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RISS 인기검색어
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- 저자 : 이헌국(Lee, Heon-Kook) (검색결과 34 건)
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이헌국(Lee, Heon-Kook),이명순(Lee, Myeong-Soon) 한국조형디자인학회 2003 조형디자인연구 Vol.6 No.2
Peter Voulkos is one of the outsta nding artist s 111 America n contemporary ceramic art. who has transferred craf t from 'c ra ft as function ' to 'c raf t as ar t.' His philosophy of art as such has been formed by the influences of j apanese thought of Zen Buddhism, the Abstract Expressionism, and Cubism. Insp ired by Zen thought of j apan, he has confirmed that art comes from the mind. and has devoted himself to realization of ' sab i' as a characterist ic of j apanese ceramic art. Meanwhile such a thoug ht of ' sa bi' has been already introduced into America in 1906, which has been reviewed by a Brit ish ceramic arti st. Leach. etc. As a resu lt. Voulkos ' s ceramic art has led to prefer to the effect of chance being free from regularity. symmetry formed by the wheel-thrown method. As for the Abstract Expressionism. Voulkos has used its trend, improv isation and gesture, by which he has been deviated from the past convention to stress the resu lt of a work to a new direction to emphas ize the making process and the arti st' s intuiti on. Thus Voulkos has opened up a new horizon of ceramic art in his work s by stacking the slates, pressing, making the dent s. and using the gla zes producing bubble and crack. He also has used the characteristics of Cubism sugges ted by Picasso, Miro, etc. for his ceramic art. and he, by dest roying three dimensionality of ceramic art by usage of color and line. has come to under st and the energies of color and line in a new vision. In conclusion, I am sure that Voulkos can be recognized as an arti st who largely has devoted himself to establishing a new American aesthetics of ceramic art and destroying the European Romantic tradition in that his art world has been based on Zen thought of Japanese ceramic art being advocated by the Japanese ceramic artist s, Hamada, Yanag i, etc., keeping paces with the epochal background that America has begun to direct to the Oriental philosophy and thought from the early of the 20th century.
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이헌국(Lee, Heon-Kook),김완주(Kim Wan-Ju) 한국조형디자인학회 2007 조형디자인연구 Vol.10 No.1
"Dan-Chung" is said to be the magnificent decorations with various colorful patterned paintings upon each sections of Wooden architecture. In the view points of modern design arts. Dan-Chung is systematically classified into the aggregate of variety signs and symbols and accomplishment of Korean traditional images. (Dan-Chung is regarded as the treasury of design arts and also regarded the future of design arts) Dan-Chung is not only the treasury of design arts but also the future of design arts. Dan-Chung as the archetype of Korea traditional paintings, absolutely does not fall behind the modern abstract fine art, in balance, proportion, bold colors, etc in the Value of aesthetic. - 3 - In other aspects, Dan-Chung's refined abstract beauty and Imaginative faculty which is transcend time and space, and overwhelm accomplishment of the Western abstract fine art in the sense of value, in this treatise, Dan-Chung's aesthetical accomplishment and potentiality which is grow up diversionary, are investigated, regardless of the painter's intentions. Dan-Chung in it's patterns already comprehend the whole universe. Dan-Chung which is observed in it's patterns and colors can be defined Vernacular object or Vernacular design, Vernacular designs's domain does not encompasses only architecture and interior space, but also furniture and crafts. In the history of the art style, architecture and decorative art can not be separated in an inseparable relation. From Ruskin and Morris' Arts and Craft movement, to Art Nouveau, Art Deco, Bauhaus, all the important trend and modality in epoch making crafts history comprehend this tendency in principle. In considerations of Dan-Chung's process of transition and development in it's modality Art Nouveau and Art Deco's critical strategies can be mentioned. At about the same time of the twentieth Century, Art Nouveau compared all the fields of design (from fashion to graphic) for more than twenty years. In comparison with Art Nouveau and Art Deco's stylistical characteristics and those of Dan-Chung. It is easily comprehended that Dan-Chung has much more diverse images. For example when we see the Dan-Chung's representative patterns of the decorative painting on the heads of girder or the eaves of a building. It is seems that an Art Nouveau modality has been exactly reproduced. Dan-Chung's variety colorful gold patterns have similar stylistic characteristics of Art Deco. Dan-Chung's Various patterns and Colors can be considered as the Vivid textbook of semiotics, in the mist of those patterns and colors, particularly, the role of Dan-Chung as a symbol should be noted. The masters of Dan-Chung usually says that the nature itself is the Dan-Chung. Even without their maintenance, when we see the patterns that is handed down until now, it is easily understood that Dan-Chung is a treasure house of symbolism, the 21st Century is usually considered as the age of culture. In that context, the assertion that the tradition itself is the best cultural product of the 21st century can be persue that can be modified and used in diversity is very important Dan-Chung represent those motifs. Although it is being different concepts and realm. The crafts and designs are in intimate relationships mutual intimate relationships of crafts and designs can be found in Dan-Chung. Dan-Chung will be the unlimited resources of craft design.
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평생교육의 현황과 도예교육 프로그램의 발전방향에 관한 연구
이헌국(Lee, Heon-Kook),장용만(Jang, Yong-Man) 한국조형디자인학회 2004 조형디자인연구 Vol.7 No.1
The times that concept called education is generalized for life in our country, and was spent are nothing more than 25- 6. This point can be a very remarkable project when tries to consider environment of our country searching in the world than neither country in educational heat. It is phenomenon to have happened because was not able to enjoy everybody benefit of school education backing up in the government in the war generations that are a former birth for 1950 years. Therefore, the interest about education was able to become a basis naturally to their nation of high education faced the second and fell off, and to show off an educational column of the first world. However, it was appeared with various forms with a plan of solution about the estranged spirit world of isoneself who was followed while accomplishing high economic growth. These phenomena became a social sue gradually, and a chapter of new education called social education got the basis that can be opened. Because the social educat ion was opened with various courses by age and scholarship while not getting a courtship, is equipped with a natural aptitude not to have inferiority as meaning of education for life. Also, carries out role to be superior to any the orga nization in diffusion anger of culture faithfully and has developed. Now the reason that a word called social education is never strange is here. Specially, research about our culture and effort have been consiste ntly proceeded, and an interest about crafts is following now steadily as soon as they tum among a lot of courses. Became a lot of social education center or the culture center, the course that can easily contact with even in general personal empty rooms with the proof. Wishes in other opinion in two sides and can see this, but the positive side that achieved social expansion of ceramic art culture and a cultura l development first is. Quantitative second times unfavorably. Compare to growth, and growth in quality is slight point. In other words, it is for own development to be able to miss because of the large interest and development of a program to be delayed, but this can give a bad influence to development of future ceramic s culture , and urgent solution can be a necessary project than nothing. Became a very special intere st and the key study object to the researcher whom this problem majored in ceramic art and protec ted. Therefore, this paper is determined with the present situation and a development of a social education of our country and is going to study on the present situation and a development direction of a ceramic art educational program.
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야나기 무네요시의 "공예문화"에 내포된 사회주의 철학 연구
이헌국 ( Heong Gook Lee ),나유석 ( You Seok Nah ) 한국기초조형학회 2011 기초조형학연구 Vol.12 No.6
19C에서 20C 초까지 사회주의사상은 공예가와 디자이너들에게 많은 영향을 주었다. 대표적으로 ``존 러스킨``와 ``윌리엄 모리스`` 그리고 ``월트 그로피우스``로 이어지는데 이들은 시대는 다르지만 사회주의사상을 토대로 공예사상을 정립했으며 현대 공예와 디자인 발전에 크게 이바지 했다. 일본의 공예학자 야나기 무네요시 역시 그의 공예사상에 사회주의적 시각을 담고 있다. 그는 공예를 통해 자본주의의 문제에 대해 객관적으로 보고자 노력했는데 그의 그런 이면에는 사회주의적인 시각이 있었기에 가능했다. 어쩌면 여기에 오늘날 현대의 공예가 추구해야 될 진리가 숨어 있다. 지나치게 천민자본주의화 되어가는 ``순수미술``과 ``디자인``에 비해 공예는 야나기의 주장처럼 민중적인 성질을 갖고 있어 사회공동체적인 특성을 보여준다. 30년간 지속되어온 신자유주의로 자본주의는 지나친 개인주의가 만연되어 변화해할 필요성을 느끼는 이 때 사회주의적 시각이 내포된 야나기의 공예사상은 시사성이 크다 하겠다. 이에 본 논문은 야나기에 ``공예문화``에 내포된 사회주의적 시각에 관한 연구로 ``사회주의``가 그의 ``공예사상``에 미친 영향을 분석하는데 목적이 있다. The socialist idea from the 19th century to the early 20th century had a great influence on craftsmen and designers. Its representative authors are William Morris and Walter Gropius. Though their period is different, they both established crafts idea on the basis of socialist idea and contributed to the development of modern crafts and design. Yanagi Muneyoshi, who was a technologist in Asia, also contains much of the socialist idea in his book "Craftwork Culture." This thesis is on the research into the socialist perspective connoted in Yanagi Muneyoshi`s ``Craftwork Culture`` and the aim of this thesis is to analyze the influence of socialism on his ``crafts idea.`` It was possible because there existed a socialist perspective in his hidden side. In here, there might be the truth hidden which today`s crafts has to pursue. Through this, this researcher hopes that crafts will make a new appearance in modern society as an alternative to the overly capitalized ``fine arts`` and ``design.`` This thesis is on the research into the socialist perspective connoted in Yanagi Muneyoshi`s ``Craftwork Culture`` and the aim of this thesis is to analyze the influence of socialism on his ``crafts idea.``
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20세기 현대 미술을 통한 플라워 디자인 표현 경향 분석에 관한 연구
이헌국(Lee, Heongook),정향진(Jung, Hyangjin) 한국조형디자인학회 2006 조형디자인연구 Vol.9 No.1
Modern society is trying to seek and reflect the changes of specializing and pluralizing the value structure and ideology in the areas of culture art and designs. It makes Objet of the peculiar aspect appeared in the designs. Objet is the physical and mental things that could be recognized through a way to be seen and touched as giving meanings to the object. Objet is a manner of 20th century modern art to meet the needs of an author's subjective expression through recognizing and reanalyzing, with rejecting the imitative aesthetics. To understand the stream that these patterns of Objet in modern art appeared in the flower designs, I studied the theoretical backgroundabout Objet of modern art with a literature, and wrote the concept and background of the flower design. Objet appeared in modern art is showing a tendency to spread more and more in the flower designs, therefore it tried to find a new attempt of endless possibilities of expression using a material such as stone, metal, plastic and other wastes. The flower design is switching to the need of subject expression that recognizes and analyzes the beauty of nature, instead of the concept that just sets the flowers like the state of nature. The aim of this thesis is to create the special feature that Objet affects the flower design, with studying the feature of Objet in the flower design, and to rerecognize the meaning of Objet in the flower design, with analyzing the type of Objet. And so, this thesis makes Objet widen new recognition and sensein the flower designs and take charge of the functionand role to embody various expressions and it try to lay the groundwork to expand the concept of the flower design to a wide range of area and Also in the streams of social culture that is specialized, pluralized, informationalized, this thesis tries to find a possibility and way of a new environmental creation in the flower designs.
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