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박쥐문을 이용한 식기 개발 연구

Title
박쥐문을 이용한 식기 개발 연구
Other Titles
(A) STUDY ON DEVELOPING RICE VESSELS AND SOUP VESSELS UTILIZED WITH THE PATTERN OF FLITTERMOUSES
Authors
심미숙
Issue Date
1989
Department/Major
산업미술대학원 산업미술학과요업디자인전공
Keywords
박쥐문식기개발밥그릇국그릇
Publisher
이화여자대학교 산업미술대학원
Degree
Master
Abstract
Ancient people were placed under the belief that all things in the universe are endowed with the spirits. Even at the present, though unconsciously, the vein of such a thought is still remained in a corner of our spirits. Those folklore beliefs is infallibly represented in formative fine arts by all means. For example, a rock painting on the rocks together with a rock engraving were symbolized with simple ideograms, but as the progress of civilization and social organizations have been complicated, mutual communications amongst human beings have become necessary. Thus, there was no alternative but to make a certain kind of promise, and this kind of purpose (bargain) was to be a formula that would enable the contents to be conveyed according to each distinctive expression depending on events and occasions. In accordance with it, the ideograms had become equipped with various forms, and the forms were diversified and transformed into symbolical patterns or the expression of straightly outspoken letters. Therefore, these patterns were developed so as to be represented on the basis of background placed on an auspicious omen with their original forms. Every single human being desires, whoever he or she may be, to share longevity as well as wealth and honors. This may be considered as the most essential and unsophisticated hope that is possessed by the human being. These hopes for an auspicious omen were appeared extremely strong in our ancestors. They desired to achieve their anticipated amis by more realistically manifesting their dreams through directly accommodating them into life surroundings in paralled with not ceasing only their aspirations whether they would conceive in imagination or they would crave for. These patterns, though they were somewhat developed from a formative consciousness of human instinct, were layed on the foundation with another critical meaning. However, it could be perceived that there evidently involved in an unique thought, that is, a thirst for life and wealth among them, when studying the inner spritualism. From this point of view, this study is inteded to cast off the monotonous state of forms and decorations possessed by modern tablewares through attempting to illuminate the profound meaning of an auspicious omen from a number of rice vessels and soup vessels showing the highest frequency of utilization in eating habits with the selection for the patterns of flittermouses, which possess a variety of meanings such as longevity, wealth and fames as well as many sons, in order to grasp the point at issue on how what the human being would crave for be reflected and expressed. In the Chapter Ⅱ, An examination was conducted on the formativeness for the patterns of flittermouses (bats) appeared in our craftworks accompanied with observing the ecology of flittermouses and the symbolical meaning for the patterns of flittermouses in order to mould their patterns. In the Chapter Ⅲ, another study was attempted to examine the variation of production, materials and forms that the rice vessels and the soup vessels appeared in the mode of the times in this connection. In the Chapter Ⅳ, a further attempt was made on the momentum of variation to widen the width for the patterns and the forms of tablewares which the consideration was taken into the study on the theoretical backgroud outlined above, and particularly, an additional study was made on how the patterns of flittermouses would be formatively expressed in modern ceramic tablewares. Thus, casting off the monotonous sensation derived from the mechanically produced articles currently on sale, the products were manufactured through applying slip-injection device used by the plastered form of design fittable to them. In the Chapter Ⅴ, A conclusion was ultimately obtained that as the result, the formativeness for the patterns of flittermouses could be splendidly utilized to meet the sensation and the taste of the moderns.;萬物은 精靈을 지니고 있다고 옛날사람들은 믿고 있었다. 지금도 無意識的으로나마 그 사상의 脈은 우리의 精神 한구석에 남아있다. 그러한 民間信仰은 반드시 造形美術로서 표현되어진다. 岩壁에 岩畵岩刻이라는 단순한 記號로 상징되었던 것이 文明의 발달과 사회조직이 복잡하여짐에 따라 人間 서로에 전달이 필요하게 되었으며 따라서 저절로 一種의 약속이 이루어질 수 밖에 없었고 이 약속은 표현에 따라 내용이 전달되어지는 方式이었다. 그에 따라 記號는 여러가지 形態를 갖추게 되고 형태는 多樣化되어져 상징적인 문양이나 直說的인 文字의 표현으로 변화했다. 그러므로 이들 紋樣은 그 본래의 形態가 지니는 吉祥에 배경을 두고 발전하게 되었고 표현되었던 것이다. 人間은 누구나 長壽와 富貴를 누리고 싶어 한다. 이것은 대부분의 人間이 지니는 가장 本質的이며 素朴한 희망이라 할 수 있다. 이러한 吉祥에 대한 희망은 우리 先祖들에게 특히 强하였던 것 같다. 그들은 그 所望을 상상하거나 欲求하는 데에만 그치지 않고 그것을 생활주변에 직접 받아들여 그 꿈을 보다 現實的으로 표현하여 所期의 목적을 성취하고자 하였다. 이러한 紋樣들은 人間의 본능인 造形意識에서 발생되어지기도 했으나 또다른 切實한 의미가 그 기반에 깔려있어 內面的인 精神性을 연구해 볼때 그 가운데 獨特한 사상, 즉 生과 富에 대한 갈망이 담겨져 있음을 알 수 있는 것이다. 이러한 관점에서 本 연구는 人間이 가장 소원하는 것을 실제 우리의 생활에 어떻게 반영, 표현할 것이냐 하는 점을 파악하기 위하여 長生, 富貴, 多男등의 의미를 지니는 박쥐문을 채택하여 식생활에서 가장 높은 사용빈도를 보이는 밥그릇과 국그릇에서 吉祥의 뜻을 조명하여 봄으로써 현대 식기들이 갖고 있는 형태와 장식의 단조로움에서 탈피하고자 수공예의 美를 느낄 수 있도록 하여 기계적인 냉혹함을 배제하였다. Ⅱ장에서는 박쥐문의 조형화를 위한 박쥐의 생태와 박쥐문의 상징적 意味를 고찰하고 우리 공예에 나타난 박쥐문의 造形性을 살펴보았다. Ⅲ장에서는 밥그릇과 국그릇이 시대적으로 보이는 生産變化에 따른 고찰을 하였다. Ⅳ장에서는 위의 理論的 背景 硏究로 창작하고자 하는 식기의 형태와 문양에 대한 폭을 넓힐 수 있는 변화의 계기를 시도했으며, 특히 박쥐문양이 현대 陶磁食器에 어떻게 造形的으로 표현될 수 있는가에 대한 연구를 시도하여 現在 시판되고 있는 기계생산제품에서 오는 단조로움으로 부터 벗어나 공예성 짙은 생산제품을 제작하고자 그에 알맞는 디자인의 석고틀을 사용한 이장주입성형을 하여 작품제작을 하였다. Ⅴ장에서는 그 결과 박쥐문의 조형성이 현대인의 감각과 취향에 맞도록 훌륭히 이용될 수 있다는 결론을 얻을 수 있었다.
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