한・중・일 도태(陶胎)칠기의 표현기법

Abstract

Background This study focused on the use of lacquer and painting techniques as materials to express the artist’s essence in ceramics as well as the need to understand and interpret them as artistic media. Methods This study investigated the historical backgrounds of lacquer techniques related to Dotaechilgi (lacquered ceramic ware) and expressive techniques by country (Korea, China, and Japan) by observing examples of techniques applied to lacquer and lacquer-on-ceramic as materials and media and examples and discovered relics using such techniques. Result Najeonchilgi (lacquerware inlaid with nacre) is based on the Pyeongtal technique popular in the Tang dynasty, which was introduced to Unified Silla in the 8th century, resulting in the creation of Goryeo Najeon (Goryeo Dynasty Najeonchilgi) through a skilled process. Goryeo Dynasty Najeonchilgi was characterized by repeatedly arranged expressions, and the Joseon Dynasty Najeonchilgi had larger pictorial patterns allowing more freedom. Goryeo Dynasty Najeonchilgi marked the golden age of lacquerware culture and was widely distributed in East Asia, although it was most developed at home. The Jochil technique, in which a pattern is engraved or embossed after a thick layer of lacquer has been applied, was developed in China, while the Shihwa technique, in which art is painted using lacquer and a colored powder such as gold powder is sprinkled before the lacquer dried, was created in Japan. The lacquer solution possesses a latent beauty, with natural, crafty, and artistic appeal as a material. The value of Dotaechilgi as an artistic medium is reflected in the expanded potential it afforded in scope and expression. Conclusion Each country and period were studied, resulting in the identification of representative Dotaechilgi lacquer expression techniques in Korea, China, and Japan. Through the analysis of historical values and significant cultural assets, it was demonstrated that a ceramic craft could be spread as a domain and medium.