明末淸初 中國 靑花白瓷 연구
A Study on the Chinese Blue and White during the late Ming and early Ching Dynasty
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이 논문은 명말 1630년대에서 청초 1680년대까지 중국 청화백자의 제작배경과 양식변천을 살펴보는 것을 목적으로 하였다. 먼저 제작배경은 17세기 무역도자의 양상과 특징을 간략히 살펴본 후 문인 수요층의 등장과 판화와 화보 보급에 따른 문인 양식의 출현 배경에 대해 고찰하였다. 또한 <天工開物>을 통해 청화 안료의 산지와 사용법에 대해서도 파악하였다. 다음 양식 변천은 문양 주제에 따라 산수와 인물고사, 기타로 나눈 후 각기 명말과 청초강희의 두 시기로 구분하여 실견 작품을 위주로 분석하였다. 이를 요약하면 다음과 같다. 우선 명말 청화백자에는 각종 화보와 판화의 영향으로 명대 후기 절파와 오파, 동기창과 항성모 등의 화풍을 모방한 산수화와 고사인물이 그려졌다. 거석과 斷崖, 卷雲, V자형의풀, 瘦麗한 인물, 윤곽선 위주의 산과 바위의 기하학적 표현, 선염법을 이용한 전채, 수평과 대각선 구도 등이 사용되었다. 문양 주제로는 당대 문인들의 취향을 반영하는 隱逸 사상이 주를 이루었다. 이와 함께 화보와 당시 유행하던 소설, 판화의 장면이나, 고사 인물과 시의 내용도 절파 화풍을 위주로 묘사되었다. 이후 청대 강희기에 접어들면서 청화백자에 나타난 절파와 거석 양식은 절정을 이루었고 바위와 절벽의 표현에는 보다 세밀한 피마준법이 주로 사용되었다. 대신 명말기 보이던 V자형 풀과 卷雲 표현은 점차 줄어들었다. 필치는 더욱 정교하고 세련되어졌지만 일부 형식화된 부분도 나타났다. 고사인물의 경우는 판화를 모본으로 西廂記와 같은 애정 소설과 귀비행락도, 사녀도, 죽림칠현 등이 더욱 정교하게 시문되었다. 배경의 화풍은 동 시기 청화백자의 절파 화풍과 유사하며 인물은 瘦麗하게 표현되었다. 결국 명말청초기 청화백자는 명말과 청초의 시기 차이에 따라 양식적 변화와 각기 독특한 예술세계를 보여준다는 데에 도자사적 의의를 둘 수 있다.
Abstract
This article examines the manufacturing background and the stylistic changes of the Chinese blue and white during the late Ming and early Ching dynasty. During that time(1630-1680), Chinese Blue and White were made mainly at the private kiln rather than the imperial one in the Jingdezhen because of the political unstability. As for the manufacturing background, the characteristics and the stylistic change of the trade vessels were primarily studied. And the appearance of the literati consumers and the literati style on the blue and white were explained. The former was supposed to be influenced by the economical boom and political turmoil. The latter was affected by the painting album and the woodblock-printed books. Through the documentary survey, we could find the producing site of the cobalt pigment and how to use it. Next, stylistic change of vessel was investigated in several themes; landscapes, historical figurative, the rest. In the late Ming period, the literati scholar emerged as the consequent consumer of the blue and white instead of the imperial court. The landscape and figurative painting with literati taste were expressed on the ceramics. The geometric outline of mountain and banks, V-shaped grass, cloud ring, leaf border, thin and tall figure, blobby dot, horizontal and diagonal composition were successfully executed with fine shading and excellent touch. Several painting albums and prints were supposed to influence on the style of the blue and white. The design on the blue and whiterepresented the styles of the Zhe and the Wu painting school of Ming dynasty, especially one of Dongchichang(1555-1636) and Hsiangshengmo(1597-1658). The main theme of painting was the ideal of reclusion which reflected the literati scholar's ideology during the political and military turmoil period. And the narrative themes of the painting album and the prints were well exhibited with various means of depicting recession, a variety of graded washes. Entering into Ching Kangxi era(1661-1721), the stylistic changes of the blue and white happened even though same themes of previous period were designed on the porcelain. Fine parallel lines and the expression of "master of rocks" reached the peak . And the light and dark washes and diagonal organization of landscape painting were used to indicate the recession while V-shaped grass and cloud ring disappeared. The episodes in the Romance of the Western Wing and the Seven Sages were still popular theme and elaborately painted with strokes of the Zhe painting school. But the narrative theme like the fourteenth century novel, the Water Margin was less illustrated because of political reason. In conclusion, even though the period of the late Ming and the early Ching was short, the distinctive stylistic change of literati tastes such as the landscape and the figurative painting with painterly brush strokes was successfully done by the painter-potter.
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