17~19세기 명․청대 박고문(博古紋)자기의 유행과 동아시아로의 영향

Abstract

The purpose of this thesis is to examine Chinese ceramics featuring the 'Hundred Antiques (bogǔ) motif. A detailed analysis of the 'Hundred Antiques' Ceramics focuses on production background as well as changes in the types and formal characteristics of this ceramic genre by period. Additionally, special attention is paid to how the 'Hundred Antiques' Ceramics of China influenced Joseon and Japanese ceramics from the seventeenth to nineteenth centuries. The 'Hundred Antiques' Ceramics refer to the Chinese wares produced visual representation of this aspect of scholarly interest once prevalent in Ming and Qing society. For the purposes of determining the characteristics unique to the bogu ceramics of the seventeenth and nineteenth centuries, the individual components of the design are first categorized as iconography representing ancient objects, munbang cheongwan (文房淸玩 well-equipped scholar’s study), or auspicious signs according to subject matter. Based on the combination of these elements and their overall composition, the bogǔesigns are then separated into four categories (I, II, III, IV). Through an examination of each group’s production period and style, it was possible to ascertain the characteristics of the 'Hundred Antiques' ceramics produced in the seventeenth and nineteenthcenturies. The ‘Hundred Antiques’ Ceramics originating in China affected the ceramics of Joseon and Japan, which were in the same sphere of Chinese character culture. Through a comparative analysis of existing works, this thesis confirms a dynamic of influence between the ceramic industries of China, Korea, and Japan. In the case of Joseon, it served as a major medium for connecting China's predilection for ancient objects, such as the taste for bogu in the late Joseon Dynasty, and in the same context, it was transformed into its own pattern in combination with folklore elements in the nineteenth century. Unlike Joseon, Japan was accepted and transformed in the European market in the seventeenth to nineteenth centuries, and it became a characteristic of Japanese exporters with a Japanese aesthetic. As such, the fact that the timing and path of accepting the 'Hundred Antiques' ceramics in Joseon and Japan, imitation and transformation patterns are different suggests the meaning of significance in East Asian ceramic culture.