高麗靑磁에 보이는 金屬器皿의 影響 (Influence of Metal Wares on Goryeo Celadon)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 23호 / 223 ~ 256페이지
· 저자명 : 윤희봉

초록

In the Goryeo Dynasty, different types of applied art were produced, which developed from the cultural influence of the Song, Liao, Jin, and Yuan periods and also succeeded the tradition of Unified Shilla’s applied art. Goryeo celadon, similarly to Chinese ceramics, was especially related to its contemporary applied art, particularly metal ware. In this paper, I will examine the forms and design patterns of the metal ware that had influenced celadon, and, through observing the zenith of its influence, investigate the role of the metal ware in the development of Goryeo celadon.
After the second half of the tenth century, Goryeo had established a centralized aristocratic society, and with the revitalization of the handicraft industry, new trends appeared in celadon as well. Systems changed, techniques developed, and styles transformed in the ceramics industry. In particular, from the kiln sites in Yongun-ri and Sammheung-ri around Gangjin, celadons were unearthed in different forms, such as bowls with tall pedestals, plates, saucers, and incense burners. These kilns are presumed to be Daegu-so and Chilryang-so that produced celadons for tribute. There was a government official craft workshop of metal ware called Jangya-seo. Celadons and metal ware produced in Daegu-so, Chilryang-so and Jangya-seo were entirely for tribute.
To see the usage patterns of the metal ware and celadon among consumers, the findings from graves and temple sites were examined. I was able to judge that the celadon and bronze ware were used in the same level of society from the fact that different kinds and forms of both wares were discovered. It is likely that mainly the celadons in upper class were imitating metal ware.
Celadon and metal wares are fundamentally different in their material and in types of vessel, however strong resemblances were found among their daily-used vessels in types and forms. Among the bowls, the baru (bowl used in Buddhist rituals) and lidded bowls in metal and celadon were similar in form, and so did the foliated dishes and plates. Ewers, whether made in metal or in ceramic, were found most similar in form, both types having edged bodies and a lotus flower and a phoenix standing on tip of the lids. Like ewers, cups were strongly influenced by metal cups in their forms, such as the tall stand and foliated saucers. Besides the vessels mentioned above, ceramic incense burners were also modeled after the metal examples, yielding identical shapes.
Goryeo celadon was not only influenced by Goryeo metal wares but had been under the influence of the Northern Song Dynasty and reflected the forms and patterns of the metal wares of the Northern Song and Liao periods. Although the form itself may have derived from Chinese ceramics or metal wares, their details are similar to those of Goryeo metal wares. Thus some few forms first appeared in metal wares and then transmitted to Goryeo celadon.
Since the mid-twelfth century, inlaid decoration was developed, focusing on the high Goryeo celadon. Inlaid technique appeared even before the eleventh century, however it blossomed around the thirteenth century, with different subject and composition of designs to that of early Goryeo period. These inlaid designs were similar to and closely inter-related with the silver-inlaid designs on bronze incense burners, lidded cases, and kundikas. Silver-inlaid designs mostly appeared on Buddhist offering implements, including kundikas, incense burners, etc., and their composition and arrangement were in a systematic manner, while the same design patterns appear in diverse types of celadon and freely combined.
The influence of metal wares on celadons varied in times of development. In the first beginning period of celadon from the late tenth to the late eleventh centuries, its production increased and technical skills developed, and the influences of metal ware began to appear on the celadon. It appears that the imitations of metal wares were made when high celadon was produced in some kilns of Gangjin, on the southern tip of the Korean peninsula. The second period was from the late eleventh to the mid-twelfth centuries when the trade resumed with the Northern Sung Dynasty in 1071, and the Northern Sung’s celadon exerted an increased influence on Goryeo celadon. With the inflow of advanced goods from the Northern Sung and Liao Dynasties, new shapes, design patterns, and techniques were introduced to Goryeo celadon, and they appeared on celadon with the elements from metal wares. In the third period, from the second half of the twelfth to the latter half of the thirteenth centuries, celadon forms were still
imitating those of metal wares. However, its influence decreased compared to previous periods. Patterns of this period’s celadon were more complex and ornamental with main and sub patterns combined to form designs that resembled those of silver-inlaid metal wares. In the fourteenth century, the influence of metal wares decreased significantly with only some imitations remaining in the form and design pattern. The influences of metal wares on celadon differed in their forms and patterns in each period, and it was during the period when the distinctive Goryeo celadon style was established and developed from Chinese influence when the celadon was under great influence of the metal ware.

영어초록

In the Goryeo Dynasty, different types of applied art were produced, which developed from the cultural influence of the Song, Liao, Jin, and Yuan periods and also succeeded the tradition of Unified Shilla’s applied art. Goryeo celadon, similarly to Chinese ceramics, was especially related to its contemporary applied art, particularly metal ware. In this paper, I will examine the forms and design patterns of the metal ware that had influenced celadon, and, through observing the zenith of its influence, investigate the role of the metal ware in the development of Goryeo celadon.
After the second half of the tenth century, Goryeo had established a centralized aristocratic society, and with the revitalization of the handicraft industry, new trends appeared in celadon as well. Systems changed, techniques developed, and styles transformed in the ceramics industry. In particular, from the kiln sites in Yongun-ri and Sammheung-ri around Gangjin, celadons were unearthed in different forms, such as bowls with tall pedestals, plates, saucers, and incense burners. These kilns are presumed to be Daegu-so and Chilryang-so that produced celadons for tribute. There was a government official craft workshop of metal ware called Jangya-seo. Celadons and metal ware produced in Daegu-so, Chilryang-so and Jangya-seo were entirely for tribute.
To see the usage patterns of the metal ware and celadon among consumers, the findings from graves and temple sites were examined. I was able to judge that the celadon and bronze ware were used in the same level of society from the fact that different kinds and forms of both wares were discovered. It is likely that mainly the celadons in upper class were imitating metal ware.
Celadon and metal wares are fundamentally different in their material and in types of vessel, however strong resemblances were found among their daily-used vessels in types and forms. Among the bowls, the baru (bowl used in Buddhist rituals) and lidded bowls in metal and celadon were similar in form, and so did the foliated dishes and plates. Ewers, whether made in metal or in ceramic, were found most similar in form, both types having edged bodies and a lotus flower and a phoenix standing on tip of the lids. Like ewers, cups were strongly influenced by metal cups in their forms, such as the tall stand and foliated saucers. Besides the vessels mentioned above, ceramic incense burners were also modeled after the metal examples, yielding identical shapes.
Goryeo celadon was not only influenced by Goryeo metal wares but had been under the influence of the Northern Song Dynasty and reflected the forms and patterns of the metal wares of the Northern Song and Liao periods. Although the form itself may have derived from Chinese ceramics or metal wares, their details are similar to those of Goryeo metal wares. Thus some few forms first appeared in metal wares and then transmitted to Goryeo celadon.
Since the mid-twelfth century, inlaid decoration was developed, focusing on the high Goryeo celadon. Inlaid technique appeared even before the eleventh century, however it blossomed around the thirteenth century, with different subject and composition of designs to that of early Goryeo period. These inlaid designs were similar to and closely inter-related with the silver-inlaid designs on bronze incense burners, lidded cases, and kundikas. Silver-inlaid designs mostly appeared on Buddhist offering implements, including kundikas, incense burners, etc., and their composition and arrangement were in a systematic manner, while the same design patterns appear in diverse types of celadon and freely combined.
The influence of metal wares on celadons varied in times of development. In the first beginning period of celadon from the late tenth to the late eleventh centuries, its production increased and technical skills developed, and the influences of metal ware began to appear on the celadon. It appears that the imitations of metal wares were made when high celadon was produced in some kilns of Gangjin, on the southern tip of the Korean peninsula. The second period was from the late eleventh to the mid-twelfth centuries when the trade resumed with the Northern Sung Dynasty in 1071, and the Northern Sung’s celadon exerted an increased influence on Goryeo celadon. With the inflow of advanced goods from the Northern Sung and Liao Dynasties, new shapes, design patterns, and techniques were introduced to Goryeo celadon, and they appeared on celadon with the elements from metal wares. In the third period, from the second half of the twelfth to the latter half of the thirteenth centuries, celadon forms were still
imitating those of metal wares. However, its influence decreased compared to previous periods. Patterns of this period’s celadon were more complex and ornamental with main and sub patterns combined to form designs that resembled those of silver-inlaid metal wares. In the fourteenth century, the influence of metal wares decreased significantly with only some imitations remaining in the form and design pattern. The influences of metal wares on celadon differed in their forms and patterns in each period, and it was during the period when the distinctive Goryeo celadon style was established and developed from Chinese influence when the celadon was under great influence of the metal ware.

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