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陶磁造形을 通한 물결의 이미지 表現 硏究

陶磁造形을 通한 물결의 이미지 表現 硏究
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산업미술대학원 산업미술학과요업디자인전공
이화여자대학교 산업미술대학원
Water is an essential material of nature, source of life creating things, which has been in close contact with human being since the very beginning of history. Wave is the surface movement of this water controlling the inner aspects of man from ancient time to the present as the living material that repeats creating and extinction toward eternity. In Korea, there has been continuous efforts of our ancestors to connect the meaning of water with folk religion together with decoration as we can see the wave figures of Three Kindgom Period. Also the wave expressions remain in modern ceramic arts variably designed with water images that we can feel their aesthetic quality. This study is to express the wave images of water through formation of a ceramic, which is one part of nature and is in close contact with human life controlling the inner aspects of man. Moulding the wave patterns which are very variable in nature into a ceramic, I'd like to do it with my emotion and orginality by cutting of all unnecessary details, and to create one pattern that reveals beauty and harmony. So I have searched all possible expressions in ceramic arts that could satisfy my aim to investigate the broad possibility of ceramic expression after the formation of basic structure using the wheel forming, slab forming, slip casting and modelling method. The experience of doing thus gave me a turning moment to a new formative will through the use of various materials and inlaying techniques. Therefore, I've decided to adopt more offective methods for moulding the patterns after getting by experience the following facts: 1. My choice of body clay for slip casting was found to be wrong. The body clay that had been brought from Celadon clay, Yeojoo in Kyunggido province was rather too solid to be used for slip casting. Therefore, the choice of body clay for slip casting should be done after many practices, because the formative method and the temperature of firing follow the physical condition of each clay. 2. There are many formative processes from the start of moulding to completion that we need to pour more time and effort compared with other areas. When one process ends, there follows another. So the work depends on the proper control of time. For example, the form that requires round sides after wheel forming could not be constructed if proper time of drying is over, otherwise could be cracked easily. And the time of removing the slip in slip casting affects the thickness of formation. Also the degree of drying differs according to the models of incising and carving, or the surface decorations of luting. There are more processes to be discussed like the time of reduction and others in gypsum casting work. Beauty is achieved naturally through many forming processes with material. I've got the fact by experience that effective creation of work depends on the artist's earnest attitude to work.;美意識과 예술활동은 인간의 삶의 터전인 自然의 환경속에서 그 영향을 받지 않을 수가 없다. 따라서 자연의 美는 예술의 美를 낳게하는 母胎가 되기도 한다. 本 硏究에서는 自然의 일부로서의 '물결'을 대상으로 하여 主題를 설정하고 陶磁造形을 통해 그 이미지를 形象化하고자, 다음과 같은 理論的 背景을 考察함으로써 독자적인 造形觀을 확립해 보고자 한다. 물은 자연의 원초적인 요소이며 存在의 생명을 발생시키는 생명의 근원으로서 인류의 역사이래 인간과 밀접한 관계를 맺어왔다. 이러한 물은 물결이라는 표면운동을 일으켜 생성과 소멸을 반복하면서 영원을 향하여 나아가는 생명력을 지닌 것으로서 古來로 부터 現代에 이르기까지 인간의 내면세계를 지배하여 왔다. 이러한 인간의 내면세계는 인류가 흙을 資料로 하여 가장 오랜시간 만들어 사용하던 土器에서부터 현대도예작품에 이르기까지 잘 반영되어 나타난다. 삼국토기에 나타난 波狀紋에서 그들의 장식의욕은 물론, 물에 대한 주술적 기원의 의미를 알 수 있으며 고려청자와 조선백자에 나타난 회화성을 띤 波狀紋에서 當 時代 상류계급의 詩情어린 문화면과 실생활에 근거만 생활감정의 순화와 자연미, 인정미를 각각 엿볼 수 있다. 이렇듯 인간과 밀접한 관계를 맺으며, 인간의 내면세계를 지배하고있는 생명력이 다양한 물결을 도자조형화함에 있어서 본 연구자의 주관적인 감정을 부여하여 독자적인 도자조형을 추구하고자 모든 불필요하고 무의미한 細部를 버리고 간략화하여 美的秩序와 調和를 지닌 도자조형을 표현하고자 하였다. 작품제작방법으로 물레성형 板組立성형, 鑄入성형과 模型製作法을 사용하여 기본적인 형태의 구조를 형성한 후 요소적인 것들을 종속시킴으로서 조화스런 결합을 시도하여 도자영역의 광범위한 표현가능성을 모색하려는데 노력하였다.
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