고려 중기 銘文靑磁의 유형과 성격

Abstract

This study uses five main points to examine and describe inscribed celadon produced in the mid-Goryeo dynasty: ①inscriptions including the production date, the use of each piece; ②poetry that influenced each piece; ③royal family matters; ④the names of potters and users; ⑤others. Inscriptions related to metal crafts and roof tiles, excavated from the palace sites, have been analyzed using new research methods; analysis results are presented in this study and serve to supplement, existing research or correct errors in outdated inscribed celadon interpretations. These new findings are concentrated on the following areas of study. First, this study reexamines the inscribed celadon produced during the reign of King Yejong (1105-1122). ‘Sangyakguk(尙藥局)’ inscribed celadon covered bowls were a representative piece during this time and were produced under the influence of ‘Sangyakgook’ inscribed white porcelain covered bowls, which were produced around Dingyao in the first quarter of the 12thcentury. The influx of Dingyao pottery reached a peak during the reign of King Yejong, and there is a high probability that ‘Gung(宮)’, ‘Bo(寶)’, and ‘Sung(成)’ inscribed celadon began to be produced at this time. Second, this study proposes that ‘Gung’, ‘Bo’, and ‘Sung’ inscribed celadon pieces may have been used by the royal family. Considering the financial source of the ‘Bo’ and that the financial decisions of each palace of the royal family were made independently from one another, it stands to reason that each palace procured its own celadon, distinguished by the inscription on each piece. In particular, King Yejong held an annual congratulatory ceremony at Gonsung Palace(坤成 殿), which rose in importance politically after the investiture of King Yejong’s mother as Queen Dowager. In light of these important historical facts, evidence suggests that ‘Sung(成)’ inscribed celadon was produced as gifts and goods for the King and his mother and were used in Gonsung Palace. Since ‘Sung’ inscribed celadon, which includes the subset of ‘Eogeon(御件)’ inscribed celadon, was excavated from the kiln site of Sadangri in Kangjin no.7, research indicates that the kiln site of Sadangri no.7 was the kiln that produced celadon specifically for the King and Queen. Third, this study examines the production date of each celadon piece, inscribed with the name of the craftsman, and estimates that the pieces date back to the mid-12th century to the early 13th century. These dates are based up on identification of Prunus Vase and Kundika using sandy fire clays used as firing trivets. This study also suggests the probability that the craftsmen of pieces reviewed were both Buddhist monks and common people under temples. This supposition is based on comparison of celadon inscriptions to inscriptions from metal crafts and excavated roofing tiles from Manwoldae(滿月臺), the royal palace of the Goryeo Dynasty, located in Gaesung(開成). Fourth, the poetry inscribed on the celadon reviewed are identified as dating back exclusively to the mid-Goryeo period, which is when the influence of Tang poetry can be clearly seen. The phenomenon of poetry-inscribed pottery most likely stemmed from the introduction of the 『Finest Blossoms in the Garden of Literature(文苑英華)』, a massive collection of Tang poems and improvisational writings that were popular in the King Seonjong(宣宗 1083-1094) era. This prevalence of poetry-inscribed celadon highlights the importance of some literary circles in the Goryeo dynasty placed on poems and improvisational poetic writing.