朝鮮朝 白磁 透刻紋樣에 關한 硏究

Abstract

現代는 機械文明의 發達로 모든 分野에 機械化, 自動化가 이루어져 가고 있으며, 따라서 대중이 사용하는 生活用品도 劃一化 되고 機械化에 발맞추어 形態의 單純化를 추구하는 경향이다. 그러나 한편으로는 機械化에 따른 副作用으로 生活의 餘裕가 없이 경직되어 숨을 쉴 틈조차 주어지지 않는다. 이런 상황 속에서, 本人은 옛 先人들의 陶磁器에 나타난 透刻紋을 통해 그들의 造形感覺 및 生活의 餘裕를 찾고자 했다. 本 硏究를 진행함에 있어서, 資料를 紋樣의 素材에 따라 分類하여 各 紋樣의 表現樣式과 紋樣의 구도에 대해 硏究한 결과, 다음과 같은 結論을 얻었다. 첫째, 靑銅器 時代 이래로 계속 사용되던 투각기법이 朝鮮 初에는 자취를 감추었고, 17세기부터 다시 사용되기 시작하여 19세기 分院期에 最盛期를 이루었다. 둘째, 朝鮮 白磁 透刻紋은 筆筒·硯滴·墩·香爐·紙筒 등에 가장 많이 施紋되었으며, 따라서 그 時代의 崇文思想과 儒敎的 社會象을 엿볼 수 있다. 세째, 朝鮮 白磁에 나타난 투각기법은 主로 裝飾을 目的으로 사용되었다. 네째, 朝鮮朝 白磁 透刻文에 나타난 紋樣은 素材에 다라 植物紋系·動物紋系·幾何紋系 등으로 크게 分類되며, 특히 筆筒에는 다른 器物에서 볼 수 없는 繪畵的인 紋樣이 施紋되었다. 다섯째, 植物紋과 幾何紋 등의 紋樣은 주로 대칭적 구도로 표현 되었으며, 動物紋은 單獨紋으로 施紋되었다.;In the present age, mechanization and automation are setting realized in every field, and all articles used by the public are being standardized. In keeping pace with such machanization, there is a trend of pursuing simplification of forms. On the other hand, however, we seem to have lost our presence of mind in life due to the side effects caused by such mechanization without a chance to catch breath. Under such circumstances, I have tried to find out the formative sense, or the presence of mind in life of our predecessors through the open work expressed in porcelain. In proceeding with this study, I began with the classification of the data by use, and, as a result of research on the mode of expression, and the composition of designs according to the kinds thereof, I have come to the following conclusion: First, the open work techniques, which had disappeared at the beginning of the Yi Dynasty, began to be employed again from the 17th century, reaching the golden age at the turn of the 19th century. Second, the open work of the Yi Dynasty White Porcelain was mostly executed on brush stands, water-dropper, turns, incense burners, paper stands, etc, and, we can take a glance at the cult-of letters ideas and the phases of confucian society at that times. Third, the open work techniques expressed on the Yi Dynasty porcelain were primarily used for decoration. Fourth, the designs expressed in the Yi Dynasty White porcelain were roughly divided into botanical, zoological, geometrical designs. On brush stands, in particular, were many Iyric designs put which could not be seen in other utensils. Fifth, botanical and geometrical designs are expressed mostly in a symmetrical design, and zoological designs were, weaved in individually.