통일신라토기와 당도자로 본 나당교류

Abstract

The Tang sancai is a representative ceramics that enables us to examine the aspects of exchange in culture and products between Silla and Tang. From the literature records showing the peak period of exchange activities between two countries and the fact that the Tang sancai is being typically excavated from the main specific area within the royal district of Silla, it is highly likely speculated that those were brought into Silla by the delegations, Buddhist monks seeking enlightenment or trading merchants at the first half of the 8th century. It was estimated that several ceramics of Tang sancai, such as a jar with three legs excavated from Choyang-dong in Gyeongju, an earthen trumpet with three colors excavated from Wolsung moat and a pillow with three colors excavated at near the Hwangnyongsa temple site, were fabricated at the Hwangya kiln located in Gongyi-shi of China in terms of the shape and technique of fabrication. The earthenware with stamper design, which can be an archeological sample to represent Silla era in the unification period of three states, were greatly popular in the first half of the 8th century in line with influx of culture from both Tang dynasty in China and Western region countries. Such influxes of foreign culture and products influenced the variation of unique earthenware culture of Silla era. Moreover, it allowed us to identify an influencing relationship through the similarity in both the foreign design patterns and the shape attributes of earthenware, which were appeared in the conventional earthenware with stamper design of unified Silla, such as cloud patterns and four pieces of flower pattern of Tang in China, as well as a bowl with replicated entrance, a jar with three legs and a bottle for spitting. However, the earthenware with three colors or ceramics, which show the stamper designs and shape of Unified Silla, were not verified and Silla stuck to the earthenware with stamper design, which show gray-blue color without glaze, even though they possessed a fabrication technique of colorful earthenware using the glaze with a lead before unifying the three states. From such context, it can be understood that Unified Silla selectively accommodated the harmonious foreign culture with sticking to conventional unique culture of Silla. In addition, it is possible to postulate the international interoperability in ceramic transformation of Tang era in China from the fact that the earthenware with stamper design of Unified Silla exhibited a decrease in colorful patterns and an increase in a tendency of no pattern in line with declined period of the Tang sancai fabrication after a rebellion by An Lushan at China in the middle of the 8th century. Eventually, such an exchange of culture and products would be probably formed through a specific trading route and when postulating the situation through Tang sancai of China, it was speculated that the three colors ceramic route would be formed through canals, watercourses along the rivers and land routes that are closely connected to Changan, Luoyang and Yangzhou regions because many Tang sancai with various shapes and excellent quality were excavated in those places.