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高麗時代 象形靑磁와 朝鮮時代 象形白磁의 比較 硏究

高麗時代 象形靑磁와 朝鮮時代 象形白磁의 比較 硏究
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(A) Comparative study on hieroglyphic celadon of the koryo dynasty and hieroglyphic white porcelain of the Yi Dynasty
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대학원 응용미술과자수전공
이화여자대학교 대학원
Hieroglyphic pottery, as the name implies, was made with the depiction of various forms of the existing objects and utility value as a vessel. The forms of hieroglyphic pottery are very varigated. Hieroglyphic celadon of the Koryo Dynasty and hieroglyphic white porcelain of the Yi Dynasty are historical products in which the soul of our ancestors dwells. They were once used as vessels inseparably related to the daily life of the people. And also they represent the composite formative works of politics, society, culture and arts. This interpretation makes it possible to appreciate the form of expression appearing outwardly and even the spiritual aspect appearing inwardly. The primpary purpose of the present study is to compare each hieroglyphic pottery by form and use and investigate their transitional process and aesthetic consciousness by dividing them into partial hierogphs and composite hieroglyphs. Comparing hieroglyphic pottery by form, animals such as lion, tortoise and duck and plants such as gourd dipper, melon etc. are mostly depited during the period of the Koryo Dynasty. On the other hand, the kind of hieroglyphs during the period of the Yi Dynasty is more varigated and their size is smaller than those of the Koryo Dynasty. The majority of hieroglyphs depicted in white porcelain of the Yi Dynasty represents the unicorn-lion, toad and squirrel while peach surpasses any other plants in number. In the classification by use, the Koryo hieroglyphic celadon was mostly used for kettle and incense burner while hieroglypic white porcelain of the Yi Dynasty was generally used for Chinese ink water containers. Partial hieroglyphs of the Koryo Dynasty are inflated with a wide variety of functional hieroglyphs while those of the Yi Dynasty show tender form contrasted with straight line or simple vessel form. Hieroglyphs of the Koryo Dynasty were prevailed predominantly in the 12th century when celadon was at the height of its prosperity and pure celadon shows more refined expression technique than inlaid celadon. Hieroglyphs of the Yi Dynasty predominated in pure white porcelain and blue porcelain during the 18th century through the 19th century. It is hoped that the results obtained from this comparative study would provide any reference data helpful for further studies in this field to develop new culture of our own with renewed understanding of our unique cultural heritage.;象形陶磁란 旣存해 있는 여러가지 物象의 形態를 묘사하되 容器的인 기능을 갖춘 實用의 目的도 겸하여 제작된 것이다. 象形陶磁의 形態는 매우 다채롭게 전개되는데 그릇 전체로서 物象의 形態가 표현되는 수도 있지만 때로는 器形의 일부에 附隨된 部分象形도 있고 여러형태가 섞여있는 複合象形도 있다. 高麗時代 象形靑磁와 朝鮮朝 象形白磁는 生活과 密着된 日常用器로서 政治, 社會, 文化, 藝術의 복합체인 造形作品의 하나이다. 이와같은 作品의 解釋은 外面的으로 나타나는 表現形式과 內面的으로 나타나는 精神的인 측면까지도 觀照하게 된다. 本稿에서는 各 象形磁器들을 형태별, 用途別로 비교하며 제작기법에 따른 成形, 장식기법, 發色등을 區分하였다. 이러한 분류를 통하여 각 시대의 造形意識을 考察한다. 象形磁器의 比較硏究 결과 고려시대에는 사자, 거북, 오리등의 동물형과 표주박, 참외등의 식물형이 많다. 조선시대에는 고려때 보다 종류가 다양하며 크기는 전반적으로 작다. 동물형으로는 해태, 두꺼비, 다람쥐 등이 많고, 식물형에는 복숭아가 대다수를 차지한다. 用途別 분류에서 고려는 主煎子, 香爐에 많이 이용되었으며 조선 象形白磁는 문방구류인 연적이 대다수이다. 고려상형은 象嵌靑磁에서 보다 純靑磁에 많으며, 조선조상형은 靑華白磁에서 가장 많다. 고려의 상형청자는 寫實的이라기 보다는 관념적이며, 形而上學的이고 槪念的인데 반해 조선의 상형백자는 현존해 있는 物象들에 충실하며 簡潔한 형태로 造形되어 있다. 즉 지나치게 附加된 장식을 덧붙인 고려 상형청자는 特殊層을 위하여 제작되었음에 반해 民衆의 生活 속에 흡수?榮?조선조 상형백자는 사치스럽고 화려한 장식이 강조된 고려상형에서부터 脫裝飾化된 특징을 강조하고 있다.
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