韓國刺繡의 造形性 硏究

Abstract

Division of the problems of Korean embroidery into three separate questions dealing respectively with the tradition, the modernization, and the design of Korean embroidery suggests a logical arrangement for the chapters immediately following. After a preliminary consideration of the urgent problems of Korean embroidery (Introduction) we shall come to grips with the central question of the nature of the traditional embroidery itself (Chapter 1). This will be followed by a study of the modernization of Korean embroidery both in its historical and structural aspects (Chapter 2), and we shall conclude the thesis with an analysis of a special problem involving design qualities and comparative studies of the traditional modern Korean embroidery. Thus the successive steps in our presentation will be to investigate first the nature of the traditional embroidery; what are the native qualities and their artistic excellence? What are the characteristics which differentiate Korean embroidery either form Chinese or form Japanese? Then we shall come to the heart of our inquiry and attempt to determine what characterizes Korean embroidery as especially modern embroidery. Once this has been determined, we shall have a criterion for testing all that commonly passes under the heading of "Modernization." Such a criterion should simplify our problems of analysis considerably by enabling us to distinguish the genuinely artistic from its many counterfeits, the genuinely modern from pseudomodern design, and thus to establish the characteristics of modern Korean embroidery which we seek to understand.