대한제국기 平壤磁器株式會社 설립의 성격과 의미

엄승희(Eom, Seunghui) 호서사학회 2015 역사와 담론 Vol.0 No.76

근대기 도미타 기사쿠(富田儀作)가 구현한 청자재현의 메커니즘과 그 식민성 연구

엄승희(Eom, Seunghui) 고려대학교 한국학연구소 2021 한국학연구 Vol.77 No.-

도미타 기사쿠(富田儀作,1858~1930)는 19세기 말엽 대한제국으로 도항하여 다양한 이권사업을 전개시킨 인물로서, 특히 한국의 도자문화에 대한 깊은 관심이 반영되어 청자재현사업을 구현하고 성공시켰다. 그의 청자사업은 시기적으로 개성 일대의 고려고분 발굴이 최고조에 이르는 시점에 구상되었으며, 일련의 연구과정과 최고의 제작기술력 확보를 통해 시작되었다. 이 시기 청자재현의 메커니즘은 고려청자가 지니고 있는 심미적, 기술적 가치를 본연 그대로 표현하는데 있었다. 특히 비색(翡色)을 창출하기 위한 노력이 그가 전개시킨 청자사업에서 가장 중요한 관문이었다. 재현청자들은 상업성을 강하게 표출하기 시작한 1920년대 초반 이전까지만 하더라도 도미타가 이룩하고자 했던 ‘재현적 가치’와 ‘전승’이라는 고유성을 이식시키는 것에 초점 맞춰졌다. 그러나 이후 청자 제작이 이윤사업으로 점차 전환되어 감으로써, 다방면에서 재현의 본질을 상실시키거나 변질시키는 문화가 만연해졌다. 따라서 근대기 도미타 기사쿠의 청자재현은 한국 도자 그 자체에 대한 그의 열정이 제작에 이르게 하여 도자의 새로운 장르를 형성시키는데 이바지하였다. 그러나 궁극적으로는 올바른 재현문화를 구현시키는 과정에 식민지적 근대성을 부여함으로써, 올바른 전승문화를 이룩하는데 많은 한계를 남겼다. Tomita Gisaku(1858-1930) was a person who traveled to the Korean Empire at the end of the 19th century and developed various interest projects. In particular, his deep interest in Korean ceramic culture was reflected, and he implemented and succeeded in the celadon reproduction project. His celadon business was conceived at the time when the excavation of Goryeo tombs in the Kaesong area reached its peak, and began through a series of research processes and securing the best manufacturing technology. At this time, the mechanism of celadon reproduction was to express the aesthetic and technical values of Goryeo celadon. In particular, efforts to create colorimetric color were the most important gateway to the celadon reproduction project he developed. Until the early 1920s, when the audience began to express their commerciality strongly, the focus was on grafting the uniqueness of the ‘reappearance value’ that Tomita sought to achieve into ceramics. However, as the production of reproduction celadon gradually turned into a profit business, the culture of losing or altering the essence of reproduction in many ways became widespread. Therefore, the reproduction of celadon by Tomita Gisaku in the modern period led to the production of his passion for Korean ceramics itself, contributing to the formation of a new genre of ceramic art. Ultimately however, it left many limitations in achieving a correct tradition of tradition by giving colonial modernity to transplanting the correct representation culture into the Joseon.

한국 현대도예와 이화여자대학교(梨花女子大學校) : 전통도자의 현대적 재해석과 조형도자에 대한 모색

엄승희 ( Seunghui Eom ) 이화여자대학교 도예연구소 2020 陶藝硏究 Vol.- No.29

한국의 현대도예는 대한민국 정부가 수립된 이후 점진적으로 그 형태를 갖추게 되었다. 격동기를 겪은 이후 체계적인 문화정책과 현대화를 위한 문화예술계의 타율적인 조화는 전통의 올바른 계승과 고형도자의 수용이라는 이분화 된 맥락 속에서 점진적으로 전개되었다. 특히1960년대 전반까지도 전통도자는 전승의 대상을 넘어 창작의 주요 영역으로 인정하는 양상이 만연하였고, 이화여대는 관련 교육을 도입하며 올바른 도예교육을 지향하고자 하였다. 즉 1959년 한국 대학에서는 최초로 전통도자의 현대화와 계승의 중요성을 인지하면서 관련 도예교육을 시작한 이화여대는 당시의 시기적 요구에 적극 부흥하였다. 특히 이화의 도예교육은 1960~70년대 전통을 강조하는 국가정책과 관련 사업에 주목하면서도 전통의 의미부여를 다양한 각도에서 재조명하는데 주력하였다. 초대 교육자로서 황종구교수가 부임하면서 청자를 비롯한 각종 전통자기에 대한 과학적인 실험과 재현이 성공적으로 이루어졌고, 이를 바탕으로 현대적인 감각과 조형에 대한 탐구를 위한 교육과정 및 연구가 이루어진 것이다. 1970년대 중반 이후, 급격한 도예 인구의 증가로 현대도예계는 이전과 다른 구조를 갖추게 되었으며, 특히 조형도자의 수용은 기존 도예문화를 변화시키기에 충만했다. 이화의 교육은 이 같은 흐름을 포괄하면서 한면으로는 기존의 교육을 유지하는 가운데 현대도예의 발전과 비전을 지속적으로 제시하였다. 따라서 1959년부터 시작된 이화여대의 도예교육과 연구는 한국의 전통성과 현대성을 결합, 융화하는 가운데 거듭나며 오늘에 이르렀고, 향후에도 이와 같은 도예문화를 확장하여 한국 도예의 발전에 기여할 것이다. Korea's Modern Ceramic gradually took its form after the Korean government was established. After the turbulent period, the systematic cultural policy and the harmonious harmonization of the cultural and art world for modernization gradually developed in the dichotomous context of the correct succession of tradition and the acceptance of formative ceramics. In particular, even in the early 1960s, traditional ceramics were recognized as a major area of creation beyond the object of tradition, and Ewha Womans University tried to aim for correct pottery education by introducing related education. In other words, Ewha Womans University, which first started teaching related pottery in 1959, recognizing the importance of modernization and succession of traditional ceramics, actively revived the needs of the time. In particular, Ewha's ceramic education focused on national policy and related projects that emphasized the traditions of the 1960s and 1970s, while focusing on rethinking the meaning of traditions from various angles. As the first educator, Professor HwangJong-gu(황종구) was appointed as a first-time educator, and scientific experiments and representations were successfully performed on celadon and various other traditional ceramics. Since the mid 1970s, the rapid increase in the pottery population has resulted in a structure different from that of the modern ceramic art industry. In particular, the acceptance of formative ceramics was sufficient to change the existing ceramic culture. Ewha's education encompassed this trend and, on the other hand, maintained the existing education and continuously presented the development and vision of Modem Ceramic Art. Therefore, ceramic education and research at Ewha Womans University, which started in 1959, has been reborn as a combination of Korean tradition and modernity, and will continue today, and will continue to expand this pottery culture to contribute to the development of Korean Ceramic.

서울 종로(鐘路) 청진지구(淸進地區) 출토 근대 도자의 성격과 특징

엄승희 ( Seunghui Eom ) 이화여자대학교 도예연구소 2018 陶藝硏究 Vol.- No.27

종로구 청진지구 유적은 2004년 제6지구가 공식 발굴 조사된 이래 현재까지 총 19개 지구 가운데 7지 구를 제외하면 조사가 완료된 상태이다. 조사지에서는 모두 조선후기층과 근, 현대층위가 발견되어 근대 도자유물들이 수습되었다. 현재까지 근대 도자유물이 출토된 유적에 관한 연구는 본격적으로 진행되지 못했고 일부 유물에 한해 지표자료로 활용되는데 그친다. 청진지구 유적을 근대 도자와 관련하여 주목하는 이유는 유구의 총 면적과 구역이 상당히 광범위한데다 한양도성 중심가의 소비유적으로서 괄목할만한 유물이 출토되었기 때문이다. 조선조부터 수도 중심에 위치했던 청진동은 일대에 관아와 궁궐들이 즐비하였고 市廛이 형성되어 대중들의 왕래가 빈번한 곳이었다. 근대 이후는 청진동 서측의 중학천로를 따라 料亭들이 들어서면서 향락문화가 발전했고, 일제의 관공서와 교육기관들이 들어서고 주요 상권의 대부분을 일본인들이 장악하면서 이곳에 유통되던 도자들도 변화했을 것으로 보인다. 발굴조사 결과, 청진지구 유적에서 수습된 유물들은 조질 백자와 수출용, 내수용 일본자기가 주류를 이룬다. 그리고 이 유물들은 일대에 형성된 상업시설과 주거시설, 관공기관 등에서 복합적으로 사용했던 그릇들로 확인된다. 유구의 90% 이상이 교란, 훼손되어 정확한 실태를 파악하기 힘들지만 청진동이 근대 기에 들어서 매우 복잡하고 다양한 건물지들이 들어서고 증, 개축되는 과정에서 종로의 다른 지역과는 차별된 문화권을 형성한 것은 분명하다. 도자의 구입은 가깝게는 시전의 沙器店과 廣藏市場 등을 통해 가능 했고, 인근 중구 南大門市場에서도 다종다양한 도자들이 유통되어 거주자들에게 수요공급되었을 것으로 추정된다. 예컨대 청진동은 中區를 잇는 수많은 水橋들을 통해 각 방면의 교류가 원활했다. 특히 근대 기 廣通橋를 통해 형성된 도자문화와 도자교역은 중구에서 활동하던 일본 일본자기 상인들과의 교류를 촉진시키는 원동력이었을 것으로 보인다. 조선인들의 밀집지로 불리던 종로구임에도 불구하고 청진동의 발굴내역에서 나타난 여러 가지 정황을 토대로 한다면 매우 특별한 지역으로 분류할 수 있겠다. 즉 재조일본인 관료들과 일본인 상인들이 다양한 계층의 조선인들과 공존하면서 새로운 도자문화를 형성시킨 지역이다. The examination of the historic ruins of the Cheongjin Districts (19 districts in total) in Jongno-gu that continued to be conducted since the official excavation of the District 6 in 2004 has been completed except 8 districts. In the excavation site, the stratum of the late period of Chosun dynasty and the ones of modern and contemporary period were discovered, and modern ceramic relics were unearthed. Until now, the study on the ruins from which modern ceramic relics were excavated was not conducted, and only some relics are using as a teaching material. The reason we pay attention to the ruins of the Cheongjin Districts with respect to modern ceramic is that the total area of the ruins and the districts are very broad, and some remarkable relics showing the ruins were places of consumption were unearthed. Cheongjin-dong was a place where there were a lot of comings and goings of people because, since Chosun dynasty began, this place was located in the center of capital city and was lined with governmental offices and castles, and also Sijeon (a market that consisted of many shops that were licensed by government) was formed. In the modern period, yojeongs (high class Korean style restaurants) began to stand in a row along the sides of Junghak stream in the west of Cheongjin-dong, therefore pleasure-seeking culture developed, and also Japanese governmental offices and educational institutions were established and Japanese merchants hold the dominant position in the most sectors of local commerce. So it seems that these situations made the characteristics of the ceramics that were distributed into the region change. The result of the excavation of Cheongjin Districts ruins shows that jojil white porcelain and Japanese porcelain for domestic consumption and for export are in the majority. And it has been confirmed that these earthenware relics were used in the commercial facilities and residential areas and governmental agencies in the region. Because more that 90% of the ruins has been disturbed or destroyed, it is difficult to understand the actual state of the ruins, but it is obvious that Cheongjin-dong began to have different features from the other regions of Jongno in the process of the advent of a variety of building areas and enlargements and reconstructions of the buildings. It seems that it was possible to purchase ceramics from nearby porcelain shops of Sijeon or ‘Kwangjang market’, and also in the ‘Namdaemun market’ in Jung-gu, various kinds of ceramics were available to the residents. Cheongjin-dong was able to have active contacts with Jung-gu in many sectors thanks to many bridges linking the two regions. Especially, the ceramic culture and trade formed through ‘Gwangtong bridge’ seems to have been driving forces promoting trade with Japanese porcelain merchants in Jung-gu. The results of the excavation of Cheongjin-dong shows that, even though Jongno-gu was the region that was densely populated by Koreans, it was a special region where new ceramic culture was formed while Japanese governmental officers and merchants coexisted with various Korean residents of all social standings.

근대기 세브르국립도자박물관의 한국 도자기 소장과 수용

엄승희(Eom Seung-hui) 한국근현대미술사학회 2015 한국근현대미술사학 Vol.29 No.-

Musee national de ceramique de Sevres is the greatest museum for ceramics in Europe that was founded in 1824, This museum have had international cultural exchange including exporting ceramics since in the 19th century and have solidified its position internationally. Joseon began a close relationship with the museum from 1886, the year when France-Joseon Treaty was ratified. Victor Collin de Plancy, the first French diplomatic minister to Joseon played an important role as a bridge for the Musee national de ceramique de Sevres to participate in manufacturing and improving Korean ceramics, which was a direct opportunity for him to collect a lot of Korean ceramics. Especially, it is noteworthy that when Gojong(高宗), the emperor of Joseon and Sadi Carnot, the president of France exchanged their ceramics as gifts in order to celebrate France-Joseon Treaty, the French ceramics were the ones that had been manufactured in Sevres and the Korean celadon items are now housed in the Musee national de ceramique de Sevres. It is also meaningful that when Joseon white porcelains faced uncertain future after Bunwon(分院) came under private management in 1884, Musee national de ceramique de Sevres factory’s manufacturers were invited to Joseon and helped with founding an arts and crafts school. In modern period of France, Joseon studies was not a well-explored field compared to other oriental studies, but Andre Billequin’s donation of a lot of Korean ceramics to Musee national de ceramique de Sevres and his study on these ceramics paved the way for the research into the history of Korean ceramics studies, via Musee national de ceramique de Sevres. And minister Plancy along with anthropologist Charles Louis Varat and Colonel Lee collected, donated and researched Korean celadon, white porcelains, Buncheong celadon and earthen ware chronologically which helped to shape the present Korean room at Musee national de ceramique de Sevres. As mentioned above, Musee national de ceramique de Sevres accepted the Korean ceramics art actively after France-Joseon Treaty and was fascinated by the unique ceramic culture and created a new form of ceramics. For example, the Koryo celadon pottery that Gojong presented to the president of France was reborn as a new type of celadon ware. Unable to be supplied with ash-glaze, they had to use crystallization glaze and copper red glaze, which resulted in the creation of beautiful and colorful European celadon peculiar to Sevres. This unprecedented approach was the result from their fascination with the oriental mystical ceramics. In this way, Musee national de ceramique de Sevres tried to understand Korean ceramic art thanks to the effort of a few persons like minister Plancy from the 19th century. The reason why the Musee national de ceramique de Sevres in modern times draw our attention is because of the fact that they not only housed Korean ceramics in the museum but also manufactured new type of ceramics using original Korean ones and publicized them internationally and kept collecting Korean ceramics and did research. From the point of view of producing ceramics, the Korean modern times was a period of upheaval. It was minister Plancy’s personal effort that contributed in large part to the cooperation between Joseon and Musee national de ceramique de Sevres. However, this provided an opportunity for Koryo celadon and Joseon white porcelains to be established as important foreign cultural assets in French society. Musee national de ceramique de Sevres could not completely express the beauty of Korean ceramics that they pursued. But it is meaningful that they made a positive contribution in adoration of Korean ceramic culture for the first time in Europe and above-mentioned facts are the reasons for this study.

일제시기 재한일본인(在韓日本人)의 청자 제작

엄승희(Eom, Sunghee) 한국근현대미술사학회 2004 한국근현대미술사학 Vol.13 No.-

근대기 한불(韓佛)의 도자교류

엄승희(Eom Seunghui) 한국근현대미술사학회 2013 한국근현대미술사학 Vol.25 No.-

서울 中區지역 유적 출토 근대 도자

엄승희(Eom Seung-hee) 한국미술사학회 2017 美術史學硏究 Vol.296 No.296

일제강점기 會寧陶器의 생산과 유통

엄승희(Eom, Seunghui) 호서사학회 2017 역사와 담론 Vol.0 No.81

함경북도 최북단에 위치한 회령은 조선 초기 완전히 한반도의 영토로 영입되면서 일대에서 지역 특유의 도기가 본격적으로 생산된 것으로 보인다. 현재로서는 조선조 회령에서 생산된 도기의 정확한 유형과 수요공급의 양상을 파악하기 힘들지만, 이전에 수용된 외래양식을 유지하면서 한편으로는 회령 고유의 기법이 새롭게 파생되었을 것으로 추측된다. 근대전환기에 접어들어서는 국가상황이 위기에 처해지고 分院마저 민영체제로 전환되면서 조선의 요업은 위기에 봉착했다. 회령을 중심으로 한 이북지역의 요업 역시 동일한 영향을 받았다고 볼 수 있다. 그리고 적어도 회령은 1920년대에 접어들기 전까지 요업실정이 낙후하여 생산실적이 매우 저조했으며, 제작장 분포 역시 전국에서 가장 하위권에 속했다. 그러나 일부 열정적인 제작자들의 생산참여와 조선총독부의 지원이 증폭되던 20년대 중반에 이르면 완연하게 새로운 구조체제를 구축하며 도기의 대량 생산이 가능해졌다. 특히 조선총독부의 지원은 친일파 제작자였던 崔冕載를 통해 전폭적으로 확대되면서 공동작업장 설립과 해외 수출, 해외학자 초청강연 등이 이어졌다. 1930년대 중반까지 회령도기 생산량은 꾸준하게 상승하면서 일본, 만주 등지로의 수출량도 동반 증가하여 생산고는 최고치를 달성했다. 그러나 당시의 생산품은 산업도기로서 대량 생산되어 전통의 제작기술이 반영되지 못한 일면이 있다. 예컨대 灰釉를 대체하여 화학제조유를 활용하고 일본풍 양식을 차용하기 시작한 일제강점기의 회령도기는 수익창출을 최우선시 하며 상당량이 일본인 수요자들에게 공급되었다. 이처럼 회령도기는 유구한 역사를 지니고 있었지만 근대기에 접어들어 일제의 요구와 관심이 증폭되면서 변질되는 경향이 없지 않다. 현재 회령도기는 소수의 전세품만이 전해지고 이를 입증할 만한 사료가 부족하지만 차후 다양한 접근방식과 사료를 수집한다면 회령 고유의 도기실체를 파악하는데 한발 다가갈 수 있을 것으로 기대한다. From the time when Hoeryeong located in the far north of Hamgyeong-bukdo was included in the territory of the Korean Peninsula in the early period of Chosun dynasty, the pottery in the region seems to have been produced in earnest. Now It is difficult to know exactly about the type of the pottery produced in Hoeryeong in the period of Chosun dynasty and about the aspects of the supply and demand of the pottery. In the period of transition to modern era, Chosun came into jeopardy and Bunwon got privatized, which put the ceramic industry of Chosun in difficulty. The ceramic industry in the regions of North Korea represented by Hoeryeong was also considerably affected. Before 1920s, the pottery industry of Hoeryeong was lagging behind and the amount of pottery produced in the region was very low, and the number of workshops was also lowest in Korea. However, in the early and middle 1920s, the support from some potters and Japanese government-general of Korea got increased, which created a new situation for Hoeryeong pottery. Especially, through Choi Myeonjae who was a member of the pro-japanese group and could get a lot of support from Japanese government-general of Korea, the establishment of workshops for group work, the export of the pottery into Japan and inviting foreign scholars to Korea, Hoeryeong pottery became more known. Until the middle 1930s, the amount of the pottery that was produced in Hamgyeong-bukdo province increased steadily, and reached the highest point while the export into Japan and Manchuria etc. increased. However, it seems that the pottery made in those days was produced not by the traditional way of making Hoeryeong pottery, but by the way of industrial production. For the purpose of making a profit and in order to produce pottery in large quantities and supply Japanese consumers with the pottery, the potters who produced Hoeryeong pottery used chemical glaze instead of traditional ash glaze made from straw ash, and moreover, began to borrow Japanese style. As mentioned above, Hoeryeong pottery has a long history, but it can"t be said that its traditional characteristics didn"t change while the need and interest of the Japanese Empire increased. There"s some difficulty in tracing the flow of the history of Hoeryeong pottery because there are only a few relics remaining over generations and moreover, it is difficult to prove that the remaining relics are real Hoeryeong pottery. However, by taking various approaches and conducting in-depth studies, it will be possible to come to know what Hoeryeong pottery is really like.

야나기 무네요시(柳宗悅)의 조선민족미술관 한국 도자 컬렉션 형성과정과《이조도기전람회(李朝陶器展覽會)》 개최의 의미

엄승희 ( Eom Seung-hui ) 대한전시디자인학회 2023 전시디자인연구 Vol.20 No.2

This Thesis examines the overall background of the establishment of the Joseon Museum of Art, established in Gyeongseong(京城) by Yanagi Muneyoshi in 1924, and attempts to analyze the overall reason for the completion of the Korean ceramic collection, which was the museum's main collection. Yanagi Muneyoshi has visited Joseon several times since 1916 to establish an art museum and expressed a great interest in Korean art. In particular, he was greatly impressed by the Joseon White Porcelain handed over by his close acquaintance Asakawa Takumi, which had a significant impact on the purpose and operation of the art museum in the future. It is no exaggeration to say that the prelude to the Korean ceramic collection began through the Joseon Porcelain Exhibition(李 朝陶器展覽會), which was held about three years before its official establishment. This exhibition was an inspiration to Yanagi himself, who established Japanese folk art theory and began to open his horizons as a craft theorist, and at the same time, it was an opportunity to call for re-awareness of Korean ceramics. In other words, the aesthetic perspective of Korean ceramic art, from unknown civilians to royal government white porcelain, and the task of restoring the identity of Korean porcelain, began to be a central context for Yanagi Muneyoshi's craft theory. Therefore, the meaning of the Joseon Museum of Art in the middle of the Japanese colonial period is not only a space for collecting and researching Korean art, but also a space that paradoxically expresses his craft theory.