KCI등재
李夏馥의 세간들 = 공예사 현장의 콘텍스트 읽기
저자
발행기관
학술지명
권호사항
발행연도
2015
작성언어
Korean
주제어
등재정보
KCI등재
자료형태
학술저널
발행기관 URL
수록면
209-232(24쪽)
제공처
To this end, it is critical to broaden one’s boundaries of perception when viewing works of craftsmanship. It is important to understand that compared to other art forms, craftworks are made for utility, and therefore possess a stronger notion of relativity during their production process, as one has to clearly determine what the craftwork’s category and form are going to be before going into production. From this perspective, objects and tools with a strong sense of utility develop a stronger sense of relativity, thus their correlation with their environment grows deeper.
Rather than the creator’s creativity, the users and the environment that demands the craftwork are bigger influence factors when it comes to deciding the form of the craftwork. In the traditional society before the public perceived a craftwork as a personal creation, a craftwork was a more functional tool rather than a work of art, and its category and basic form were determined depending on the needs of the user. Therefore it is only obvious that the craftwork’s purpose was directly related to its period’s living conditions and customs.
This thesis is an attempt to understand the evidence that a craftwork provides us from multiple angles, via studying the relation of dynamics between human, space and time that surround the craftwork. The objective is to look into case studies in order to determine how the environment that houses humans – the demanding element – and objects is selected and composed, using the craftwork as the common axis. To this end, one’s perception of a craftwork should evolve past the habit of viewing it as a historical relic, and see that it is ultimately about humans that use them, and the end goal should be to use craftwork objects to restore their period’s original living environment as a whole.
Lee’s house in Seocheon of Chungnam province keeps over a thousand craftwork pieces and 8,000 books in their original place. His household goods are kept in their original position of use, and it is interesting that the user that purchased and utilized these goods have described his life philosophy in detail, and kept a record of why he chose the items and where he purchased them. There are virtually no cases in Korea where these two records both exist. In most cases, one or both of the records are lost, leaving just the items. This is what makes Lee’s house meaningful in that it’s full of potential to host follow-on researches, as it possesses the relics in their original site, thus preserving the history of the user.
Lee has maintained his household goods in near perfection, and as a scholar, managed to keep a sound record of them. From the early 1900s, he had studied types and characteristics of various craftworks and tools, and conducted various anthropological and ethnographical studies that included but were not limited to the Seocheon area’s general public life, socioeconomic foundation, market, production and distribution, as well as the art of craftsmanship. Based on his life-long diaries with accurate dates, his autobiography offers an analytic writing that holds true credibility due to his well-balanced understanding of history, much thanks to his background as an economics professor at Waseda University and Bosung College.
Therefore Lee’s household goods offer a critical clue, enabling us to thoroughly investigate the user class’s perception of craftsmanship. The fact that the user’s records as well as the items are maintained in their original state is especially meaningful in that they can expand our perspective and scale of research into the history of craftsmanship. It enables us to study craftsmanship’s history from the perspective of the people that have demanded them.
From this point of view, Lee’s house and the goods are an extremely rare find, a perfect model for this type of study. It offers the precious value of the ‘site-ness’, as this architecture and its objects in their original state p
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