was introduced by William Morris, a pioneer of the 19th century design movement. He recognized that human life is greatly related with the organic order of nature, and understood that combining harmony with nature produces the best axpressions of design. Based on his unique socialist philosophy, he set out to spread his innovative design movement toward art democratic theory; for the masses, by the masses, and of the masses worldwied. William Morris's theory and doctrine receive much praise and acceptance by many artists and some artists who study his doctrines seriously, participate on practical design for the masses projects. One of the major key factors of William Morris’'s theory is " Arts and crafts movement" introduced along with Ruskin. It is considered that equipment used for mass production, destory the quality of human life and makes all living appliances monotones and expressionless. So as to maintain agreeable human lifestyle, one should shun machines and produce goods which express human sensitivity and creativity. Therefore, William Morris advocates restoration of past Gothic style and handicrafts. He applied his theories in various kinds of textile desi후. felds ; tapestries, rugs, carpets, woven textile goods, printed textlles and etc. Likewise, the level of workmanship of his product were excellent based on the quality of materials used, and techniques used. Even though this was the case, it was not always acceptable to the masses, because the price for products, especially hand crafted products using top quality materials are very expensive, allowing for only the wealthier class of society able to afford them. Based on this phenomenon, William Morris’'s theories provide an inconsistency with his overall doctrine, and eventually he agreed that the " machine" is useful if it is properly controlled and utilized. He failed to embody his thoughts and theories uniformly, therefore, some of his theories and doctrines had to be modified, But regardless of any flaws in the implementation of his design movement, his design in textiles; flowers, trees, birds, ect. on which organic order in naturalism are applied, allowed us to feel liveliness and positive motion, and the repeated pattern showed rhythmic balance. William Morris’s effort to prevent deterioration in sensible quality as evolved during the Industrial Revolution Period and Democracism were sympathized by worldwide artists, and those theories contributed to establish the fundamentals of contemporary designer's " value" point of view.

조선시대의 보자기에 나타난 표현기법 연구

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.

조선시대의 보자기에 나타난 문양 연구

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.

타블렛 위빙에 관한 연구

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.