11세기 말-12세기 전반 高麗靑瓷에 보이는 中國陶瓷의 영향 (The Effects of Chinese Ceramic on Goryeo Celadon of the late 11th century and early 12th century)

서지정보

· 발행기관 : 한국미술사교육학회
· 수록지 정보 : 미술사학 / 21권 / 41 ~ 85페이지
· 저자명 : 정신옥

초록

Goryeo celadon began to be manufactured under the influence of Yuezhou(yao; kiln)(ceramics) of Zhejiang Province of China and had developed in close relation with Chinese ceramics. In North-east Asia, the three countries–Goryeo, the Northern Song, and Liao have multilateral relations among themselves in political and social terms and they have exchanged cultures in the late 11th century and early 12th century. It seems that the Goryeo ceramic industry of this period was sophisticated enough to accept the influence of neighboring countries while maintaining its own ceramics manufacturing skills.
The motivation for this paper is interests in changes in manufacturing skills and designs for Goryeo celadon of the late 11th to early 12th century and the very causes of the change. It was about 60 to 70 years, and it began from King Moon-jong 25th year (1071) when Goryeo dynasty resumed the diplomatic relations with the Northern Song that had been broken for 100 years or so, throughout those years King In-jong had reigned.
Let us take a look at historical backgrounds behind cultural exchanges between Goryeo dynasty and North Song in the late 11 century and early 12 century, particularly examine sampling of Chinese ceramics which was used in manufacturing Goryeo celadons. The sampling which influenced on Goryeo celadon is largely divided into two: ceramics and paintings such as illustration and other paintings illustrated in books. Let us study about the patterns shown in Chinese ceramics excavated in Korea and books imported from China such as books on architecture. The main purpose of this paper is to review the influence of Chinese ceramics which was reflected either directly or indirectly in moulding and manufacturing Goryeo celadon against the background of brisk and lively cultural exchanges in the late 11th century and early 12th century and define the meaning this period has in Korea’s ceramic history.
The Goryeo celadon went through dramatic changes based on its own know-hows and manufacturing skills which had been accumulated since its birth in Korea. The Royal family of the Goryeo dynasty which spans eras of King–Moon-jong (1046-1083), Sook-jong (1095-1105), Ye-jong (1105-1122), and In-jong (1122-1146) was aggressive in introducing cultures from China, in particular the Northern Song. At that time, Goryeo and the Northern Song, and Liao had close political and social relations and historians of the three nations frequently visited one another and the Northern Song and people from Liao were naturalized into Koreans. Against such a historical backdrop, it is confirmed that three countries did not only trade porcelains but also metal craft, Buddhist sculpture, painting, and caligraphy works as well. The porcelain industry was not an exception, as discussed in other art works. In this regard, it appears that Chinese craft works including porcelains which were limited only in the North Song were introduced into Goryeo. Porcelains from Southern region whose quality is not so good in comparison to many of the ceramics of kilns of Ming Dynasty were introduced to Goryeo. It is thought that introduction of books on architecture or drawings from the Northern Song let to changes in the way of manufacturing Goryeo celadon. The impact of Liao celadon is comparatively trivial, and the center for Porcelain was the Northern Song, and Liao was also under the influence of the Northern Song’s ceramics. Considering the close relations among objects such as fish-dragon pitch, pens decorated with a dragon head, and three-colored porcelain of Tang Dynasty, it is possible that the culture of Liao might have been selectively introduced especially in the area of sense of beauty and design. In other words, in the late 11th century and early 12th century Goryeo celadon had gone through some changes by imitating various types of ceramic samples that came from amid brisk cultural exchanges between the Northern Song and Liao. In particular, it seems that various types of Chinese porcelains were then being manufactured and immediately imported to Korea so that they made changes in the trend in demands for ceramics in Goryeo. New tradition has been settled. In this regard, it can be viewed as a time of changes or transitional period for Goryeo porcelains, especially for the quantity and quality of celadon. It is also thought that Goryeo’s thirst for new culture that had not been quenched since the breakup of diplomatic ties between Goryeo and Song might have aggressively absorbed Chinese patterns in ceramics.
In conclusion, it bears significance that the introduction of Chinese ceramics into Goryeo was decisive in dividing Goryeo’s ceramics industry into the beging and mid.

영어초록

Goryeo celadon began to be manufactured under the influence of Yuezhou(yao; kiln)(ceramics) of Zhejiang Province of China and had developed in close relation with Chinese ceramics. In North-east Asia, the three countries–Goryeo, the Northern Song, and Liao have multilateral relations among themselves in political and social terms and they have exchanged cultures in the late 11th century and early 12th century. It seems that the Goryeo ceramic industry of this period was sophisticated enough to accept the influence of neighboring countries while maintaining its own ceramics manufacturing skills.
The motivation for this paper is interests in changes in manufacturing skills and designs for Goryeo celadon of the late 11th to early 12th century and the very causes of the change. It was about 60 to 70 years, and it began from King Moon-jong 25th year (1071) when Goryeo dynasty resumed the diplomatic relations with the Northern Song that had been broken for 100 years or so, throughout those years King In-jong had reigned.
Let us take a look at historical backgrounds behind cultural exchanges between Goryeo dynasty and North Song in the late 11 century and early 12 century, particularly examine sampling of Chinese ceramics which was used in manufacturing Goryeo celadons. The sampling which influenced on Goryeo celadon is largely divided into two: ceramics and paintings such as illustration and other paintings illustrated in books. Let us study about the patterns shown in Chinese ceramics excavated in Korea and books imported from China such as books on architecture. The main purpose of this paper is to review the influence of Chinese ceramics which was reflected either directly or indirectly in moulding and manufacturing Goryeo celadon against the background of brisk and lively cultural exchanges in the late 11th century and early 12th century and define the meaning this period has in Korea’s ceramic history.
The Goryeo celadon went through dramatic changes based on its own know-hows and manufacturing skills which had been accumulated since its birth in Korea. The Royal family of the Goryeo dynasty which spans eras of King–Moon-jong (1046-1083), Sook-jong (1095-1105), Ye-jong (1105-1122), and In-jong (1122-1146) was aggressive in introducing cultures from China, in particular the Northern Song. At that time, Goryeo and the Northern Song, and Liao had close political and social relations and historians of the three nations frequently visited one another and the Northern Song and people from Liao were naturalized into Koreans. Against such a historical backdrop, it is confirmed that three countries did not only trade porcelains but also metal craft, Buddhist sculpture, painting, and caligraphy works as well. The porcelain industry was not an exception, as discussed in other art works. In this regard, it appears that Chinese craft works including porcelains which were limited only in the North Song were introduced into Goryeo. Porcelains from Southern region whose quality is not so good in comparison to many of the ceramics of kilns of Ming Dynasty were introduced to Goryeo. It is thought that introduction of books on architecture or drawings from the Northern Song let to changes in the way of manufacturing Goryeo celadon. The impact of Liao celadon is comparatively trivial, and the center for Porcelain was the Northern Song, and Liao was also under the influence of the Northern Song’s ceramics. Considering the close relations among objects such as fish-dragon pitch, pens decorated with a dragon head, and three-colored porcelain of Tang Dynasty, it is possible that the culture of Liao might have been selectively introduced especially in the area of sense of beauty and design. In other words, in the late 11th century and early 12th century Goryeo celadon had gone through some changes by imitating various types of ceramic samples that came from amid brisk cultural exchanges between the Northern Song and Liao. In particular, it seems that various types of Chinese porcelains were then being manufactured and immediately imported to Korea so that they made changes in the trend in demands for ceramics in Goryeo. New tradition has been settled. In this regard, it can be viewed as a time of changes or transitional period for Goryeo porcelains, especially for the quantity and quality of celadon. It is also thought that Goryeo’s thirst for new culture that had not been quenched since the breakup of diplomatic ties between Goryeo and Song might have aggressively absorbed Chinese patterns in ceramics.
In conclusion, it bears significance that the introduction of Chinese ceramics into Goryeo was decisive in dividing Goryeo’s ceramics industry into the beging and mid.

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