新羅土偶의 象徵性에 關한 硏究 : 國寶 第195號 長頸壺 土偶의 象徵解釋을 中心으로

손명순 경주대학교 대학원 1999 국내석사

신라토우의 감성을 모티브로 한 조형표현 : 희(喜)의 감성을 중심으로

이선구 청주대학교 대학원 2016 국내석사

인간의 형상은 시대나 민족, 국가를 초월하여 가장 많이 다루어진 소재가 아닌가 생각한다. 선사시대에는 원시인들은 흙, 나무, 짚, 돌 등을 사용하여 인형을 만들었지만 시간이 흐름에 따라 재료나 제작방법도 발전하였으며 쓰임새도 다양화 되었다. 그 중에서도 흙은 고대로부터 다른 어떤 재료들보다 친근하고 긴밀한 관계를 유지해 온 인류의 가장 오래된 표현 재료들 중 하나이다. 또한 흙을 이용한 토우는 인류의 발생과 더불어 현대에 이르기까지 인간 생활이나 정서에 밀착되어 중요한 사회적 기능을 하였으며 인류문화의 발달과 함께 성장해온 오래된 예술 중의 하나이다. 필자는 신라토우에서 영감을 얻어 희(喜) 의 감성을 중심으로 인물토우와 동물토우로 연구 작품을 제작했다. 랭거(Susanne K. Langer, 1895~1985, 영국)에 의하면 감성이라는 주관적 실재는 고통과 안락, 자극과 휴식 등의 육체적 감각으로부터 가장 복잡한 정서, 지적 긴장, 또는 인간의 의식적 삶에 나타나는 끊임없는 감정의 굴곡까지를 포함하는 일체의 것으로 정의된다. 그는 또한“예술은 인간 감성의 형태적 상징의 창조”라고 했다. 즉 어떠한 감성이 한 인간의 내부에서 무르익을 대로 익었을 때, 내부세계를 뚫고서 외부세계로 돌출되는 것이 예술의 표현이자 감성적 행위인 의미하는 것이라 하겠다. 이와 같은 감성을 작품에 표출하기 위해 필자는 소지의 선택을 분청토, 조형토, 산백토, 옹기토, 동영토로 하고 얼굴색을 다양하게 시도하였다. 번조(燔造) 방법으로는 토우의 자연스러움을 살릴 수 있도록 테라코타로 초벌을 하였다. 재벌은 작품의 강도를 높이기 위해 1250℃로 번조과정을 거쳤다. 유약은 투명유, 무광재유, 분청유, 흑유를 사용하였다. 이번 작품연구를 진행하며 필자는 점토만이 지닌 자유롭고 유기적인 표현성과 조형성을 통해 인간의 감성을 바탕으로 한 주제가 설득력이 더욱 강함을 알게 되었다. 인물토우와 동물토우는 장식과 기능을 겸비한 캔들과 화분, 소지품함으로 활용할 수 있도록 하였다. 인물토우와 동물토우를 제작함에 있어 현대적 미를 살린 디자인에 중점을 두었다. 이러한 디자인 작업을 바탕으로 한 연구 작품을 통해 신라토우에 나타난 조형정신을 바탕으로 우리의 전통 문화를 바로 알고 계승･발전시키고자 노력하였는데, 작품 제작에서 중공(中空)이 있는 작업을 할 때, 두께 조절을 잘못해 얼굴 볼이 터져 다시작업을 여러 번 하였다. 그리고 수축률이 다른 소지를 사용함으로 인해 갈라지고 깨지게 되어 여러 번의 실패를 걸쳐 완성시켰다. 모쪼록 우리의 소중한 문화유산인 토우의 현대적 표현과 그 활용성을 높임으로써 실생활에 널리 쓰일 수 있는 연구 결과물이 되었으면 하는 바람이다. Human shape is the most favorite theme which transcends ages, ethnic groups, and nations. In prehistory, people made dolls made of clay, wood, straw, stone, and etc. But over time materials and the way to make dolls have been developed and they can be used in many ways. Among them, clay, one of the most ancient materials, has maintained a friendly and close relationship with people, compared with other materials. In addition, clay tows have been closely related to the lives or emotions of people and served important social functions from the beginning of human beings through this modern age. And it is also one of the most ancient arts which has improved with the development of human culture. As research products, getting an inspiration from tows of the Shilla Dynasty and focusing on the sensitivity shown in the joy, human tows and animal tows were made. According to Susanne K. Langer (1895~1985, England), subjective existence, sensitivity, can be defined the whole thing that includes from physical senses such as pain, comfort, stimulus, and rest to the most complicated feeling, intellectual tension or continuous emotional ups and downs. That is, when certain sensitivity is fully heightened in the human mind, it naturally overflows from the inside. And it is the expression of art and sensitive behavior. In order to express that sensitivity, a variety of facial colors were tried using Bunchung clay, Johyung clay, Sanbaek clay, Onggi clay, and Dongyoung clay. As for firing process, a biscuit firing with terra cotta was carried out to express the natural beauty of tows. And a glaze firing was carried out at 1250℃ to increase their strength. As for glazes, Clear glaze, Matt glaze, Bunchung glaze, and Black glaze were used. As a result, the themes based on human sensitivity became more persuasive than before by free and organic expressivity and formativeness of clays. Human tows and animal tows can be used not only as ornaments but also as functional items like candles, pots, boxes of belongings, and etc. By the production of tows, it was tried to inherit and develop traditional culture, in addition to modernized design. During the production, however, there were some problems like bursting cheeks of human tows because of hollowness or cracking and breaking because of different materials, which have different contraction percentage. Tows, one of precious cultural heritages, should be modernized and used today.

ETUDE SUR LES FIGURINES EN TERRE CUITE DE L'EPOQUE SILLA

염미란 UNIVERSITE DE PARIS Ⅶ 1998 해외박사

일반적으로 돌, 나무, 뼈 등으로 만들어진 선사시대의 각종 우상들과 기물들을 많이 볼 수 있다. 그러나 인간이 불을 사용할 줄 알게 된 이후 최초의 흙 조형물은 원시인들이 빚은 토기(土器)와 토우(土偶)일 것이다. 그런데 토기의 발생은 인간의 물질적인 기능의 욕구를 부여한 것이라고 할 때, 토우는 원시 종교의 부장용품으로서 또는 주술적인 성격으로 죽음과 공포에 대한 인간의 정신적인 것과 그들이 곡식을 키워주는 대지와 자연에서 느꼈던 생명감을 흙에 부여했다고 하겠다. 土偶란 흙으로 만든 인형이란 뜻이며, 이것은 사람의 형상을 갖춘것만이 아니라 다른 여러 가지 동물이나, 생활용구, 가옥 등을 포함하고 있다. 이러한 토우는 그 양과 질에서 신라 시대에 가장 풍성하였고 세계적으로도 인정받는 독특한 우리문화이다. 신라 토우는 부장용품으로서 불교 전례 이전의 토속적인 원시 신앙을 반영하고 있으며 이것은 그들이 기원하는 바를 성취하고자 하는 주술적인 성격을 갖거나 죽음에 대한 생의 영속성을 기원하는 것을 내용으로 하고 있다. 본 연구에서는 古新羅 土偶를 연구대상으로 삼았다. 특히 고신라토우는 외래 문화의 영향을 과히 받지 않은 신라인 나름의 독특한 조형과 신앙, 생활상을 내포 당시의 의식과 생활을 단적으로 표현하고 있으며 토속 신앙의 터전 속에서 만들어져 그 연구 가치가 높다. 또한 신라 토기처럼 미세한 점토로 만들어 졌으며 높은 온도에서 소성되어 강한 경도를 가진다. 색은 감색, 회색 등 여러 가지이며 自然釉가 만들어져 입혀진 것들도 있다. 그리고 제작기법에서의 과감한 생략과 과장을 가진 개성있는 조형물로서 인정받고 있다. 먼저 토우란 말의 의미와 토우 예술의 기원을 외국과 우리나라 구석기 시대부터 거슬러 올라가 고찰하였고 신라토우의 특징을 네가지로 분류 연구하였다. 유형별 특성으로 단독형, 장식형, 용기형의 토우와 제작 기법상의 특성, 조형적 특성, 문화적 기능으로서의 특성을 연구하였다. 다음으로 주제와 상징에 따른 분류를 시도하여 동물형 토우에서는 말, 새, 용, 거북어, 사슴, 호랑이, 소, 개, 돼지, 토끼, 뱀, 기타동물, 인물형 토우에서는 여성상, 남성상, 성애상, 주악상, 상형토우에서는 집모양, 수레모양, 배모양, 신모양의 토우에서 그 예와 각 동물과 인물, 상형이 가지는 그 시대의 상징적 의미와 생활의 단면, 신앙을 알아보고자 하였다, 또한 마지막 장은 문양 연구이다. 신라의 토우에서는 인물형을 제외하고 동물형, 상형에서의 약간의 문양이 나타나고 있는데 이것은 신라토기에서 나타나는 기하학적 문양과 거의 비슷하고 또한 이러한 문양이 그려진 항아리나 고배뚜껑위에 토우들이 부착 장식되어 있다. 토우와 같이 이 문양들도 분명 무엇인가를 상징하며 그 시대의 신앙과 연결되어 있어 신라토우의 성격과 기능을 규명하는데 중요한 자료가 된다. 문양의 기원과 상징에 대해 알아보고 토우에 나타난 문양(원점문, 거치문, 집선문, 파상문, 격자문)과 목긴 항아리나 고배의 뚜껑에 선각의 문양으로 그려진 토우들에 대해서도 연구하였다. 연구 범위는 통일신라 이후의 토우들은 불교가 들어오고 中國의 영향을 많이 받아 토우의 모양과 고유한 성격 자체가 변하므로 신라가 삼국 통일 하기 이전 古新羅時代(B.C. 57-A.D. 668)의 토우들만 다루었다.

新羅土偶에 있어서 드로잉의 特性에 關한 硏究

金賢貞 경기대학교 조형대학원 1999 국내석사

신라토우는 그 당시의 현실에 대한 관념과 조형의식이 반영된 조형물이며 이러한 토우라는 조형물(造形物)을 통하여 인간본연의 감정과 기원을 표현하였다. 신라의 토우에는 생산력을 상징하는 성(性)이미지를 통해 현실적인 삶에서의 다산(多産)과 풍요(豊饒)를 기원하였고, 운반이나 수송을 상징하는 이미지를 통하여 죽음에 대한 생의 영속성(永續性)을 기원하는 내세관(來世觀)이 표현되었다. 인물형 토우는 정확성보다는 단순한 표현의 묘미가 돋보이며, 비록 자그마한 토우임에도 생명력(生命力)이 충만하며 대담하고 솔직한 표현을 하고 있다. 신라토우는 주술적(呪術的) 의미를 암시하기 위하여 왜곡 또는 과장된 형태로 상징성(象徵性)을 추구하거나 세부적인 것을 생략, 단순화하였으며 이를 통해 탁월한 공간성(空間性)을 획득했다. 그리고 다소 거칠지만 다듬어지지 않은 텃치의 경쾌한 질감표현은 서예의 필법에서 볼 수 있는 특징이 잘 반영되어 있다. 이러한 의도되지 않은 자유로운 공간과 일회적이고 즉흥적인 제작기법은 강한 생동감의 효과를 주며 드로잉의 특성과도 유사성을 가진다. 신라토우에서 드로잉적 양상은 커다란 특징을 형성하는데 토우의 무계획성(無計劃性)이나 자연에의 순응에 대한 소박성(素朴性), 혹은 개념과 의미의 단순성(單純性)과 같은 요소들이 이념화된 미관(美觀)의 완벽주의를 배제하는 드로잉의 정신과 일맥상 통하고 있음을 가늠해 볼 수 있다. 따라서 신라토우와 드로잉은 재료와 형식에서의 현저한 차이에도 불구하고 이와 같은 자유롭고 즉흥적이어서 강한 생동감을 주며, 완전한 것에 대한 무집착의 특성을 보여준다는 점에서 드로잉적 특성을 볼 수 있는 것이다. 신라 토우에서 보이는 마구 빚은 흙 덩어리와 흙 타래, 마구 뚫은 두 눈과 입의 표정은 고졸(古拙)한 아름다움과 순진한 매력이 욕심없이 이루어짐을 보여주고 있다. 또한 우리 민족의 자유분방하고 파격적이고 익살스럽고 천진스럽고 밝고 낙천적인 경향의 근원적인 뿌리를 바로 신라토우에서 볼 수 있다. 따라서 진정한 아름다움은 욕심없음, 비어있음의 경지이며 단지 기교로서만 이루어질 수 없는 경지로서 가식없는 작업위에 순수하게 존재한다는 좋은 예를 토우의 드로잉적 표현의 특성에 대한 모색을 통해 확인할 수 있다. The clay figurines of Shilla Age are molding works which reflect the conception about the reality and formative consciousness of that day through which the sensitivity of human being's own nature and origin were expressed. The clay figurines pray for the fecundity and affluence in life through sex image which stands for the productivity and represent the view of the world beyond to supplicate for the perpetuity of life against death through the image which stands for delivery or conveyance as well. The human-type figurines set a subtle charm of simple expression off rather than accuracy, although they are small figurines, they are filled with vitality and make a bold and candid expression. The clay figurines of Shilla both seek after symbolism in the extorted or exaggerated style and abbreviate or simplify all the details in order to allude an incantatory meaning, through which they acquire a superior spatiality. In addition, the cheerful texture by rather rough and untrimmed touch well reflects the feature which can be seen from the technique of calligraphy. This free and unintended space and arbitrary and impromptu techniques of production have an effect of strong liveliness and similarity with the drawing character. The drawing aspect of Shilla clay figurines form the following characteristics : planlessness, naivety enough for adaptation to nature, or simplicity of conception and meaning. From this, we can measure that these elements have a thread of connection with the spirit of drawing which precludes the perfectionism of conceptualized view on the aesthetics. As a result, regardless of the distinguished difference between the material and form, Shilla clay figurines and drawing can give this strong liveliness due to its free and impromptu nature, and reversely, they present the drawing character in that they show the non-adhesive nature toward what is complete. We can see antique beauty and innocent charm without any selfishness through carelessly shaped clod and skein of earth, and the expression of two eyes and a lip bored at random in the Shilla clay figurines. Above all, it is Shilla clay figurines that our race's liberal, unprecedented, humorous, innocent, bright, and optimistic nature is originated. Therefore, a good example can be confirmed that true beauty only exists on the unsophisticated work, for it is a state of unselfishness and vacancy which cannot be reached by artistic excellence through this study on the drawing character expressed in Shilla clay figurines.

신라토우의 현대적 변용에 관한 연구

김현아 조선대학교 2008 국내박사

Art is one of man's most fundamental activities and derives from the instinct hidden deep inside. In other words, man directly and indirectly expresses what he sees, hears, and feels freely about the objects and phenomena around him and creates a work in the process. That is how art is made. Cavemen in ancient times drew murals on cave walls depicting what they desired and shaped animal bones, clay, wood, fish and shellfish into human or animal figures. Man has constantly described the human body in his works from ancient times to the present day. The human body makes a good material to deliver a strong message by the artist's emotions as it allows for the expression of ideas and feelings pursued by man and possesses an infinite life force, sense of movement, and feeling of massiveness. It has been an object of concern and source of creation in free, diverse expressions throughout history. There are many different media to create artistic works, and clay is one of them. Man created the most basic and earliest formative art work with clay. The very first formative works made of clay were small figures around 10,000 B.C. They seem to have been used for primitive religious ceremonies or magic practice. People in ancient times must have had no difficulties obtaining clay in nature, finding out that they could create various shapes with it, and accidentally discovering that heating made clay hard and firing at high temperature made it hard as a rock. Closely related to human activities, clay was used to make various kinds of earthenware, clay icons and objects to be buried with the deceased. Earthenware and clay icons are some of the oldest technological and artistic products of mankind and the majority of previous artifacts from the prehistoric age. Clay icons were made throughout the world including Asia and Europe thousands of years ago. They usually reflect the cultural characteristics and aesthetic consciousness of a region whose people had their own unique experiences with the environment and society in which they grew up and operated. Thus the human-shaped clay icons widely vary in terms of shape across different regions even though they were made of the same material. Clay icons usually refer to human figures made of clay, but its broad definition also includes the realistic expressions of animals, everyday objects, and houses in addition to the human figure. Ancient people chose proper objects and turned them into clay icons to which they projected their instinct of the preservation of the species, desire towards the superego, hope to repel evil, and desire to live forever. Shilla's clay icons reflect the spirit and life of our ancestors and further their concept of the present and life after death. Although they are small in size being 10cm or so, they fully deliver the artists' emotions and wishes. The Shilla people granted meanings only to the parts they were interested in or in need of. For purposes of symbolization, they adopted such formative techniques as exaggeration, emphasis, distortion, and simplification. Shilla's clay icons are the incantation of the Shilla people's wish for fecundity, prosperity and other wishes, and the representation of their permanent world view of life through death. It is the usual case that they present the Shilla people's simple emotions and lifestyle in a natural and distinctive manner based on folk beliefs. The formative aesthetic senses reflected in Shilla's clay icons evolved and were passed down to the celadon, Buddhist statues, and Chinese ink water containers of Goryeo and the small white porcelain whose excellence was widely known in Chosun. In modern days, the formative works of pottery, which was a simple vessel for everyday living in the past, have grown in scope and diversity of shape. Ceramic art on the theme of the human body has also started to take an important position. Considering that the origin of ceramic sculpture of the human body was ancient clay icons, it will be highly essential to examine the clay icons excavated in many countries and Shilla's clay icons in terms of aesthetic values, symbolism, and formative nature to the growth of modern ceramics and the revival of the true meanings and values of traditional Korean ceramics. The investigator decided to represent the modern people and their diverse inner feelings in small clay icons of 10~35cm just as ancient people represented their spirit and lifestyle in their clay icons. I examined the lifestyles and mental states of modern people in depth in order to express them into formative aspects. Living in modern times, people enjoy material richness and convenience thanks to rapid advancements in science and machinery, but at the same time, suffer from spiritual dearth and emptiness caused by human isolation, solitude, anxiety, and loss of humanity in the midst of their material richness. Being chased by painfully busy daily routines, they have lost their mental stability and wander around with no direction. We naturally find their isolation, anxiety, loss, and nihility familiar to us because they are our self-portraits. Realizing that the inner conflicts and loss of ego do happen to all of us, I expressed the inner problems and the inner world of humans in the various shapes of the human body. In the creative process, I focused on pure formative compositions and image expressions rather than concepts, ideas, or thinking methods. By adopting bold exaggerations and omissions observed in Shilla's clay icons, I tried to imbue the human body with many different emotions. I also told a story about the life of modern people by depicting their tiring daily lives and diverse inner sides including life and death, tragedy and comedy, man and woman, hope and anxiety, love and hatred, and success and failure. I hope that my clay icons will help today's modern people reassure the existential value of humans through their representative images, restore their lost ego and humanity by overcoming isolation, loss, despair, and helplessness, and lead a human life. I also intended to inherit and continue the traditional beauty of Korea by modifying Shilla's clay icons in modern senses.

음악 연주를 표현한 토우의 조형적 연구 : 신라 주악토우를 중심으로

전세실 대구가톨릭대학교 2014 국내석사

The topic of this Master's thesis is a presentation of clay sculptured dolls which is regarded as a traditional Korean art form. The theme or subject of these clay sculptured dolls are created into figures playing modern musical instruments or vocal groups (i.e. chamber ensembles, choral and symphonic orchestral settings: string, woodwind, brass and percussions instruments) instead of the Korean traditional orchestra. The reason why I reinterpreted and reorganized each of these settings was to give a "new" or modern viewpoint rather than that create a typical Korean clay sculptured doll presentation. The primary purpose of this study is to make a "cross-over" contribution by inheriting our cultural art traditions such as clay sculptured dolls. By achieving this I have reinvented or recreated them into a "global" setting, in hope that this will raise awareness to the general public and educate them about the art of Korean traditional clay sculptured dolls. This study consists of largely two parts. FIRST: Through the literature review of clay dolls in Shilla Dynasty. 1.) It is found that the concepts of ancient ideology throughout Shilla Dynasty are: "Mother Earth Goddess"(地母神) and the "God of Love"(性神); the "God of Snakes"(蛇身) and the "God of Dragons"(龍神); the "Succession"(繼世) and the "Worship of the Sun"(太陽神崇拜). Also, the aesthetic consciousness of Shilla Dynasty is largely characterized as the beauty of humor, simplicity and exceptionality. 2.) I have created every clay doll depicting certain movements of playing a musical instruments and each one is defined as‘musical clay dolls'. All of the clay sculptured dolls feature a unique individual expression or singing motion, meaning that none of the musical clay dolls are alike. In fact, through research of original clay sculptured doll relics from Shilla Dynasty, information has given us that it was all related to the cultural background of that certain time period. Each collection researched has given us invaluable historical insight on the types and playing methods of musical instruments, processes of banquets, ceremonial rituals and public preference to art and music. 3.) This thesis on clay sculptured dolls is based on gathered information, and I chose motif and theme for my work on various musical ensembles. In these clay sculptured music ensembles, they feature figures of musicians created or designed into modern musical activities that our contemporaries can easily encounter in today's cultural scene. These scenes or activities are set into the following ten scenarios: orchestra, piano trio, string quartet, marching band, big band, drummer band, vocal solo, vocal duet, vocal quartet and a chorus. SECOND: Through the processes of work production. 1.) In my work production, I wanted to reflect in my clay dolls a unique clear and conclusive expression that identifies in details the characteristics of each musical instrument and each player's anatomical playing motion in musical performances. In the work No. 1,‘Orchestra’, for example, I intended not only to reflect the playing motion similarly to reality, but also to express both characteristics of the musical instrument and the beauty of simplicity, making the best use of clay’s feature and texture. In the work No. 4‘Drumming’and No. 5‘Drum Line’, My aim was to reveal the formative aesthetic's of human body to the maximum. So I arranged clay figures in a harmonious way based on the theoretical research to show each one’s dynamic motion as well as composition percentage. In case of the work No. 10 ‘Solo’, I chose a large coiling instead of common clay for the frame in order to describe the singer’s features more elaboratively, by highlighting its singing performance itself, such as its facial expression, gesture and fancy costume. 2.) In creating this presentation my main concern was deciding the essential timing of each part's assembly, because when a clay sculpture is formed it is still in semi-dry state, so production time is of the essences, because once it is dried it cannot be reshaped. Among the various figure-making methods, the instant form-making method was suitable for creating a single torso of the performer itself, but it was not appropriate for figures playing musical instrument since the torso could not stand the weight of the instrument part and failed in keeping its shape. So in the case of figures playing instruments, I shaped a performer and a musical instrument separately with a time difference. In detail, I made a musical instrument first, and then attached the instrument form to the performer form when it was still in semi-dry state. At this stage, it is important to check the degree of semi-dry state of the instrument form. This is because if it is attached in the complete dry state to the torso, it detached itself from it during the drying process. In conclusion, the process of creating this clay sculptured doll presentation produced in the methods of traditional Korean clay art, I confirmed that it is possible to express various kinds of modern cultural scenarios - such as classical concerts, singing groups and jazz ensembles. In the aesthetic sense I wanted these clay figures come to life and that the viewer can actually imagine in hearing the music they are depicted to do. I hope this thesis presentation will inspire other artist's to do so in the future and a references for our school children to learn. Using innovation and imagination to integrate the traditional cultural past with the modern future is the only way for us to preserve our cultural identity. It is truly wonderful that this traditional art form, the clay sculptured doll is a "gift" for our modern times, given to us from our inherited cultural traditions of the Shilla Dynasty.

신라토우에 관한 연구 : 원시미술로서 신라토우의 정신성과 현대조형의 상관성을 중심으로

강경근 경남대학교 산업대학원 1994 국내석사

新羅土偶에 나타난 象徵性에 관한 硏究 : 民間信仰을 中心으로

전홍일 啓明大學校 1995 국내석사

新羅土偶의 造形性에 관한 硏究 : 民俗信仰을 中心으로

장현숙 曉星女子大學校 1989 국내석사

인물토우 형상성에 관한 연구 : 신라토우 기법 활용을 중심으로

김만수 청주대학교 대학원 1994 국내석사