지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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초록· 키워드
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The term ‘crafts’ that lasted at least over 1,00 years in East Asia has been stuffed. The current crafts which lost cultural status and agenda-setting ability are in great crisis in and out. Such phenomenon might be born at a time when the concept of artistic handcraft in an early modern period. The crisis has been deepened in accordance with the expansion of modern civilization, formative arts and design. It stood in a different starting point compared with other general art which became major genres after the modern period.
The cultural responsibility of crafts is different to that of general art. In other words, the determining criteria for good works are different. While art contributes to the culture of the period via formation, crafts have a responsibility to contribute to routine ordinary culture by its use as well as formative achievement. This point is the identity of crafts and core factor of social responsibility.
Nonetheless, crafts in the modern period substituted its role as “generalization of good bowl” into artistic status. Such point of change is made in line with the point when the term ‘artistic crafts’ began to be used. It proved that selection was not proper enough. However, the blame is not for craftsmen only. Modern aesthetics embraced crafts into the hierarchy of arts and pulled it off from the center of routine. Joseon arts contest, national arts contest and department of artistic crafts played an important role in it.
This study intends to examine the term ‘crafts’ in the documents before modern in East Asia, to tract its change of meaning, and to figure out the change of meaning and scope of the terminology in the process of modernization. Together with this, it aims to find out a clue of source of problems of contemporary crafts to suggest a new direction by focusing on the error of direction that is linked to modern concept of crafts.
The cultural responsibility of crafts is different to that of general art. In other words, the determining criteria for good works are different. While art contributes to the culture of the period via formation, crafts have a responsibility to contribute to routine ordinary culture by its use as well as formative achievement. This point is the identity of crafts and core factor of social responsibility.
Nonetheless, crafts in the modern period substituted its role as “generalization of good bowl” into artistic status. Such point of change is made in line with the point when the term ‘artistic crafts’ began to be used. It proved that selection was not proper enough. However, the blame is not for craftsmen only. Modern aesthetics embraced crafts into the hierarchy of arts and pulled it off from the center of routine. Joseon arts contest, national arts contest and department of artistic crafts played an important role in it.
This study intends to examine the term ‘crafts’ in the documents before modern in East Asia, to tract its change of meaning, and to figure out the change of meaning and scope of the terminology in the process of modernization. Together with this, it aims to find out a clue of source of problems of contemporary crafts to suggest a new direction by focusing on the error of direction that is linked to modern concept of crafts.
목차
I. 머리말
II. ‘공예’ 용어의 선례와 기능
III. 근대화 정국과 공예의 선택
IV. 근대주의 문명관의 성찰과 공예의 정위(定位)
V. 맺음말
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2014-600-000639266