1980년대 이후 경덕진 민간도자회화 발전에 관한 연구

Abstract

Jingdezhen of China produced royal kiln-based sophisticated blue-patterned ceramics in the Ming Dynasty and Qing Dynasty as ceramic paintings started from under-glazed iron paintings from Cizhouyao of the Yuan Dynasty. In the Republic Period of the late Qing Dynasty, there was a new trend that individuals’ natural desire for creation was Zhushanbawu, and ceramic paintings in Jingdezhen developed into an art genre. Artists who studied in China and returned to Korea after communization, including Zhudanian(1916~1995), Meijianying (1916~1990) and Linfengmian(1900~1991) paid attention to traditional folk art, stirring a creative movement to stay away from the stereotyped royal kiln-based ceramic decorations. Meanwhile, Jingdezhen Porcelain Institute which was promoted into a higher art education institute recruited as an invited professor, attempting to introduce art education which focused on artistic values including the art history and art sculptures, away from the previous technique-oriented training. The Chinese contemporary art which grew due to the Stars art collective in 1979 and the Art Movement of 1985 resulting from China’s reform and opening up further re-invigorated the sense of creativity towards novelty of the contemporary ceramics of China. This flow generated the representative ceramic style of the 20th century – Jingdezhen’s private ceramic paintings of the 1980s – despite the uniform management and production of art craft of the Chinese government resulting communization. This study is significant in that it looks into the development background and creation tendency of Jingdezhen’s private ceramic paintings which were developed with a focus on private ceramic paintings after the 20th century. Chapter 2 of this study delves into how Jingdezhen’s ceramic art had grown based on private ceramic paintings in the 1980s after the 1940s, assuming that Professor Shiyuren(施于人;1928~1995) to represent universities, Qinxilin(秦锡麟;b.1942) of Jingdezhen Porcelain Institute and Zhulegeng(朱乐 耕;b.1952), a pupil of Professor Shiyuren were the artists that created a major style of contemporary ceramic paintings in Jingdezhen after Zhushanbawu in the modern period along with the causes and rationale. Chapter 3, meanwhile, analyzes the works of the three artists as historic documents in order to review the creation tendency and features of private ceramic paintings in Jingdezhen after the 1980s, thus estimating the characteristics of the style and expression of private ceramic paintings in Jingdezhen after the 1980s.