고려 12세기 청자 화훼절지문과송대 정요 자기의 영향

Abstract

Scholars in Korea and China have conducted research on the various decorative motifs found on celadon. However, previous studies do not consider or examine the specific elements that can be used to identify and differentiate between designs that are visually similar and often confused. Two such examples are the moran (牡丹, moutan peony) and chagyak (芍藥, Chinese peony) designs as well as the hwŏnhwa (萱花, daylily) and yŏnhwa (蓮花, lotus) designs. Therefore, this study aims to provide a comparative analysis of floral motifs that decorate Goryeo celadon, especially in terms of their composition. In doing so, it becomes evident that there is a need to establish a classification system, which can be used to generate names for different designs and motifs that clearly specify the flower depicted in the decoration of Goryeo celadon. Likewise, this article focuses on the chagyak motif, which was often mistaken for the moran flower. According to historical records, the chagyak design was not only a decorative motif, but also a symbol for Chungsŏsŏng (Central Secretariat), a central government office of the Goryeo Dynasty. Additionally, one must further consider the hwŏnhwa design in its various forms. Though it was erroneously categorized quite frequently due to its similarity to the yŏnhwa design, this does not change the fact that the hwŏnhwa design had great influence on Goryeo celadon. The Ding ware of the Song Dynasty and celadon from the Goryeo period were both decorated with hwahwejŏlchi (花卉折枝, flowering branch) designs that were similar in terms of composition. However, there were clear differences in the methods used to apply such designs. Ding ware was decorated using the fine-line carving (劃花) technique, which was similar to the incision (陰刻) technique. On the other hand, Goryeo potters chose a method that allowed for the simultaneous use of sculpting techniques in addition to the application of decorative motifs. Moreover, there is a distinct contrast between the production of Goryeo celadon with hwahwejŏlchi designs made in the style of Ding ware before and after the mid-twelfth century. One of the largest contributing factors to this divergence lies in the decorative motifs of Goryeo celadon. The incision (陰刻) and molding (壓出陽刻) techniques were used in tandem to decorate Goryeo celadon throughout the first half of the twelfth century, and the use of white fire clay or silica spurs were not decisive factors in determining the quality of celadon. This was also a period of experimentation when foreign elements were actively adopted, transformed and applied to Goryeo celadon in various ways. For example, the composition of designs found on Ding ware was disassembled and reorganized into new arrangements, or there were changes made to the application method of decorative elements. However, after the mid-twelfth century, the form of the chŏryo (折腰) dish rim indentations reached the last stages of development, and this particular type of dish started to be decorated with the moran and chagyakjŏlchi (芍藥折枝, flowering branch with Chinese peony) designs using the molding technique until the early thirteenth century. Finally, after examining several instances of the term ‘Dingqi zhidu (定器制度)’ in Xuanhe Fengshi Gaoli Tujing (宣和奉使高麗圖經, Illustrated record of the Chinese embassy to the Goryeo court in the Xuanhe era) by Xu Jing (徐兢, 1091-1153), I have come to the conclusion that the term refers to the various aspects of Ding ware such as size, form and production standards. In conclusion, ‘Dingqi zhidu’ gives a faithful and truthful account of the significant influence of Ding ware on the Goryeo celadon created during the first half of the twelfth century.