일본 고세토(古瀬戸)에 보이는 수입도자의 수용 (Acceptance of imported Ceramics seen in Ko seto, Japan)

서지정보

· 발행기관 : 국립중앙박물관
· 수록지 정보 : 미술자료 / 83호 / 107 ~ 162페이지
· 저자명 : 후지사와 료스케

초록

Ko Seto (古瀬戸), or Old Seto, is a term referring to the glazed ceramic ware produced in Seto kilns in Japan during the medieval times. It is a well known fact that Ko Seto kilns produced a great variety of vessel types under the influence of the vessels from Southern Song. The difference between the techniques of the two was so great, however, that there has been a lot of controversies on their relationship. All the vessel types of Ko Seto underwent changes on their own, but it would be a subject to be handled after a discussion of the oldest form discovered so far. In this study, I will present a general information of the changes Ko Seto underwent before proceeding to the relationship between the original and the copied by taking one of the representative Ko Seto vessels copied from the original imported from China, and the influence of the Chinese ware upon the Ko Seto vessels.
The development of the Ko Seto ware can be divided into three stages: the First Stage (FS, late 12th - late 13th century) marked by the vessels coated only with ash glaze; the Second Stage (SS, late 13th - mid 14th century) by the decoration with iron glaze and a wealth of designs; and the Third Stage (TS, late 14th - late 15th century) by the decline of decorative designs and the mass production of table ware such as bowls, dishes, and plates. The first of the three stages is then subdivided into four phases (PI to PIV) of which the first (PI) is further subdivided into two, a and b, and the second (PII) into three, a to c. The second stage is also subdivided into four phases (PI to PIV), and the third stage into five phases (PI to PIII, Old IV, and New IV). The entire history of Ko Seto started between the mid and late 12th century, a period characterized by the unglazed jar with four lugs, and ended with the Ogama (大窯) stage (late 15th to early 17th century).
One of the most famous vessels representing the Seto ware under the influence of imported celadon works, the jar with four lugs, was produced from the earliest to the very last phase. The four-lugged jars produced in the early phase are marked by the narrow and low foot, an inverted trapezoidal or triangular cross section, unglazed surface, and three-tier horizontal lines decorating the upper body. Vessels of the Ia phase of the First Stage feature a wide, flaring foot, oval body, thick and short neck, and everted mouth rim while those of the Ib phase a high and narrow foot, globular body with voluminous shoulder, and narrow and high neck.
Meanwhile, the white jars with four lugs excavated in Japan are largely divided into four Groups, GI to GIV, and their appearances suggest that the FS PIa vessels are copied from the white ceramic jars with four lugs in GII and the Ib vessels from those in GIII. The vessels after the FS PII are, however, distinctively different from the white ceramic jars with four lugs in the GIV, revealing that they had taken their own route of changes. Also, some of the early jars with unglazed surface show the foot and body similar to those of the vessels in Group II although the shape of the lugs are hardly seen in the white ceramic jars with four lugs.
The production of Ko Seto bottles started from the Ib phase of the First Stage and continued until the New IV phase of the Third Stage. The bottles made in this period are classified into three groups (Bottle Type I, Bottle Type II, and Bottle Type III) according to their shapes of which the Type 1 vessels are marked by narrow waist and divided into two subgroups (A and B) according to the degree of narrowness of their waist. The vessels of the A subgroup of the FS PIb feature the inverted mouth and the B subgroup the rounded lip. The vessels of the FS PIIa also came to have rounded lips and later added by raised and angled bands. The Type II bottles in the FS PIb came to be marked by a raised band around the neck's middle part, a step around the border between neck and shoulder, the rounded lip, and raised and angled bands. In the SS PI period, there appeared vessels with the raised band around the neck's center and these gradually established themselves as a dominant form. The III bottles that appeared in the TS PI period are known to have copied from the Japanese lacquer bottles.
The white and blue plum bottles excavated in Japan are divided into Type I, marked by a straight body with the neck encircled by a raised band, and Type II, the everting neck and mouth and narrow lower body. By comparison, Goryeo plum bottles feature a thinner foot, narrower waist, and more elegant curves of the body. It is highly probable that the bottles A of the Type I copied the Goryeo celadon plum bottle while the bottles B the white and blue plum bottles of Type II, the Type II bottles with a raised band around the neck the blue and white plum bottles of the Group I, and the Type II bottles with a raised band around the neck that appeared again during the SS PI the Chinese plum bottles with dark brown glaze.
The wide-mouthed jars of Ko Seto began to be produced during the SS. The jars of the SS PI are characterized by a long body with flat bottom, and short neck while the jars of the SS PII by an upright, taller neck, and those of the SS PIII by an even taller neck with slightly inverted mouth. The wide-mouthed jars of Ko Seto are believed to have been related with the ash-glazed celadon jars, and the Type II bottles of the SS PI with the brown-glazed vessels. The celadon jars are characterized by a tall foot, dish-shaped lid, and body elaborately decorated with lotus petals carved in low relief while the brown-glazed wide mouth vessels features a low foot and the body decorated with an incised peony and vine esign. The decoration of the surface and the shape of the base suggest that the Ko Seto jars had imitated the brown-glazed vessels.
The Temmoku tea bowls of Ko Seto are divided into four groups. The bowls of the Group A in the SS PI period are characterized by the foot made separately before being attached to the upright body and the uneven, flaring mouth. The Group B bowls produced during the SS PIII period feature a somewhat round body, ring foot, and a ridge under the mouth. The Group C vessels of the TS PII period display an inverted foot, and steps around the lower body, and straight mouth slanting slightly outword, and the Group D vessels of the TS New IV period are marked by the stepped ring foot and the round lip, characteristics succeeded to the vessels of the Ogama stage. Meanwhile, the vessels of the B to D Groups were coated with celadon glaze around the foot although the glaze became thinner and turned black for the vessels of the later period.
The Chinese Jian Yao (or Temmoku) vessels excavated in Japan are divided into nine groups (Group I to Group IX) according to the shape of which the China's Group VI vessels show similarities with the Ko Seto's Group A vessels, the Group IV (Jian Ware) with the Group B, and the Group VIII (Huibei Ware) to the Group C. Meanwhile, the D Group vessels had no Chinese counterparts to be compared with as there had been no Chinese products, and the decorative steps around the foot reveal that they were not directly related with the Jian Ware.
Finally, the influence of the imported pottery upon the Seto Ware with respect to the production of glazed pottery can be summarized as follows:① The early period is marked by the production of unglazed vessels across Japan, including the Seto kilns, copied from the white ceramic vessels with four lugs of Chinese origin and decorated with creative designs of Sanjinwen, waves, and mandala flowers. The vessels in this period feature combination between copying of imported pottery and creativity of individual kilns.
② The early period of Ko Seto Ware is characterized by the production of glazed pottery in the Seto kilns and full-fledged copying the imported pottery, high-quality vessels rather than white and celadon bowls. As shown by the Group I and II Bottles, the early Ko Seto potters copied a variety of imported vessels, the blue-and-white plum vases of Group I and II as well as Goryeo celadon plum vases, but gradually began to create their own forms. They used only ash glaze, and decorated their works with comb-teeth and simple stamped designs as if to complement the imported high-quality pottery.
③ The middle Ko Seto period saw the appearance of iron glaze and a greater variety of designs applied by diverse techniques. The Group II Bottles, wide-mouthed jars and vases produced in this period display an influence from the brown-glazed pottery, and efforts to get over white and celadon ware of the earlier period to create its characteristic features while allowing the types, glaze and designs of the imported pottery.
④ The late Ko Seto period is marked by the vessels showing little influence from the imported pottery and a drastic reduction of high-quality products. The period also saw mass production of a more variety of vessels, bowls, dishes, and plates, gradually surpassing the imported vessels in many parts of Japan. The reduction of imported vessels and the increased production of the Japanese vessels during this period may also be related with the trade ban imposed by the Ming Dynasty in 1368 due to the disruptions caused by the Japanese pirates.
⑤ Finally, the Ogama Stage was characterized by a dramatic increase of imported pottery such as white and blue-an-white porcelain works, disappearance of the four-lugged jars and bottles, and the production limited to three types, Temmoku, Kozara, and Suribachi bowls. It was also during this period that the Japanese potters resumed copying the imported pottery, produced full-glazed vessels, and revived stamped designs, struggling to compete against the Chinese pottery.
As summarized above, the import of Chinese pottery in medieval Japan had undergone ups and downs according to periods. The development of glazed vessels in Japan during the period was deeply related with the effort of Japanese potters to compete against the high-quality ceramic ware imported from China.

영어초록

Ko Seto (古瀬戸), or Old Seto, is a term referring to the glazed ceramic ware produced in Seto kilns in Japan during the medieval times. It is a well known fact that Ko Seto kilns produced a great variety of vessel types under the influence of the vessels from Southern Song. The difference between the techniques of the two was so great, however, that there has been a lot of controversies on their relationship. All the vessel types of Ko Seto underwent changes on their own, but it would be a subject to be handled after a discussion of the oldest form discovered so far. In this study, I will present a general information of the changes Ko Seto underwent before proceeding to the relationship between the original and the copied by taking one of the representative Ko Seto vessels copied from the original imported from China, and the influence of the Chinese ware upon the Ko Seto vessels.
The development of the Ko Seto ware can be divided into three stages: the First Stage (FS, late 12th - late 13th century) marked by the vessels coated only with ash glaze; the Second Stage (SS, late 13th - mid 14th century) by the decoration with iron glaze and a wealth of designs; and the Third Stage (TS, late 14th - late 15th century) by the decline of decorative designs and the mass production of table ware such as bowls, dishes, and plates. The first of the three stages is then subdivided into four phases (PI to PIV) of which the first (PI) is further subdivided into two, a and b, and the second (PII) into three, a to c. The second stage is also subdivided into four phases (PI to PIV), and the third stage into five phases (PI to PIII, Old IV, and New IV). The entire history of Ko Seto started between the mid and late 12th century, a period characterized by the unglazed jar with four lugs, and ended with the Ogama (大窯) stage (late 15th to early 17th century).
One of the most famous vessels representing the Seto ware under the influence of imported celadon works, the jar with four lugs, was produced from the earliest to the very last phase. The four-lugged jars produced in the early phase are marked by the narrow and low foot, an inverted trapezoidal or triangular cross section, unglazed surface, and three-tier horizontal lines decorating the upper body. Vessels of the Ia phase of the First Stage feature a wide, flaring foot, oval body, thick and short neck, and everted mouth rim while those of the Ib phase a high and narrow foot, globular body with voluminous shoulder, and narrow and high neck.
Meanwhile, the white jars with four lugs excavated in Japan are largely divided into four Groups, GI to GIV, and their appearances suggest that the FS PIa vessels are copied from the white ceramic jars with four lugs in GII and the Ib vessels from those in GIII. The vessels after the FS PII are, however, distinctively different from the white ceramic jars with four lugs in the GIV, revealing that they had taken their own route of changes. Also, some of the early jars with unglazed surface show the foot and body similar to those of the vessels in Group II although the shape of the lugs are hardly seen in the white ceramic jars with four lugs.
The production of Ko Seto bottles started from the Ib phase of the First Stage and continued until the New IV phase of the Third Stage. The bottles made in this period are classified into three groups (Bottle Type I, Bottle Type II, and Bottle Type III) according to their shapes of which the Type 1 vessels are marked by narrow waist and divided into two subgroups (A and B) according to the degree of narrowness of their waist. The vessels of the A subgroup of the FS PIb feature the inverted mouth and the B subgroup the rounded lip. The vessels of the FS PIIa also came to have rounded lips and later added by raised and angled bands. The Type II bottles in the FS PIb came to be marked by a raised band around the neck's middle part, a step around the border between neck and shoulder, the rounded lip, and raised and angled bands. In the SS PI period, there appeared vessels with the raised band around the neck's center and these gradually established themselves as a dominant form. The III bottles that appeared in the TS PI period are known to have copied from the Japanese lacquer bottles.
The white and blue plum bottles excavated in Japan are divided into Type I, marked by a straight body with the neck encircled by a raised band, and Type II, the everting neck and mouth and narrow lower body. By comparison, Goryeo plum bottles feature a thinner foot, narrower waist, and more elegant curves of the body. It is highly probable that the bottles A of the Type I copied the Goryeo celadon plum bottle while the bottles B the white and blue plum bottles of Type II, the Type II bottles with a raised band around the neck the blue and white plum bottles of the Group I, and the Type II bottles with a raised band around the neck that appeared again during the SS PI the Chinese plum bottles with dark brown glaze.
The wide-mouthed jars of Ko Seto began to be produced during the SS. The jars of the SS PI are characterized by a long body with flat bottom, and short neck while the jars of the SS PII by an upright, taller neck, and those of the SS PIII by an even taller neck with slightly inverted mouth. The wide-mouthed jars of Ko Seto are believed to have been related with the ash-glazed celadon jars, and the Type II bottles of the SS PI with the brown-glazed vessels. The celadon jars are characterized by a tall foot, dish-shaped lid, and body elaborately decorated with lotus petals carved in low relief while the brown-glazed wide mouth vessels features a low foot and the body decorated with an incised peony and vine esign. The decoration of the surface and the shape of the base suggest that the Ko Seto jars had imitated the brown-glazed vessels.
The Temmoku tea bowls of Ko Seto are divided into four groups. The bowls of the Group A in the SS PI period are characterized by the foot made separately before being attached to the upright body and the uneven, flaring mouth. The Group B bowls produced during the SS PIII period feature a somewhat round body, ring foot, and a ridge under the mouth. The Group C vessels of the TS PII period display an inverted foot, and steps around the lower body, and straight mouth slanting slightly outword, and the Group D vessels of the TS New IV period are marked by the stepped ring foot and the round lip, characteristics succeeded to the vessels of the Ogama stage. Meanwhile, the vessels of the B to D Groups were coated with celadon glaze around the foot although the glaze became thinner and turned black for the vessels of the later period.
The Chinese Jian Yao (or Temmoku) vessels excavated in Japan are divided into nine groups (Group I to Group IX) according to the shape of which the China's Group VI vessels show similarities with the Ko Seto's Group A vessels, the Group IV (Jian Ware) with the Group B, and the Group VIII (Huibei Ware) to the Group C. Meanwhile, the D Group vessels had no Chinese counterparts to be compared with as there had been no Chinese products, and the decorative steps around the foot reveal that they were not directly related with the Jian Ware.
Finally, the influence of the imported pottery upon the Seto Ware with respect to the production of glazed pottery can be summarized as follows:① The early period is marked by the production of unglazed vessels across Japan, including the Seto kilns, copied from the white ceramic vessels with four lugs of Chinese origin and decorated with creative designs of Sanjinwen, waves, and mandala flowers. The vessels in this period feature combination between copying of imported pottery and creativity of individual kilns.
② The early period of Ko Seto Ware is characterized by the production of glazed pottery in the Seto kilns and full-fledged copying the imported pottery, high-quality vessels rather than white and celadon bowls. As shown by the Group I and II Bottles, the early Ko Seto potters copied a variety of imported vessels, the blue-and-white plum vases of Group I and II as well as Goryeo celadon plum vases, but gradually began to create their own forms. They used only ash glaze, and decorated their works with comb-teeth and simple stamped designs as if to complement the imported high-quality pottery.
③ The middle Ko Seto period saw the appearance of iron glaze and a greater variety of designs applied by diverse techniques. The Group II Bottles, wide-mouthed jars and vases produced in this period display an influence from the brown-glazed pottery, and efforts to get over white and celadon ware of the earlier period to create its characteristic features while allowing the types, glaze and designs of the imported pottery.
④ The late Ko Seto period is marked by the vessels showing little influence from the imported pottery and a drastic reduction of high-quality products. The period also saw mass production of a more variety of vessels, bowls, dishes, and plates, gradually surpassing the imported vessels in many parts of Japan. The reduction of imported vessels and the increased production of the Japanese vessels during this period may also be related with the trade ban imposed by the Ming Dynasty in 1368 due to the disruptions caused by the Japanese pirates.
⑤ Finally, the Ogama Stage was characterized by a dramatic increase of imported pottery such as white and blue-an-white porcelain works, disappearance of the four-lugged jars and bottles, and the production limited to three types, Temmoku, Kozara, and Suribachi bowls. It was also during this period that the Japanese potters resumed copying the imported pottery, produced full-glazed vessels, and revived stamped designs, struggling to compete against the Chinese pottery.
As summarized above, the import of Chinese pottery in medieval Japan had undergone ups and downs according to periods. The development of glazed vessels in Japan during the period was deeply related with the effort of Japanese potters to compete against the high-quality ceramic ware imported from China.

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