한국 전통 금속제 자물쇠의 조형미 연구

• 발행기관: 한국조형디자인학회
• 저자명: 김민희(Kim, Minhee)
• 간행물 정보: 『조형디자인연구』한국공예논총 제9집 1권, 1~19쪽, 전체 19쪽
• 주제분류: 예술체육 > 미술
• 파일형태: PDF
• 발행일자: 2006.08.30

영문 초록

A lock functions for the sake of security as it locks something by being hooked to stuff for opening or closing a thing, and disables us to open a door without a key. It also means a tool or a device that opens or closes a thing like door, drawer, or safe after being hooked to such stuff according to a dictionary. As for a key, it mainly showed a simple bolt shape relative to a lock because the Oriental countries valued highly of a lock. Also, since a lock was taken from a psychological meaning rather than existed for security, it developed more focused on its exterior or decoration than techniques. The lock of China seemed to significantly influence a lock of Japan and Korea in light of design and shape. Although metal locks that existed from the Three Nations Period to the Koryu Period have totally different shapes and structures from those in the Chosun Period, they can be easily found in locks of China, which were made in the similar period, which enables us to conjecture the above fact. A lock came to take shape unique to Korea while avoiding to take Chinese features only after the Chosun Period. The shape of metal locks in the Chosun Period developed to be highly simple and plain relative to the ones during the Three Nations Period to the Koryu Period. This can be interpreted that it was based on formative awareness unique to Korea, and such unique formative awareness can be found in folk paintings in the Chosun Period. The expressive features shown in folk paintings are for explaining all stuff from a unique perspective, and it is not too much to say that they reflected the living and awareness of the general public. Furthermore, they highly implied symbolism due to the artistic or occult needs that appeared pursuant to the need of practicality and decoration necessary in reality. The symbolism shown in folk paintings was freely transformed by cultural environment or personal intention, and this phenomenon was also reflected to a lock. Locks in the Chosun Period look very realistic or show extremely limited beauty in terms of their shape compared with those of China or Japan. Also, most shapes of locks look symmetric, simple, and very schematized. In addition, although no metal locks with diverse shapes were made due to the limited shape, we can see that its formative beauty became sublimed formative beauty by our own simple and succinct national language instead of imitating the pattern or shape of the locks of China. The schematized formativeness of locks in the Chosun Period looked to work as a component that made more restricted types of the locks in the Chosun Period. However, when we see locks in the Chosun Period from a modern perspective, the schematized formativeness can be interpreted to be a neatness that leaves no redundancy. Morphologic simplicity of locks in the Chosun Period is deemed to be a crucial component that most appropriately accomplished two ideas of ‘beauty and practicality’, and it is immaculately excellent when we assess its value from the perspective of modern design. Craftwork is a representative product that should be created on the basis of beauty and practicability. When our unique formative language studied from multiple perspectives is appropriately mixed with craftwork, craftwork will be reborn as craftwork with modern and refined formative beauty.

목차

Ⅰ. 서론

Ⅱ. 금속제 자물쇠의 이론적 고찰

Ⅲ. 중국, 일본, 한국 자물쇠의 비교

Ⅳ. 자물쇠와 민화의 조형성

Ⅴ. 결론

참고문헌

키워드

Lock Chosun Folk painting Formative Aesthetic Symmetry Simple Symbol