지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Chosun delivered its advanced porcelain-making techniques to Japan originally, in order to maintain neighboring relations. It is notable that since the 18th century, however, such exchange was completely reversed into a new current. The influx of Japanese porcelain in the latter Chosun period was due to the positive recognition of the ‘cleanliness, beauty and exquisiteness’ of Japanese ceramics. Such perception resulted from the development of industrial art techniques and economic affluence of Japan.
The majority of the imported Japanese ceramics were crafts which were initiated by Chosun ceramists in the Hijen area, which was the foundation of Japanese ceramics. These first came into Chosun in the form of royal gifts and offerings in the late 17th century, and were later traded to Chosun in the latter half of the 18th century. In 1757, when Japan ended its official foreign exports, Chosun was regarded by Japan as a potential commodity market.
The domestic influx of Japanese ceramics were in the form of royal, official or diplomatic gifts, or by the order of Japanese diplomats staying in Chosun, or otherwise by trade. It is commonly perceived that Japanese porcelain brought into Chosun before the initiation of Japan-Chosun trade relations, had various forms with patterns of chestnuts and characters such as “壽”(longevity) and “福”(blessing) printed on the inside of the bowl.
After trade relations began, it can be inferred that larger quantities of ceramics were brought into Chosun due to the encouragement of exports by the Japanese government. Most of these pieces were cheap industrial imitations of Chosun porcelain produced in the Hijen area. Japanese ceramics of this period were circulated by Japanese street stalls but also by Chosun merchants. In fact, this was proved by a piece of porcelain excavated from a former palace, which included the name of “恒春號”(Geum Chun Ho), a merchant from Gyeonsung.
Moreover, according to a statute passed by Japan which came into effect in 1888, there was an overflux of Japanese ceramics both in public as well as in the royal household. G.W. Gilmore, a public school teacher, stated in 1892 that “At that time, stores and street stalls were full of imported Japanese ceramics.” Other records from 1892 show that in the same year, at the celebration banquet of King Gojong’s 41st birthday, 16,000 pieces of porcelain, which consisted one third of the tableware, were from Japan. This illustrates the scale and demand for Japanese ceramics during this period. Such inundation of Japanese ceramics continued until the first quarter of the 20th century, which negatively resulted in the cessation of the traditional domestic ceramics industry.
The influence of Japanese ceramics can be recognized by new patterns such as chestnuts, small pine trees and flowers on flowing water which were not used before, and by typically Japanese superficial decorations known as “松皮菱”(water plant) and “雲割”(piece of cloud). In addition, in terms of the patterns’ composition, there are many aspects that are similar, which implies a deep correlation between the styles of Chosun and Japan’s ceramics.
The majority of the imported Japanese ceramics were crafts which were initiated by Chosun ceramists in the Hijen area, which was the foundation of Japanese ceramics. These first came into Chosun in the form of royal gifts and offerings in the late 17th century, and were later traded to Chosun in the latter half of the 18th century. In 1757, when Japan ended its official foreign exports, Chosun was regarded by Japan as a potential commodity market.
The domestic influx of Japanese ceramics were in the form of royal, official or diplomatic gifts, or by the order of Japanese diplomats staying in Chosun, or otherwise by trade. It is commonly perceived that Japanese porcelain brought into Chosun before the initiation of Japan-Chosun trade relations, had various forms with patterns of chestnuts and characters such as “壽”(longevity) and “福”(blessing) printed on the inside of the bowl.
After trade relations began, it can be inferred that larger quantities of ceramics were brought into Chosun due to the encouragement of exports by the Japanese government. Most of these pieces were cheap industrial imitations of Chosun porcelain produced in the Hijen area. Japanese ceramics of this period were circulated by Japanese street stalls but also by Chosun merchants. In fact, this was proved by a piece of porcelain excavated from a former palace, which included the name of “恒春號”(Geum Chun Ho), a merchant from Gyeonsung.
Moreover, according to a statute passed by Japan which came into effect in 1888, there was an overflux of Japanese ceramics both in public as well as in the royal household. G.W. Gilmore, a public school teacher, stated in 1892 that “At that time, stores and street stalls were full of imported Japanese ceramics.” Other records from 1892 show that in the same year, at the celebration banquet of King Gojong’s 41st birthday, 16,000 pieces of porcelain, which consisted one third of the tableware, were from Japan. This illustrates the scale and demand for Japanese ceramics during this period. Such inundation of Japanese ceramics continued until the first quarter of the 20th century, which negatively resulted in the cessation of the traditional domestic ceramics industry.
The influence of Japanese ceramics can be recognized by new patterns such as chestnuts, small pine trees and flowers on flowing water which were not used before, and by typically Japanese superficial decorations known as “松皮菱”(water plant) and “雲割”(piece of cloud). In addition, in terms of the patterns’ composition, there are many aspects that are similar, which implies a deep correlation between the styles of Chosun and Japan’s ceramics.
목차
Ⅰ. 머리말
Ⅱ. 조선 후기 일본 및 일본 기명에 대한 인식
Ⅲ. 기록에 나타난 일본 자기의 유입사실
Ⅳ. 일본 자기 유입의 전개 양상
Ⅴ. 조선백자에 나타난 일본 자기의 요소
Ⅵ. 맺음말
참고문헌
ABSTRACT
참고문헌 (49)
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