朝鮮後期 靑畵白磁 山水文樣의 展開樣相

Abstract

This paper deals with the cultural and ideological background of the landscape designs on Joseon blue and white porcelains in the late Joseon period, and involves the government painters in the official kiln. Dongjeongchuwol-design (洞庭秋月文), painted the full-moon night scene of Dongjeong lake on Joseon blue and white porcelains, was in fashion in the late Joseon period. It didn't refracted the entirely realistic subject comparing to the painting circles at that time, but the principle and aesthetic appreciation of Royal family who leaded the official kiln. And Sansuinmul-design (山水人物文), painted the man of great caliber in the ancient history with mountain scenery, was similar to the painting manuals such as Gossihwabo (顧氏畵譜) and Dangsihwabo (唐詩畵譜). It was a counterpart of Dongjeonchuwol-design on Joseon blue and white porcelains in the late Joseon period. These designs were painted into ogival-shaped frame (菱花窓) on the blue and white porcelains in most cases, and adjusted to shape of porcelain. The landscape designs on Joseon blue and white porcelains became stereotyped, involving subjects of folk painting in the late 18th Century and the early 19th Century. This essay will be just a start to research into the landscape designs on blue and white porcelains in the late Joseon period, even though we seldom find works providing strict chronology among some works to the public.