Goldwork embroidery is the art of embroidery using metal threads. As well as being used as a decorative element of religious clothing, flags, performing costumes, uniforms, and badges, goldwork embroidery is also used in many current designer collections. Therefore, this study aimed to examine the techniques and materials of goldwork embroidery and the formative characteristics and socio-cultural values of goldwork embroidery from its beginning to the early 20th century. For this study, various embroidery works, costumes, museum portraits, and literature were analyzed. The results are as follows. First, the transition of goldwork embroidery was divided into 4 categories: The beginning of goldwork embroidery; the golden age of goldwork embroidery; the maturity of goldwork embroidery; and various goldwork embroidery (depending on the materials used, usage, and design features). The earliest extant example is the “Maaseik fragments” in Belgium dating from the late 8th to early 9th centuries. Until the 15th century, the Church was the most important patron of goldwork embroidery; however, after the 15th century, goldwork embroidery was produced on costumes. Second, the social-cultural values of goldwork embroidery (based on transition and formative features) were classified as expression of divinity, instrument of governance, desire to be approved, and tools of self-expression. Through this study, it is evident that there have been many advances in both technique and technology over time. Furthermore, patterns of usage and social-cultural values of goldwork embroidery have changed significantly.

本文以中国改革开放之后的乡土美术为研究对象，主要讨论了乡土美术发展的三个阶段及其代表性的艺术家和艺术作品；对支持和影响不同阶段的乡土美术的观念进行了阐释。改革开放之后乡土美术的出现和发展，就其本身而言经历了三个大的发展阶段。即七十年代末到八十年代的乡土写实主义美术；八十年代中期兴起的以西北为题材的乡土美术；九十年代市场经济兴起之后，以进城打工的农民工为表达对象的乡土美术。乡土写实主义的美术就是改革开放之初，卽伤痕美术。改革开放之后，人们普遍认为文革美术是假大空的虚伪现实主义艺术，原因之一就是它用理想化的农村和农民形象，遮蔽了生活在艰难困苦之中的乡村和农民。从观念上说就是用毛时代一直受到批判的人道主义和人性论，来反对毛时代，特别是文革中流行的阶级斗争观念。在上世纪八十年中期，中国的知识分子感受到西方强势文化的压力，不约而同地把眼光投向了西北。借西北的乡村和农民形象，神圣化汉唐的历史和文化来神圣化中国文化。这作为回应西方文化冲击的一种特殊方式，标志着乡土美术的转向，那就是从关注对文革的否定和反思上转向对整个中国文化的反思。进入九十年代之后，一个重要的艺术现象是新生代的出现。从中国视觉艺术史的角度看，新生代的艺术标志着从表达乡村到描绘都市的转向，同时也预示了另一种新型农民形象-----农民 工形象---的出现。过去以地理空间为界限的城乡对立，在改革开放之后也进入城市空间之中，形成一种新的社会结构。上世纪九十年代开始的市场经济改革，加大了中国社会贫富之间的差距，由此导致知识界的新左派和自由主义者对中国社会问题的争论，其中社会公正、公平和经济效率成为两派争论的焦点。事实上，农民被置入社会底层，成为市场经济改革中受益最少的人群，正是改革者为了追求经济效率最大化的制度设计产生的结果。此时表达农民工形象的乡土美术，在一定程度上反映了新左派的思想影响，也体现了历史上早有的民粹主义关注弱势人群的传统。本文认为改革开放之后的乡土美术，虽然是以中国乡村和农民为表达对象的，但这个对象在作品并不是主体，而是沉默、无语和匿名的。原因在于中国乡村和农民的边缘化进程，与中国社会的变迁几乎是同步的，由此证明了从一开始，乡土美术并没有真正成为农民的代言人，而是另有政治和艺术的诉求。

Social studies라는 교과가 탄생된 지 70년, 그리고 그것이 한국에 수입된지 40년밖에 되지 않았다. 그러나 이 교과가 담당할 것으로 기대되는 사회인식과 그에 터한 국민적일체감 혹은 애국심을 육성하려는 교육은 그 훨씬 이전부터 실시되어왔다고 볼수 있다. 특히 근대국가가 확립되면서 국가통치 효율적 수행, 산업의 발달이나 계층 분화에의 대응, 학문 문화의 발달에 따른 지적교양의 축적이 요구되었고, 그러한 요구를 충족시키기 위해 사회인직을 위한 교과가 개발되어 왔다.