분청사기 문양에 나타난 회화적 표현 연구

A Study researching on Surface Effects in Korean Buncheong Ceramics: Focus on Buncheong Fish motifs using Iron Oxide of Gyeryongsan Mountain

분청사기는 고려 후기에서 조선 전기에 걸쳐 제작된 자기의 일종으로 세종 연간(1419~1450) 을 전후해 절정을 이루다가 15세기 후반부터 쇠퇴하기 시작했다. 그러나 이 시기에 분청사기의 한 종류로써 백토분장 후 철분이 함유된 안료로 문양을 그리는 철화분청은 계룡산 지역을중심으로 성행했다. 분청사기 철화기법은 충남 공주군 반포면 학봉리 계룡산 기슭에서 주로 제작되었기 때문에‘계룡산 분청사기’라고 하며, 15세기 후반부터 16세기에 걸쳐서 많이 제작되었다. 철화기법은 산화된 철분이 포함된 철사안료를 주로 사용하는데 이 안료는 물에 닿으면 빨리 퍼지기때문에 아주 빠른 필치로 그려야하므로 백토 위에 그림을 자유롭게 그려 표현할 수 있었다. 특히 계룡산 학봉리 철화분청사기는 간소하고 강렬한 몇 개의 선으로 물고기를 비롯해 연꽃, 모란 등 다양한 문양을 표현했다. 본 연구에서는 분청사기의 여러 문양 중 계룡산 분청사기의 물고기 문양과 비슷한 시기의그려진 어해도(魚蟹圖)를 비교 연구함으로서 물고기 문양을 통해 나타난 계룡산 철화분청사기이어지는본인의 연구에서 도자기를 회화적 관점으로 확장하는 도자작품 창출에 활용하고자 한다.

The buncheong ceramics of Korea developed toward the end of the Goryeo dynasty. It continued into the early part of the Joseon Dynasty, reaching its pinnacle around the reign of King Sejong (1419~1450). Buncheong ceramics is a type of high-fired stoneware which developed from the celadon toward the end of the Goryeo dynasty, however its existence was short-lived and it reached its end around the latter part of the 15th century. Buncheong ceramics is known for its many surface decoration methods, particularly with the application of white liquified clay known as ‘slip’. The clay body for making buncheong is high in iron content and therefore it produces a grayish-brown color when fired in a reduction firing. Once the white slip is applied, the surface is decorated in many different ways. This study looks in particular at the brown and white surface decoration method using iron oxide which was historically centered around the Gyeryongsan Mountain area of Korea. The buncheong ceramics focusing on surface decoration technique using iron oxide, was mainly produced around Gyeryongsan Mountain – to be more precise Gongju-gun Banpo-myeon Hakbong-ri of Chungnam Province which is around Gyeryongsan Mountain. As a result it was also known as ‘Gyeryongsan Mountain buncheong ware’. This was produced in abundance around the end of the 15th century and into the 16th century. The technique applied for this particular buncheong type was using oxidized iron as the main material for surface decoration. However iron spreads easily on clay surfaces therefore precision was difficult to maintain. Brush strokes required to be swift and exact on top of a surface already applied with white slip. Density of iron oxide mixed with water, was therefore important in order to maintain precision and accuracy. The advantage of the material was that it gave a certain amount of freedom to create painting-like effects on clay surfaces. The distinct feature of Gyeryongsan Mountain Hakbong-ri iron oxide buncheong was the simplified and strong linear qualities found in motifs such as fish, lotus flower and peony. This study focuses on fish motifs applied onto Gyeryongsan Mountain buncheong ceramics. These motifs are compared to fish paintings of the period known as ‘Urhaedo(魚蟹圖)’ in Korean. The objective is to research on the distinct characteristics of the method in which fish motifs were drawn on buncheong ceramics of this particular region. In the second part of the study, the aethetics in terms of understanding the tendency of the period depicted in paintings is examined simultaneously as observing the way in which motifs are painted on buncheong ceramics. In the third part, the scholarly nature of Joseon paintings is examined in order to understand the techniques applied in paintings of the time. The period toward the end of the Joseon dynasty is also taken into consideration for research investigation. In the fourth part of the study, the diverse method in which the iron oxide patterns were applied is examined. Here the focus is mainly on the fish motif. In the final fifth part, the symbolic aspects of the fish motif as a sign of good omen and opulence is observed. Many of Korea’s ceramics over centuries have applied the fish motif. The study focuses on the development of buncheong around the Gyeryongsan Mountain region, simultaneously as concentrating on the fish motif depicted in buncheong ceramics. The historical background on the significance of the fish motif is researched both in ceramics and in paintings. In order to conduct this study, I have interviewed the necessary specialists additionally as looking at researched materials on the subject. I sincerely hope that this research will attract much attention and I hope that many more will expand the field for further research work on the same subject.