唐代 邢窯 자기에 보이는 서역의 영향과 특징

Abstract

The Tang Dynasty is the heyday of ancient Chinese social development when economy prospered and active foreign exchanges took place and it was also a time when ceramic industry made rapid development. During this period, facilities for producing porcelain were springing up everywhere and quantity and quality of production were immense and advanced. The most famous facilities for producing porcelain were Yue kiln representing the celadon of the southern region and Xing kiln representing the white porcelain of the northern region. Xingware was mainly comprised of celadon in the initial stage after it began to be manufactured from the Period of Northern and Southern Dynasty. However, in the late Northern Dynasty, white porcelain began to be produced for the first time. Afterwards, after undergoing rapid development in the Sui Dynasty, Xingware dominated the Tang Dynasty and became the center of white porcelain production in China. When the ceramic industry degraded due to large󰠏scale flood and war in the late Tang Dynasty, the industry ultimately came to a close in the period of Five Dynasties period. The Tang Dynasty was the period when Xingware was the most prosperous and the level of Xingware was at its climax and new chapter of Chinese porcelain development began at a time when development direction led by celadon transformed into the phase of “Southern Region is celadon and Northern Region is white porcelain”. Furthermore, the Tang Dynasty Xingware gave rise to unique sculptures after being influenced by culture from active exchanges with the Western countries through Central Asia and displayed internationality and openness of the Tang Dynasty. The origins of works produced after the influence of Western factors were classified into Sogdiana, Sasanian Persia and Byzantium based on their descent and changes in style occurred after cultural factors united in influx channel or development process. In China, the studies on Xingware began from a basic level after they began to be excavated from everywhere from the 1950s and comprehensive studies began to be conducted through excavated Xingware from the 1980s. However, Xingware have been treated as simple cases being compared with celadon of Yue kiln or being used along with Yue kiln and not a single comprehensive study on Xingware has been conducted until now. Thus, this study began to accurately look into detailed aspects of the Tang Dynasty Xingware. In particular, Western sculptures and exported Xingware reflect the Tang Dynasty’s global and open nature. This study is meaningful in the sense that it understood unique form and decorating style influenced by Western factors after analyzing their origins.