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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
The aim of this article is searching for the possibilities and its limits in study of Korean craft history based on objective point of view and raising an aesthetic question.
The fruits of research on Korean craft history were accumulated since Ko Yu-Seop began eighty years ago. However, the contents were centered on the objective approaches in historical evidences such as the materials and techniques. In other words obtained results in the history of materials or techniques.
The world of artifacts those reputed to be ‘craft’ -took its place between artwork and the industrial product during the modem period-entered upon a new phase. Because of the sudden changes were repeated in the patterns of production, mechanical modes after the Industrial Revolution and the concept of art derived in the eighteen century in Western spreaded through world wide the earnest discussion on craft and its history also had to be changed.
In this sense the theory of folk craft is considerable; Yanagi Muneyosi(l889-1961) developed the theory of folk craft as the result of theoretical consideration and practice while accepting the disputations about art and craft and the field studies made in Western. Craft, or Korean craft history is not a fixed idea but a historicity. Hence in order to place Korean craft history in the history of art - not the history of materials, or techniques-the disputation must be accompanied by the analysis and interpretation of perfunctory merits and furthermore must be accompanied by the philosophical questions about entities of craft and Korean craft history.
The fruits of research on Korean craft history were accumulated since Ko Yu-Seop began eighty years ago. However, the contents were centered on the objective approaches in historical evidences such as the materials and techniques. In other words obtained results in the history of materials or techniques.
The world of artifacts those reputed to be ‘craft’ -took its place between artwork and the industrial product during the modem period-entered upon a new phase. Because of the sudden changes were repeated in the patterns of production, mechanical modes after the Industrial Revolution and the concept of art derived in the eighteen century in Western spreaded through world wide the earnest discussion on craft and its history also had to be changed.
In this sense the theory of folk craft is considerable; Yanagi Muneyosi(l889-1961) developed the theory of folk craft as the result of theoretical consideration and practice while accepting the disputations about art and craft and the field studies made in Western. Craft, or Korean craft history is not a fixed idea but a historicity. Hence in order to place Korean craft history in the history of art - not the history of materials, or techniques-the disputation must be accompanied by the analysis and interpretation of perfunctory merits and furthermore must be accompanied by the philosophical questions about entities of craft and Korean craft history.
#한국 공예사(Korean craft history)
#미술사(art history)
#공예(craft)
#민예(minge)
#인공의 지평(Beyond Artifice)
#야나기 무네요시(Yanagi Muneyosi)
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목차
- Ⅰ. 들어가며
- Ⅱ. 여기서 말하는 ‘공예’란 무엇인가?
- Ⅲ. 공예사 연구자들의 문제제기
- Ⅳ. 과제로서의 현장 ‘공예’ 혹은 공예사
- Ⅴ. 야나기 무네요시의 민예론
- Ⅵ. 「다시 ‘인공의 지평’으로」
- Ⅶ. 맺으며
- 참고문헌
- Abstract
- 「한국 공예사 연구의 미학적 문제」에 대한 질의
- 목수현 선생님의 질의에 대한 답변
참고문헌
참고문헌 신청최근 본 자료
UCI(KEPA) : I410-ECN-0101-2009-650-017048314
