중국현대도예의 일체성과 개방성에 관한 연구 - 1950년 이후 태동기를 중심으로

Abstract

The contemporary Chinese ceramics started to develop in unique aspects under the influence of foreign art and industrialization on the inherent concept of craft as the political specificity of the planned economy of socialism and traditions of the ceramic history were converged after the launch of New China in 1949. Specialized art education came to be applied to ceramics, which used to be the subject of artisanship and inheritance, with the establishment of the Central Ceramic Art Institute in 1956. This study discusses a point that the uniform management of the socialist ceramic industry which emerged in the quickening period of the contemporary Chinese ceramics along with contemporary art education and openness toward other genres had a direct impact on the Chinese exclusive specificity of the contemporary Chinese ceramics. Cases in point for analysis include "Reign of Peace(盛世如意)”, the porcelain used for 2014 APEC banquet, and "Mr. Sea(海公子)”, an animation with the appearance of ceramic dolls, which have been spotlighted in the Chinese ceramic circles recently. The contemporary Chinese ceramics is unique in that Chinese distinctiveness came to be formed driven by several factors: the close cooperative ties between artists and the birthplace of porcelain making, which originated from the uniformity in the socialist regime; avant-garde expansion of ceramics as a medium of contemporary art; and the commitment for the restoration of traditional cultures. Against this backdrop, it can be discovered that ceramics of daily usage are included in the contemporary Chinese ceramics, traditional ceramics, industrial ceramics and artistic ceramics have such characteristics as uniformity and openness, and they strike a balance through mutual cooperation.