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전통 칠 예술은 뛰어난 장식성과 실용성으로 인류의 생활 문화와 함께 오랜 역사를 가지고 있다. 특히, 한국의 나전 칠기는 한국의 미를 대표하는 전통 공예로서 중국과 일본의 나전 칠기와는 구별되는 독특한 양식으로 발전해 왔다. 중국 당나라에서 전래된 나전 기법은 통일신라 시대를 거쳐 고려시대에 이르러 독자적인 양식을 이루었다.
나전 칠 예술은 독특하고 아름다운 예술 양식 중 하나이며 전통 공예로서 심미성과 실용성 측면에서 매우 중요한 가치를 지니고 있다. 그러나 오늘날 현대 사회에서 전통 예술에 대한 인식과 관심은 점점 희박해지고 있다. 나전 칠 예술을 현대 사회에서 더욱 발전시키고 계승하기 위해서는 이 전통기법을 많은 사람이 즐기고 받아들일 수 있도록 해야 한다.
본 연구의 목적은 전통 칠기 공예와 관련된 연구를 통해 전통 칠 예술의 가치를 명확히 인식하도록 하고, 나전 칠 예술을 현대적 디자인에 활용함으로써 이 전통 기법이 시대에 뒤떨어진 것이 아니라 대중의 관심과 보전 및 활용이 시급함을 증명하고자 하였다. 나아가 전통 칠 예술이 현대사회에 전수될 수 있도록 혁신적인 디자인 아이디어와 기회를 제공하고, 전통 공예의계승과 발전을 위한 새로운 방향을 제시하고자 하였다.
연구의 범위는 전통 칠 예술의 발원지인 중국과 나전 칠 예술을 꽃피운 한국을 주요 연구 대상으로 하였으며, 진행 방법은 다음과 같다.
첫째, 문헌 자료를 통해 칠 예술의 기원과 발전을 연구하고, 한·중 양국의 전통 칠 예술의 발전과 변천 과정을 통해 전통 칠 예술이 오늘날까지 전해질 수 있었던 역사적 요소를 도출하였다.
중국의 칠 예술의 기원은 약 8000년 전에 시작되어 각 역사적 시대에 따라 칠기의 형태, 품종, 문양, 제작 기법의 발전과 다양화를 이루었다. 한국은 낙랑군을 통해 중국 칠 예술이 전래되었다. 한국은 불교 문화와 함께 독자적인 칠 예술을 발전시키는 동시에 다양한 칠기 기법을 일본에 전파하였다. 특히, 나전 기법은 중국에서는 쇠퇴한 반면, 한국에서는 각 시대를 거쳐 현대까지 계속적인 발전을 이루었다.
또한, 한· 중 두 나라의 나전 칠 예술에 큰 업적을 남긴 대표적 인물인 한국의 김봉룡과 중국의 강천리의 작품을 분석하고 국가별 나전 칠 예술의 특징을 비교 분석하여 그 작품들이 당시 사회의 대중적 수용과 인정, 추앙을 받을 수 있었던 심층적인 요소를 분석하였다. 김봉룡과 강천리는 모두 뛰어난 실력을 갖춘 대표적 나전 칠기 장인으로 전통의 계승과 함께 독자적인 디자인 기법을 창안하고 그 시대의 정신과 생활 양식 등을 작품 속에 표현하였다.
둘째, 전통 칠 예술의 양식을 연구하였다. 전통 칠기의 종류, 소재에 따른 형식, 제작 과정 등의 고찰을 통해 전통 칠기의 예술적 매력이 무엇인지 살펴볼 수 있었으며, 향후 발전이 제한되는 원인을 분석하였다.
우수한 전통의 칠 예술을 발전시키기 위해서는 현대화와 대중화가 필요하나 전통 칠기 기법은 공정이 복잡하고 까다로워 대량 생산이 어렵고, 생칠 원가와 인건비가 높으며 숙련된 기술을 필요로 하여 발전의 제한 요인이 되고 있다. 따라서 가격이 합리적이며 복잡한 제작 공정을 줄일 수 있는 소재의 개발과 신기술의 적용이 필요하다.
셋째, 전통 칠기 공법에 사용된 생칠의 제조 방법, 특성 등을 연구하고, 천연 칠과 화학 도료의 비교 분석을 통해 생칠의 실용성과 친환경성을 확인하고 현대인들이 더욱 주목하는 환경과 건강에 대한 현대적 소비 가치를 입증하였다.
현대에 사용되는 도료들은 천연 수지 도료와 합성 수지 도료로 분류되며 생칠은 대표적인 식물성 천연 수지 도료로써 예로부터 현재까지 다양한 산업 분야에서 광범위하게 사용되고 있다. 특히, 합성 수지 도료에 비해 인체에 무해하며 친환경성을 모두 갖춘 매우 실용적이고 안전한 도료이다.
넷째, 현대 제품 디자인에 나전 칠 예술 양식을 적용할 수 있는 기준을 제공하고자 현대 제품 디자인에 활용할 수 있는 전통 소재와 신형 소재의 특성 연구 및 시험 분석을 통해 칠 적용성, 친환경성, 내구성, 미관성, 경제성 등을 비교 분석하고 재료의 적합성과 신형 소재의 가능성을 입증하였다.
자기, 홍화리목, 흑호두나무, 소나무, 투명유리, 불투명유리, 구리, 주석, 알루미늄, 스테인리스, 폴리프로필렌, 폴리에틸렌, 폴리아미드, 아크릴 등 14종 재료의 특성과 칠 적용시 건조성과 접착성을 분석한 결과, 폴리프로필렌, 폴리에틸렌, 폴리아미드를 제외한 재료들의 적합성이 입증되었다. 특히, 아크릴은 친환경 소재는 아니지만 인체에 무해하고 대량 생산이 가능하며 환경 훼손을 줄일 수 있으며 칠 적용성, 내구성, 미관성, 경제성이 우수한 신형 소재이다.
다섯째, 그 결과로서 현재 시장에서 유통되고 있는 아크릴 소재를 선택하여 전통과 현대가 결합 된 예술 양식을 기존 제품 디자인 사례에 적용하여현대적 나전 칠기 제품을 재창조하였다.
현대 사회에서 대표적으로 사용되고 있는 핸드폰 케이스, 자동차 실내장식, 만년필 외피, 가방 악세서리, 키홀더 등에 나전 칠기 기법을 적용하여 현대적 양식의 전통 칠기 제품을 디자인하였다.
마지막으로, 나전 칠 예술 양식이 적용된 현대 제품에 대한 시장 조사 연구를 진행하였다. 설문 조사를 통해 전통과 현대가 결합된 나전 칠기 제품에 대한 소비자의 인식과 구매 성향을 분석하였다.
설문 조사 연구 결과, 칠기 제품의 친환경성과 친건강성에 대한 적극적인 홍보가 필요하며, 전통과 현대적 트렌드가 결합된 디자인 개발 및 실용적 제품과 고가 제품에 대한 차별화 전략이 필요함을 알 수 있었다.
한편, 최신 현대 기술을 나전 칠 예술의 대중화에 활용할 수 있는 방안으로 4차 산업 기술의 융합을 제안하였다. ‘전통 공예의 현대화’에 기여할 수 있는 대표적인 분야는 인공지능(AI)과 3D 프린팅 기술이 있다. 인공지능 기술은 나전 칠기 장인의 작품 도안을 학습하게 한 뒤 현대적인 이미지를 접목하는 방식으로 새로운 나전 칠기 도안을 만들어내는데 활용할 수 있으며 3D 프린팅은 나전 칠기 공예의 전수자나 기초 학습자들이 장인들의 작품을 실제로 만지고 분해해 가며 연습하는데 활용할 수 있어 숙련된 기술을 습득하는데 상당히 효과적일 것이다.
Traditional lacquer art has a long history with human life culture
due to its excellent decoration and practicality. In particular, Korean
najeon lacquerware has been developed into a unique style that is
distinct from Chinese and Japanese najeon lacquerware as a traditional
craft representing the beauty of Korea. The najeon technique, which was
introduced from the Tang Dynasty in China, formed its own style from
the Unified Silla Period to the Goryeo Dynasty.
Najeon lacquer art is one of the unique and beautiful art forms,
and as a traditional craft, it has a very important value in terms of
aesthetics and practicality. However, in today''s modern society,
awareness and interest in traditional art are becoming less and less. In
order to further develop and inherit Najeon lacquer art in the modern
world, this traditional technique must be enjoyed and accepted by many
people.
The purpose of this study is to clearly recognize the value of
traditional lacquer art through research related to traditional lacquer art,
and by using Najeon lacquer art in modern design, this traditional
technique is not outdated, but public interest, conservation, and
utilization. I tried to prove this urgency. Furthermore, it attempted to
provide innovative design ideas and opportunities so that traditional
lacquer art can be passed on to the modern society, and to suggest new
directions for the succession and development of traditional crafts.
The scope of the study was focused on China, the origin of
traditional lacquer art, and Korea, where the Najeon lacquer art
blossomed, and the method of proceeding is as follows.
First, we studied the origin and development of lacquer art through
literature data, and through the development and transition process of
traditional lacquer art in both Korea and China, the historical elements
that traditional lacquer art could have passed down to this day were
derived.
The origin of Chinese lacquer art began about 8000 years ago, and
according to each historical period, the form, variety, pattern, and
production technique of lacquerware developed and diversified. Korean
raw lacquer lacquer wood was imported from the Chinese Han Dynasty
around 200 BC, and Chinese lacquer art was passed down through
Nakrang County. Together with the Buddhist culture, Korea developed
its own lacquer art and spread various lacquer techniques to Japan. In
particular, the najeon technique has declined in China, while in Korea it
has continued to develop through each era to the present day.
Second, the style of traditional lacquer art was studied. Through
consideration of the type of traditional lacquerware, the format according
to the material, and the production process, it was possible to examine
the artistic appeal of traditional lacquerware, and to analyze the causes
of future development.
Modernization and popularization are necessary in order to develop
excellent traditional lacquer art, but traditional lacquer techniques are
difficult to mass-produce due to complex and demanding processes, high
raw material costs and labor costs, and require skilled skills, which is a
limiting factor for development.
Third, by analyzing the works of Kim Bong-ryong of Korea and
Kang Cheon-ri of China, the representative figures who made great
achievements in the Najeon lacquer art of both Korea and China, and by
comparing and analyzing the characteristics of Najeon lacquer art by
country, the works were accepted by society at the time. It analyzed the
in-depth factors that were able to receive recognition and admiration.
Both Kim Bong-ryong and Kang Cheon-ri are representative Najeon
lacquer ware craftsmen with excellent skills. They inherited the tradition,
created their own design techniques, and expressed the spirit and
lifestyle of the times in their works.
Fourth, we study the biological characteristics and varieties of
chilmok used in the traditional lacquer technique, the collection and
manufacturing methods and characteristics of raw chil, and compare and
analyze natural lacquer and chemical paints to confirm practicality and
eco-friendliness. It proved the value for health that pays more attention.
Paints used in modern times are classified into natural resin paints
and synthetic resin paints. lacquer is a representative vegetable natural
resin paint and has been widely used in various industrial fields from
ancient times to the present. In particular, it is a very practical and safe
paint that is harmless to the human body compared to synthetic resin
paints and has both eco-friendly properties.
Fifth, in order to provide a standard for applying Najeon lacquer
art style to modern product design, comparative analysis and test of the
applicability, eco-friendliness, durability, aesthetics, economy, etc. of
traditional and new materials that can be used in modern product design
The suitability of the material was verified through analysis.
Characteristics of 14 materials such as porcelain, safflower, black walnut,
pine, transparent glass, opaque glass, copper, tin, aluminum, stainless
steel, polypropylene, polyethylene, polyamide, acrylic, etc. As a result, the
compatibility of materials other than polypropylene, polyethylene and
polyamide was demonstrated. In particular, acrylic is not an eco-friendly
material, but it is harmless to the human body, can be mass-produced,
and is a new material with excellent paintability, durability, aesthetics,
and economy.
Sixth, as a result, modern Najeon lacquerware products were
recreated by selecting suitable materials distributed in the market and
applying the Najeon lacquer art style that combines tradition and
modernity to existing product design cases.
Traditional lacquerware products in a modern style were designed
by applying the najeon lacquer technique to the cell phone cases, car
interior decoration, and the outer shell of fountain pens that are
representatively used in modern society.
Finally, a market research study was conducted on the case of
modern products to which Najeon lacquer art style was applied. Through
a survey, consumers'' perception and purchasing tendency of Najeon
lacquerware products that combine tradition and modernity were
analyzed.
As a result of the survey research, it was found that active promotion
of eco-friendliness and health-friendly lacquer products is necessary,
design development combining traditional and modern trends, and
differentiation strategies for practical and high-priced products are
needed.
Meanwhile, the convergence of 4th industrial technology was
proposed as a way to utilize the latest modern technology in Najeon
lacquer art. Representative fields that can contribute to the
“modernization of traditional crafts” are artificial intelligence (AI) and 3D
printing technology. Artificial intelligence technology can be used to
create new Najeon lacquerware designs by grafting modern images after
learning the design of Najeon lacquerware craftsmen. It will be quite
effective in acquiring skilled skills as it can be used to practice by
touching, disassembling, and practicing.
나전 칠 예술은 독특하고 아름다운 예술 양식 중 하나이며 전통 공예로서 심미성과 실용성 측면에서 매우 중요한 가치를 지니고 있다. 그러나 오늘날 현대 사회에서 전통 예술에 대한 인식과 관심은 점점 희박해지고 있다. 나전 칠 예술을 현대 사회에서 더욱 발전시키고 계승하기 위해서는 이 전통기법을 많은 사람이 즐기고 받아들일 수 있도록 해야 한다.
본 연구의 목적은 전통 칠기 공예와 관련된 연구를 통해 전통 칠 예술의 가치를 명확히 인식하도록 하고, 나전 칠 예술을 현대적 디자인에 활용함으로써 이 전통 기법이 시대에 뒤떨어진 것이 아니라 대중의 관심과 보전 및 활용이 시급함을 증명하고자 하였다. 나아가 전통 칠 예술이 현대사회에 전수될 수 있도록 혁신적인 디자인 아이디어와 기회를 제공하고, 전통 공예의계승과 발전을 위한 새로운 방향을 제시하고자 하였다.
연구의 범위는 전통 칠 예술의 발원지인 중국과 나전 칠 예술을 꽃피운 한국을 주요 연구 대상으로 하였으며, 진행 방법은 다음과 같다.
첫째, 문헌 자료를 통해 칠 예술의 기원과 발전을 연구하고, 한·중 양국의 전통 칠 예술의 발전과 변천 과정을 통해 전통 칠 예술이 오늘날까지 전해질 수 있었던 역사적 요소를 도출하였다.
중국의 칠 예술의 기원은 약 8000년 전에 시작되어 각 역사적 시대에 따라 칠기의 형태, 품종, 문양, 제작 기법의 발전과 다양화를 이루었다. 한국은 낙랑군을 통해 중국 칠 예술이 전래되었다. 한국은 불교 문화와 함께 독자적인 칠 예술을 발전시키는 동시에 다양한 칠기 기법을 일본에 전파하였다. 특히, 나전 기법은 중국에서는 쇠퇴한 반면, 한국에서는 각 시대를 거쳐 현대까지 계속적인 발전을 이루었다.
또한, 한· 중 두 나라의 나전 칠 예술에 큰 업적을 남긴 대표적 인물인 한국의 김봉룡과 중국의 강천리의 작품을 분석하고 국가별 나전 칠 예술의 특징을 비교 분석하여 그 작품들이 당시 사회의 대중적 수용과 인정, 추앙을 받을 수 있었던 심층적인 요소를 분석하였다. 김봉룡과 강천리는 모두 뛰어난 실력을 갖춘 대표적 나전 칠기 장인으로 전통의 계승과 함께 독자적인 디자인 기법을 창안하고 그 시대의 정신과 생활 양식 등을 작품 속에 표현하였다.
둘째, 전통 칠 예술의 양식을 연구하였다. 전통 칠기의 종류, 소재에 따른 형식, 제작 과정 등의 고찰을 통해 전통 칠기의 예술적 매력이 무엇인지 살펴볼 수 있었으며, 향후 발전이 제한되는 원인을 분석하였다.
우수한 전통의 칠 예술을 발전시키기 위해서는 현대화와 대중화가 필요하나 전통 칠기 기법은 공정이 복잡하고 까다로워 대량 생산이 어렵고, 생칠 원가와 인건비가 높으며 숙련된 기술을 필요로 하여 발전의 제한 요인이 되고 있다. 따라서 가격이 합리적이며 복잡한 제작 공정을 줄일 수 있는 소재의 개발과 신기술의 적용이 필요하다.
셋째, 전통 칠기 공법에 사용된 생칠의 제조 방법, 특성 등을 연구하고, 천연 칠과 화학 도료의 비교 분석을 통해 생칠의 실용성과 친환경성을 확인하고 현대인들이 더욱 주목하는 환경과 건강에 대한 현대적 소비 가치를 입증하였다.
현대에 사용되는 도료들은 천연 수지 도료와 합성 수지 도료로 분류되며 생칠은 대표적인 식물성 천연 수지 도료로써 예로부터 현재까지 다양한 산업 분야에서 광범위하게 사용되고 있다. 특히, 합성 수지 도료에 비해 인체에 무해하며 친환경성을 모두 갖춘 매우 실용적이고 안전한 도료이다.
넷째, 현대 제품 디자인에 나전 칠 예술 양식을 적용할 수 있는 기준을 제공하고자 현대 제품 디자인에 활용할 수 있는 전통 소재와 신형 소재의 특성 연구 및 시험 분석을 통해 칠 적용성, 친환경성, 내구성, 미관성, 경제성 등을 비교 분석하고 재료의 적합성과 신형 소재의 가능성을 입증하였다.
자기, 홍화리목, 흑호두나무, 소나무, 투명유리, 불투명유리, 구리, 주석, 알루미늄, 스테인리스, 폴리프로필렌, 폴리에틸렌, 폴리아미드, 아크릴 등 14종 재료의 특성과 칠 적용시 건조성과 접착성을 분석한 결과, 폴리프로필렌, 폴리에틸렌, 폴리아미드를 제외한 재료들의 적합성이 입증되었다. 특히, 아크릴은 친환경 소재는 아니지만 인체에 무해하고 대량 생산이 가능하며 환경 훼손을 줄일 수 있으며 칠 적용성, 내구성, 미관성, 경제성이 우수한 신형 소재이다.
다섯째, 그 결과로서 현재 시장에서 유통되고 있는 아크릴 소재를 선택하여 전통과 현대가 결합 된 예술 양식을 기존 제품 디자인 사례에 적용하여현대적 나전 칠기 제품을 재창조하였다.
현대 사회에서 대표적으로 사용되고 있는 핸드폰 케이스, 자동차 실내장식, 만년필 외피, 가방 악세서리, 키홀더 등에 나전 칠기 기법을 적용하여 현대적 양식의 전통 칠기 제품을 디자인하였다.
마지막으로, 나전 칠 예술 양식이 적용된 현대 제품에 대한 시장 조사 연구를 진행하였다. 설문 조사를 통해 전통과 현대가 결합된 나전 칠기 제품에 대한 소비자의 인식과 구매 성향을 분석하였다.
설문 조사 연구 결과, 칠기 제품의 친환경성과 친건강성에 대한 적극적인 홍보가 필요하며, 전통과 현대적 트렌드가 결합된 디자인 개발 및 실용적 제품과 고가 제품에 대한 차별화 전략이 필요함을 알 수 있었다.
한편, 최신 현대 기술을 나전 칠 예술의 대중화에 활용할 수 있는 방안으로 4차 산업 기술의 융합을 제안하였다. ‘전통 공예의 현대화’에 기여할 수 있는 대표적인 분야는 인공지능(AI)과 3D 프린팅 기술이 있다. 인공지능 기술은 나전 칠기 장인의 작품 도안을 학습하게 한 뒤 현대적인 이미지를 접목하는 방식으로 새로운 나전 칠기 도안을 만들어내는데 활용할 수 있으며 3D 프린팅은 나전 칠기 공예의 전수자나 기초 학습자들이 장인들의 작품을 실제로 만지고 분해해 가며 연습하는데 활용할 수 있어 숙련된 기술을 습득하는데 상당히 효과적일 것이다.
Traditional lacquer art has a long history with human life culture
due to its excellent decoration and practicality. In particular, Korean
najeon lacquerware has been developed into a unique style that is
distinct from Chinese and Japanese najeon lacquerware as a traditional
craft representing the beauty of Korea. The najeon technique, which was
introduced from the Tang Dynasty in China, formed its own style from
the Unified Silla Period to the Goryeo Dynasty.
Najeon lacquer art is one of the unique and beautiful art forms,
and as a traditional craft, it has a very important value in terms of
aesthetics and practicality. However, in today''s modern society,
awareness and interest in traditional art are becoming less and less. In
order to further develop and inherit Najeon lacquer art in the modern
world, this traditional technique must be enjoyed and accepted by many
people.
The purpose of this study is to clearly recognize the value of
traditional lacquer art through research related to traditional lacquer art,
and by using Najeon lacquer art in modern design, this traditional
technique is not outdated, but public interest, conservation, and
utilization. I tried to prove this urgency. Furthermore, it attempted to
provide innovative design ideas and opportunities so that traditional
lacquer art can be passed on to the modern society, and to suggest new
directions for the succession and development of traditional crafts.
The scope of the study was focused on China, the origin of
traditional lacquer art, and Korea, where the Najeon lacquer art
blossomed, and the method of proceeding is as follows.
First, we studied the origin and development of lacquer art through
literature data, and through the development and transition process of
traditional lacquer art in both Korea and China, the historical elements
that traditional lacquer art could have passed down to this day were
derived.
The origin of Chinese lacquer art began about 8000 years ago, and
according to each historical period, the form, variety, pattern, and
production technique of lacquerware developed and diversified. Korean
raw lacquer lacquer wood was imported from the Chinese Han Dynasty
around 200 BC, and Chinese lacquer art was passed down through
Nakrang County. Together with the Buddhist culture, Korea developed
its own lacquer art and spread various lacquer techniques to Japan. In
particular, the najeon technique has declined in China, while in Korea it
has continued to develop through each era to the present day.
Second, the style of traditional lacquer art was studied. Through
consideration of the type of traditional lacquerware, the format according
to the material, and the production process, it was possible to examine
the artistic appeal of traditional lacquerware, and to analyze the causes
of future development.
Modernization and popularization are necessary in order to develop
excellent traditional lacquer art, but traditional lacquer techniques are
difficult to mass-produce due to complex and demanding processes, high
raw material costs and labor costs, and require skilled skills, which is a
limiting factor for development.
Third, by analyzing the works of Kim Bong-ryong of Korea and
Kang Cheon-ri of China, the representative figures who made great
achievements in the Najeon lacquer art of both Korea and China, and by
comparing and analyzing the characteristics of Najeon lacquer art by
country, the works were accepted by society at the time. It analyzed the
in-depth factors that were able to receive recognition and admiration.
Both Kim Bong-ryong and Kang Cheon-ri are representative Najeon
lacquer ware craftsmen with excellent skills. They inherited the tradition,
created their own design techniques, and expressed the spirit and
lifestyle of the times in their works.
Fourth, we study the biological characteristics and varieties of
chilmok used in the traditional lacquer technique, the collection and
manufacturing methods and characteristics of raw chil, and compare and
analyze natural lacquer and chemical paints to confirm practicality and
eco-friendliness. It proved the value for health that pays more attention.
Paints used in modern times are classified into natural resin paints
and synthetic resin paints. lacquer is a representative vegetable natural
resin paint and has been widely used in various industrial fields from
ancient times to the present. In particular, it is a very practical and safe
paint that is harmless to the human body compared to synthetic resin
paints and has both eco-friendly properties.
Fifth, in order to provide a standard for applying Najeon lacquer
art style to modern product design, comparative analysis and test of the
applicability, eco-friendliness, durability, aesthetics, economy, etc. of
traditional and new materials that can be used in modern product design
The suitability of the material was verified through analysis.
Characteristics of 14 materials such as porcelain, safflower, black walnut,
pine, transparent glass, opaque glass, copper, tin, aluminum, stainless
steel, polypropylene, polyethylene, polyamide, acrylic, etc. As a result, the
compatibility of materials other than polypropylene, polyethylene and
polyamide was demonstrated. In particular, acrylic is not an eco-friendly
material, but it is harmless to the human body, can be mass-produced,
and is a new material with excellent paintability, durability, aesthetics,
and economy.
Sixth, as a result, modern Najeon lacquerware products were
recreated by selecting suitable materials distributed in the market and
applying the Najeon lacquer art style that combines tradition and
modernity to existing product design cases.
Traditional lacquerware products in a modern style were designed
by applying the najeon lacquer technique to the cell phone cases, car
interior decoration, and the outer shell of fountain pens that are
representatively used in modern society.
Finally, a market research study was conducted on the case of
modern products to which Najeon lacquer art style was applied. Through
a survey, consumers'' perception and purchasing tendency of Najeon
lacquerware products that combine tradition and modernity were
analyzed.
As a result of the survey research, it was found that active promotion
of eco-friendliness and health-friendly lacquer products is necessary,
design development combining traditional and modern trends, and
differentiation strategies for practical and high-priced products are
needed.
Meanwhile, the convergence of 4th industrial technology was
proposed as a way to utilize the latest modern technology in Najeon
lacquer art. Representative fields that can contribute to the
“modernization of traditional crafts” are artificial intelligence (AI) and 3D
printing technology. Artificial intelligence technology can be used to
create new Najeon lacquerware designs by grafting modern images after
learning the design of Najeon lacquerware craftsmen. It will be quite
effective in acquiring skilled skills as it can be used to practice by
touching, disassembling, and practicing.
목차
- 1. 서론 ······················································································································· 11.1 연구 배경 및 목적 ······················································································ 11.2 연구의 범위 및 방법 ················································································ 22. 칠 예술의 기원 및 발전 ················································································ 52.1 중국의 칠 예술의 기원과 발전 ······························································· 52.1.1 선사 및 하, 상, 주 시대의 칠 예술의 발전··································· 52.1.2 춘추 전국 및 진, 한 시대의 칠 예술의 발전································ 82.1.3 위, 진, 남·북조 시대의 칠 예술의 발전········································ 122.1.4 수, 당 시대의 칠 예술의 발전························································ 142.1.5 송, 원 시대의 칠 예술의 발전························································ 162.1.6 명, 청 시대의 칠 예술의 발전························································ 172.2 한국의 칠 예술의 기원과 발전 ····························································· 202.2.1 삼국 시대의 칠 예술의 발전··························································· 222.2.2 통일신라 시대의 칠 예술의 발전 ··················································· 252.2.3 고려 시대의 칠 예술의 발전··························································· 272.2.4 조선 시대의 칠 예술의 발전 ························································· 302.2.5 근·현대의 칠 예술의 발전 ······························································· 332.3 한·중 전통 나전 칠기 비교 연구 ························································· 372.3.1 한국 김봉룡의 나전 칠기································································· 372.3.2 중국 강천리의 나전 칠기································································· 422.3.3 김봉룡과 강천리의 작품 비교 분석··············································· 472.3.4 소결······································································································· 543. 전통 칠기의 제작 공법 ················································································· 563.1 전통 칠기의 태형 제작 기술 ································································· 563.1.1 목태 공정 ····························································································· 563.1.2 탈태 공정 ····························································································· 573.1.3 압태 공정 ····························································································· 583.2 전통 칠기의 장식 기술 ··········································································· 593.2.1 연마채회 장식····················································································· 593.2.2 평회 장식 ····························································································· 633.2.3 퇴칠 장식 ····························································································· 663.2.4 상감 장식 ····························································································· 703.2.5 조칠 장식 ····························································································· 753.2.6 금은평탈, 묘금, 조전, 창금 장식···················································· 793.2.7 변도 장식 ····························································································· 843.2.8 은화 장식 ····························································································· 913.2.9 칠화 장식 ····························································································· 923.3 소결 ··············································································································· 944. 칠 도료 연구 ···································································································· 974.1 생칠 연구 ····································································································· 974.1.1 생칠의 정제 방법··············································································· 974.1.2 생칠의 제조 방법············································································· 1004.1.3 생칠의 특성······················································································· 1054.1.4 생칠의 화학적 성분 ········································································· 1084.1.5 생칠의 용도······················································································· 1124.1.6 생칠의 독성 및 예방······································································· 1154.2 현대 도료 연구 ························································································ 1204.2.1 합성수지 도료의 개발····································································· 1214.2.2 금속 도료 ··························································································· 1234.2.3 건축 도료 ··························································································· 1254.2.4 목재 도료 ··························································································· 1294.2.5 현대도료의 위해성··········································································· 1324.3 소결 ············································································································· 1335. 현대 칠기 제품의 재료 선택 및 시험 분석 ·········································· 1365.1 재료의 선택 및 시험 방법 ··································································· 1365.1.1 재료의 선택······················································································· 1365.1.2 습도 시험 방법················································································· 1375.1.3 접착력 시험 방법············································································· 1405.2 재료의 특성 및 시험 ·············································································· 1415.2.1 자기····································································································· 1425.2.2 목재····································································································· 1485.2.3 유리····································································································· 1635.2.4 금속····································································································· 1745.2.5 플라스틱····························································································· 1995.3 재료의 습도 및 접착력 시험 종합 분석 ·········································· 2345.3.1 습도 시험 종합 분석······································································· 2355.3.2 접착력 시험 종합 분석 ··································································· 2365.4 소결 ············································································································· 2386. 나전 칠 예술의 현대 제품 디자인 적용 ················································ 2426.1 현대 제품 디자인 적용 준칙 ······························································· 2426.2 현대 제품 디자인 구현 ·········································································· 2446.3 소비자 구매 성향 조사 ·········································································· 2456.3.1 설문 조사의 내용 및 결과 ····························································· 2456.3.2 설문 조사의 분석 및 소결 ····························································· 2667. 결론 ··················································································································· 2687.1 연구의 결론 ······························································································ 2687.2 향후 과제 ··································································································· 270참고문헌 ················································································································ 274Abstract ··············································································································· 280부록 ························································································································ 284설문 조사지 ······································································································· 284제품 제작 과정 ································································································· 287제품 상감 재료 ································································································· 288
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