15〜16세기 동서교역(東西交易) 중 환원소성(還元燒成) 코발트블루(Cobalt blue) 예술의 동점(東漸)과 서전(西傳)에 관한 일고(一考) - 명대(明代) 영락(永樂) · 선덕(宣德) · 정덕(正德) · 가정(嘉靖)시기의 청화자기(靑花瓷器)를 중심으로 = A Study on Transmission of the Art of Reduction Fired Cobalt Blue in East-West Interactions of the Fifteenth and Sixteenth Centuries: Focusing on Blue and White Porcelain in Years of Yongle, Xuande, Zhengde and Jiajing Emperors of the Ming Dynasty

다국어 초록 (Multilingual Abstract)

Blue and white porcelain (靑花瓷器) finished with the ‘art of reduction fired cobalt blue’ is one of the significant products in the history of the East-West interactions.
The tributary trade (朝貢貿易) in the Ming dynasty had helped blue and white porcelain to mature and achieve a wide recognition across the world. The reason that blue and white porcelain was highly valued in those days was due to its adoption of imported cobalt blue. The seven treasure voyages (鄭和下西洋) beginning in the early days of the Ming dynasty enabled blue and white porcelain to spread to the West and foreign pigments to be known in the East. This is when cobalt blue pigment was introduced in China. Therefore, the years of the Yongle (永樂) and Xuande (宣德) emperors could see the birth of blue and white porcelain finished with “Sumali qing (蘇麻離靑),” which was followed in the period of Zhengde (正德) and Jiajing (嘉靖) emperors by the blue and white porcelain made from another imported pigment “Mohammedan blue (回靑)” under the influence of the Islamic culture. Later in the Age of Exploration in the sixteenth century, blue and white porcelain turned into “Kraak ware” by Portuguese merchants, and The Chinese Book of Rites(中國禮記) by Matteo Ricci was also introduced in Europe, all of which had contributed to the formation of Chinoiserie in the seventeenth and eighteenth centuries. Going along with the culture of Chinoiserie, the blue and white porcelain finished with the art of ‘reduction fired cobalt blue’ had reached its peak of artistic values.

국문 초록 (Abstract)

‘환원소성(還元燒成) 코발트블루(Cobalt blue) 예술’로 완성된 청화자기(靑花瓷器)는동서교섭사에서 이루어진 특수한 산물이다. 청화자기는 명대(明代)의 조공무역(朝貢貿 易)으로 인하여 완성되었고, 또한 그 가치를 인정받기 시작하였다. 그와 같은 고평가를받을 수 있었던 원인은 바로 수입 코발트 색료의 채용에 있었다고 할 수 있다. 명대 초기“정화하서양(鄭和下西洋)”은 청화자기를 “서전(西傳)”함과 동시에 수입 색료를 “동점(東 漸)”하게 되면서 코발트 색료를 들여오게 되었다. 따라서 영락(永樂)·선덕(宣德)시기“소마리청(蘇麻離靑)”의 청화자기를 탄생시켰고, 이후 정덕(正德)·가정(嘉靖)시기의 수입색료 “회청(回靑)”과 “이슬람문화”를 함께 융합시킨 청화자기를 탄생시켰다. 그리고16세기 “대항해(大航海)”시대의 청화자기는 포르투갈 상인들에 의해 “크라크 자기(Kraak 瓷器)”로 변신하기도 하였고, 또한 마테오 리치(Matteo Ricci)의 『중국예기(中國 禮記)』가 유럽으로 전해지게 되면서, 결국 17〜18세기 “시누아즈리(Chinoiserie)” 사조가형성 되었다. 이때 ‘환원소성 코발트블루 예술’로 완성된 청화자기는 “시누아즈리”에 편승하여 그 예술적 가치를 최고조로 끌어 올리게 되었다.

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