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고려청자 도판의 연구

고려청자 도판의 연구
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대학원 응용미술학과
이화여자대학교 대학원
Koryo Celadon ware with its own distinctive style, color and teachnique is the reprsessentative and remarkable ceremic ware in ceremic arts of Korea. Therefore Koryo celadon ware has acquired additional interest and has won increased recongnition for its graceful forms and fine, bluish green color. The objectives of this study are followings, 1. to finf what kinds of celadon tiles produced. 2. to classify when it was manufactured. 3. to know how it made and where it was used. The interials used for this study are the collections which have bees restained at the Museum of EWHA Womans University and these had been exacvavacated at Yuchonri Buan, Cholla Buk-do. Major frindings of this study are following, 1. Ths shapes of celadon tiles can be readily distinguished two different style as rectangle shape and trapezium shape. Yet this is various in its size. Therc are inlaid with chrysanthemum design tiles, inlaid with cranes and cloud mixed with chrysanthemum design tile, inlaid with chrysan-themum peony design tile, inlaid with dragon and clouds design tile, incised with dragon and clouds design tile, inlaid with underglaze copper peony design tile, inlaid with underglaze copper feeds and swimming ducks design tile in rectangle shape celadon. And also there are inlaid with cranes and cㅣouds design tile, inlaid with chrysan온hemum design tile, tile with inlaying peony design in traperzium shape celadon tile. The potters produced this celadon tile with incising or inlaying design and decoration. However, it seems that they were deeply conerned in moulding to prevent from bending which easily took place wgile firing ot drying. So these tiles must have moulded thicker in centeral part than edge parts. It is difficult to figuare cut the exact date when this ce;eadon tile started to be made, but it seems that this celadon tile began to produce about the twelfth century, and it began to decline the fourteenth century with degenera- ting od inlaid celadon ware. 4. We may suppose the celadon tile, though it is some what decorative and delicate in inlazying or incising, were used as tile because of its partial glazing on front surfsce flat shape and coarse texture in back surface.;高麗靑磁는 우리 文化를 代表하는 藝術品으로써 않은 관심사가 되어왔으며 이 論文은 高麗靑磁中 陶板에 관하여 梨花女子大拳校 博物館이 所藏하고 있는 扶安郡 柳川里窯址逃出土 靑磁 陶板破片을 中心으로 그 種類와 發生年代, 製作適程을 考察하고 아울러 用途를 推定하 고자 함이 硏究目的이다. 奮磁陶板은 크게 長方形 陶板과 梯形 陶板으로 구분되며 그 紋樣은 매우 다양하다. 첫째 長方形 陶板은 柳川里出土品에서 象嵌菊花紋, 象嵌嶺雲鶴菊花紋, 象嵌菊花牡丹紋』 象嵌雲龍紋, 陰刻雲龍紋등을 블 수 있고 出土址 未詳의 陶板中에는 慕嵌辰砂彩牡丹紋과 象嵌蒲柳水禽紋이 있다. 이같은 紋樣의 配置는 陶板의 中央에 菱花形區劃이 있고 이 區劃안에 菊花紋이나 牡丹紋을 象嵌하고 外間에는 雷紋이 들어가고 □菱花形區劃과의 間地에는 波紋이 陰刻될 뿐아니라 간혹 外間을 따좌 雲鶴紋帶가 있는 例도 있다. 둘째 梯形 降板은 象嵌雲鶴紋,象嵌菊花紋,象嶺牡丹紋이 있으며 紋樣配置는 周緣部에 雷紋帶가 있고 그안에 雲鶴紋이나 菊花紋, 牡丹紋이 있다. 이렇게 섬세하고 장식적인 陶板은 內裝타일 類로 사용된 듯하며 製作 상의 特徵은 陶板의 中心部보다 周緣을 얇게하여 乾燥時나 燒成時 휘는 것을 防止하였다. 이런 陶板의 發生時期는 柳川里窯址 訟立時期연 12세기부터 象嵌 쇠퇴기인 14세기까지 生産된 것으로 推測되며 紋樣의 變遷과 釉色의 變化로 보아 초기에는 菊花紋 陶板, 牡丹紋 陶板, 雲鶴紋 陶板등이, 중기에는 雲鶴菊花紋 陶板이나 雲龍紋 陶板이 主로 製作되었고 말기에는 象嵌手法이 퇴화하여 紋樣이 산만하고 粉靑沙器의 印花紋과 같이 단순한 紋樣이 성행한 것으로 생각된다.
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