조선시대 도자기 그림에 대한 新解釋 -海中神山ㆍ三神山 그림-

Abstract

The icons of the God mountain in the sea including the Three-God mountain are as diverse as pictures of the porcelain in the 18th century of late Joseon which was introduced in this study. The center of it is the island (the mountain), and there are also things of nature[物象] like animals [bird, deer, turtle, fishes(fish, crab, shrimp)], plants (lotus flower, pine tree, bamboo), water waves, clouds, ships (vehicles), houses (including pavilions), figures (immortals) and so on. The typical appearance (Fig.12) is very connected to the Landscape Design of Earthenware Patterned Tiles from Oe-ri, Buyeo (Fig.3)~(Fig.5) and the Gilt-bronze Incense Burner of Baekje from Neungsan-ri, Buyeo(Fig.1). In other words, the mountains are surrounded by the rocky cliffs with a sharp slope on the sea wave, and in the background of the mountains, animals (birds, wild animals), plants (pine trees, etc.) are represented. In addition, when mountains are placed in a far distance, the scenes of calling a boat for leaving or docking it there are drawn and when mountains in a near view,the things of nature are shown in more detail. And in some cases, the mountains are omitted and only objects from land or water are centered. There are many kinds of objects, but sometimes several kinds expressed. The icons of the God mountain in the seas including the Three-God mountain in Korea are also varied in history and cultural heritage as well as the ceramics of the Joseon Dynasty. The origin of this image is back to the Neolithic and Bronze Age era. By the Three Kingdoms period, the Silver Cup from the Tomb of King Muryeong, Gongju (Fig.2)(Fig.2-1),the Landscape Design of Earthenware Patterned Tiles from Oe-ri, Buyeo (Fig. 3)~(Fig.5) and the Gilt-bronze Incense Burner of Baekje from Neungsan-ri, Buyeo(Fig.1) show very exquisite manners. As shown in the image (Fig.12), this fluent flow continued without any change until the nineteenth century, the latter part of the Joseon Dynasty. The conclusion of this study that there are similar icons of the God mountain in the sea on the paintings of the Joseon porcelains is the first announcement. This result will lead to another angle to view the paintings of the Goryeo and Joseon porcelains as a historical and cultural heritage born from the tradition and foundation of the original belief, thought, and religion of Korea. I also expect that the misconceptions will be corrected in the existing academical researches, which are based on simple landscape paintings(the paintings of the Han River and surrounding scenery around the Gwangju temple in Gyeonggi province, Korea or the paintings of Eight Views of Xiaoxiang ,The conclusion of this study that there are similar icons of the God mountain in the sea on the paintings of the Joseon porcelains is the first announcement. This result will lead to another angle to view the paintings of the Goryeo and Joseon porcelains as a historical and cultural heritage born from the tradition and foundation of the original belief, thought, and religion of Korea. I also expect that the misconceptions will be corrected in the existing academical researches, which are based on simple landscape paintings(the paintings of the Han River and surrounding scenery around the Gwangju temple in Gyeonggi province, Korea or the paintings of Eight Views of Xiaoxiang , the southern part of China) or still life without any clear ground, and which have been interpreted focusing on Buddhism or Chinese influence.