청각장애학교 직업교육으로서 공예교육에 관한 연구

하훈 한국공예학회 2000 조형디자인연구 Vol.3 No.2

본 연구는 청각장애 교육에 있어서 공예교육의 실태를 파악함으로서 수업방법 개선 및 문제점을 제시하고 그 해결 방안을 제시하는데 있다. 대구, 경북의 청각장애 영역이 있는 학교의 교육계획서 및 교사 등을 대상으로 선행 연구 분석 및 현장 경험을 토대로 설문조사를 하였다. 그 결과를 중심으로 요약 제시하면 다음과 같다. 첫째, 공예교육에 대한 이해의 부족과 전공 지도교사가 없어 전문적인 교육이 이루어지지 않는다. 둘째, 교재 교구 등 기자재가 상당히 미흡한 실정이다. 셋째, 장애별 특성을 고려하지 않은 교육환경이다. 넷째, 전문성 함양을 위하여 전문대학 수준의 교육과정 등 제반 시설 및 환경이 갖추어져야 한다.

韓國의 漆導入과 活用에 관한 硏究

鄭解朝 한국공예학회 1998 조형디자인연구 Vol.1 No.-

Ott Art has been developed in Asian countries such as Korea, China and Japan. The characteristics of Ott culture and the trace how it has been developed in each country will be elucidated by understanding how Ott, the common material, has been applied for various purposes in each country. This research has been carried out to figure out when Ott was imported to Korea and how it was utilized as a coating material by investigating literatures on Ott and remains coated with ott of different ages. We came to a conclusion that Ott was transferred to Korea from China as a result of expansion of Bronze Culture of Siberian Tagar that caused movement of people to China. Considering traces of ott coated on remains, ott seems to have been imported around 3 B.C. We see three characteristic periods; (1) prehistoric period, (2) Three Nation period and (3) Korea Dynasty. Ott was introduced and Ott culture started to for during prehistoric period. New techniques of applying Ott were imported or developed during Three Nation period. During Korea Dyanasty, Najeon Chilggi was very popular and it resulted in development of characteristic Korean techniques and forms not only of Najeon but alos of Ott Art.

朝鮮時代 刺繡生活工藝品의 紋樣에 관한 硏究

김인숙 한국공예학회 2001 조형디자인연구 Vol.4 No.1

Korea traditional pattern of craftwork in life in the Yi dynasty is remarkably different form the foreign's in traditional esthetic sense. In Korean traditional craftwork, naturalism is most emphasized based on its expression pattern and composition. Several materials such as fabric, gold foil and embroidery were used for the craftwork. Of these, embroidery was most widely practiced by the Korean woman who was allowed to live only at limited residence in all life under the strict social custom in the Yi dynasty. The pattern design of embroidery handcraft was found to be very exquisite and decorative. Learning embroidery handcraft was the basis of the developemnt of principal womanly virtue at the old dynasty. Embroidery pattern indicates that adaptation of strict social custom and artistic creativity of excellent skill development even under strict womanly life were closely related. Although it is important for Korean traditional civilization to be harmonized with other foreign civilzations, but it also should be permanently kept and maintained in future. This is the only way to create our own Korean traditional civilization even against globalization.

공예의 본질과 미적 가치에 대한 연구

최인철,김은경 한국공예학회 1999 조형디자인연구 Vol.2 No.2

The attitude that identifies crafts with technology and proclaims that crafts is simply an anachronism for the technological culture of today is an obstacle to the progress of craft. The prejudiced attitude gives rise to such serious phenomena in practical execution of craft as the pretension to be fine art, the neglect of craft-skill, and the disappearance of making. Making, end-directedness in life-world, and skill are the essential natures of craft. craft is in distinction from (fine) Art, and from technology. Craft is within the sphere of the familiar, that is the ‘life-world’(Lebenswelt) whereas fine art is not. Art is within the sphere of the creative. Craft and technology, both are within the life-world. But craft is a special part of life-world which has aesthetic qualities. Craft acquires aesthetic qualities through its unique process which is different from that of technology. The unity of planning and execution (design and making), and the knowledge of skill(know-how), different from the knowledge of technology(know-that), are characteristics of craft process. We can fine the aesthetic qualities of craft in the versatility of making, the excellence of skill, and the respect of qualities in design. Therefore, craft is no anachronism but one of few forces that are left to stem the deterioration and dehumanization of contemporary life.

청각장애 학생의 工藝學習指導를 通한 表現力 伸長에 대한 연구 : 再活用 材料를 中心으로

河壎 한국공예학회 2001 조형디자인연구 Vol.4 No.1

Impair school middle and high student, judging from growing steps, are apt to be deprived of confidence of expression and learning desire because expression doesn't go well, through power of expression and appreciation makes progress. I tried to make students develop there interest in art learning. through the practice of Craft art using the special material at hand centering the subject of case study in order to grope for a device for having a confidence of expression and extension of expressive abilities. The result is as follows making go beyond, fixed materials and applying expression through all over the field of text book, confidence of expression and interest became to grow higher and learning motivation was allured and imaginative expressing ability soon become to grow higher and it kept on original expression. Trough having to experience which make a can parative appreciation his work with other the appreciation abilith was promoted, of student become more interested in art lesson.

박물관 전시와 사회적 맥락의 함의관계-조선시대 오복상징 목칠공예품의 기의분석-

엄소연 한국공예학회 2007 한국공예논총 Vol.102 No.-

한국공예의 육성정책

추원교 한국공예학회 1999 조형디자인연구 Vol.2 No.2

This paper is designed to explain the governmental policies of aiding and promoting the modern craft art in Korea since 1945 and to study the interrelationships among the governmental policies, the educational system, and society. It explores how the Korean government supports the organizations of small craft businesses, artists, and apprentices by using the policy guidance, the financial and educational systems. It emphasizes the importance of the educational system as a point of connection between the companies and artists. Finally this paper discusses the role of the artistic events such as competitive exhibitions organized by governments and craft art associations in the development of the craft art. It seeks to demonstrate that the government, the educational system, and society cooperate closely in Korea to promote the modern craft art. Since 1945 the areas of the modern craft art has become divided into three different areas. As a result artists, merchandisers, and the policy-makers of the government cannot work together to promote the craft art. The crafts in the first area have been produced by small business merchandizers without any artistic interest. These items include domestic wares and decorative objects. The second area has been developed by artists who pursue their craft art for their own artistic purposes. The third area exists as the traditional craft which preserves the traditional techniques of the craft art by raising the apprentices. After the new Korean government has decided to promote the knowledge and cultural industries for the 21C, modern craft art businesses have begun to attract attention from Korean society. Yet the above three areas do not know how to cooperate one another. This paper suggests that it is urgent to find a way in which merchandizers respect and accommodate the artistic intentions of the craft artists. Merchandizers and artists also pay careful attention to incorporate the inherited traditional techniques in their respective areas. The close cooperation among three areas will contribute to developing the industrial craft art.

한국 산업공예의 인식도 조사

추원교,남미경,이형규 한국공예학회 2000 조형디자인연구 Vol.3 No.2

This study surveyes the degree of recognition of industrial crafts in Korea. The period of time for this survey was from October 10, 1998 to November 15, 1998. The 234 people over than twenty-year-olds working men and women, including students, bussinessmen, teachers and customers answered Q & A paper. The survey investigated 50 questions. The questions are put under the titles of: ① general, ② the design of industrial crafts in Korea, ③ the quality of industrial crafts in Korea, ④ the price of industrial crafts in Korea, ⑤ the information activity about industrial crafts in Korea, ⑥ the distribution process of industrial crafts in Korea, ⑦ the process of the manufacture of industrial crafts in Korea, ⑧ the recognition of the differences between the industrial products and craft arts in Korea, ⑨ the comparison with foreign countries' craft arts, ⑩ the perspective of industrial crafts in Korea. The study reviews the developmental process of industrial craft paradigm with emphasis on systems of market, advertisement, and database of craft design in Korea. This paper concludes by discussing the future role of Korean artistic crafts with cultural identity designed and marketed by the organizations of artists, industries, and government. It seeks to demonstrate that the government, the educational system, artists, and society need to cooperate closely to promote the future craft art in Korea. The producing creative functional art would be the only way to survive and enhance economic well-beings of their country or company from now on. Competitiveness of each country and company would ask more originality and creativity in design than before. After the new Korean government has decided to promote the knowledge and cultural industries for the 21C, industrial craft art businesses have begun to attract attention from Korean society. But each areas do not know how to cooperate one another. This paper suggests that it is urgent to find a way in which all cooperation of Korean craft areas focuses and processes the long term of developmental cycle. Under the plan of long term developing cycle with cooperation, support system by government, and new cultivating design will contribute to developing the industrial craft art in Korea.

百濟文化圈 開發에 따른 새로운 觀光金屬工藝品 디자인에 관한 硏究

김미령,이충우 韓國工藝學會 2000 한국공예논총 Vol.3 No.1

충주ㆍ중원지역 관광공예품 개발에 관한 연구

김홍대,주예경,곽태영,강재진 한국공예학회 1999 조형디자인연구 Vol.2 No.1

The objective of this project is to develop excellent tourist craftworks that can effectively represent characteristics of the local culture of Joongwon province. For the production of tourist souveniors with useful function, various shapes and popularity, four coworkers have designed and produced craftworks after researching individually in the area's tourist circumstances. Since long before Joongwon province has been a famous tourist place with its surrounding mountains, the Choongju Lake and the tourist industry of the area. To draw more tourists to this province, and to activate the local tourist industry, the development of excellent tourist crafts that can be gaining general currency is a very important job. Thus this study aims at recognizing the problems of tourist souveniors with low quality now having an extensive currency in general tourist area, and also at developing superior tourist craftworks with characteristics of tourism and the local culture. On the basis of motifs that have been various tastes and prices by adopting an effective method of production and material selection.