朝鮮 後期 陽刻白磁 硏究

구혜인 한국미술사학회 2009 美術史學硏究 Vol.263 No.263

본 논문은 조선후기 양각백자를 기술․양식․교류사․문화사적인 면에서 다각도로 조명하여 그 실체를 밝히는데 목적을 두고 있다. 조선후기 양각백자의 제작배경은 크게 세 단계로 파악된다. 중국과 일본의 양각기법에 대한 인식의 단계에서 양각백자가 국내로 유입되고 일부계층에서 이에 호응하여 구득하는 단계를 지나, 正祖 19년(1795)에 단행된 靑彩와 匣燔 금지령을 통해 소량 제작되던 양각백자가 확대 생산되는 단계로 진행된 것으로 파악된다. 특히 중국 福建省 德化窯와 漳州窯에서 제작된 양각백자와의 유사성과 당시 다수의 복건상인들이 국내로 표류해 오거나 상선이 경유한 점과 관련지어 중국 南方窯 생산 도자기들의 국내 유입 가능설을 새롭게 제시하였다. 기술적 측면에서 조선후기 양각백자는 기존에 알려진 것보다 훨씬 다양한 기법들이 사용되었다. 문양의 바탕면을 깎아내는 彫刻陽刻, 도범을 사용하여 기형과 문양을 동시에 찍어내는 壓出陽刻, 문양을 별도로 제작하여 붙이는 貼花陽刻, 태토보다 농도가 낮은 점액질상태의 白泥를 사용하여 그림을 그리듯이 문양을 표현하는 堆花陽刻의 4가지로 구분된다. 특히 퇴화양각의 경우, 이 기법을 이미 사용하고 있었던 중국과 일본에서 그 선례를 찾아 영향관계의 가능성을 밝힐 수 있었다. 다음으로 각 기종의 제작양상과 특징을 비롯하여 문양별 표현 양식에 대해 비교하였다. 食器 ․ 儀禮器類, 文房具類, 기타 生活器皿類로 나누어 고찰한 결과 양각백자만의 특성이 드러났다. 즉 양각기법은 조선후기 백자의 거의 전 기종에서 나타나며 다양한 기형과 문양을 갖추었는데, 전체적으로 최고급 품질이 유지되면서도 병, 연적은 선택적으로 대량생산되었다. 또한 잔 ․ 필통 ․ 연적의 특정 기형이나 퇴화양각한 십장생문 ․ 매화문에서는 중국 복건성 德化窯와 漳州窯와의 영향관계가 감지된다. 문양 표현양식에서 2차원적 평면이 갖는 표현한계를 극복하고 문양의 특징을 효과적으로 전달하기 위해 문양에 따라 여러 방법을 변용한 사실을 확인할 수 있었다. 조선후기 양각백자는 장식성향에 따라 크게 세 단계로 그 변천상을 확인할 수 있었다. Ⅰ期는 18세기 중엽부터 국내에서 일부 생산되던 양각백자가 1895(1795년입니다.)년 정조의 청화 ․ 갑번금지책으로 인해 본격적인 생산이 시작되는 시기이다. Ⅱ期는 양각기법이 기존의 생산양상을 유지한 채 청화장식과 차별화되는 고급 장식기법으로 자리매김하는 시기로 퇴화양각과 같은 새로운 기법이 시도되는 시기이다. Ⅲ기는 일부 기형이 일반수요로까지 확대되면서 태토와 문양에서의 질적 수준이 다양화되는 시기이다. 이 때‘又石 ․ 草隱’등 왕실관련 인척이나 관료들과 관계된 것으로 추정되는 명문들이 남아 있어 중요한 편년자료로 활용될 수 있다. 조선후기 양각백자를 보다 뚜렷이 규명하기 위해서는 대상 범위를 국내에만 국한시킬 것이 아니라 동시기 중국, 일본을 비롯하여 유럽의 양각백자까지 넓히고, 백자를 넘어 다양한 재질의 공예에 나타나는 양각문을 분석한다면 가능할 것으로 생각된다. This paper is a holistic examination of late-Joseon white porcelains with embossed designs, discussing them from technical and stylistic perspectives as well as from the perspectives of cultural history and the history of ceramics exchange in East Asia. The production of white porcelains with embossed designs in late Joseon took place through three successive stages. The first is the stage during which Korean potters became aware of the embossing techniques used in China and Japan. During the second stage, white porcelains with embossed designs of Chinese and Japanese origin were brought to the Korean peninsula, with some people owning them in their private ceramics collections. During the third and last stage, white porcelains with embossed designs, thus far produced only in small quantities, were mass-produced. This last phase of mass-production began during the reign of King Jeongjo, with the ban in 1795 of underglaze cobalt-blue decoration and the use of saggers during pottery firing. Joseon white porcelains with embossed designs are quite similar to those produced in the Dehua Kiln and Zhangzhou Kiln in Fujian Province, China. Around that time, Fujian merchants were often diverted to the shores of Joseon or their ships called at Joseon ports, which explains the introduction of ceramics from southern Chinese kilns. Late-Joseon white porcelains with embossed designs were much more diversified in production techniques than they were previously believed to be. There were four major types of techniques: carved embossing (jogak yanggak), consisting in digging out the surface layer around a design to create relief; extrusion embossing (apchul yanggak) using a mold to shape the porcelain ware and surface designs at the same time; appliqué embossing (cheophwa yanggak) in which designs are separately created and affixed to the surface of the pottery; and white-slip embossing (toehwa yanggak) in which white slip of a lower concentration than the pottery clay is used to draw designs on the surface. Examples of pottery wares embossed using white slip were found in China and Japan, suggesting that these two countries could have been the source of influence for Joseon potters. Meanwhile, late-Joseon white porcelains with embossed designs are divided, in this study, into three categories, tableware and ritual ware, stationery items and other daily ware. Embossing is a technique that is encountered in most types of late-Joseon white porcelains, and designs created using this technique are widely varied. Vases and water droppers are the most popular types of embossed white porcelains, showing also the highest quality of execution. Items such as cups, brush holders and water droppers and designs such as white slip-embossed Ten Symbols of Longevity and plum blossoms show the influence of the Dehua and Zhangzhou kilns. Wide-ranging techniques were used for embossed designs to create the three-dimensional effect and for greater expressivity. By surface ornamental technique, one can distinguish three different periods in the history of late-Joseon white porcelains with embossed designs. The first period is the one following the policy of King Jeongjo in 1795, during which embossed porcelains, which had been produced in small quantities since the mid-18th century, were finally produced on a massive scale. The second period is when embossed designs began to be recognized as a sophisticated ornamental technique, on an equal footing with blue-and-white decorations and yet distinct from them. It was during this period that innovative techniques such as white-slip embossing were attempted by Joseon potters. During the third period, their quality standards became greatly diversified in response to the expanding market for embossed white porcelains. Inscriptions such as “Useok,” and “Choeun,” found on some of these porcelain wares , referring to the royal household and high-ranking government officials are, for instance, highly use...

근대기 황해도 백자항아리의 제작배경과 양식적 특징

이혜인 한국미술사교육학회 2019 美術史學 Vol.- No.37

White porcelain jar from Hwanghae-do is regional porcelain made from late 19C to Korean War, which is made in the form of pottery on the tradition of porcelain. Joseon people are its supply and demand. It is the local product not directly affected by Japan. As the pottery making which was active in Hwanghaebuk-do until late Joseon period moved to Haeju in modern times, and the production and development of specialized product that could survive in the pottery market would be necessary in Hwanghaebuk-do. In early 20C, the desire to have various potteries as the pottery was one of the important living items spread among the middle and upper class and in Bongsan, people began producing the white porcelain pot professionally which was made before modern times in response to this demand. White porcelain Jar in the form of pottery was a main product of Bongsan-gun, Hwanghaebuk-do and was made actively in 1920s. The western region where Hwanghae-do was located was a place that advancing to the public office was difficult due to the political discrimination from the beginning of Joseon era. They naturally paid attention to the commerce and this region grew into a place that the commercial aspect was remarkable. In Hwanghae-do, the middle and upper class grew into an important demand class of this region as it was formed widely for a long time. The improvement of the economic power and the change of society let people pursue the quality of life and this consumer’s desire would influence the pottery making. Hwanghae-do white porcelain was a new style of stock container that had the storage function of the pottery and the aesthetic function of white porcelain, and decorated the interior space unlike the general potteries. Therefore, the main consumption class was the middle and upper class who had an enough space that could decorate the inside of home and wanted to decorate it. Hwanghae-do white porcelain jar is one of the products made by reflecting various purchase desires of consumers this time. The main origin of Hwanghae-do white porcelain jar known as ‘Haejubackja’ is Bongsan, Hwanghaebuk-do. This study classified into two regions: Bongsan and Haeju through the white porcelain jar on which the region name was carved. Consequently the white porcelain jar in the form of pottery over 50cm was mostly made in Sansu-myeon, Bongsan-gun, and it was confirmed that the ordinary dishes were actively produced focusing on Geonmdam-myeon in Haeju in modern times. In particular, it was possible to more closely apprehend the white porcelain through ‘survey of ceramic industry source in Sansu-myeon, Bongsan-gun’ by Governor General of Korea during the Japanese colonial era. In this paper, the production, production background, and mode feature of Hwanghae-do white porcelain jar were examined. Hwanghae-do white porcelain jar was made in a conventional way without the Japan’s direct intervention in terms of the making technology. In the period that the modern industrialization proceeded with the influx of the capital and technology during the Japanese colonial era, Hwanghae-do white porcelain jar maintained the traditional technology and the potteries specialized with the capital were produced professionally. This pot is significant as a pottery in which the aesthetic sense of that-time locals was reflected actively. 황해도 백자항아리는 근대기, 즉 19세기 말부터 한국전쟁 이전까지 제작된 지방백자로 백자의 전통 위에 옹기형태로 제작된 도자이다. 그 공급과 수요 역시 모두 조선인으로, 일제 의 직접적인 영향을 받지 않은 향토적인 생산품이라고 할 수 있다. 조선 후기까지 황해북도를 중심으로 활발했던 도자제작은 근대기에 이르러 해주로 이동 하면서, 황해북도에서는 도자 시장에서 살아남을 수 있는 특성화된 제품의 생산 개발이 필 요했을 것이다. 20세기 초, 옹기가 중요한 살림 품목의 하나였던 만큼 다양한 옹기를 소유 하고 싶은 욕구가 중산층 사이에 퍼졌고, 봉산에서는 이러한 수요에 대응하여 근대기 이전 부터 제작되던 백자항아리를 특화하여 전문적으로 생산하기 시작했다. 옹기 형태의 백자항 아리는 황해북도 봉산군 일대 가마의 주요 제작 상품으로, 1920년대에 이르러 활발하게 제 작되었다. 황해도가 위치한 서북지방은 조선 초부터 정치적 차별로 인해 관직 진출이 어려웠던 곳이 다. 이들은 자연스럽게 상업에 관심을 두게 되었고 상업도시적인 면이 두드러진 지역으로 성장 하였다. 이런 배경을 바탕으로 황해도에서는 중산층이 오랜 시간 폭넓게 형성되어 이 지역의 중요한 수요층으로 성장하였다. 경제력의 향상과 사회의 변화는 사람들로 하여금 삶의 질을 추 구하는 경향으로 발전되었고, 이러한 소비자의 욕구는 도자제작에도 영향을 미쳤을 것이라 생 각한다. 황해도 백자항아리는 일반 옹기와 달리, 옹기의 저장 기능과 백자의 심미적인 기능까 지 더해진 실내를 장식할 수 있는 새로운 양식의 저장용기였다. 때문에 주된 소비층은 집안을 장식할 수 있는 여유 공간을 가지고 있으며, 이곳을 꾸미고자 했던 중산층이었다. 황해도 백자 항아리는 이 시기 소비자의 다양한 구매 욕구를 반영하여 제작된 상품 중 하나로 볼 수 있다. 일반적으로 ‘해주백자’라고 알려진 황해도 백자항아리의 주산지는 황해북도 봉산지역이 다. 본 연구에서는 지역명이 시문된 백자항아리를 통해 봉산과 해주의 두 지역 양식으로 분 류를 시도했다. 결과적으로 50cm 가 넘는 옹기 형태의 백자항아리는 주로 봉산군 산수면 일대에서 제작되었으며, 근대기 해주에서는 검단면을 중심으로 일상기명 제작이 활발하게 이루어졌음을 알 수 있었다. 특히 일제강점기 조선총독부의 ‘봉산군 산수면 요업원료 조사’ 를 통해 백자항아리를 좀 더 면밀하게 파악할 수 있었다. 본고에서는 황해도 백자항아리의 제작과 생산배경, 양식적 특징 등을 살펴보았다. 황해 도 백자항아리는 제작 기술에서 일제의 직접적인 개입이 이루어지지 않은 재래식으로 제작 되었다. 일제강점기 자본과 기술이 유입되며 근대적 공업화가 진행되던 시기에 황해도 백 자항아리는 이전부터 이어져온 전통기술을 유지하며, 자급화된 자본으로 특화된 도자를 전 문적으로 생산했다. 또한 당대 지역민들의 미감이 적극적으로 반영된 도자로써 그 의의가 있다고 생각한다.

DeepASMR: 딥러닝 기반의 ASMR 플랫폼

문지영(Jee Young Moon),고형석(Hyeong-Seok Ko) 한국정보과학회 2020 한국정보과학회 학술발표논문집 Vol.2020 No.7

조선 17-18세기 철화백자의 특징과 성격 -가마터 출토품을 중심으로

송인희 한국미술사학회 2010 美術史學硏究 Vol.267 No.267

조선의 17-18세기는 도자사적으로 조선전기에서 후기로 이어지며 전통과 새로운 양상이 공존하는 때이다. 이 시기는 문헌 기록과 출토유물을 통해 이전 시기에 비해 철화백자가 활발하게 제작되었음이 확인되고 있다. 이에 요업 배경과 더불어 관요산 철화백자의 양식적 특징을 파악하려는 연구가 일찍부터 시도되었으며,관요 이외 가마에서 제작된 철화백자에 대한 연구는 최근에 이르러 부분적으로 진행되었다. 따라서 지금까지 이루어진 연구 및 조사 성과를 바탕으로 조선시대 철화백자를 중앙과 지방을 이분하거나 또는 개별적으로 다루기보다는 상호 관계 속에서 이해할 필요성이 요망되어 왔다. 또 가마터 이외 다양한 성격의 유적조사를 통해 꾸준히 축적되어 온 철화백자의 출토 상황 역시 총체적인 관점에서 재접근의 가능성을 열어주고 있다. 본 연구는 관요와 지방의 요업을 상호적으로 이해함으로써 17-18세기 철화백자의 시기적 특성을 파악하기 위한 시도로부터 비롯되었다. 이를 위하여 철화백자의 본격적인 제작 및 변화와 관련한 배경을 살피고, 철화안료의 쓰임이라는 관점에서 안료에 대한 인식의 변화와 함께 안료의 다양한 활용이 철화백자의 제작과 밀접하게 연관되어 있을 것으로 추정했다. 또한 각지의 가마터에서 나타나는 철화백자의 제작에대해서는 해당 지역의 수요가 무관하지 않을 것으로 보았다. 이에 따라 가마터 출토품을 중심으로 관요와관요 이외 가마터의 제작 양상을 폭넓게 다루어 시문 기종과 문양 소재의 표현에서 나타날 수 있는 조형적특징을 파악했다. 철화백자는 주로 호와 병, 발과 접시의 기종으로 제작되었는데, 관요 이외 가마터에서 호와 병, 발과접시의 제작이 구분되는 지역적 특색도 나타났다. 관요를 중심으로 운룡문, 매·난·국·죽문 등이 섬세하게 나타나던 문양의 표현은 점차 간략한 초화문이 등장하며, 이러한 경향이 관요 이외 가마에서의 단순한문양 시문에도 영향을 주었을 것으로 보았다. 또한 관요 이외 가마에서 제작된 철화백자의 문양에는 시문기종에서와 마찬가지로 표현 양상에 지역적 특색이 나타나지만, 시기가 늦을수록 점차 공통화되는 것으로보인다. 이를 통해 17-18세기 철화백자는 안료의 위상이 제고되고 그 쓰임이 점차 일반화되는 양상과 맞물려‘문양을 그린’ 자기가 저변화되는 상황과 연계하여 이해될 수 있다. 특히, 철화백자에 나타나는 문양의 표현에 관요와 관요 이외 가마간 유사성이 확인되며, 관요 이외 가마들 간에는 관요와의 인접성에 따라 나타나던 차이가 점차 줄어들고 유사한 경향을 띠게 되는 것으로 보아, 철화백자의 확산은 질적인 다양함으로 나타났다. 이에 17-18세기 철화백자는 조선시대 도자사에서 안료장식을 했던 백자의 전통을 계승하는 동시에, 조선 후기 백자의 저변이 확대되는 현상을 확인시켜주는 한 지표로 이해될 수 있을 것이다. The 17th-18th century, corresponding to the mid-Joseon period, was a transition period in the dynasty’s ceramic history, during which the aspects of earlier traditions existed sideby-side with new aspects of late Joseon ceramics. An important body of documentary and archaeological evidence confirms that white porcelains with underglaze iron-brown decoration were much more actively produced during this period than in the past. Attempts at understanding the stylistic characteristics of white porcelains painted in underglaze iron-brown produced at official kilns have been made along with studies on the general background of the pottery industry. Research on underglaze iron-brown-decorated white porcelains that were produced in kilns other than the official kilns began only recently. For a better assessment of this category of Joseon white porcelains, it is important that these two areas of research be brought together so that underglaze iron-brown-decorated white porcelains from the capital area can be understood in light of those produced outside it, without artificially separating the two. Furthermore, the growing stock of underglaze iron-brown-decorated white porcelains discovered through archaeological investigations,from places other than kiln sites, has also offered possibilities for more comprehensively understanding this tradition of ceramics. This study started out as an attempt to determine the characteristics of white porcelains painted in underglaze iron-brown produced in the 17th-18th century by looking at both porcelains produced in official and local kilns. In doing so, I have examined the historical background of the production of underglaze iron-brown-decorated white porcelains in this era to understand what promoted their production and how the industry evolved over time. Two initial hypotheses that I had in mind were on the one hand that the changing perception of pigments and their more varied use must have had something to do with the production of white porcelains decorated with iron pigments, and on the other hand that the production activity was to an important extent affected by demand existing in individual regions where they were produced. Therefore, I have tried to determine the types of white porcelain vessels most frequently decorated with underglaze iron-brown designs and their visual characteristics by looking at both porcelains produced in official and local kilns. White porcelain wares that were most frequently decorated with underglaze ironbrown designs were jars, vases, bowls, and plates. Local kilns in certain regions were either specialized in jars and vases or in bowls and plates, rather than producing all four types of vessels evenly. In official kilns, highly-detailed designs such as dragon-and-clouds,apricot blossoms, orchids, chrysanthemums and bamboos that had been initially used were gradually replaced by simpler flower and plant designs. This shift appears to have also influenced porcelains produced in local kilns so that the simple flower and plant designs became dominant. Iron-brown flower and plant designs seen in porcelains produced in local kilns show a degree of regional variation, just as types of vessels produced varied according to regions. This regional difference, however, eventually faded away over time. The increased production of white porcelains painted in underglaze iron-brown in the 17th-18th century may be understood in relation to the improvement in status of iron-brown pigment and its more generalized use, further connected with the growing popularity of the‘decorated porcelains’ in ceramic industry. There existed a great degree of similarity in decoration between porcelains produced in official kilns and those in local kilns, while the initial difference in design among local kilns depending on their relative distance to the official kilns gradually diminished. This suggests that the production and use of underglaze iron-brown-decorated white porcelains ...

한양도성(漢陽都城) 출토 원대(元代) 청화백자(靑畵白瓷)의 특징과 의의

박정민 ( Jung Min Park ) 한국불교미술사학회 2018 강좌미술사 Vol.51 No.-

Blue and white porcelain(靑畵白瓷) and Blue-glazed white porcelain(藍釉白瓷) in Yuan dynasty(元代) of China were recently excavated in Hanyang Capital City(漢陽都城). Two white porcelains of Yuan Dynasty, which are introduced this time, are the relics that were unearthed for the first time at home. We've had a continuous relationship with China. A research on Korean Ceramic History has also regarded Chinese Ceramic(中國陶瓷), which was excavated in our country, as an important theme. Our country prior to the Goryeo period imported porcelain(瓷器) from China. Even after its production of ceramics in the Goryeo period, it imported the porcelain in China's Song Dynasty and then used it together with the pottery in Goryeo. Starting from the first half of the 14th century, the center of the pottering culture in China changed into blue and white porcelain. Joseon dynasty was also increased greatly the use and the demand for blue and white porcelain focusing on a loyal family with reaching the early Joseon dynasty after passing through the late Goryeo dynasty. The time when China's blue and white porcelain was first passed to our country cannot be known accurately. Still, what blue and white porcelain in Yuan Dynasty(元代) was already brought into the Goryeo period can be grasped. However, blue and white porcelain in Yuan Dynasty(元代), which had a direct influence upon Goryeo celadon in our country, was almost not unearthed. Thus, the appearance of the movement in an actual work, which was really made in those days, couldn't be examined closely. What the existence of blue and white porcelain in Yuan Dynasty(元代) was not reported in our country is an exceptional phenomenon when considering the Goryeo-Yuan relationship. Until now, there has been little evidence of Yuan porcelains but only the shards of blue and white porcelain and blue-glazed porcelain meiping were found at Hanyang capital city. This result of excavation can be interpreted as the exchange situation of the highest quality of porcelain between Goryeo and Yuan. Just blue and white porcelain and Blue-glazed white porcelain in Yuan Dynasty(元代), which are introduced this time, lead to being lacking enough to specify the aspect of exchanging potteries with Yuan in the late Goryeo period. Yet the relics in Yuan dynasty, which were newly excavated, linked to having come to verify a domestic inflow situation of blue and white porcelain in Yuan Dynasty(元代), which had been vaguely inferred before. In addition, the impact of blue and white porcelain in Yuan Dynasty, which was reflected in the Goryeo celadon or in the Inlaid celadon of the early Joseon dynasty, came to be possibly recognized to have been made in the environment that the contemporary society had directly used Chinese product. The existence of blue and white porcelain in Yuan Dynasty, which was unearthed in Hanyang Capital City, will be importantly applied to organically grasping a consumption situation of material culture in the late Goryeo and the early Joseon dynasty in the future, and the time of formation in blue and white porcelain culture of our country, and even to actualizing a character and a feature. At the same time, blue and white porcelain in Yuan Dynasty, which newly appeared in the society of the late Goryeo period, would be certainly a great impulse visually. This stimulation would be connected to the perception and the demand for blue and white porcelain along with the growth of white porcelain in the early Joseon dynasty after this.

17세기 후반~19세기 중국·일본 靑畫白磁의 특징 및 유입 양상 -市廛行廊 및 주변 유적 출토품을 중심으로-

박이슬 ( Park Yi Seul ) 단국사학회 2022 史學志 Vol.62 No.-

In this article, Chinese and Japanese blue and white porcelain excavated from Sijeon and surrounding ruins from the late 17th to the 19th century were analyzed for their characteristics, and the production area for each country was reviewed and the introduction process was examined. Blue and white porcelain, which was first produced during the Yuan Dynasty in China, has been consistently favored by the royal family and the nobility since the early Joseon Dynasty. Japanese blue and white porcelain was introduced to Joseon in earnest after the opening of the port, and the demand for blue and white porcelain was high because of its sophisticated quality and splendid patterns. These Chinese and Japanese blue and white porcelains were mainly handled in Sijeon, which was a distribution and consumption center in the Joseon Dynasty. As a result of analyzing foreign-made blue and white porcelain through excavation of Sijeon and surrounding ruins, many Chinese blue and white porcelains were recovered from the 17th to the first half of the 18th century in the IV layer. The deformed feature is that both bowl, glasses, and plates go down obliquely from the mouth to the lower part of the fuselage and finish with a gentle curve at the bottom. The heel has a sharp finish on the contact surface with a generally vertical heel and an inverted bridge heel. As for the patterns, there is a flower pattern, a flower pattern, and a Lingzhi-Caohua pattern. In some cases, the inner bottom of the heel is engraved with signs indicating the official position and a specific functioning room. As a result of comprehensively examining the characteristics of Chinese blue and white porcelain, most of them were produced in Jingdezhen(景德鎭) folk songs during the Ming and Qing Dynasties. Next, Japanese blue and white porcelain is found only in layer II, which is mainly from the 19th century onwards. The deformity characteristics are, first of all, the bowl are thick and the body is large. It is similar to the one made in Bunwon-ri, Gwangju, which was the royal kilns of the Joseon Dynasty at the time. In contrast, cups and plates have oblique lines and thin walls. The shape of the heel is a vertical heel and an inverted leg-shaped heel, which are neatly finished by cutting the contact surface several times for all of the bowl, cups, and plates. The patterns include chestnut design, a flower pattern, and Su-bok(壽福). Japanese blue and white porcelains are also found to have the name of the manufacturer, the place of production, and the craftsman engraved on the inside of the heel. In addition, the stencil technique of applying patterns using transfer paper was confirmed. It can be seen that Japanese blue and white porcelain has been introduced in earnest since the opening of the port through the inscription on the inside of the heel. These foreign-made porcelains were introduced into Joseon through Yeon-haeng(燕行) in the early days, and later supplied in various forms such as public trade, private trade, and smuggling. The increase in demand for blue and white porcelain in China and Japan was greatly influenced by the positive theory of imported blue and white porcelain by the Bug-Hag School(北學派), and arose from a new social class called the wealthy peasants, which was formed as the commodity currency economy developed in the late Joseon Dynasty. They paid attention to blue and white porcelain, which was recognized as a high-class vessel, and as the demand for blue and white porcelain increased, the amount of imports increased correspondingly. During the reigns of King Yeongjo and King Jeongjo, preference for blue and white porcelain was so high in Joseon society that the royal family banned the use of high-end vessels such as Chinese and Japanese blue and white porcelain to prevent the indiscriminate use of blue and white porcelain. However, these prohibitions were not well followed, and the number of Chinese and Japanese blue and white porcelain excavated from Sijeon and surrounding ruins indicates that imports actually increased compared to before.

조선청화백자의 현대적 변용에 관한 연구

이인진(Lee In jin),최보람(Choi Bo ram) 한국조형디자인학회 2014 조형디자인연구 Vol.17 No.4

백자(白磁)는 조선시대를 대표하는 자기(磁器)이다. 이 중에서도 청화백자는 청화안료(코발트, Cobalt)로 시문된 백자로 조선 후기를 대표하는 주류 자기였다. 조선 후기로 접어들면서 왕실이나 양반층에서만 향유하던 청화백자는 상품경제의 발달로 부를 축적한 중인들의 수요대상이 되었다. 이러한 자기 수요층의 증가는 다양한 기형(器形)과 문양으로 표현된 청화백자의 증가로 이어졌다. 개화기(開化期)로 접어들면서 분원(分院)이 사라지고 자기생산이 민영화(民營化)되었다. 그와 함께 외국의 자기, 특히 일본 자기가 국내로 유입되면서 조선의 자기는 경쟁력을 잃어갔다. 조선왕실의 몰락과 일본 제국주의의 침략으로 식민지 국가로 전락했고 이로 인하여 전통단절의 위기에 봉착했다. 이후 36년간의 일제 통치하에서 일본식 산업도자만이 겨우 명맥을 유지했고 6.25를 거치면서 1950년대 말까지 장장 70~80년 동안 한국 도예의 맥은 끊어진 것과 다름없었다. 1950년대 후반에 들어서야 고려청자나 조선백자를 재현하려는 노력이 시작되었다. 원대정, 권순형, 김익영 교수가 각각 조선백자에서 찾을 수 있는 조형적 특징들을 주제로 조선백자를 형상화하려는 노력을 시작했다. 현대도예의 태동이 되는 대학교육의 시작으로 학생들은 전통기술을 전수 받거나 그 전통을 기반으로 변형된 형태미를 추구하기 시작했다. 이제 청화백자는 단순한 민예품이 아닌 새로운 모습으로 발현되고 있다. 분원 청화백자의 기법과 양식을 적용하여 제작되거나 청화백자의 표면적 특징은 유지하지만 재료와 기법을 다르게 제작한다. 그리고 영상이나 사진 등 재료를 벗어난 작품 등 여러 가지 방식으로 변용(變容)되고 있다. 오늘날 다변화된 도자 속에서 조선청화백자 역시 새롭게 이해되고 다양하게 재창조 되고 있다. The white porcelain is a representative porcelain in the Joseon Dynasty. The blue and white porcelains were preferred than any other porcelains and decorated with poetry and prose using a blue pigment, representing the late Joseon Dynasty. Since entering the late Joseon Dynasty, blue and white porcelains, which were enjoyed by only royal family or yangban , had become the target of demand by the middle class people who accumulated wealth owing to the development of commodity economy. This increase in demand of porcelain has led to the increase of white and blue porcelains expressed with various models and patterns. By the time of enlightenment, Bunwon was disappeared and production of porcelain became privatized. Along with this, as foreign porcelains, especially Japanese porcelains was brought into the country, Joseon porcelains lost competition in the domestic market. The fall of Joseon Dynasty and the aggression of Japanese imperialism resulted in colonial state in Korea, which accordingly encountered the crisis of a break with tradition. Only Japanese industrial porcelains were barely maintained to produce during the 36 years under Japan's rule and Korea pottery was virtually no longer in existence for 70~80 years throughout Korean War and the end of 1950s. It was not until the late 1950s that the efforts to reproduce Goryeo celadon and Joseon white porcelain were made. Professors including Daejeong Won, Soonhyung Kwon, and Yikyoung Kim made efforts to visualize Joseon white porcelains under the theme of figurative features that can be found in Joseon white porcelains. In addition, with beginning of university education as the birth of modern pottery, students started learning traditional pottery skills or seeking modified formative beauty based on the traditional skills. Now the blue and white porcelain is expressing a new form, not just a craft. It is produced by applying the technique and mode of Bunwon blue and white porcelain or differentiating materials and technique with preservation of characteristics of blue and white porcelain on the surface. It is also produced in many transformative ways for works such as visual images or photos, far from original materials. Nowadays, Joseon blue and white porcelains have been newly understood and variously recreated according to the diversification of ceramics.

15-16세기 朝鮮 白磁에 보이는 明代 磁器의 影響

이현정 한국미술사학회 2011 미술사학연구 Vol.- No.270

This paper examines the influence of Ming-dynasty Chinese ceramics on Joseon white porcelains of the fifteenth to sixteenth century. To understand whether and to what extent the Ming ceramics influenced Joseon white porcelains during this period, I first try to establish the types of Ming-dynasty ceramics that were imported into Joseon, based on documentary sources available in Korea and elsewhere and archaeological finds. Secondly, I compared the white porcelain of Joseon with that of Ming China, and tried to find out the influence from the Chinese dynasty. Thirdly, I divided the ceramic art of Joseon into three periods, and discussed the process in which Joseon white porcelains accepted the influence from Ming and changed it to their own style. During the first period (circa 1392-1450), the achievement of Ming in the ceramic art flooded into Joseon, resulting in the appearance of the Ming’s influence while the Goryeo’s tradition formed under the influence from Yuan was still maintained as represented by the form of the Joseon’s white porcelain bowls and bottles. During the second period (circa 1450-1500), the influence from the style of Ming’s ceramics is clear in the shape of the bowl, vase, jar and vessel lid as well as the use of floral and vine,cloud and dragon, Chinese characters, auspicious seven objects and modified cloud design. The styles adopted in the second stage reflect, except for the modified cloud design, the styles developed in China during the reign of Yongle, Xuande and Zhengtong and imported in the first stage. I assume that the situation can be explained by that Ming was put into a period of political and economic unrest while Joseon was able to produce high-quality white porcelain and blue-and-white porcelain and established an effective production system as represented by the successful operation of gwanyo (royal kiln). Joseon was now in a stage of full-fledged production of white porcelain and blue-and-white porcelain, and the influence from the Ming ceramics had now ceased. The characteristics in this period therefore can be traced back to the Ming styles introduced extensively in the first period. This also had to do with the selective manner in which Ming-dynasty ceramics were imported to Joseon. During the later part of the second period, there was a sizeable amount of Ming ceramics imported into Joseon through non-official trade. But the stylistic elements traceable to the Ming dynasty from around this time are only modified cloud design, which were used as secondary motifs. In other words,Joseon white porcelains adopted the Ming styles not unconditionally but selectively. During this same period, aside from Ming dynasty-influenced white porcelains, many other types of white porcelains were produced in Joseon, including originally-shaped vessels such as cups with two handles, dishes with a wide and flat rim, flat bodied-vases, water droppers and tall and round jars with the rims of their mouth rolled outward, and vessels decorated with poetic motifs, figurative designs showing pines, bamboo, apricot trees; yet more evidence of the selective and discriminating approach to yielding to external influence. During the third period (circa 1500-1592), Ming-dynasty stylistic elements received during the second period were assimilated and reinvented by adding native elements. Some of the elements of sixteenth-century Ming-dynasty ceramics were also received at this time, as attested to by the shapes of vases and plates as well as Chinese character motifs and rolled-out ring-shaped motifs in underglaze cobalt-blue used on the inside of a vessel. Through discussions of the above-described three periods, this study shows that Joseon porcelains selectively embraced the influence of Ming-dynasty ceramics, choosing only those elements that suited the native aesthetic and used them to take the local tradition of white porcelain-making to the next level in a manner not to sacrifice its own original style. 본 논문은 15·16세기 조선 백자에 보이는 명대 자기의 영향을 살펴보고자 한 것이다. 이를 위해 먼저, 국내·외 도자관련 문헌기록과 유적 출토품을 분석하여 유입된 명대 자기의 양상을 고찰하였다. 둘째, 조선 백자와 명대 자기의 양식을 비교 분석하여, 조선 백자에 보이는 명대 자기의 요소가 무엇인지 살펴보았다. 셋째, 이를 종합하여 세 시기로 나누고, 각 시기마다 조선 백자가 명대 자기 양식을 어떻게 받아들이며 변화시켜 가는지 그 수용 양상을 살펴보았다. 1기(1392-1450년경)는 명대 자기의 공식적인 유입이 집중적으로 이루어지고, 조선 백자의 발, 병의 기형에서 원대 자기의 영향을 받은 고려의 전통이 지속되면서도, 새로운 명대 자기의 요소가 나타나기 시작하는 시기였다. 2기(1450-1500년경)에는 발, 병을 비롯해서 호, 뚜껑의 기형과 화당초문, 운룡문, 문자문, 칠보문, 변형운문 등에서 명대 자기의 양식이 수용되었다. 그런데 2기에 수용된 양식은 변형운문 외에 대부분 1기에 유입된 영락·선덕·정통연간의 양식이었다. 이는 당시 조선의 경우 양질의 백자와 청화백자가 제작되고, 관요가 설립되는 등 제도적으로도 생산체제를 갖추고 있던 시기인 반면, 명의 경우 정치적·경제적 혼란기였던 상황에서비롯된 것으로 추정하였다. 곧 조선은 본격적으로 백자와 청화백자를 생산하는 시기였지만, 더 이상 명대 자기의 공식적인 유입은 이루어지지 않았고 따라서 1기에 다량 유입되었던 명대 자기의 양식을 수용한 것이다. 그리고 여기에는 조선 백자의 수용태도에도 그 원인이 있었던 것으로 보았다. 2기 후반기가 되면 사무역을 통해새로운 명대 자기가 유입되는데, 그 영향은 보조문양인 변형운문에서만 보인다. 곧 조선 백자가 명대 자기의양식을 무조건적이 아닌 선택하여 수용하였음을 알 수 있다. 당시 명대 자기의 요소가 보이는 백자와는 별도로 양이잔, 전접시, 편병, 연적, 구연이 외반하여 말린 입호, 원호 등의 기형과 시문, 회화적인 송죽매 계열 등의 문양이 시문된 조선 백자가 다수 제작되고 있었음은 이를 또한 반증해 준다. 3기(1500-1592년경)에는 조선백자가 2기에 수용한 명대 양식을 조선적으로 변화시키며 발전하고 있었으며, 이와 함께 병과 접시, 문자문, 내저면의 청화원권 등 일부 기형과 문양에서 16세기에 유입된 명대 자기 양식을 수용하였다. 이상의 연구에서, 조선 백자는 각 시기마다 명대 자기의 영향을 받았지만, 주체적인 입장에서 조선의 미감에 맞게 명대 자기 양식을 선택적으로 수용하여, 조선적인 특징을 지니며 발전하였음을 알 수 있었다.

조선후기 백자필통 연구

류주형 동아시아문물연구소 2020 文物硏究 Vol.- No.38

A brush case is to hold brushes used to write or paint and is one of the stationery objects. A brush case was one of the stationery objects that were made in the largest amount along with Yeonjeok during Joseon. Porcelain-type brush cases were all white porcelain, and their production began in the latter part of Joseon, when white porcelain brush cases were not only made to serve practical purposes, but also cherished by classical scholars as a piece of living art to appreciate. There were three shapes of white porcelain brush cases: circle homotype, and square. The former was made more than the latter because it was easier to make and the most convenient to hold brushes. White porcelain brush cases were also divided into the ones with no patterns and the ones with patterns. They can further be classified into Somun, Cheolhwa, Cheonghwa, Yangak, Eumgak, and Tugak according to decoration techniques. Various patterns were used including plants, animals, flowers, and geometric ones, of which plant patterns recorded the highest percentage. The production of white porcelain brush cases became active in the latter part of Joseon, when the production of the entire white porcelain stationery objects including brush cases was more active than the previous period. The emergence of white porcelain brush cases in the latter part of Joseon holds significance in two ways: first, the introduction of the appreciation culture became visible. At the end of Ming, there was a huge trend among literary figures to make the old tradition of literary figures' culture a part of their life, appreciate it, and enjoy is as part of their daily convention. The trend was still in vogue during the latter part of Joseon and resulted in the collection and appreciation of stationery antiques enjoyed by the noblemen. White porcelain brush cases emerged in the latter part of Joseon and made the introduction of this appreciation culture visible. Secondly, it represented the popularization of white porcelain. In the latter part of Joseon, white porcelain was characterized by the Sabeon and privatization of branches, which created an opportunity for porcelain, which used to be restricted only to the ruling class, to spread to various social classes. White porcelain brush cases emerged and mass produced for these reasons. 필통(筆筒)은 문방구(文房具) 중 하나로 연적(硯滴)과 함께 조선시대에 가장 많이 제작된 기물(器物)이다. 문방구는 서화를 그리고 책을 읽기 위하여 서재의 책상 위에 비치하는 기물을 뜻한다. 그 중 필통은 다양한 재질로 제작되는데 도자 필통은 모두가 백자로 제작된 것이며 이는 조선 후기부터 활발하게 제작되기 시작했다. 백자필통은 조선 후기에 제작되기 시작하며 비교적 늦은 시기에 출현하여 다양한 기형, 장식기법으로 제작되며 시문되는 문양은 장식적, 길상적 의미를 지닌 채 제작된다. 또한 수량도 증가하는데 이 흐름은 19세기까지 이어진다. 이는 조선 후기 분원의 사번화, 학문의 발달, 양반층의 확산, 사치화 경향이라는 시대적 배경 등에 의거하며 이러한 조선 도자사의 큰 흐름 속에서 백자 필통은 출현하였으며 조선후기가 백자 문방구의 전성시대가 되었다. 백자필통의 출현은 조선의 문인들이 선호하고 따르던 완상문화의 유입을 가시화시키며 이러한 완상문화는 문방애호사상으로 발전해 조선의 예술품에 큰 영향을 끼친다. 또, 백자필통은 조선시대 사대부에만 한정되어있던 백자 수요층이 확대된것을 상징하기도 한다.

조선후기 상주 백자의 문헌적 일고찰

김종태 ( Kim Jong-tae ) 한국디자인트렌드학회 2012 한국디자인포럼 Vol.34 No.-

In this study, I attempt to consider of a philological study of the White Porcelain made in Sangju in the late Chosun Period. Although the Porcelain goods had made in Sangju in the early Chosun Period, but in this area, the porcelaneous study was very slight actual circumstances so I submitted to a problem in the introduction. The writer, I am researching and concentrating on Sangju area, in the course, the White Porcelain made in Seosan is how excellent and valuable porcelain which is , in fact, records which are philological data of contents through them I present that it will be considered of moral training of a Confucianist by porcelaneous meaning and phase of White Porcelain made in Sangju and the White Porcelain in the late Chosun Period. On this, in the main subject, I develop to discuss as follows: the first, through the private phase of White Porcelain which was the most prosperously used in the late Chosun Dynasty and which had the symbol of courtesy and virtue. Those were studied by me. And I approached an aspect of phase of White Porcelain in the late Chosun Period. The Second, in the White Porcelain used in religious services utensils, I examined the use of a noble guest treatment and a religious services utensils in China and our country. The third, through the various data of White Porcelain made in Sangju Seosan and the background of King`s utensils I considered the contents submitted as a presenting to the king the local products of king`s utensils and especially the presenting to the king the local products of White Porcelain made in Sangju Seosan. The fourth, I studied historical evidence through the data which was an aspect of pure admiration spirit of White Porcelain in the late Chosun Dynasty scholars cultivated their mind and studied in the Confucianists` moral culture phase through White Porcelain. The fifth, I clearly studied the appearance of meaning practiced with courtesy to comply by the late Chosun Period tea-person`s will who preferred the White Porcelain tea-ware. Ut supra, I can be confirmed the scope of value through the data of old literature about the private phase of the late Chosun Period White Porcelain and confirmed that the White Porcelain made in Sangju occupied an important position in Korean Porcelaneous historical phase according to consideration through Jeong, Yakyong`s Dasan Collected Poems which was recorded the fact which was presenting to the king the local products of King`s utensils of White Porcelain made in Sangju Seosan by the based on these consideration.