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韓國의 傳統的 美를 적용한 現代 居室家具

Title
韓國의 傳統的 美를 적용한 現代 居室家具
Other Titles
(A) Study on Application of the Beauty of Korean Classic Furniture to a Sofa Set for Modern Living Room
Authors
김유순
Issue Date
1984
Department/Major
산업미술대학원 산업미술학과실내디자인전공
Keywords
한국전통적 미거실가구안락의자
Publisher
이화여자대학교 산업대학원
Degree
Master
Advisors
배만실
Abstract
The intent of this thesis is to find the characteristics of Korean traditional living room furnitures to be able to pursue application of the characteristics into a sofa set for modern living room. The furnitures of Yi dynasty reflect the unique culture of Korea. The furnitures have totally different style from those of Chinese who used chairs and stools . The Ondol heating system was responsible for the type of furnishing required. Cushions and mattresses were replaced on the floor for seating and other furnitures were lowered for floor seating life style. The men spent their days in the sarang bang or room nearest the gate, the women were secluded in the an bang or women's quarters at the rear, unseen by any males except their immediate family. Sarang bang was a study room as well as a guest room. Despite the fact that these furnitures were used by the yangban the features given expression to these furnitures by their almost aesthetic living philosophy are simple in style, unlike the handicrafts of the aristocracy. Because Korean Chests were constructed so that the wood it self was the most beautiful aspect of the pieces. Straight lines and square shapes were considered ideal, but simple curves in the tops of bases were added rest the chests become to severe. Traditional furnitures are characterized by several factors. I . Wood : Koreas native trees, said to total 158 different types, 34type have been used i n chest making. The most common wood was pine. A favored wood for both men and women's piece was Zelkovia, called elm or mountain ash. It is a fine grained wood, hard and heavy. Its root was highly prized, the burl grain an intricate design of whorls and swirling patterns. Korean call the elm burl dragon wood. Chestnut , walnut, pawlonia, persimmon, gingko, linden, ,jujube, pear, willow, elm were also used for furniture. Other natural materials forfurniture were bamboo, oxhorn, and lacquer inlaid with mother-of-pearl. 2. Carpentry and construction : Furniture makers Preferred to join wooden planks and panels by tongue-in-groove techenique piece-and protrusion-connecting, vertical edge or elevation assembly and by interweaving. Delighting in the various techniques, they rarely covered the joints , but reinforced or highlighted them with metal braces or decorations. 3. Finishing : Red and Black lacquer were used to finish chests but the most common practice was to apply oil lacquers. 4. Metal Ornaments: Iron, brass and nickle or white brass were used for locks handles,hinges,decorations,and structural bra 5. Bases: The traidtional Korean home has been heated for thous ands of years by channeling the heat of the kitchen fire through flues under the floor of the house. TO avoid the heat of the ondol floor and to allow for ventilation, feet or stands were attached to most chests. Furniture types may be divided into living room pieces for the women's quarters, and study room pieces f or men. An bang was composed of lovely clothes & sock chests and boxes. Head side chests cosmetic and jewelry boxes, sawing boxes were as pretty as possible Fruit woods, lacquer mother-of-pearl inlay and painted Oxhorn were familiar materials while the study was compossed of simple furniture without much decorations. Korean liked to think of furnitures as practical and frugal, but naturally beautiful so that the appearance of even a common storage box gave spiritual comfort to the users. In this projects I tried to combined the sprit of Korean traditional furniture makers with the structure of western chairs.;우리나라의 木工家具는 한국 특유의 形態와 紋樣을 나타내었으(이후원문누락) 舊韓末 西洋文化의 도입이래 傳統의 傳承이 確立되지 못하고 있다. 그 要因을 分析하면 몇가지를 들 수 있다. 첫째, 디자인적 側面으로 디자인의 복고주의나 傳統主義的 槪念에 벗어나지 못하고 있으므로써 현대 住居空間 속에서 必須的 實用價를 갖고 있지 못하고 裝飾的 室內用品의 機能만을 充足시키고 있(이후원문누락) 둘째, 社會的 側面으로 디자인을 생각하는 認識이 바람직하지 않 (이후원문누락) 우리 사회에서는 過去의 遺物만이 文化 藝術로^(1) 인정받고 현대 (이후원문누락) (이전원문누락)具는 사치품으로 罵倒하는 경향이 있다. 디자인의 發展的 側面에 볼 때 生活文化까지도 文化藝術의 관점에서 볼 수 있는 안목이나 (이후원문누락) (이전원문누락) 家的 차원의 정책이 必要하다. 例로써 미국 뉴욕시에 있는 메트로폴리탄 박물관과 같은 실내디자인과 장식 박물관의 建立이나 디자인(이후원문누락) (이전원문누락)育 방향을 정하여 바람직하게 發展될 수 있는 기틀을 마련해야(이후원문누락) (이전원문누락)것이다. 셋째, 社會心理的 側面에서 아직도 外製選好의 경향이 殘存해 있(이후원문누락) (이전원문누락)一例로 현재 우리나라를 대표하는 官邸의 公的空間의 室內樣式은 (이전원문누락) 이왕조 文化의 傳承처럼 느껴지는 白色家具가 선호되고 있다. 이것(이후원문누락) (이전원문누락) 高級家具는 서양풍의 가구로 생각되게 하여 우리 국민의 生活藝術(이후원문누락) (이전원문누락)무의식 중에 誤導할 수 있다. 본 稿는 먼저 朝鮮 傳統家具의 特徵的 要素를 考察한 후 현대 (이전원문누락)실에서 가장 중요한 機能性과 裝飾性을 갖고 있다고 생각되는 소파 Set에 傳統的 美를 表現하고자 作品으로 試圖하였다. 結論錡으로 本人의 作品에 試圖한 것은 1. 한국 傳統家具의 독특한 形態와 紋樣에서 시대를 초월하여 느끼는 美意識은 현대 감각에 어필하는 단순하며 직선적인 形態의 機能美와 동시에 裝飾紋樣에서의 섬세한 裝飾性에 있다. 2. 傳統家具의 복제나 모방에 그침으로써 裝飾趣味의 대상물로 남아있는 傳統美는 實用的 生活家具로써의 機能을 위하여 현대 居室 生活樣式에 適應된 形態로 再創造되어야 한다. 3. 세계적인 추세에서 앞으로의 室內裝飾은 고전과 현대, 동양과 서양文化가 조화를 이루는 eclectic style시대로 發展될 수 있는 生活與件이라고 생각된다. 디자이너는 우리의 傳統美를 이해하고 오늘의 生活用具로 再創造하여 세계 各國의 家具와 잘 어울리는 韓國的美를 나타내는 디자인이 정착되도록 노력해야 한다. 그 目的을 위하여 家具의 造形化가 계속 試圖되어 共同의 肯定을 얻을 수 있는 디자인이 創造되어야 하며 生産的 側面도 고려하여 生活藝術로 정착되어야 한다.
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