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사계절 이미지에 의한 도자표현

Title
사계절 이미지에 의한 도자표현
Other Titles
Ceramic Expression by Seasonal Images : With Special Reference to Colors
Authors
김도희
Issue Date
1992
Department/Major
대학원 도예과
Keywords
사계절이미지도자표현색채
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
Throughout the present thesis, it was intended that seasonal images were expressed, using various colors based on the experiment of color stain. For the application of colors to the field of ceramic art brings the image of a work into relief, raises visual effect and adds aesthetic senses as well. Thus, the purpose of the present thesis is to deliver the image of colors through expression of seasonal colors, using the effect of colors. As for the theoretical background, the general concept and process of images, the principle of seasonal return, and the general concept of colors were understood, and a documentary review was done on the associational colors with each season by Korean people. In such a study, it was understood that the 4 seasonal stages of Korea have something in common with the stages human development based on the transmigrationism of Buddhism. That is, the stages of human development in that transmigrationism were viewed in four divided stages - i.e., the first stage-babyhood and childhood, second stage-adolescence, third stage-adulthood, and forth stage-old age, which were understood to be limitlessly repeated through a comparative study linked with the transmigrationism of Buddhism. The first stage was likened to the spring when all creatures return to life in that it implicates to represent babyhood and adulthood, the second stage was likened to the summer of 'flaming' or burning' nature in that youth is burnt, agonized and then is giving great efforts to something, the third stage to autumn in that the adulthood getting matured with reserve, stability and also solitude has something in common with the nature abundant with ripe cereals and fruits, and lastly the fourth stage to the winter of a long sleep for next spring in that man is waiting death and finally arranges his or her life. From that, the associational colors with the conceptual language of the four seasons of man were derived and then introducing those colors into the colors of the four seasons of nature, seasonal colors were derived. Then, based on that, it was intended to express the image of each season with various colors. As for the productional process of the work for the present thesis, design process is as follows: Through visual thoughts-i.e., the channel of SEE → IMAGIN → DROW, the forms that can bring seasonal images more into relief were designed, in that no unconditional reproduction was intended. Also in that, mountains and the sky that the present writer can feel and approach easily to the seasonal colors were modeled. The features of mountains and the sky were found out in contrast with texture, the elements of texture in each form were reflected, and by re-shaping and transforming into simple forms, the image of seasonal colors were tried to be easily expressed into a fresh form. And in the case of ceramic walls in the process of developing forms, the piling-up of mountains(mountain upon mountain) was attempted to be depicted. Also, as for the expression of colors, the degree of the outcome of colors through experiment was studied. Based on that, the associational colors with four seasons conceived by Korean people and the colors derived from the transmigrationism of Buddhism were comparatively analysed and grafted, and then according the subjective view of colors by the writer, seasonal colors were derived. And from the arrangement of colors expressed by a color scheme based on such colors, it was attempted to remind a certain season into viewers and to derive images from the states of life as well. As for the method of producing the work for the present thesis, the slip-casting technique applied by gypsum molds was adopted. This method made possible to realize the maximizing of the contrast effect of texture intended by this writer, and in the case of ceramic walls, the piling effect tried to depict with the advantageous points of repetative, formative operations was properly expressed. Also, even glaze was experimented before the formative operation and according to its results, the spray method or dipping method was adopted for putting glaze on ceramics. And as for firing in the kiln, the first firing was done for 8 hours to 850℃ and with the vessel thoroughly dried that is completed of putting glaze on it, the second firing was done for 12 hours to 1250℃. Then, the third firing was done with the color stain which makes possible to endure up to 1000℃. And throughout the process of the 1st, 2nd and 3rd firing, the subject work was fired in the kiln of its volume of 0.3M^(3) fueld with gas with neutral salt. Therefore, the writer of the present thesis could feel the possibility of expressing seasonal colors as grafting the developing stages of man based on the transmigrationism of Buddhism with four seasons. With this experiment of both color stain and glaze which was applied to the expression of colors in the work, it is hoped that the recognition of colors by ceramic color stain can be refreshed.;본 논문에서 채료의 실험을 통해 다양한 색채를 사용하여 계절의 이미지를 표현하고자 하였다. 이는 도자 예술 분야에서 색채의 사용이 작품에 대한 이미지 전달을 부각시키고 시각적인 효과를 높이며 미적 감각을 더해주기 때문이다. 그러므로 본 연구의 목적은 위와같은 색채효과를 이용하여 도자에 계절색채를 표현함으로써 색채로 이미지를 전달하고자 함이다. 이론적 배경으로는 이미지의 일반적 개념과 과정, 계절의 생성원리, 색의 일반적 개념을 알아보고 한국인의 계절에 대한 연상색을 문헌에 의해 조사해 보았다. 그리고 한국 계절의 4단계는 불교 윤회사상에 근거한 인간발달 단계가 상통한다고 이해되었다. 즉 윤회사상에 의한 인간발달 단계를 1단계-유아기~아동기, 2단계-청년기, 3단계-성년기, 4단계-노년기로 구분해 보았고, 동 4단계는 윤회사상의 연계(連繫)에 의하면 무한히 반복한다고 한다. 제 1단계는 유아기~아동기로써 태어남을 의미한다는 점에서 만물이 소생하는 봄에 비유하였고, 제 2단계는 젊음을 불태우고 번민하며 노력한다는 점에서 자연의 불타는 여름을, 제 3단계는 여유와 안정감 그리고 고독으로 성숙해가는 성년기가 오곡과실이 익어 풍성해가는 자연의 가을과 상통한다고 생각되어 비유해 보았다. 제 4단계는 죽음을 기다리며 정리하는 인간의 모습에서 다음의 봄을 위해 잠자는 자연의 겨울에 비유해 보았다. 따라서 인간 사계절의 개념 언어에 의한 추상 연상색을 추출하고 이를 자연의 사계절색에 도입하여 계절색을 추출하였다. 이를 배경으로 하여 색채를 사용한 계절 이미지 표현을 시도하였다. 작품의 제작과정은 디자인 과정을 다음과 같이 다루고 있다. 시각적 사고 즉 See→imagin→drow와 같은 경로를 통하여 무조건적인 복사가 아니라 계절색채의 이미지를 더욱 부각 시킬 수 있는 형태를 디자인 해 보았다. 그리고 연구자가 계절 색채를 가장 쉽게 느낄 수 있었던 산과 하늘을 형태의 모체로 삼았다. 산과 하늘의 특징을 텍스쳐(texture)의 대비에서 찾아보았고 형태마다 텍스쳐(texture)의 요소를 반영하고 단순한 형태로 재형성, 변형시킴으로써 신선한 형태에 계절색채의 이미지 표현을 쉽게하였다. 그리고 형태 전개과정중 도벽의 경우 반복을 통해 산의 중첩됨을 표현해 보았다. 그리고 색채표현을 위해 채료의 발색도를 알아 보았다. 이를 기초로하여 한국인의 계절 연상색과 불교윤회사상에 근거하여 추출된 색을 접목시키고 연구자의 주관적 색채관에 따라 계절 색채를 추출 하였다. 그리고 이들색의 배합에 의해 표현된 배색으로부터 특정한 계절을 연상시키고자 하였고 더불어 인생의 단계에 따른 이미지를 끌어 내고자 하였다. 작품제작 방법으로 석고형(틀)을 이용한 이장주입기법(泥奬注入技法)을 선택하였다. 이 방법은 연구자가 의도하고자한 텍스쳐(texture)의 대비효과를 극대화 시킬 수 있게 하였고, 도벽의 경우 반복성형의 잇점으로 표현하고자 했던 중첩효과를 적절히 표현하였다. 유약역시 성형 전에 실험을 하고 결과에 따라 분무법과 담금법을 시유하였다. 그리고 소성은 850℃까지 8시간을 소요하여 1차소성을 하였고 시유가 끝난 기물이 완전히 건조된 후 1250℃까지 12시간 동안 온도를 올려가며 소성하였다. 3차소성은 1000℃까지 소성하는 저화도 상회용 채료를 사용하였다. 그리고 1, 2, 3차 소성은 0.3(㎥)도염식 gas가마에서 중성염으로 소성하였다. 따라서 본 연구자는 윤회사상에 근거한 인간의 성장단계를 사계절에 접목시켜서 계절색채 표현의 가능성을 느꼈다. 그리고 채료실험과 유약의 실험을 통해 미약하나마 작품속에 색채표현을 해보았고 이를통해 도자채료에 의한 색채의 인식을 새롭게하는 계기가 되었으면 한다.
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