| 초록 |
nbsp; nbsp;Experts are generally agreed in that Korean traditional arts and crafts are marked by moderation in the expression of details and technical perfection and the emphasis of the importance of outlining. The characteristic elements have often been defined by such expressions as “techniques without techniques”, “disinterest in perfection”, and “beauty of nature.” The expressions such as “no technique” and “disinterestedness” commonly presented to describe the characteristic aesthetical elements of modernity can be used to summarize the aestheticism of generousness. The main focus of this study is placed on the policies and people's attitude toward artistic techniques in the Joseon Period that allowed laxity and generosity in detailed expressions and elaborate finishing in works of art. The government's banning of luxurious life, “heavenly mechanism”, the tradition of belittling the vocations of artisans and merchants, and tendency of losing noble plans due to indulgence in petty attractions decreased motivations among artisans until the 17th century when the aesthetic belief that artificial beauty may excel natural beauty became widespread and a growing number of the literati class became interested in artistic merits of stationery items. nbsp; nbsp;There are, however, quite a lot of academic subjects around us to be explored regarding the aestheticism of Korean arts and crafts. Academic researches on Korean traditional arts and crafts begun in the early 20th century when Korea was under the Japanese colonial rule continued their influence upon the researches conducted even recently. While researches continue to study on the Korean traditional arts and crafts, the number of researches they produce is still very limited much of these fail to reach the universal value to meet the academic demands of our time. Researchers still have ample problems they need to solve regarding the modernity and terms of the arts and crafts as well as their causal backgrounds. One solution may be found through joint activities between the scholars of neighboring countries sharing the same cultural heritage to handle the common elements in their traditional arts and crafts, such as the absolute standards and scopes in the concepts of natural and artificial beauty and techniques related with them. |
