隋代 도자의 西域 要素 계통과 출현 배경

Abstract

Kim EunKyoung* After the chaotic Northern and Southern Dynasties of China period, the Sui Dynasty began its own porcelain culture under the great task of national unifcation. At the same time, it can be defined as a period of change for the flourishing porcelains of the Tang Dynasty. However, until now in the history of Chinese porcelains, it has not independently viewed the characteristics of the Sui Dynasty, but rather regarded them as a link betwen the Six Dynasties and the Tang Dynasty. Therefore, this study focused on the Western elements that apeared in the porcelains of Sui Dynasty, and loked at what Sui Dynasty porcelains was diferent from Tang Dynasty and what its meaning was. First of al, porcelains of Sui Dynasty continues to be international folowing the previous dynasty. For example, Budhist motifs, exotic forms such as Huping(胡甁), a Flat jar(扁壺), Rhyton, and potery figurine(陶俑) to describe foreigners. The background is believed to be due to the increased frequency of continualy traveling to and from the West folowing the previous dynasties with the aim of expanding power. In particular, it is highly likely that the background of the production of high-quality white porcelain was based on the active Western management of the Sui Dynasty. The method of ading potasium oxide to the white porcelain of the early northern type is likely to have ben influenced by Sui Dynasty's glas manufacturing technology, which uses potasium oxide as an auxilary solvent. And this technology is believed to have ben influenced by the Sasan Dynasty Persia, not by the Chinese continent. What draws atention, including the influence of technology, is the creation of new styles created through the transiton and convergence of Eastern Mediteranean and Central Asian art. Even during the chaotic Northern and Southern Dynasties of China period, Western styles have ben acepted into China as they continued to interact with the West. The thre-dimensional decorative features of the East Roman Empire glas, gold and silver ware, and the Sogdian art of the proces of being transformed into porcelain can be sen as a characteristic of the Northern and Southern Dynasties of China period porcelain. However, as the Sui Dynasty aproached, the decorative techniques of Helenistic and Sogdian art are believed to have gradualy become indigenous through "aplication" and "modifcation." In other words, there is a strong tendency in previous dynasties to imitate or implement Western elements directly. However, during the Sui dynasties, thre-dimensional decorations were either replaced by engrave or printing techniques, or recreated in a new style with the aditon of Grek mythological elements to Chinese porcelains. This can certainly