공예산업의 현황을 통한 융합 발전방안 연구

김성민(Kim, Sung Min) 한국전시산업융합연구원 2018 한국과학예술융합학회 Vol.35 No.-

공예산업은 예술과 문화산업의 복합적인 특징과 성격을 지니고 있다. 시대적인 예술의 특징은 창의적 융합 아이디어를 구체화하기도 하며, 예술의 조형성까지 갖춘 한 분야로 본다. 문화적 특징은 “만들다”라는 인간의 본질적 욕구를 충족시키는 분야이며 문화적인 산업 상품 부분에 활용되고 있다. 문화산업측면에서 문화상품은 전통문화와 민족고유성을 표현하는 창의성이 가미된 공예산업의 생산 현황과 현대인의 문화생활을 현황을 연구하려 한다. 공예산업은 ‘공예 · 문화로 이루어진 산업’의 의미보다는 ‘산업으로서의 공예 · 문화’로 이해하는 것이 바람직하다고 본다. 공예산업은 기능, 기술, 기법 또는 토속 원재료를 근간으로 하여, 생산되는 조형제품으로서 제조과정의 주요 부분이 수공예적인 특성을 가진 제품을 제조하는 산업을 말한다. 공예산업이란? 첫째 공예 관련하여 경제적 효과를 만들어내는 모든 활동과 주체이다. 둘째 제조, 등 유통의 공예품을 생산하고 공급하는 산업 활동과 단위이다. 셋째 수공이 아닌 기계화된 방식으로 공예품을 양산하는 제조활동 및 생산단위로 공예산업은 공예를 기반으로 하는 유, 무형의 제품을 생산하는 활동 및 그에 종사하는 생산단위의 집합으로 정의할 수 있다. 지난 90년대 중반 이후 한국의 산업현황은 농림어업 및 제조업비중은 점점 낮아지고 있는 가운데, 서비스업의 비중이 지속적으로 높아져 취업자 기준으로 60%, 산출액기준으로 40%를 넘어섰다. 부문별로 좀 더 세분화해서 보면, 교육 및 보건, 부동산 및 사업서비스 그리고 음식점 및 숙박 부문의 고용 비중 증가가 두드러진다. 이에 반면에 공예산업은 디자인과 실용성 그리고 문화적 욕구 및 소득수준에 따라 성장잠재력이 높은 고부가가치적 산업이나, 대부분의 공예는 전통적으로 1인 공방이나 소규모 가내수공업 시스템 속에서 도제식 생산 방식으로 제작되는 경향이 매우 강하며, 특히 유통기반이 타 산업에 비해 크게 열악한 실정이다. 공예산업은 전통에 의해 전하여 내려오는 기능이나 기술 또는 기술을 근간으로 하여, 생산되는 제품으로서 제조 주요 부분과정이 수공예적인 특성을 가진 제품을 제조하는 산업을 말한다. 이러한 정의는 토산품, 기념품, 공예품 등으로 지역적 풍토 · 입지에 크게 영향을 받는, 즉 오랜 시간을 걸쳐 역사적으로 계승하여 형성되어 특정한 공예품을 일컫는 다소 협의적인 정의라고 할 수 있다. 따라서 광의적 해석으로 보면 공예산업이란 과거에서 전승된 기술과 생산기법, 또는 현대에 새롭게 개발된 기술을 통해 만들어진 것으로서 장식, 실용 특성을 지니며 있으며 일반 대중들이 사용하는 생활용구, 인테리어 장식품, 생활기호품 등을 총칭하는 것으로 규정하고 있고, 공예산업은 지역의 환경, 풍속, 유적 등 지역 특성을 기반으로 하여 지역의 전통적 또는 예술적 성격을 가진 제품을 생산하는 산업으로 다양한 분야에 활용되고 있다. 공예문화산업적인 특색으로는 공예는 창의적 생각과 공예적인 제작방식을 거쳐 실질적인 생활에 이용된다는 점에서 일반 예술 분야와 차별성을 지니고 있고, 이러한 특색은 공예산업 디자인의 모태가 되었다. 이를 살펴봄으로써 공예문화산업만이 가지고 있는 고유한 특징과 가치를 이해하고 공예 활동이 더 이상 제작의 차원에만 머무르지 않고 제작, 유통, 개발 등 공예산업으로 국가의 전통성을 계승, 표현하는 공예산업으로써 발전적 방안과 시장성 연구로 발전방안을 제시하고자 한다. The craft industry has a complex character and character of the arts and culture industry. The characteristic of the period art is that it embodies the idea of creative convergence and also has the formality of art. Cultural features are the fields that meet human`s essential desire to "make" and are utilized in cultural industrial goods. In terms of culture industry, cultural products are trying to study the present state of production of arts and crafts industry and cultural life of modern people with creativity expressing traditional culture and ethnic uniqueness. It is desirable to understand the craft industry as `crafts and culture as an industry` rather than `crafts and culture industry`. The craft industry refers to an industry in which a major part of the manufacturing process is the manufacture of products with handcrafted characteristics, based on functions, techniques, techniques, or local raw materials. What is the craft industry? First, it is all activities and subjects that produce economic effects related to crafts. The second is the industrial activities and units that produce and supply crafts of distribution, etc. Third, it is a manufacturing activity and a production unit that mass-produce crafts in a mechanized way rather than a hand-craft. The crafts industry can be defined as an activity of producing crafts based on crafts and a set of production units engaged in them. Since the mid-1990s, Korea`s industry status has been steadily increasing as the proportion of agriculture, forestry, fishery and manufacturing industries has steadily increased, exceeding 60% of the employed and 40% of the output. More segmented by sector, the increase in the share of employment in education and health, real estate and business services, and in the restaurants and lodging sectors is prominent. On the other hand, the craft industry is a high value-added industry with a high growth potential according to design, practicality, cultural needs and income levels, but most crafts are traditionally produced as apparel production in a single workshop or small-scale domestic handwork system The trend is very strong, especially the distribution base is much worse than other industries. Craft industry refers to an industry that manufactures products based on the functions, technologies, or technologies delivered by tradition, and produces products with handcrafted characteristics as major parts of the manufacturing process. These definitions are southern products, souvenirs, handicrafts, etc., which can be said to be a somewhat narrow-minded definition that is influenced greatly by the local climate and location, that is, it is formed by inheriting history over a long period of time and referring to specific crafts. Therefore, as a broad interpretation, the craft industry is created through past technology and production techniques, or newly developed technology in the modern age. It has decorative and practical characteristics. It is used for the general public, And the craft industry is based on regional characteristics such as local environment, customs, and relics, and is used in various fields as an industry that produces products with traditional or artistic characteristics of the region. Crafts and Crafts The industrial characteristics of crafts are different from those of general arts in that they are used for practical life through creative thinking and craft production methods, and these characteristics have become the birthplace of craft industry design. By understanding this, it is possible to understand the unique characteristics and values possessed only by the arts and crafts industry, and as a crafts industry, crafts activities are no longer limited to production, but are inherited and expressed by the crafts industry such as production, distribution and development. I would like to propose a development plan based on the development plan and marketability study.

4차 산업혁명 시대 현대적 공예의 의미와 가치 고찰을 위한 기술 융합 연구 – 3D 프린팅 사례를 중심으로

신성창,나건 한국기초조형학회 2018 기초조형학연구 Vol.19 No.4

The Fourth Industrial Revolution was predicted to cause unexpected changes in a much fasterand more diverse range than the first, second and third industrial revolutions that mankind hadexperienced. However, contrary to concerns, the new revolution would replace human beings inonly 5% of professions with super intelligence technologies such as robots and 3D printing,which are key technologies of the fourth industrial revolution. It is expected that humancreativity is still needed in many areas. The purpose of this study is to examine how the valueof arts and crafts, which have been with mankind since the start of the history, would change ormaintain in the flow of the Fourth Industrial Revolution. It is important to pay attention to therelationship between technology and craft by analyzing the industrial revolution and the flow ofcrafts that have been with mankind so far and to examine the value and characteristics oftraditional crafts. In recent years, the modern crafts have become different from the existingcrafts by adopting new technologies, especially 3D printing related technologies. It can beconfirmed through the domestic and international crafts cooperation examples and domesticcrafts expert examples. The following conclusions are drawn from literature studies and actualcase studies to understand the above theoretical background. First, the meaning and value ofcraft have changed with the core technology that led the industrial revolution. Second, thecombination of 3D printing and contemporary craft has changed the characteristics of existingcrafts. Lastly, in the Fourth Industrial Revolution, it is necessary to study and educate the mostessential basic formative arts based on the understanding of new technologies and materials andthe examination of popularity and marketability. Through this study, it is expected that the ideabased on creativity is the essence of craft that doesn’t change. If it increases the cases ofconvergence with various fields, it will contribute to the universalization and popularity of craft. 4차 산업혁명은 인류가 겪었던 1·2·3차 산업혁명보다 더 빠르고, 다양한 범위에서, 예상치 못한 변화를 일으킬것으로 예측되었다. 하지만 우려와 달리 4차 산업혁명의 핵심기술인 로봇이나 3D 프린팅 같은 초지능 기술로인해 인간을 완벽하게 대체할 수 있는 직업은 5%에 불과하며, 아직까지도 많은 영역에서 인간의 창의력은 발휘할 것으로 전망된다. 본 연구는 인류의 창의력이 발휘된 시작부터 역사를 이어온 공예 분야가 4차 산업혁명의 흐름 속에서 변화 또는 유지하게 될 가치는 무엇인지 고찰하는 데 목적이 있다. 이에 지금까지 거쳐 온 산업혁명과 공예의 흐름을 파악하여 기술과 공예의 상관관계를 발견하는 데 주목하였으며, 전통적으로 지녀온 공예의 가치와 성질을 살펴보았다. 현대에 와서 공예는 새로운 기술, 특히 3D 프린팅 관련 기술과 접목하면서 기존공예의 성질에서 나타나지 않은 성질을 띄게 되었으며, 국·내외 공예 협업 사례와 국내 공예전문가 사례를 통해이를 확인할 수 있었다. 이상의 이론적 배경을 이해하는 문헌연구와 실제 사례연구를 통해 결과적으로 다음과같은 결론을 도출하였다. 첫째, 공예는 산업혁명을 주도하는 핵심 기술에 의해 그 의미와 가치가 변화하였다. 둘째, 3D 프린팅과 현대 공예의 접목은 기존 공예의 속성을 바꾸는 계기로 작용하였다. 마지막으로 4차 산업혁명을 맞으며 공예 분야에서는 새로운 기술과 소재에 대한 이해 및 대중성과 시장성에 대한 검토를 토대로 가장본질적인 기초 조형에 대한 연구와 교육이 필요하다. 본 연구를 통해 창의성을 바탕으로 한 발상은 시대가 변화해도 바뀌지 않는 공예의 본질임을 인지하고 다양한 분야와의 융합 사례를 늘려나간다면, 공예의 보편화와 저변확대에 기여할 것으로 기대된다.

경기지역 도자 체험 현황과 교육 프로그램 조사. 연구

김명란 한국도자학회 2010 한국도자학연구 Vol.7 No.1

This paper is for finding out the image of the future for the modern industry which had to be designed according to consuming style rather than producing style in the early industry age, and presents case study report and basic research on industrialization and revitalization possibilities for the experience education of the ceramic craft for the experience industry with attention as the fourth industry after 'Research on the foreign nation advanced case study of ceramic craft experience industry' which was presented at Korea Society of Ceramic Art in 2008. These days, in Korea, making good use of spare time and educating of ceramic craft experience for becoming a way of life of ceramic craft have been activated. This report on present situation of ceramic craft experience researches the present situation of the ceramic craft experience education, and progresses research on the sustainability of ceramic craft education in the future and ceramic craft experience education program. The aim for this report on present situation of ceramic craft experience is to present the paradigm shift phenomenon of the ceramic industry, that is phenomenon of enculturation and touristification of ceramic craft, consider the ceramic craft experience industry as the delivery of the sensitivity life of human being and ceramic art spirit, that is pleasant work, sincere spirit, life aesthetics, and popularization of crafts ethics, and forecast the ceramic craft in the future. The research method for this report has followed the field survey of case study of ceramic craft experience industry focusing Yeoju and Icheon, and arranged the cases and information through the studied data, document, and Internet material. 본 논문은 초기 산업시대와 달리 생산보다 소비스타일을 디자인해야 하는 현대 산업 도자공예의 미래상을 찾기 위하여 4차 산업으로 지목받고 있는 체험산업에 대한 도자공예 체험교육의 산업화와 활성화 가능성에대한 사례 조사 보고 및 기초연구이다. 본 도자공예 체험 현황 조사 보고서는 요즘 우리나라에서도 여가선용과 도자공예의 생활화를 위한 도자 체험 교육이 활발하게 이루어지고 있어서 이러한 도자 체험 교육의 현황을 조사하여 도자공예 교육의 미래 지속 가능성과 도자 체험 교육 프로그램에 대한 조사도 함께 진행하여 보고서로 정리한 것이다. 본 도자공예 체험 현황조사 보고서의 목표는 도자산업의 패러다임 시프트현상즉, 도자산업의 문화화, 관광화 현상에 대하여 또한 도자공예 체험 산업을 인간의 감성적 생활 전달과 공예정신 즉 유쾌한 노동, 성실한 정신, 생활미학, 공작윤리의 대중화로 생각하고미래 도자공예 전망을 예측해 보고자 함에 있다. 조사 연구방법은 2009년도 여주,이천을 중심으로 도자 체험 산업의 사례 현장을 답사, 조사한 데이터와 문헌, 인터넷 자료등을 통해 사례, 정보를 모아 정리하였다. 본 고의 조사 결과,대상업체 체험내용은 대개 일일체험에 그치고 초등학교나 단체 체험을 위주로 하는 업체 외에는 수익성이 적고 관리 문제를 이유로 체험교실을 계속할 의사가 적었다. 그러나 본연구자는 앞으로 도자 체험산업의 방향은 문화적 창의성 수요와 총체적 감각의 경험을 제공하는 도자제품과 써비스를 소비하는 체험적 마케팅으로 대형화하거나 전문화되어 우리사회의 생활도자문화를 이끌어 갈 것이라고 예측하였다.

일제강점기 수출공예품을 통해 본 한국 근대 공예

윤정아 미술사연구회 2022 미술사연구 Vol.- No.43

In 1938, the Department of Crafts was established at the Central Laboratory of Industry. The official purpose of the establishment was to conduct research and offer guidance on the promotion of Joseon crafts as well as to promote overseas exports. However, the country was experiencing a transition into a wartime economy, and the decision to establish a Department of Crafts may have been a part of the government’s policy to encourage exports to fund the ongoing war. The Department of Crafts of the Central Laboratory of Industry introduced and applied the projects set forward by Japan’s National Research Institute of Industrial Arts. The National Research Institute of Industrial Arts was Japan’s first national design institute that introduced various design concepts from the West and applied the country’s traditional techniques in an industrial manner. As a result, the Department of Crafts at the Central Laboratory of Industry played a role in introducing various design concepts from the West to Korea. The Central Laboratory of Industry’s Crafts Department published various materials on crafts exports following Western-style design concepts and produced prototypes. It also held the Joseon Crafts Export Exhibition, unveiling examples of exported crafts. The Joseon Crafts Export Exhibition was entered by not only various stores, but also artists who took part in the Joseon Art Exhibition. They would have prepared their craftworks taking into account the Central Laboratory of Industry Crafts Department’s publications and prototypes. And it is interpreted that during such process, artists began to accept the design concepts of the West. In fact, this is supported by the example of a craftwork submitted by a Joseon Art Exhibition artist that was created based on the ‘master model’ for mass production, which was selected as the winning piece of the exhibition. Crafts export, planned by the Central Laboratory of Industry’s Crafts Department, introduced a new concept of design. And Korean craft artists were influenced by this new concept. This is why Korean crafts artists of the time seem to have contemplated on ‘actual use’ as well as on ‘the unique traditional beauty of Joseon.’ In addition, it led to craft artists who participated in Joseon Crafts Export Exhibition then submitting and winning prizes at the Joseon Art Exhibition, showing that its influence reached the Joseon Art Exhibition as well. Following an understanding of this context, taking a closer look at the development of craft exports as arts and crafts during the early modern period in Korea is meaningful. 1938년 중앙시험소에 공예부가 신설되었다. 공식적인 설립 목적은 조선 공예의 진흥과 해외 수출 진전을 위한 연구 및 지도였다. 그러나 시기적으로 전시경제체제로 전환된 시기였기 때문에 정부의 전시 자금 충당을 위한 수출 장려 정책의 일환이었을 것으로 보인다. 중앙시험소 공예부는 일본 상공성 공예지도소의 사업들을 그대로 우리나라에 들여온다. 일본 상공성 공예지도소는 서양의 디자인 개념을 도입해, 전통기법을 산업적으로 응용한 일본 최초의 국립 디자인 지도기관이었다. 결과적으로 중앙시험소 공예부가 우리나라에 서양 디자인 개념을 도입하게 된 역할을 하게 된 것이다. 중앙시험소 공예부는 서양의 디자인 개념에 따른 수출 공예품 관련 자료집을 발행하고, 試作品도 제작하였다. 또한 《조선수출공예품전람회》에 전시함으로써 수출 공예의 模本을 제시하였다. 《조선수출공예품전람회》에는 각종 상회들 뿐만 아니라 《조선미술전람회》 출신 작가들도 다수 참여하였다. 이들은 중앙시험소 공예부의 간행물, 試作品 등을 참고로 출품을 준비했을 것이다. 그리고 이 과정에서 서양의 디자인 개념을 수용하게 되었을 것으로 해석된다. 실제 조선미전 출신 작가의 입선작 중 대량 생산을 위한 “규범 원형(Master model)”을 토대로 제작된 예가 있어 이를 뒷받침한다. 중앙시험소 공예부에 의해 계획된 수출 공예는 디자인이라는 새로운 개념의 유입을 가져왔다. 그리고 우리나라 공예가들은 이 새로운 개념의 영향을 받게 되었다. 때문에 당시 우리나라 공예가들은 ‘실제 사용’과 ‘조선 특유의 전통미’ 반영에 대한 고민이 깊었던 것으로 보인다. 뿐만 아니라 《조선수출공예품전람회》 출신 공예가가 역으로 《조선미술전람회》에 출품, 입선하는 등 《조선미술전람회》의 경향에도 영향을 미친다. 이러한 배경에서 수출 공예품을 근대시기 미술 공예로 살펴보는 것에 의의가 있다고 생각한다.

한국 공예문화산업의 정부정책 연구

김진호(Kim, Jin-Ho),최병건(Choi, Byung-geon) 한국조형디자인협회 2016 조형디자인연구 Vol.19 No.4

우리나라의 공예는 공예의 특성상 미술ㆍ문화적인 공예와 산업적인 공예로 나뉘어져 있으며, 이에 따른 공예정책이 뒷받침되고 있다. 미술ㆍ문화의 영역과 산업영역의 공예정책은 분명하고 명확한 목적의식과 장기적인 비전이 다소는 미흡하지만, 시대적 상황과 경제적 현실에 따라 점차 개선되어지면서 시행되고 있다. 공예를 문화의 일부로 보는 문화체육관광부, 문화재청과, 산업의 일부로 보는 산업통상자원부, 중소기업청으로 나뉘어져, 독립된 공예정책이 아닌 다른 정책의 일부에속해서 현재까지 진행되어 왔던 것이다. 본 연구는 한국공예산업의 현주소를 자세히 짚어보고, 공예산업의 현황과 개선해야할 점을 찾아 한국의 공예문화산업 발전방안을 제시하는 것을 목적으로 한다. 연구방법으로는 한국의 공예산업 현황을 먼저 조사하고 중앙부처 및 지방자치단체별 공예문화산업 지원현황을 조사하여, 최종적으로 전국행사인 대한민국공예품대전’ 전국 시ㆍ도별 지원을 예로 들어 지원정책 예산의 중복성을 찾으려 한다. 정부가 공예문화산업 지원부처의 통일을 가져올 수 없다면, 차선책으로 부처별 또는 체계적으로 분리하여 정책집행을 하여야 한다, 먼저 전국의 공예실태조사를 통한 장기적인 공예정책 수립과 정부예산의 종합적인 분석을 통하여 중복예산을 지양하고 효율적인 예산집행을 해야 만이 공예문화산업을 고부가가치 산업으로 성장시킬 수 있을 것이다. Korea crafts are divided into arts and cultural arts and industrial arts due to the characteristics of crafts, and the arts policies supported by them are supported. The arts and culture and arts and crafts policies of the industrial area are obviously lacking in purposeful purpose and long-term vision, but are gradually being improved in accordance with the times and economic reality. It is divided into the Ministry of Culture, Sports and Tourism, the Ministry of Culture and Tourism, the Ministry of Industry and Commerce, and the Small and Medium Business Administration, which are considered to be part of the industry. The purpose of this study is to present the present status of the Korean craft industry, to present the current status of the craft industry and to suggest ways to improve the Korean craft industry. As a research method, we first surveyed the current status of the craft industry in Korea and examined the current status of support for the craft industry by the central and local governments. Finally, Try to find redundancy. If the government can not bring about the unification of the Ministry of Crafts and Cultural Industries, the next step should be to separate and systematically separate and implement the policy. First, by establishing a long-term craft policy through nationwide surveys on the status of crafts, It will be possible to grow the arts and crafts industry into a high-value-added industry by avoiding redundant budgets and implementing efficient budgeting.

디자인 경영 전략이 산업공예 제품 구매의도에 미치는 영향

김종선(Jong-Sun Kim) 한국콘텐츠학회 2013 한국콘텐츠학회논문지 Vol.13 No.9

공예는 우리의 생활 속에서 그 지역의 오랜 문화적 특성과 전통을 중심으로 한 나라의 역사적 문화를 대변하는 하고 있을 뿐만 아니라 동시대의 현대적 문화도 대변하고 있다는 점에서 공예품에 대한 관심이 날로 높아지고 있다. 하지만 이러한 성장 잠재력에도 불구하고 우리가 접하는 공예는 변화하는 시대적 환경을 반영하지 못하고 70~80년대의 민예산업수준을 벗어나지 못하고 있는 상황이다. 대부분의 산업공예업체는 고도화된 공예기술을 보유하고 있으나 시장성 있는 제품으로 승화시키지 못하고 있다. 또한 지금까지 산업공예의 발전을 위한 방안뿐만 아니라 산업공예에 디자인 경영 관점에서의 연구도 많이 이루어지지 않고 있다. 따라서 본 논문에서는 산업 공예에 있어서 디자인 경영 전략이 산업공예 제품 구매의도에 미치는 영향에 대해 알아보려고 한다. 연구 과정에서 파악된 주요 내용은 다음과 같다. 디자인 경영 전략은 산업공예 제품 구매의도에 영향을 준다. 디자인 경영 전략의 하위요소인 비용 절감지향 디자인 전략, 이미지 지향 디자인 전략, 그리고 시장 지향 디자인 전략 중 이미지 지향 디자인 전략과 시장 지향 디자인 전략이 산업공예 제품 구매의도에 영향을 주는 것으로 나타났다. 특히 이미지 지향 디자인 전략은 시장 지향 디자인 전략보다 더 산업공예 구매의도에 영향을 주는 것으로 나타났다. As craft is representing the historical culture of one country based on the old cultural characteristics and traditions of the regions in our life and is also representing the contemporary cultural culture, the interest in the crafts is becoming bigger and bigger as days pass by. However, despite this potentiality for growth, the craft that we encounter is not reflecting the ever-changing environment of the times, is failing to go beyond the folk art industry level of 1970s to 1980s. Although most of the industrial craft corporations have highly developed craft technology, but the products are not sublimated into marketable products. Also, so far schemes for development of industrial craft have not been many and studies on industrial craft in a sense of the design management have not been performed. Accordingly, this study intends to survey the effect of the design management strategy on the industrial craft product purchase intention in the industrial craft. The main contents comprehended in the study process are as follows. The design management strategy affects the industrial craft product purchase intention. Among the lower elements of the design management strategy, which are cost reduction-oriented design strategy, image-oriented design strategy and the market-oriented design strategy, the image-oriented design strategy and the market-oriented design strategy showed to affect the industrial craft product purchase intention. Especially, the image-oriented design strategy showed to affect the industrial craft purchase intention more than the market-oriented design strategy does.

1970년대 공예산업 진흥정책의 전개 -대한민국상공미술전람회와 전국관광민예품경진대회를 중심으로-

이동은,허보윤 한국기초조형학회 2023 기초조형학연구 Vol.24 No.6

The purpose of this study is to analyze the craft section of the Korean Commercial & Industrial Arts Exhibition and the Korea Folk Arts & Crafts Contest held as parts of the 1970s’ craft industry policy, to examine the aspects of suppliers and beneficiaries surrounding the policy, and to consider its influence on building the image of ‘crafts.’ Both contests were launched from the goal of developing and commercializing products for foreigners to follow the trajectory of Park Junghee administration’s economic development policy. Although the two contests shared the same goal, the major groups of each contest were different. In the case of the Korean Commercial & Industrial Arts Exhibition, it was universities, and for the Korea Folk Arts & Crafts Contest it was businesses. Therefore, the study deals with both contest policies to examine the trends in academia and industry at the time. For the research, the social construction theory in policy studies is used as a theoretical framework, and the contestants are divided into policy implementers, intermediary groups, and policy target groups. This methodology is favorable in understanding the social meaning of national policies by searching each entity in depth. In conclusion, it is confirmed that both contests presented ‘traditionality’ as an important requirement for acquiring foreign currency, and the social perception of the craft industry’s traditional image was reinforced through the contests. In addition, the bilateral structure designed in the early stage of the policy continued to result in the territorialization in which academia and industry each gathered together. In the end, the contests served as an opportunity for participants to internalize their collective identity, supporting the dualization of the craft scene. This study has significance as the first attempt to analyze the two contests from the perspective of policy studies, and it is hoped that this will bridge the academic gap in craft industry policy.

신공예산업분류체계에 의한 국내 공예사업체 기초현황 분석 연구

최연수(Choi, youn soo) 한국조형디자인학회 2008 조형디자인연구 Vol.11 No.4

Classification system which is defined for craft industry would be preceded, to understanding characteristics and conditions of craft industry. But, there is not standard of classification system authorized by government organ, as of. In the research, I, who carried out 'the new classification system of craft industry' of report that is『Construct for classification system of Korea craft industry』executed as direct investigator and person in charge in 2003, should analyze the basic characteristics & conditions of craft establishments by applying code which is matching KSIC(Korea Statistical Standards Industrial Classification) of KNSO(Korea National Statistical Office). For the first time, the writer classify 'the new classification system of craft industry' as use and material of craft in report that is『Construct for classification system of Korea craft industry』of Korea Craft Promotion Foundation in 2003. Also, The one could prepare foundation analyzing the basic characteristics & conditions of craft establishments by utilizing results for『Census on basic characteristics of establishments』of KNSO by deducing research's result which is matching this and code of KSIC. Now, Korea Craft Promotion foundation have carried out research on the actual characteristics & conditions of Korea craft industry by using 'the new classification system of craft industry' every year. However, the research by it have been not authorized in government organ that is KNSO, research population is not complete enumeration but sample survey because of various problem, so it not has grasped precise scale & characteristics of craft industry. Accordingly, in the research, I analyze such the basic characteristics & conditions of craft establishments as total of craft establishment, number of workers, workers' sex-distinction, situation for kinds of cities and provinces, manufacture & distribution, material, company, types by applying to『Census on basic characteristics of establishments』in detail by classification code that is matching code of KSIC and presume finally to market scale of approximate craft industry by data based on such, as well. While significance is given for the research by using result of 『Census on basic characteristics of establishments』that is authorizing complete enumeration of KNSO as the basic characteristics & conditions of craft establishments is firstly analyzed, code's selection about types of crafts by matching with KSIC and & 'the new classification system of craft industry' by analysis' precondition is considered that censure occur. Consequently, this research could be Korea craft industry is developed rather than there are the right and wrong of survey method. To advance the industry, systematic & continuous statistical task managing change should needed and precisely analyzed for actual condition of craft industry. First of all, standard of government's official classification system should be constructed as quickly as possible and research would be developed so that statistical circumstance is builded, for the purpose of this.

대한민국 전통문화산업 관련 법제도 고찰

김시범 ( Si Bum Kim ) 아시아.유럽미래학회 2016 유라시아연구 Vol.13 No.1

Traditional culture could be succeeded or cut off depending on choices of the society’s members who enjoy that culture. It will not be no longer traditional culture if that culture is not and will not appreciated by current and future members of that society, even though that culture had been highly appreciated and enjoyed by past members of that society. That culture could be perished if members of that society do not cherish the value of that culture any more. However, if that culture had been cut off by artificial interruption of outsiders, some ways must be studied to discover, to preserve and to utilize the value of that traditional culture for next generations of that society. This paper studies the trends of laws and policies of the Republic of Korea regarding the traditional culture industry. The viewpoints of the society regarding traditional culture industry could be reviewed as the laws are registered consensus of members of that society. And the policies of the government are important ways to discover, to preserve and to utilize the value of culture to execute with governmental authority. Tradition has been set up naturally by life styles through historical and social standard norms and natural environment. This paper defines the chronologic time of traditional cultural industry by modern times and the before. The Cultural Heritage Protection Act, legislated in 1962, emphasized the protection of the cultural properties. The Cultural Heritage Protection Fund Act, legislated in 2009, is also a law to preserve and protect the cultural properties. In 2011, the scope of the intangible cultural heritage was extended from the area of special experts to the area of mass public activities, such as ‘play’ and ‘ceremony’. In 2014, through the amendment of The Cultural Heritage Protection Act, legal grounds were set up for cultural properties utilization and business opportunities. The Intangible Cultural Heritage Preservation and Promotion Act, legislated in 2015 and being executed in 2016, was split from The Cultural Heritage Protection Act. By this split of the laws, it is possible to respond to the demands of international society, such as UNESCO. Aslo, The Cultural Heritage Protection Act extended the scope of intangible cultural heritage wider. New definition of the intangible cultural heritage includes (a) traditional performance and arts (b) traditional skills about craft and art works (c) traditional knowledge about oriental medicine, agriculture and fishery (d) oral tradition and expression (e) traditional living habits including food, clothing, and shelter (f) civil ceremony including folk religion (g) traditional play, festival, accomplishments and martial arts. The Intangible Cultural Heritage Preservation and Promotion Act makes it available to establish and operate ‘Traditional Craft Bank’ which can buy, rent and display the traditional crafts created by traditional masters. Also, it encourages government to promote traditional performance and traditional arts for display and marketing activities overseas through the cooperation with international organizations and other countries. Even though craft cultural industry is one of the highly value-added business as it could be melded with other industries, the business activities of traditional craft cultural industry were not strongly supported and encouraged by the law. The Craft Cultural Industry Promotion Act, legislated in 2015, made it possible to execute promotional policy for melding tradition and modern, grafting arts onto business legally. The Craft Cultural Industry Promotion Act encourages central and regional governments to make comprehensive plans for a craft cultural industry promotion including research and study for a craft cultural industry promotion, business foundation and production aid, infrastructure expansion and sales distribution vitalizations. This Act requires government (a) providing fund loan to business founders for their sustainable growth (b) designating institutes and/or colleges as a special training institutes and subsidizing some or all of their expenses to train professional experts (c) designating institutes to manage craft producing technology studies of raw materials and substitute materials for craft production (d) promoting sale activities including joint purchasing and joint marketing (e) designating ‘outstanding craft’ and providing benefits of branding, display, investment arrangement, overseas expansion, collaboration with other cultural contents. Even though the policy and legal amendment as well as new legislation of Korean government drive the traditional cultural business encouraged, some questions are brought up when reviewing the process and the results of those efforts. Korean government and private sectors should communicate to each other with sincere attitudes to develop concrete practical policies for traditional culture industry which can generate more economical profits and provide more values to the public.

칠보공예 문화상품화를 위한 방안

김영옥(Young Ock Kim) 한국디자인문화학회 2015 한국디자인문화학회지 Vol.21 No.2

공예는 실용적인 물건에 장식적인 가치를 부가한 조형예술의 한 분야이다. 공예는 우리의 일상생활과 밀접히 연결되어 있을 뿐만 아니라, 전통성·지역성·심미성 등 다양한 문화적 가치를 담고 있다. 이런 이유로 세계 각국은 공예를 문화산업으로 육성하여 사회구성원들의 삶을 윤택하게 하고 국가 경쟁력을 높이려고 노력하고 있다. 그간 우리나라에서도 공예문화산업 활성화를 위한 많은 노력들이 있어왔지만 아직 까지 국내 공예문화산업은 열악한 처지를 벗어나지 못하고 있다. 이러한 현실을 개선하기 위해서는 보다 구체적이고, 실천적인 전략을 마련할 필요가 있다. 본 연구는 우리나라 공예산업 발전을 위한 방안으로서 칠보공예의 활성화 가능성에 주목하고 있다. 이를 위해 본 연구는 기존 발표된 통계자료를 활용한 문헌조사의 방법과 필자 자신의 선행 연구 결과를 바탕으로 하여 우리나라 공예산업 일반과 칠보 공예 분야의 특수한 문제점을 정식화(定式化)하였다. 이를 바탕으로 하여 우리나라 공예문화산업의 육성을 위한 전략을 현시점에서 가능한 수준에서 제시해 보았다. 우선 현행법상 품질인증제도의 문제점을 개선하여 본 제도가 공신력과 실효성을 갖춘 제도로서 거듭날 수 있게 해야 한다. 또한 공예기업체도 디자인경영 원칙을 적극적으로 수용하여 자신의 경쟁력을 제고시킬 필요가 있다. 이와 더불어 칠보공예산업의 활성화를 위해서는 산업 분류표상 칠보 공예를 독자적인 항목으로 편성할 필요가 있다. 또한 칠보공예 기업은 타 산업분야의 기업들과 적극적으로 협업을 추진해야 할 뿐만 아니라 일반 대중들 사이에서 칠보 공예 문화를 확산시키기 위한 저변확대 노력이 필요하다. Craft is a field of formative art that adds decorative value on articles for practical use. Craft is not only closely connected to our daily life, but also has various cultural value in terms of tradition, local and aesthetics. For this reason, countries around the world are putting effort to enrich lives of social members and increase national competitiveness by promoting craft as a cultural business. In the meantime, there has been many efforts to activate craft culture industry in Korea, but domestic craft culture industry still remains in poor condition. Concrete and practical strategies are needed to improve such condition. This study focuses on the possibility of vitalizing the enameling craft for developing craft industry of Korea. To do so, this study adopts the literature investigation research by using released statistics and formulated the special problems of Korea``s general craft industry and enameling craft based on writer``s own pre-research. Afterwards, the paper suggests the realistic strategy to promote domestic craft culture industry. First, under the current law, the problem of the quality certification system should be solved to achieve public confidence and effectiveness. Also, craft company should actively accept the design management principle to improve its competitiveness. Moreover, in order to vitalize the enameling craft industry, enameling craft should be classified as an independent item on Industrial Classification Table. Lastly, enameling craft industry should not only collaborate with companies from different industries but also make an effort to expand the market base of enameling craft products among the general public.