朝鮮時代의 螺鈿 硏究

Abstract

Mother-of-pearl inlaid lacquer belongs to the representative the craft of the Lacquer which we can see in our daily life to present time. In our nation's history of the craft of the lacquer, monochrome lacquer ware and painted lacquer ware were mainly manufactured in ancient period. Mother-of-pearl inlaid lacquer ware began to be made from the Koryoˇ(高麗) period and was maintained and took a mainstream to the Chosoˇn(朝鮮) period. Surveying the present state of the study for the mother-of-pearl inlaid lacquer, the mother-of-pearl inlaid lacquer in the Koryoˇ(高麗) Period which was known to the world for its subtleness and brilliance was analyzed to some degree by the Japan and the Western countries. However the mother-of-pearl inlaid lacquer in Chosoˇn(朝鮮) period which succeeded the mother-of-pearl inlaid lacquer of the Koryoˇ(高麗) period was not going on a vivid study with a lack of famous degree and interest. Furthermore, the Japanized mother-of-pearl iniaid lacquer of Chosoˇn(朝鮮) period established during the domination of Japan Imperialism (日帝時代) brought a much more difficult for the succession and the study of the traditional mother-of-pearl inlaid lacquer of Chosoˇn(朝鮮) period. Despite this difficult, this treatise's purpose is to elucidate the process of the development of mother-of-pearl inlaid lacquer of Chosoˇn(朝鮮) period as times go by. But not having the records and the documents for the mother-of-pearl inlaid lacquer of Chosoˇn(朝鮮) period and stopping the succession of the skill and method of the traditional mother-of-pearl inlaid lacquer of Chosoˇn(朝鮮) period, the study for the mother-of-pearl inlaid lacquer of the Chosoˇn(朝鮮) period has many difficult problemes. Also not having existed the work having the year of the manufacture, the try for the definite dating for the year is difficult in present time. This treatise, centering on a design and skill of design in mother-of-pearl inlaid lacquer survived to the present time, try to assign the dating for the year for the mother-of-pearl inlaid lacquer of Chosoˇn(朝鮮) period. In order to do a more definitness for the process of design of mother-of-pearl inlaid lacquer, this treatise made a comparision mother-of-pearl inlaid lacquer with painting, porcelain, and ornaments of architecture in Chosoˇn(朝鮮) period. In chapter Ⅰ, all problemes surrounded with and issuing from the mother-of-pearl inlaid lacquer of Chosoˇn(朝鮮) period are treated. In chapter Ⅱ, the lacquer in the ancient and middle periods before the Chosoˇn(朝鮮) are treated. In part of the ancient period, the lacquer excavated from Taho-ri(茶戶里) and the Three Kingdoms(三國) period and Unified Silla(統-新羅) period are examined. Especilly, the relation between the lacquer excavated from Lo-lang(樂浪) and the lacquer of our nation is remarked. In part of the middle periods, the background and characteristics of the mother-of-pearl inlaid lacquer of the Koryoˇ(高麗) periods are examined and made a comparision with the mother-of-pearl inlaid lacquer of China(中國). In chapter Ⅲ, the mother-of-pearl inlaid lacquer of the Chosoˇn (朝鮮) period is divided into three parts, namely the first period, the middle period, and the last period. Each period also is subdivided into two parts, the transitional term (Ⅰ 期) and established term (Ⅱ 期). Centering on a representative mother-of-pearl inlaid lacquer of each period and comparing with the mother-of-pearl inlaid lacquer having a affinity and the other work of art having a year of manufacture, the definite dating for the year the mother-of-pearl inlaid lacquer of the Chosoˇn(朝鮮) period was tried. ◁표 삽입▷(원문을 참조하세요) This treatise lies on a meaning to treat and examine the process of development and the characteristics of mother-of-pearl inlaid lacquer of the Choson(朝鮮) period. Finally, I wish to have a punishment and encouragement from the fellow student for the definite dating for the year to the mother-of-pearl inlaid lacquer of Chosoˇn(朝鮮) period.;이 論文은 우리나라의 傳統工藝에서 主流를 형성해온 朝鮮時代 螺鈿에 관한硏究이다. 螺鈿은 지금까지 중국이나 일본에 비하면 우리나라에서 활발하게 제작되었으나 그 연구에 있어서는 度外視되어왔다. 螺鈿이란 貝의 광채있는 부분을 이용해서 무늬를 이루게 잘라 기물에 嵌入하는 溱工藝의 文樣技術이다. 우리나라의 溱工藝를 살펴보면, 古代에는 주로 無文漆器 와 彩畵漆器가 제작되었고, 高麗時代부터는 螺鈿이 만들어지기 시작하여 朝鮮時代까지 지속되고 主流를 차지하게 된다. 전세계적으로 알려진 高麗螺鈿은 日本이나 西洋에서 어느정도 探究되었으나, 高麗螺鈿을 繼承한 朝鮮時代의 螺鈿은 硏究가 비교적 활발하지 못했다. 따라서 高麗時代부터 朝鮮時代에 이르기까지 우리나라 螺鈿의 흐름을 파악하기가 힘들다. 나아가 日帝時代를 거치면서 日本化된 螺鈿은 傳統的인 螺鈿의 繼承과 硏究에 많은 어려움이 있다. 이러한 어려움에도 불구하고, 이 연구의 목적은 朝鮮時代 螺鐵의 展開過程과 特徵을 밝히는데 있다. 그러나 朝鮮時代 螺鈿에 관한 記錄이 거의 없고, 傳承마저 끊어져 연구에 어려운 점이 많다. 또한 螺鈿器에는 紀年銘이 없어 正確한 時代編年이 困難하지만, 現存하는 螺鈿器에 나타난 文樣과 旅文 技法을 中心으로 朝鮮時代 螺鈿의 編年設定을 試圖한다. 그리고 螺鈿에 나타난 文樣 展開過程의 正確性을 기하기 위해 繪畵·陶磁器·建築의 裝飾등과 비교 검토한다. 먼저 第 Ⅱ章에서는 朝鮮時代 以前 韓國 溱工藝의 展開에 관해서 古代部分과 高麗時代로 나누어 알아 보았다. 古代部分에서는 茶戶里 出土漆器와 樂浪出土 溱器, 三國및 統一新羅時代의 漆器에 관해 살펴보았다. 특히 樂浪出土 溱器와 우리나라 漆工藝와의 關係에 대하여 언급하였다. 高麗螺鈿 部分에서는 高麗螺鈿의 배경과 特徵을 살펴보았다. 第 Ⅱ章에서는 文樣과 施文 方法의 變化를 中心으로 朝鮮時代 螺鈿을 朝鮮前期·朝鮮中期·朝鮮後期로 나누고, 각 時期에 過渡期와 定着期를 설정하여 I期와 Ⅱ期로 구분하였다. 그리고 각 時期의 대표적인 螺鈿器를 중심으로 類似例 螺鈿器와 紀年銘이 있는 同時代의 다른 미술품과의 비교를 통하여 編年을 위해 각 時期의 特徵을 부각시켰다. 本 論文은 이제까지 明確하지 않았던 朝鮮時代 螺鈿의 時期에 따른 展開過程과 特徵을 살펴보는데 中心을 두고자 한다.