중국 초기 청동 용기의 쓰임과 장식문양의 성격

김병모(Kim, Byoung-Mo) 고조선단군학회 2012 고조선단군학 Vol.27 No.-

한국 편액의 형식과 테두리목 장식의 조형적 특징 ― 조선시대 궁중편액을 중심으로 ―

김병모 ( Kim Byoung-mo ) 영산대학교 동양문화연구원 2016 동양문화연구 Vol.25 No.-

이 논문은 한국 편액의 기본 형식과 장식에 나타난 조형적 특징을 검토한 것으로, 편액의 형식에서 한국은 방형 편액을 위주로 하는 단순성을 보이지만 중국의 경우 방형 편액 이외에도 다양한 형식의 편액을 출현시키고 있다. 특히 세로 편액의 경우 한국은 풍수 및 음양 사상의 반영 이외에 특별한 선택의 동기를 찾아보기가 쉽지 않은데 비해 중국은 상위 격식으로서의 선택, 편의성 측면에서의 선택 등 보다 다양한 선택의 동기를 드러낸다. 편액을 둘러싼 주변 판재의 모서리 장식에서 한국은 조각을 하지 않은 경우가 대부분을 차지하고 조각을 하더라도 매우 간솔한 형태로 이루어진데 비해 중국 및 일본은 번잡하게 조각 장식을 한 경우가 나타난다. 주변 판재의 너비에서도 한국에 비해 중국 및 일본의 경우 훨씬 넓게 한 경우들이 나타난다. 크기를 달리한 여러 이유가 있겠지만 무엇보다도 모서리에 이루어진 조각의 높낮이 및 번잡함 등과 밀접하게 연관된 것으로 파악된다. 아울러 주변 판재 표면의 채색 장식에서도 한국의 경우 문양을 일렬로 반복 배치하는 방식을 주로 사용하고, 표면 위에 조각을 하더라도 간략하게 새김으로서 비교적 단순성과 율동성 등을 주요특징으로 삼은데 비해, 중국은 복잡한 조각 장식으로 공간을 꽉 채우는 경우들을 출현시키고, 일본 역시 화려한 문양으로 널판 표면 공간을 꽉 채운 경우들을 출현시키고 있어, 한국은 중국 및 일본과는 추구하는 장식 개념이 서로 다른 지점에 있었음을 시사한다. 이상의 내용은 한국이 중국의 편액문화를 받아들여 출발지점으로 삼았지만 변화와 대응을 통해 편액의 미적 구조를 새로운 방향으로 확장시켜가고 있음을 새롭게 인식시킨다. This paper checked the basic form of the Korean tablet and the formative characteristics appeared on the decoration. In the form of the tablet, while Korea shows a simplicity mainly with the square shaped tablet, in the case of China, in addition to the square shaped tablet, various types of tablets appeared. In particular, in the case of the vertical tablet, while it is not easy to find out the special selective motivation besides the reflection of geomancy and Yin Yang thought in Korea, China shows the more diverse motivation for choice such as choice as high rank formality and choice in terms of convenience. In the corner decoration of the peripheral board surrounding the tablet, most of them were not carved in the case of Korea, and it was made in a very simple form in the carved case, whereas the case of the complicated sculptural decoration appears in China and Japan. Even in the width of the peripheral board, it appears that China and Japan`s cases are much wider compared to the case of Korea. There may be various reasons for the difference in size, however, first of all, it seems to be closely related to the height and the complexity of the sculpture carved on the corner. Also, in the coloring decoration of the surface of the peripheral board, in the case of Korea, it was mainly used to arrange pattern repeatedly in a row, and in the case of carving a sculpture on the surface, the simplicity and rhythmicity etc. were comparatively taken as the major features by carving it briefly, whereas China shows the case that the space is filled with the complex decoration of sculptures, and Japan also shows the cases that the surface space of the board was filled with a fancy design, so it is pointed out that the decoration concept pursued in the case of Korea was different from the cases of China and Japan. The contents so far newly recognizes that while Korea accepted the China`s tablet culture and made it a starting point, the aesthetic structure of the tablet is being extended into a new direction through change and correspondence in Korea.

중국 신석기시대 도기의 채색 표현법과 안료 수급의 관계

金炳模(Kim, Byoung-Mo) 고조선단군학회 2011 고조선단군학 Vol.24 No.-

This study reviewed the relationship between the supply of the pigment and the coloring focusing on the colored pottery of the relics of Dawenkou in Shandong and Liuwan in Qinghai. That is, it reviewed the economic power and the pigment foundation as the factor confining the use of the pigment and studied about what effect it made to the coloring space and the expression way. The study result shows that the use of the pigment relied absolutely on the economic power of the grave's owner. That is, the colored pottery was found mainly in the large size grave and the quantity of the colored pottery is so various in proportion to the size of the grave. Furthemore the thickness of the pigment’s layer put in the grave as one of the funeral ceremonies shows the deviation according to the economic power of the grave's owner. Between Dawenkou sites and Machang type(馬廠類型) of Liuwan sites, the pigment foundation of Liuwan sites is shown to have been much better. In the ease of the large size grave of Liuwan sites, among 70 to 30 potteries the colored pottery amounts Lo 95 percent, which satisfied well enough the desire to own the colored pottery. But as for the large size grave of Dawcnkou sites, the colored pottery is only a few among Lens of potteries, that shows the use of the pigment was confined considerably. The limitation of the use of the pigment appears in that the possession of the colored pottery could not be made in the case of quite a number of the large size graves and that the economic power of the grave owner couldn't make any deviation of the quantity of the colored pottery and that though the pottery and other items of the grave increased with the Lime, the number of the colored pottery was confined to a few pieces. Besides the pigment foundation, the coloring space varies considerably. Though as for the colored pottery of Machang type of Liuwan sites, the coloring was usually put on from the entering to the middle part of the bowl, the colored pottery of Dawenkou sites has the coloring only on the upper part and the size of the pottery shows a big difference between two relics so that the deviation is getting larger. In the way of the expression, the big difference appears. Machang type of Liuwan sites uses the expression way mainly with the coloring and the space Liuwan sites uses the patterns in detail whereat; Dawcnkou sites uses the expression way with the line drawing to express the patterns simply. That is, Machang type of Liuwan sites uses the expression way that spends a considerable amount of pigment whereas Dawenkou sites uses the expression way that doesn't spend lob of pigment. The differences shown in the coloring decoration of the pottery of the Neolithic era couldn't be said to have been made only from the deviation of the pigment foundation. Rut when it came to Qijia culture(齊家文化) to period in which the pigment foundation shrank greatly, the pottery of Liuwan sites had the coloring move up to the upper part and had the expression way with the line drawing around so that the way reviewing the various types of coloring with the supply of the pigment may not be excluded.

夏代의 안료와 채색문화

김병모(Kim, Byoung-Mo) 고조선단군학회 2011 고조선단군학 Vol.25 No.-

조선시대 어교(魚膠) 생산지와 산출 어교 -전라도 지역을 중심으로-

김병모(Kim, Byoung-mo) 동서미술문화학회 2022 미술문화연구 Vol.24 No.24

위진(魏晉)시대 감숙(甘肅)지역 안료와 회화 표현법의 분화(分化)에 관한 연구

김병모 ( Kim Byoung Mo ) 한서대학교 동양고전연구소 2016 동방학 Vol.35 No.-

This research reviewed the aspects of pigments formed in Wei & Jin Dynasty GanSu province, i.e. types of pigment, pigment producing area, trade base of pigment, and investigated the differentiation of expression way and change aspect that were developed under such pigment supply and demand base. As the result of review, Wei & Jin Dynasty GanSu region was determined to be supplied with much more various types of pigments compared to Han Dynasty. Han Dynasty GanSu region pigment did not show basic difference from Central Districts pigment, however lots of pigments that had not appeared in Central Districts appeared in Wei & Jin Dynasty. Producing area and origin of pigment also was expanded to the western districts as Afghanistan, etc. besides Central Districts, some of them are presumed to have been produced directly in GanSu region. Pigment trade closely related to pigment supply and demand can be partly confirmed through the literature record and excavated relics, particularly, expansion of trade base of Sogdian merchants formed in Wei & Jin Dynasty GanSu region could be understood in respect of under which situation development of pigment supply and demand base was expanded. Lots of change appeared in respect of arrangement of picture image, drawing and coloring expression method, etc. as the expression medium burial chamber mural greatly increased uncomparable to the previous period under the expansion of pigment supply and demand base. While continuing the expression method of Central Districts which was accepted and developed during Han Dynasty, the expression methods such as rough croquis drawing and touch coloring method, and the expression method to arrange a picture image on one brick, etc. were established as the types of expression methods.

동한시대(東漢時代) 무위지역(武威地域)에 형성(形成)된 회화(繪畵) 표현법(表現法)과 안료(顔料) 수급(需給) -마저자지역(磨咀子地域) 출토(出土) 유물(遺物)의 분석(分析)을 중심(中心)으로-

김병모 ( Kim Byoung Mo ) 중국사학회 2016 中國史硏究 Vol.103 No.-

This research paid attention to the comprehension of transformation and development of expression way which formed during East Han dynasty based on the ground of painting expression way that was formed in GanSu region during Western Han dynasty and XinMang dynasty. Also, proceeded review on the base of pigment supply and demand that appears to be closely related to diversification and change of expression way. As the result of review, paintings on the boards that continuously appeared during the West Han was developed and established in more fluent and expert form with Central Districts’ line drawing style while settling down as one of the original painting expression medium in GanSu Province. In case of painting on the silk that was produced mainly as the funeral banner of coffin, Sun pattern and Moon pattern related to Taoist hermit idea was added on the upper part of funeral banner wording, and the point of expressing by simplifying the painting image, etc. displayed a peculiar figure, based on such expression background, supply and demand of pigment stands out. A tomb mural also, which does not show the active creation for a long time since XinMang period, is expected to have the problem of supply and demand of material as one of the major factors of delay, and difficulty of pigment supply and demand also appears in the situation of reducing mural space by putting the painting image aside of the wall, having almost no expression of the theme related to the life in reality. However, a tomb mural shows very interesting change, e.g. the wall was decorated with wall papers as geometric patterns, expressing very different forms also in subjects, drawing expression way, and coloring, etc. Supply and demand of pigment shows more advanced state compared to the previous period, however mainly black, white, and red three colors were basically used, and red color was not actively used despite the big desire for use. In case of coloring, pre-dyeing method to distinctly express volume appears, which provides significant materials for Chinese coloring method history.

동한시대(東漢時代) 회화 표현법의 分化에 관한 연구-묘실(墓室) 벽화(壁畵) 분석(分析)을 중심(中心)으로-

김병모 ( Byoung Mo Kim ) 한서대학교 동양고전연구소 2015 동방학 Vol.33 No.-

About 200 years of Eastern Han dynasty was the period that showed meaningful changes and development enough to present 6 principles of painting during Wei-jin Period. Focusing on this, this study intended to appreciate the border of expression way formed before the advent of 6 principles of painting in a new and apparent way by reviewing how differentiation of the coloring and the line drawing expression ways developed, and what point of expression way``s range this differentiation led to. The result showed that in Eastern Han dynasty, the differentiation of expression way was intensified as mural areas were expanded to local districts, and the size of mural areas with reality themes were also enlarged compared to those in Western Han dynasty. The enlargement of mural size was correlated with differentiation of expression way, and the differentiation was more intensified in the local districts. The backgrounds of the differentiation were closely related to economic power of the owners and the supply of the pigment that was relied on long distance trade. In Xin(新) dynasty, the differentiation of the line drawing expression way continued from the coloring expression way of Western Han dynasty, and then the establishment was expanded. Furthermore, ``Molgol`` way, the way of drawing with ink or paints without contour, which seemed to have differentiated from the line drawing expression way, already appeared even in the elementary form. In early Eastern Han dynasty, the line drawing expression way and ``Molgol`` way were developed into completely free forms, and stabilized as a main expression way even though the importance did not reach the coloring expression way. Especially, the differentiation was developed with awareness or prediction of pigment deficiency, so formative meanings of these differentiated expression ways appeared to be clearly recognized. In late Eastern Han dynasty, as the establishment of the line drawing expression way was broadly expanded, the technique of calligraphy appeared to be developed into application of the painting writing style or the stage of unclear boundary. As ``Molgol`` way was also developed into the form of filling the large space, ``Touch`` style molgol way appeared, and then it was developed into Molgol with the line expression way, in which volume was highly emphasized, Therefore, along with the expression way of the technique of calligraphy, the boundary of the concept of expression way was entered into the new range or stage. Moreover, to cope with the situation of insufficient supply of the pigment, India ink expression way, in which paints were replaced by water ink, was applied, so the era provides the chance of new recognition of origin and background of India ink expression way. The prior studies did not pay attention to the development and changes of the above differentiation of expression way in addition to the background of expression way differentiation and the advent of India ink expression way, but if division and application of expression way in many figures are considered, it can be assumed that old Chinese people``s attitude towards the painting expression way already entered into new boundary. Especially, in Wei-jin Period, Because Western painting expression ways were flowing into Chinese inland called the countries to the west of China, and mutual fusion and transformation were done, specific reviews about development of expression ways and enlargement of recognition formed in Eastern Han dynasty should be highly considered in order to analyze and track the acceptance and the trace of transformation.

조선시대 경기도 지역의 어교(魚膠) 분정(分定)과 생산 - 생산지와 산출 어교를 중심으로 -

김병모(Kim, Byoung-mo) 동서미술문화학회 2024 미술문화연구 Vol.30 No.30

이 논문은 경기도 지역의 어교 분정 및 생산 여부를 포함하여 어교 생산지와 생산지별 산출 어교의 종류에 관해 검토를 진행한 것이다.<BR/> 검토 결과 경기도는 기존 인식과 달리 바다에 접한 군현 대부분에서 어교를 생산했다. 반면 하천에 접한 군현의 경우 강 하류를 중심으로 한 일부 군현에서 어교 생산 가능성이 적극 상정되었으나 생산 여부를 구체화하기 어려웠다.<BR/> 바다에 접한 군현에서 산출된 어교는 석수어교와 민어교가 가장 적극 상정되었다. 아울러 어타와 오교 등의 산출 가능성도 배제할 수 없었다. 하천에 인접한 군현의 경우 어교 산출 가능성을 구체화할 수 없었기 때문에 산출 어교의 종류에 관하여도 적극적인 상정이 어려웠다.<BR/> 경기도 지역에서 어교 생산이 이루어졌음에도 불구하고 세종 당시 어교 공납 대상에서 제외된 점에 관하여는 해당 지역의 산출 여부보다는 지정학적으로 경기도가 처한 공물 부담의 여러 상황이 더 적극 고려된 것으로 이해되었다.<BR/> 이상의 내용은 무엇보다도 세종 당시 어교가 공물로 분정되지 않은 경기 지역에서의 어교 생산 및 공물의 특수한 분정 상황에 대한 인식을 새롭게 했으며, 향후 조선시대 수도권의 어교 수급 및 소비 문제를 검토하고자 할 경우 간과할 수 없는 내용을 제공할 것으로 기대된다. This article examines the types of fish glue produced by fish glue production area and place of production, including whether fish glue are produced in Gyeonggi-do.<BR/> In the case of Gyeonggi-do, contrary to previous perceptions, most of the counties and prefectures facing the sea produced fish glue. On the other hand, in the case of counties and prefectures in contact with rivers, it was difficult to specify whether or not to produce fish glue.<BR/> As for the types of fish glue produced in counties and prefectures facing the sea, Nibe croaker glue and Croaker glue were most actively assumed. In addition, the possibility of calculating rab shell glue and False minnow glue could not be excluded. In the case of counties and prefectures adjacent to rivers, it was difficult to actively assume the types of fish glue produced because the possibility of producing fish glue could not be specified.<BR/> Despite the fact that fish glue was actually produced in Gyeonggi-do, it was excluded from public payment at the time of Sejong. It was understood that various situations of the tribute burden allocated to Gyeonggi-do were more actively considered than whether or not to produce fish glue in Gyeonggi-do.<BR/> Above all, the above has renewed awareness of the production of fish glue and the special split decision situation of tribute in the Gyeonggi area, where fish glue was not divided as a tribute at the time of Sejong. In the future, it is expected to provide content that cannot be overlooked if the problem of supply and demand of fish glue in the metropolitan area of the Joseon Dynasty is to be reviewed.

중국 신석기시대 채도(彩陶)의 장식 개념과 목적

金炳模(Kim, Byoung-Mo) 韓國古代學會 2010 선사와 고대 Vol.33 No.-

채도(彩陶)는 중국의 신석기시대 유물 가운데 채색 장식이 가장 적극적으로 이루어지고 있는 유물 가운데 하나이며 시간적으로나 지역적으로 그 분포 범위도 매우 넓다. 따라서 신석기시대 채색에 의한 표면 장식의 여러 특징을 살펴보고자 할 경우 채도는 매우 중요한 자료가 된다. 본고는 이러한 채도를 대상으로 채색 장식의 개념과 목적 등에 관하여 주로 검토한 것이다. 검토 결과 신석기시대 채색 장식은 초기부터 일반 장식과는 상당히 구분되는 입장을 갖고 장식을 한 것으로 확인된다. 다양한 도기(陶器)를 장식 대상으로 하고 있는 일반 장식과 달리 발(鉢)과 같은 특정 도기에 한정하여 장식을 하고, 문양의 종류도 관대문(寬帶紋)과 같은 별도의 문양을 사용하고 있다. 또 도기 표면 전체에 장식을 하는 일반 장식과 달리 도기의 구연부에 한정하여 주로 장식을 하고, 별도의 부호도 표시해 두고 있다. 채도는 출현 이후 상당 기간 동안 그 수량이 소량에 한정되고, 장식이 이루어진 도기의 종류와 문양의 종류 및 위치 등이 매우 단순하기 때문에 장식 개념과 관련하여 여러 내용을 구체적으로 파악하기는 쉽지 않지만 일정한 장식 개념의 출현 사실은 비교적 분명하게 확인된다. 채색 장식은 도기의 기능 향상이나 거친 표면을 감추기 위한 목적에서 장식이 이루어진 것으로 파악되지는 않으며 장식에도 많은 한계가 있었던 것으로 파악된다. 그럼에도 불구하고 채도를 굳이 제작하려고 하였다는 점에서 분명한 제작 의도가 드러난다. 아울러 일반 장식과는 제작의 목적이 서로 달랐다는 점도 비교적 분명하게 드러난다. 채도의 용도를 특정한 분야에 한정시킬 수 없지만 무덤, 회갱(灰坑), 주거지 등에서 특정한 의식이 요구될 경우 특정한 의미를 부여하기 위해 사용된 경우들이 확인된다. 즉 무덤에서 인골 주변에 안료 편을 뿌려두거나 도기에 안료 편을 넣어두는 행위, 인골에 직접 채색을 하는 행위, 두개골이 없는 경우 두개골 대신 채도를 놓아두는 행위, 옹관(甕棺) 무덤에서 옹관의 뚜껑에 구멍을 뚫어 놓고 그러한 뚜껑에 주로 채색 장식을 하는 행위 등을 통해 채색이 死者의 사후 세계와 연관하여 특별한 의미로 쓰이고 있음을 보여주고 있다. 회갱이나 무덤을 통해 확인되는 이와 같은 특별한 용도로서의 채색의 쓰임은 당시 채색의 목적이나 용도를 모두 대변해주는 것이라고 할 수는 없지만 채색을 대하는 기본 입장이나 채색 의욕의 정도를 파악하는데 간과할 수 없는 근거를 제공해 준다. The colored porcelains(彩陶) of the Neolithic era appear to have a relatively clear concept of the decoration from the early period and decorate with a considerably different standpoint from the general decoration. That is, the colored porcelains confine the decoration to the particular porcelain such as the bowl while the general decoration is made on the various porcelains, and they use a special pattern such as a band like design(寬帶紋), not the patterns used in the general decoration. The kind of the coloring pattern increases in the period of the YangShao Culture(仰韶文化) and the decoration part expands to the upper part including the mouth but the standpoint of the early days decorating a band form focusing on the mouth of the bowl continues showing the same standpoint with that of the general standpoint. Though it isn't easy to figure out various contents relating to the concept of the decoration because the colored porcelains is confined to a small quantity for a long time since its appearance and the examples of the kind and part of the pattern is so simple, the fact that a certain concept has appeared is found out certainly. And it is figured out that they have the clear purpose of the production of the colored porcelains from the early stage of its appearance in that they tried to produce the colored porcelains that are thought to have no relation with the increase of the functions of the porcelain in spite of the various situations in which the coloring was limited. The usage of the colored porcelains can’t be confined to the particular field but it was used so often to give a special meaning when the particular ceremony was needed in a grave, a storehouse(灰坑), a habitation, etc considering the pattern of the excavation. The behaviors like sprinkling pigments around human bones in a grave, putting pigments in the pottery, coloring directly on the human bones and color decorating on the cover of the pottery coffin(甕棺), on which a hole was made in the pottery coffin grave are examples showing that the coloring has a special meaning relating to the life after death of the dead.