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韓國의 象嵌紋樣에 관한 硏究
- 韓國의 象嵌紋樣에 관한 硏究
- Other Titles
- A Study on the Inlaid Patterns of Korean Art
- Issue Date
- 대학원 회화학과
- 이화여자대학교 대학원
- The study on styles and techniques of korean inlaidpatterns also show that they were strongly influenced by periodical changes of societies and religions of the day. In this respect the culmination of inlay techniquesin the koryo dynasty was nothing but realization of the ideal of a society where Budohism was made nationalreligion and practically carried out to politics, culture, and sociaty almost exclusively. It means, and historicallv wall proved by scholars, that styles and techniqueschange eventually when the social ideal changes, as in the case of the yi dynasty from the koryo. It is easy to understand why in the period of the yi dynasty decorative Daintings of genre scenes and cosmic symbo1s and others ware so loved as decorative motifs than koryo inlaid Patterns, and why koryo inlay technioues were neglected to oerish in craftsnanship and in treatment of color and form. However, the inlaid patterns so rarelyfound in the Yi Period have certain stylistic features of their own namely, Oicturesqueness and freedom oftreatment, to show strong influance of Confucianism, the national religion of the Yi dynesty.
Thames and thair varieties of korean inlaid patternsare rich in their kinds. Palmetto, lotus, arabesque, chryssnthemum, peony, cloud and crane, grape, fish, lotus plants and reeds, pomegranate, and other gaometrical and cosmic motifs are most typical to name. In short,inlaid patterns and in1ay technioue were loved and areloved for their particular treatmeant of decorative motifs and precise craftsmanshid not found in any other methods of decoration. This will explain why ceramicart of the koryo dynasty is so brillient and sansitivewnile that of the Yi dynasty is so dynamic and free.
Inlaid patterns were truly korean apo1ications of Chinese decorative motifs, and the technioues were almost localized to become a national haritage of koran art. I will conclude my study with the realization that further studies on traditional inlaid patterns of korea and their modern applicaition are most urgent and va1uab1e to the davelopment of modern korean craft art.
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