환두대도(環頭大刀)에 나타난 용문(龍文)을 응용한 넥타이디자인 개발

문광희(Moon Kwang-Hee) 한복문화학회 2011 韓服文化 Vol.14 No.1

This is a study on the neck-tie design utilizing the dragon pattern on Sword with the round pommel of Korea. The purpose of this study is to develop and globalize the excellence of Korea traditional culture through the neck-tie design based on Korean traditional patterns. The study results are as follows. The types of dragon patterns on sword with round pommel of Three-Countries, were three styles such as single dragon head, double dragon head and one dragon/one phoenix. In this study, Four kinds of the dragon pattern were used and product five style neck-tie design. So fifteen art works were made. Among them, five kinds of neck-tie were printed using a DTP(Digital Textile Printing) method. Each design concept and process are as follows. Sample-1 : Design 1-a, The design motif is dragon and phoenix. Pattern was arranged vertically with brown dot on the pink bottom. Sample-2 : Design 2-c, The design motif is a single dragon inside of the round pommel of Muryeong royal tomb(무녕왕릉). One pattern is made four single dragon and arranged four direction on the red bottom. The edge of the tie was no pattern and bottom red color was variated. Sample-3 : Design 3-b, Design motif is a single dragon with the round pommel of Muryeong royal tomb. A yellow pattern was arranged on the dark gray of monochrome. Sample-4 : Design 4-c, The design motif is two dragons inside of the round pommel of the Three Kingdoms, The pattern was arranged two direction on the purple bottom with a floral pattern. Sample-5 : Design 5-a, The design motif is a double dragon with round pommel of Shilla Kingdom. The pattern was arranged diagonally with dot on the dark green bottom.

朝鮮時代 民窯 鐵畵雲龍文壺 性格 考察

최윤정 미술사연구회 2017 미술사연구 Vol.- No.33

이 논문은 조선시대 민요 철화운룡문호에 관한 연구로서, 민요산 철화운룡문호를 제작과 용도의 측면으로 나누어 분석한 것이다. 민요 철화운룡문호는 조선시대를 통틀어 17세기 후반부터 18세기 초반의 일정 기간 동안만 제작·사용되었다. 제작된 가마터도 한 곳만 조사되었고, 소비지도 한양을 포함한 경기도에만 국한되어 있어 다른 민요백자와는 확연히 다른 제작·소비 양상을 보인다. 먼저 민요백자가 관요백자의 영향을 받아 변화되는데 착안해, 민요 철화운룡문호를 관요산과 유사한 ‘관요계 운룡문호’와 그렇지 않은 ‘민요계 운룡문호’로 나눈 후 관요백자와의 비교를 통해 양식의 성립과정과 전개 양상을 추정해 보았다. 민요 철화운룡문호의 양식이 성립되는데 영향을 미친 관요 철화운룡문호는 신대리 관요(1665~1676)에서 제작된 사실을 밝힐 수 있었다. 신대리 관요의 운룡문은 이전 시기와 달리 용의 얼굴에서 양감이 줄어든 모습이며, 보조문양 없이 최소한의 선으로 운룡문을 묘사한 특징이 있다. 이런 신대리 양식의 운룡문은 신대리 직전에 운영된 유사리(1655~1664) 관요에서부터 만들어지지만, 이때는 보조 문양과 함께 시문되고 있어 신대리 양식이 민요산에 더 가깝다고 할 수 있다. 관요산의 이런 변화와 함께 화원화가가 장식한 벽화와 옥책 내함의 운룡문 등을 참고할 때, 민요 철화운룡문호는 대략 1660년대 초반부터 ‘관요계 운룡문호’가 만들어지기 시작해 ‘민요계 운룡문호’로 양식이 변화되면서 제작된 것을 알 수 있었다. 민요 철화운룡문호는 관요백자와 달리 제작 초기부터 立壺와 圓壺로 모두 만들어졌고, 그 외 다른 형태의 항아리에 운룡문을 시문하기도 했다. 다만 운룡문호가 민요에서 만들어진 다른 항아리에 비해 크기가 크고, 質이 좋은 차이를 보이며, 제작지도 현재까지 단 한 곳만 발견되어 필요한 수량만큼 주문 제작한 것으로 추정된다. 민요 운룡문호는 관요백자와의 유사성을 기준으로 “관요계 운룡문호”와 “민요계 운룡문호”로 나누어 분석했는데, 민요계는 문양이 생략된 정도를 기준으로 “민요계 1유형”‧“민요계 2유형”‧“민요계 3유형”으로 다시 나눌 수 있었다. 민요 철화운룡문호는 ‘官窯系’가 먼저 만들어졌고, 이후 ‘民窯系’가 제작된 것으로 보이며, 민요계의 여러 유형은 시기 차 없이 거의 동시에 만들어진 것으로 생각된다. 민요 철화운룡문호는 관요백자에 비해 짧은 기간 동안 빠르게 변화가 진행된 사실을 알 수 있었다. 민요에서 철화운룡문호가 제작된 구체적인 시기는 알지 못한다. 민요 자체가 직접 관련된 문헌 기록이 없고, 가마터에서 編年을 알 수 있는 유물이 출토되지 않아 가마의 운영시기를 특정할 수 없기 때문이다. 민요 철화운룡문호의 제작기간을 밝히기 위해서는 관요산과의 관계를 분석해 볼 필요가 있었다. 민요산이 관요의 영향을 받아 제작되기 시작했고, 관요산과 함께 사용되었다면, 관요 철화운룡문호의 변화가 민요산에 직접적으로 작용할 것이기 때문이다. 관요에서 철화운룡문호는 청화백자의 대체용으로 17세기부터 18세기 전반까지 제작된 것으로 알려져 있다. 하지만 관련 기록과 조사 성과, 왕실용 운룡문의 변화 등을 종합·분석해 보니, 17세기 전·후반 관요 철화운룡문호의 성격이 달라진 것을 밝힐 수 있었다. 17세기 전반에는 청화백자의 대체용으로 제작되었다면, 17세기 후반에는 청화백 ... This paper is about non state-run porcelain jar with dragon and cloud design in underglaze iron(民窯 鐵畵雲龍文壺) of Joseon Dynasty, and analysis on its production and purpose. non state-run porcelain jar with dragon and cloud design in underglaze iron was manufactured and used only in certain period of late 17th century to early 18th century throughout Joseon Dynasty. Only one kiln site was inspected, and consumption sites were focused only in Hanyang(漢陽) and Gyeonggi-do(京畿道); therefore, it surely shows a completely different manufacture and consumption aspects compared to those of other non state-run porcelains(民窯白磁). First of all, considering that non state-run porcelain is transformed under the influence of royal porcelain(官窯白磁), non state-run porcelain jars with dragon and cloud design in underglaze iron is classified as those that are similar to royal porcelain-type jars and those that are not (non state-run porcelain-type jars). Non state-run porcelains are then compared with royal porcelain jars to represent the process of formation and development. Royal porcelain jars with dragon and cloud design, which influenced achievement in style of non state-run porcelain jars with dragon and cloud design in underglaze iron, were developed from Sindaeri royal porcelain jars(1665-1676). One of the characteristics is that a dragon and cloud motif of Sindaeri presents less sense of volume in dragon’s face, and depicts a motif of dragon with minimum lines. Although, this kind of Sindaeri style of a dragon came from Yusari(1655-1664) royal porcelain jars which was produced right before, they were examined together with a supporting pattern that Sindaeri style appoints it is similar to non state-run porcelain jars. In reference to a mural by court painter and cloud and dragon shapes from inner case of the jade investiture book, along with the changes in royal porcelain jars, non state-run porcelain jars with dragon and cloud design began approximately from early 1660’s when royal porcelain-type jars changed the style to non state-run porcelain-type jars. Different from the royal white porcelains, all of non state-run porcelain jars with dragon and cloud design in underglaze iron were made as ipho(立壺, a tall jar that has straight and long lip opening, and its round and wide body narrows down towards bottom) and wonho(圓壺, a jar with a round shape body), and embedded a pattern of cloud and dragon on a dif ferent form of jars. However, a pattern of cloud and dragon was bigger than in other jars, and they had dif ferent properties. Furthermore, only one manufacturing place was found that they seem to be produced by orders. Based on the similarities between non state-run porcelain jar with dragon and cloud and royal white porcelain, non state-run porcelain jar with dragon and cloud is analyzed by royal and non state-run style with dragon and cloud; non state-run-style can be re-analyzed by classifying into non state-run-style 1, non state-run-style 2, non state-run-style 3, based on the degree of pattern elimination. It is prospected that a royal-style of the non state-run porcelain jar with dragon and cloud was produced earlier, and then non state-run-style was then produced; several classes of the non state-run-style seem to be produced almost at the same time. Non state-run porcelain jars with dragon and cloud design in underglaze iron transformed rapidly in a short time compared to royal white porcelains. A detail time period of when non state-run porcelain jar with dragon and cloud design in underglaze iron is manufactured is unknown; there are no related references on non state-run porcelain jars, and no chronological relics were excavated in kiln site, therefore, it is hard to specify the operating period of the site. In order to find out manufacturing period of non state-run porcelain jar with dragon and cloud design in underglaze iron, it needs an analysis of the relationship be...

고려 螭龍文 청자의 특징과 용도

이준광 국립중앙박물관 2017 미술자료 Vol.- No.92

고려청자에는 일반적인 용의 모습과는 달리 마치 도마뱀을 연상시키는 螭龍이라고 하는 독특한 형태의 용 문양이 있다. 본고에서는 이룡이 시문된 청자의 기종을 확인하고, 각 기종에 나타난 이룡의 구성과 장식기법을 살펴봄으로써 중국과의 영향 관계, 제작 기간에 대해 파악하고자 하였다. 또한 생산지와 소비지를 살펴 이룡문의 제한적이며 특수한 위치를 확인한 뒤 용도를 구명하는 데 초점을 두었다. 이를 통해 얻은 연구 성과는 다음과 같다. 첫째, 이룡문 청자는 현재까지 잔탁, 발, 완, 대접, 잔, 접시, 주자 일곱 기종에서만 나타나고 있었다. 이 중 잔탁과 발은 세부 크기에서 연관성을 보여 일괄품으로 추정할 수 있었는데, 새로운 전세품을 소개하며 이에 대한 가능성을 높였다. 둘째, 이룡문은 정요 백자와의 영향 관계 속에서 이해할 수 있었다. 원형과 수평형 구도, 보조문양에서 유사성을 확인하였다. 그러나 세부 표현에서는 차이를 보이기도 해 고려적 변용도 이루어졌음을 알 수 있었다. 소수이긴 하지만 경덕진계 청백자와 유사한 예도 소개하여 이룡문을 중심으로 한 중국과의 영향 관계가 단편적이지만은 않았던 것을 확인했다. 셋째, 이룡문 청자의 제작 기간은 12세기 1/4분기에서부터 13세기에 미치지 못하는 약 한 세기에 걸치는 것으로 보았다. 장식기법은 음각, 압인양각, 상감을 활용했으며, 번조받침은 백색내화토빚음과 규석을 주로 사용하였다. 넷째, 사료와 중국의 예를 참고하여 이룡문 청자의 용도를 ‘왕실 전각 소비 용기’로 이해하면서도, ‘왕실의 기우제용 의례 용기’라는 새로운 가능성을 제시했다. 이 과정에서 당초문으로 보고되었던 월출산 제사유적 출토 잔탁의 문양을 이룡문으로 정정할 수 있었다. 이룡문 청자의 용도는 제한된 자료에 근거하여 추론했기 때문에, 향후 보고되는 추가 자료에 따라 논지에 대한 수정이나 보강이 가능할 것이다. One of the most unique decorative motifs found on Goryeo celadon is an “iryong” (Ch. 螭龍, chilong), a mythical dragon without horns, which resembles a lizard. This article examines a number of Goryeo celadon vessels decorated with the iryong motif, considering the design composition and technique of various vessel types. By analyzing the time period, the site of production and use, and the Chinese influence, this paper investigates the purpose and meaning of the hornless dragon design. To date, the hornless dragon design has been identified on seven different types of Goryeo celadon vessels: cup stand, regular bowl, tea bowl, large bowl, cup, dish, and ewer. Notably, cup stands and bowls are often thought to constitute a set, and this article provides new support for this hypothesis by introducing new examples. The hornless dragon design has been estimated to reflect the influence of white porcelain from the Ding kilns of China. Upon further consideration, however, the Goryeo examples of this design feature detailed expressions that are the result of innovative appropriation. Moreover, this article also introduces a few examples of Goryeo celadon vessels with the hornless dragon design that resemble qingbai ware of the Jingdezhen kilns, demonstrating that the perceived Chinese origins of this design are more complex than once thought. Goryeo celadon vessels with the hornless dragon design are estimated to have been produced over a period of less than 100 years, from approximately 1125 to the end of the twelfth century. The designs were rendered with three primary techniques: incision, inlay, or stamping and molding. Most of the vessels have either fire-resistant clay spurs or pieces of quartzite attached to the foot for firing. Celadon vessels with the hornless dragon design are believed to have been produced for the royal court. However, this article newly suggests that such vessels may also have been used in royal rituals to summon rain. Based on this new proposal, a celadon cup stand that was excavated from the ruins of a ritual site at Mt. Wolchul, which was originally reported to have a scroll design, is now shown to have the hornless dragon design. Given the scarcity of resources related to Goryeo celadon vessels with the hornless dragon design, inferences about the design's meaning and purpose may be revised in light of future discoveries.

The Aesthetic Characteristics of Qing Dynasty Dragon and Phoenix Patterns in Contemporary Fashion Design - Focused on SS 2015~FW 2022 Collections

이가심,당하루,김숙진 한국패션디자인학회 2022 한국패션디자인학회지 Vol.22 No.3

The unique artistic style of traditional Chinese patterns frequently appears on contemporary pieces showcased on the stage during international fashion weeks. As an important component of traditional Chinese culture, the pattern underwent several evolutions and developments, reaching its peak in the Qing dynasty. Therefore, this research aimed to explore the aesthetic characteristics of the Qing dynasty dragon and phoenix costume patterns in contemporary fashion design. In the theoretical background, this paper reviews previous studies on dragon and phoenix patterns and sorts out the characteristics of the changes in dragon and phoenix patterns throughout different periods of Chinese history. In addition, it examines prior research on the aesthetic characteristics of dragon and phoenix patterns and summarizes those characteristics. The dragon and phoenix patterns in the Qing dynasty costumes and their expression in contemporary fashion design are analyzed. Data were obtained from show photos of the four major international fashion weeks from 2015S/S to 2022 F/W in Vogue website. The website showcased 181 pictures of fashion pieces that used dragon and phoenix patterns; among them, there are 88 pictures of the Qing dynasty dragon and phoenix patterns. The aesthetic characteristics of the Qing dynasty dragon and phoenix patterns in contemporary fashion design are mainly manifested in fusion beauty, modern beauty, decorative beauty, and natural beauty. This research provides basic information for future clothing designs using dragon and phoenix patterns and provides different ideas for the application of traditional patterns in contemporary fashion designs. Moreover, this research allows for a better understanding of traditional Chinese culture and the beauty of traditional dragon and phoenix patterns.

A Study on the Concept and Design of Hybrid Character

Peng, Lingning,Kim, Namhoon 인제대학교 디자인연구소 2010 Journal of Integrated Design Research (JIDR) Vol.9 No.1

In recent times, we have witnessed steadily increasing presence of hybrid characters in entertainment, for example, contents such as movies, animations, games, and comics. Hybridization is one of the main trends of modern culture. A hybridity is created by combining different creatures. For example, in anthropomorphism, combining people, animals, plants, other living things are combined to create new virtual characters. In the fantasy genre, hybridization is an important technique that can be used to increase interactive communication with the audience and effectively employ animation in storytelling and character design. The positive effect of hybridization will be evident in the audience response. This paper examines the character design of the Dragon’s nine sons and the concept and design components of hybrid characters in the context of digital contents. The material used in this research deal with the conceptual foundations of hybrid characters in animation. It was necessary to learn the internal and external aspects of the work. It was also necessary to examine the morphological features and design components of hybrid characters through combining character design elements. The aim of the research was to visualize the approach of the character design of a hybrid to organize the objective characters of the hybrid mix in animation, and to visually represent a hybrid of animation and character design in the research. To achieve these goals, data on hybrid character design was necessary.

한국 용(龍)에 표출된 전통 조형미와 익살의 디자인적 활용 가치

이진구(Lee, Jinkoo) 한국디자인지식학회 2013 디자인지식저널 Vol.25 No.-

본 논문은 먼저 한국용의 미학적 가치를 찾아내기 위한 방법론으로 한국의 조형미(선, 색채, 여백)와 익살의 특징을 서민 예술에 표출된 한국용의 조형적 특성에 대입하여 분석해 보았다. 그 결과 한국용은 그 독자적인 특징이 뚜렷하며 한국의 전통적인 미와 익살의 특징이 선명하게 드러나고 있음을 알 수 있다. 이를 근거로 제안하는 사항은 다음과 같다. 첫째, 디자인의 한국 정체성 표현으로 한국용에 표출된 선, 색채, 여백의 본질을 이해하고 현대적으로 잘 해석한다면 디자인의 새로운 경쟁력을 찾을 수 있을 것이다. 둘째, 한국적 익살에서 그 모티브를 찾을 수 있을 것이다. 이는 한국용뿐 만 아니라 전통조형 예술의 전반에 표출되는 한국만의 특징이며 차별화된 독자적 가치를 지닌다. 셋째, 국가브랜드 가치, 한류, K-pop, K-design, 싸이 등에서 보여준 가능성과 같이 경쟁력이 있는 전통 조형미의 가치를 디자인적인 관점에서 재해석, 현대화하는 작업은 매우 중요하다. 그 대표적인 한 예로 한국용은 서민 문화의 재미있는 아이콘으로 충분한 가치와 정서를 지니고 있다. 여기에 한국적 조형 가치가 더해져서 재조명 된다면 디자인의 새로운 소재로 응용 가능하며, 글로벌 시대 또 하나의 디자인적 활용 가치로 재탄생 될 수 있을 것이다. As a methodology to find out the aesthetic value of Korean dragons, this thesis first substituted the characteristics of the aesthetic quality (line, color, margin) and humor of Korea with the formative characteristic of Korean dragons for analysis. As a result, Korean dragons have distinctive independent characteristics and they clearly reveal the traditional beauty and humor of Korea. On such a basis, the following are suggested. Firstly, a new competitiveness in design will be able to be found if the essence of the line, color, and margin expressed in Korean dragons is understood and interpreted well with a modern sense with the expression of Korean identity in the design. Secondly, the motive will be able to be found in Korean humor, which is a unique characteristic of Korea expressed not only in Korean dragons but also throughout the traditional formative arts to have differentiated independent values. Thirdly, it is important to reinterpret and modernize competitive values of traditional aesthetic quality which was shown in the value of national brand, Hallyu, K-pop, K-design, Psy, etc. As a representative example, Korean dragons have sufficient value and emotion to be an interesting icon for the culture of ordinary people. If Korean aesthetic value is added to it for review, it can be used as a new design material and reborn with another usage for design in the global era.

신라 귀면와의 문양 형식과 변천에 관한 일고찰

윤용희(Yoon, Yong Hee) 영남고고학회 2021 嶺南考古學 Vol.- No.89

본 논문에서는 경주 일원 34개 유적 출토 귀면와 50종 94점과 출토지 미상 17점을 합친 111점을 검토하였다. 귀면와문양의 여러 요소 가운데 용(龍)의 특징을 잘 보여주는 뿔, 보주, 운기문(雲氣文)과 연주문을 주요 속성으로 귀면와의형식을 검토하였으며, 유적별 출토 귀면와의 상대적 순서배열, 유적 간 출토자료 비교 및 창건연대를 고려한 편년을 통해 귀면와 형식의 시간적 흐름을 다음과 같이 6단계로 설정하였다. Ⅰ단계(7세기 후반)는 박산(博山)형 보주(寶珠), 구름문 등 초기적 성격의 문양이 두드러지며, 가지뿔과 원구슬형[圓 珠形] 연주문이 특징이다. 통일을 전후한 이 시기에 이루어진 월성(655), 동궁과 월지(674, 679), 재매정지(673), 황룡사지(645), 영묘사지(634), 흥륜사지(646) 등 활발한 건축 활동을 배경으로 한다. Ⅱ-1단계(8세기 전반)는 얼굴이 앞으로 크게 돌출되어 입체감 높은 조형이 등장하며, 원구슬형 연주문과 보상화형보주, 당초문이 시문된 운기문(運氣文)이 특징이다. 33대 성덕왕(702~737)에서 35대 경덕왕(742~765)까지 재위기간이길고, 안정적인 왕권 속에 제도와 문물이 정비되는 시기의 모습을 반영한다. Ⅱ-2단계(8세기 중엽)는 불국사 창건(751)을 기준으로 화염 형태의 운기문, 다리의 표현, 연화문(蓮花文)형 연주문, 입에 문 여의보주(如意寶珠)와 같은 새로운 방식이 대거 등장한다. 이 형식의 귀면와는 금장리 가마에서 생산되어 월성, 월지, 재매정지, 감은사지, 분황사 등에 널리 공급되었다. 당시 경주 일원에서 사찰 창건이나 건물 보수 등 건축 활동이 활발했음을 보여준다. Ⅱ-3단계(8세기 후엽)는 뿔이 없는 무각(無角)식이거나 머리 양옆에서 솟아오르는 뿔, 화염형 보주, 임금 왕(王)이 새겨진 보주, 인동당초(忍冬唐草)나 고사리 형태의 운기문처럼 귀면와 표현이 다양한 방식으로 나타난다. Ⅲ단계(9세기 전~중반)는 40대 애장왕(800~809)에서 50대 정강왕(886)까지 11명의 왕이 계속 교체되는 정치적 불안정기이다. 숭복사를 중심으로 중창(871)과 대숭복사로 사명 변경(875~886) 등 꾸준히 불사가 이루어지지만 뿔과 보주의 소멸, 간략해진 운기문과 연주문 등 간소화 경향이 뚜렷하다. Ⅳ단계(9세기 말 이후)는 51대 진성여왕(887~896) 이후 왕실의 힘이 약화되고, 정치와 문화의 중심이 지방으로 넘어가는 시기이다. 신라 귀면와의 입체적이고 볼륨감 있는 표현력에서 평면적인 바탕에 선으로 간략히 표현하는 방식으로평면화, 간소화된다. 왕실 혹은 관영 수공업 생산체제가 붕괴된 결과로 생각된다. This article aims to examine the chronological change pattern of the roof tiles with monstermask design recovered from the Gyeongju area. The analyzed tiles include 94 pieces classified into fifty types, which were recovered from 34 sites and 17 pieces collected from the unknown places. In order to establish the chronology of the roof tiles with monster-mask design, various methods were applied. First, the attributes of the tiles including horn patterns, which show the typical characteristics of dragon, cintamani, cloud scrolls patterns, and pearl motives were examined by the typological method. Second, the tiles were classified into seriation and comparative studies. Third, the analyzed data were compared with the foundation date of the temples. The results of this studies are as follows: Stage1: This stage dates to the late 7th century. The tiles of this stage are characterized by the early-type patterns of Boshan Mountain-style, cintamani and cloud designs, horn-type patterns, and pearl rounded motif. The productions of tiles belonging to this stage were closely associated with the constructions of buildings and temples, which include Wolseong Palace (655), Donggung Palace (674), Wolji Pond (675), Jaemaejeong Well (673), Hwangryongsa Temple (645), Yeongmyosa Temple (634), Heungryunsa Temple, that were built around the unification of the three kingdoms. Stage II-1: This stage dating to the early 8th century was the heyday of the roof tile with monster-mask design. The three-dimensional tiles that are characterized by the protruded mask emerged, and the tiles are decorated with rounded pearl motif, hearth-shaped cintamani patterns, and cloud scrolls patterns with incised arabesque pattern. The styles of tiles in this stage reflects the management of institutions and cultures under the stable royal authorities from King Seongdeok’s reign (702-737) to King Gyeongdeok’s reign (742-765). Stage Ⅱ-2: This stage dates to the mid-late 8th century is the transitional phase. After the establishment of Bulguksa Temple (751), new motifs including flame-shaped cloud scrolls pattern, lotus flower-type pearl pattern, and cintamani in a mouth, appeared. This type tiles produced in Kilns at Gueumjang-ri supplied to Wolseong Palace, Wolji Pond, Jaemaejeong Well, Gameunsa Temple, and Bunhwangsa Temple. The quantities of tiles recovered from the sites suggests the boom of the establishment of temples and the refurbishment of buildings in the Gyeongju area. Stage Ⅱ-3: This stage can be defined to the development phase. With no horn-type, the tiles are decorated with various motifs including flame-shaped cintamani pattern, cintamani pattern inscribed with a Chinese character, 王 (wang), and honeysuckle- and bracken-shaped cloud scrolls designs. Stage Ⅲ: It is the decline stage dating to the 9th century. The political situations of this stage were very unstable. Although Buddhist service was not interrupted, such as the reconstruction of the Sungboksa Temple (871), and the change of its name to Daesungboksa, the tiles are characterized by the disappearance of horns and cintamani, and the simplification of cloud scrolls and pearl patterns. Stage Ⅳ: This stage dating from the late 9th century is the final phase of the roof tile with monster-mask design. After Queen Jindeok’s reign (887~896), while the royal family of Silla finally lost its political and cultural powers, the local powerful families became strengthen. Under this circumstances, the tile style changed from three-dimensional to two-dimensional shapes. This resulted from the collapse of the production system controlled by the royal family or government of Silla.

조선 17세기 전반의 ‘假畵龍樽’

송인희(宋仁熙) 한국미술연구소 2014 美術史論壇 Vol.- No.38

In early 17th century, Joseon dynasty suffered from damages in the successive wars with its neighbors and strived for the restoration, though the process was very slow due to the loss of resources during wartime. The lack of the resources could be found in every part, but was even more serious when it came to the incomplete preparation for the royal ceremonies, the right opportunities for the proper respectfulness that Joseon dynasty had emphasized. What was most difficult to be prepared was Yong Jun(龍樽), or the dragon jar, which was the blue-and-white porcelain jar with dragon design. In Joseon dynasty, Yong Jun was so important that it was used only for the highest members of the royal court and royal officers used to go down to the royal kilns to supervise the making of Yong Jun. But in early 17th century, with no reserve of Yong Jun nor possibilities of further production for a while, some new solutions were needed to replace it. And the very first solution was using Ga Hwa Yong Jun, meaning the fake dragon jar, which was the white porcelain jar with dragon design drawn on the surface, whereas its original version had dragon design in underglaze blue. While it received little attention by now, Ga Hwa Yong Jun deserves more attention with its importance. Better assumptions can be made by reviewing every details of the records relevant to its use and examining the realistic possibilities of its techniques. And some newly-found records are useful to increase reliability and concreteness. Therefore, this is practically the first attempt to make deep investigations on Ga Hwa Yong Jun in early 17th century, presenting a new perspective on the ceramic history in Joseon dynasty.

연기(燕岐) 나성리4호(羅城里4號) 목관묘(木棺墓) 출토(出土) 용문투조대금구(龍文透彫帶金具)의 연대(年代)

박보현 ( Park Bohyun ) 공주대학교 백제문화연구소 2016 백제문화 Vol.0 No.55

세종시 나성리4호 목관묘에서 수하식이 달린 龍文透彫帶金具 1벌이 발굴되었다. 이 대금구는 이른바 百濟地域에서 출토된 가장 古式으로 단정하면서, 동반된 盛矢具金具, 金銅飾履, 長頸小壺, 木棺의 樹種, 金箔靑銅 구슬 등을 고려하면서 百濟 漢城時期의 百濟-倭-新羅·加耶와의 상호관계를 유추하는 좋은 자료로 주목되고 있다. 하지만 문제는 이러한 대금구가 어느 시기에 만들어진 것인지에 대한 고증이 이루어지지 않고 신라에서 백제 그리고 가야를 거쳐 백제로 라는 관념적 연구가 이루어지고 있는 것은 바람직하지 못한 일이다. 지금까지 출토되는 심엽형 수하식을 갖춘 대금구는 고구려와 신라 그리고 왜 밖에 없다. 따라서 나성리4호 목관묘에서 출토된 대금구는 경주를 비롯한 신라고분에서 출토된 자료와 비교해야할 필요성이 제기된다. 따라서 과판은 황남대총 남분의 용봉문투조대금구에서 수하식은 금관총과 서봉총에서 출토된 금제대금구의 수하식에서 상호관련성을 확인할 수 있었다. 이를 바탕으로 하면 세종 나성리4호 목관묘에서 출토된 대금구의 상한은 황남대총 남분의 시기로 판단되며, 절대연대는 5세기 후반쯤으로 비정하였다. The Open-worked dragon-design girdle-plaque was excavated in a wooden 4th coffin tomb located at Naseong-ri Site, Sejong Metropolitan Autonomous City. This is considered as a most ancient type digged at Baekje area. And a quiver ornaments, Gilt bronze shoes, long neg-small urn, Gilt bronze beads, sort of tree on wooden coffin accompanied with girdle-plaque are attracting the interrelationship of Ssilla, Gaya,and japan. But It was not studied throwout historical evidence, and is not desirable account ofdeological investigation. Because The Open-worked dragon-design girdle-plaque with pendant all was excavated at Ssilla, Gaya, and japan so far. Therefore we has to make a comparative study witt this belt-ornament at digfged Gyeongju and silla tombs. Aaccordingly we confirm Open-worked dragon-design girdle-plaque is related with The great south tomb at Hwangnam and heart-shaped pendant is bound up with that from Kumgwan-ch`ong and Sobong-ch`ong. So the least upper bound period of a wooden 4th coffin tomb at Naseong-ri Site is considered as period of The great south tomb at Hwangnam, and absolute perid is the latter half 1n the 5th century A.D.

안압지(雁鴨池) 경관조성(景觀造成) 원리(原理)에 관한 연구(硏究)(2)

안계복 ( Gye Bog Ahn ) 한국전통조경학회(구 한국정원학회) 2000 한국전통조경학회지 Vol.18 No.4

The purposes of this study are revealing to adapted design principles in Anapji(pond) design, and making it can be used on the times in which we live. And also, research about what kind of concern the building site for the King of Dragon and Amita belief does have with the landscape of Anapji. The results of the study are followed; I. The flowage of space has been given on the place that is apt to be obstructed like visual terminal point or the terminal of waterscape axis. 2. There are two different axes of waterscape in Anapji. On one of them, we can see the vista of sunrise and moonrise. And this seems that is related to the building site for the King of Dragon. 3. Another axis of them which is guided by 3 islands and crooked shoreline of the pond and reached to the waterfall. And this seems like be related to Amita belief. 4. Some of the purposes of making an island are for the landscaping, screening and controling of the space. 5. It has been pursued the effect of contrast by using of island of crooked shoreline of the pond in order to close or open the space. 6. Seascape was represented by using producing technique that bend the shoreline of the pond. Also, kind of supporting technique that make us to understand the landscaping stone for island through the curves of shoreline. 7. Pocket space is introduced in order to express perspective and the depth of space. 8. The landscapes of Anapji has been repeated openness and enclosure. 9. The building site for the King of Dragon can be concluded that it is highly related with the 4th building site. This site has the highest index of openness. 10. R12 region-East bank of Anapji-can be concluded that it is expressed Amita belief and future from 9 relics of flat relief sculpture of Buddha.