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線象嵌技法에 의한 陶磁裝飾 表現 硏究

Title
線象嵌技法에 의한 陶磁裝飾 表現 硏究
Other Titles
(A) STUDY ON CERAMIC ORNAMENTAL EXPRESSION THROUGH INLAID LINE METHOD
Authors
정승혜
Issue Date
1986
Department/Major
대학원 도예과
Keywords
선상감기법도자장식도자공예
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
工藝는 人間生活과 自然과의 關係를 生活의 日常性 가운데 具體化 시킴으로써 한 民族의 造形的 特質을 가장 잘 나타내는 人間精神의 物質的 形態로의 表現이며 陶磁器는 한 國家의 藝術을 評價하고 그民族性과 美的 感覺을 理解함에 있어 가장 適當한 것이라고 볼 수 있다. 人間의 生活과 密接한 關係를 갖고 日常用器로써 製作·使用되어 오던 陶磁器는 그 自體의 實用的인 價値 以外에도 心理的 滿足感을 채우고자 하는 입장에서도 文樣이란 裝飾的 意匠을 使用하였다. 時代變遷에 따른 陶磁文樣은 各 時代의 社會·文化的 背景과 함께 使用한 사람들의 嗜好에 따라 변모되어 文樣의 樣式에 있어서도 多樣한 變化와 發達을 보이고 있다. 高麗靑磁의 裝飾技法 中 가장 두드러지고 代表的인 象嵌文樣은 高麗人의 創意로 이루어진 獨步的인 陶藝意匠으로서 우리 固有의 獨創性을 발휘, 中國的인 要素에서 벗어나 完全히 高麗化한 靑磁를 製作했다는 點에서 그 價値가 크다 하겠다. 이러한 觀點에서 本 硏究는 高麗靑磁의 主流를 이루는 象嵌靑磁의 文樣을 考察하고자 먼저 靑磁의 變遷過程을 通해서 象嵌技法의 發生과 時代的 變遷에 따른 文樣의 變遷過程, 文樣의 造形的 特性, 施文形式 等에 力點을 두고 象嵌 文樣의 實用性, 美的 價値를 把握하여 作品製作上의 理論的 背景으로 삼았다. 象嵌技法을 陶磁에 導入, 文樣으로 表現함에 있어서는 먼저, 象嵌靑磁에 나타나는 線文樣을 硏究의 對象으로 選定, 이를 中心으로 作品製作에 臨했다. 曲線을 基本으로 用과 美를 겸비한 工藝美의 本質을 追求하고자 機能을 爲主로 한 單純한 形態에 어울리는 多樣한 曲線을 現代 感覺에 맞게 活用, 陶磁器의 裝飾效果를 높이는 同時에 象嵌技法이 지닌 美를 可能한 限 應用, 作品에 表現하였다. 그 方法으로는 물레에 의한 성형과 타렴성형(Coiling) 및 물레성형 後 形態變形의 方法을 竝行하였고, 象嵌의 材料로는 黑·白 象嵌을 基本으로 하고 그 外에 白土泥漿에 顔料를 섞어 만든 現代感覺에 맞는 色象嵌으로 새로운 美를 硏究·開發하고자 하였다.;Arts and crafts regarded as the physical and formative expression of human psychology typically represent the formative characteristics of one race by way of materialization of the connection between human life and Nature in the daily life. In this view, Ceramic Art is the most suitable method to understand the national aesthetic sense and to evaluate national art world. The ceramic wares, which has been produced to use for living wares being basis on the close connection with daily life, have had various kinds of designs as for decoration al intention in order to fulfil mental satisfaction. The development of design decoration has been changed according to social and cultural situations period by period, also to users' favours. It makes to see various changes and developments in design forming. The inlaid design, the most typical and outstanding ornamental method in Koryo Blue porcelains, is established by the creation of Koryo people. The fact that it shows Koryo's own creativity definitely free from Chinese influence should be highly appreciated. This study tried to investigate the inlaid blue porcelains design, which is the main method of Koryo Blue porcelains. First of all, through the changing process of blue porcelains, the origination of symbolic method and its periodical changes have been investigated along with the changing process of designing formative characteristics of design. The series of work to catch the aesthetic and practical value of designing was done and this result has been firm theoretical background for performing the work. In regard to applying inlaid method to ceramic wares as an ornamental design, the line design shown in inlaid blue porcelains was chosen for the subject of this study. In order to pursue the essence of arts and crafts, which combines beauty and practicality, the various kinds of curve was adapted to express the simple shape considering the practical function. The trial to express the beauty of applied inlaid method which makes the design effect higher was simultaneously performed with working. Spinning and coiling method were used to acomplished the works, together with the method of transformation after spinning. Black and white inlaid works were mainly used, while other colorful inlaid works made by mixing paints with white clay have been applied to develope new aesthetic sense of Modern Ceramic Art.
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