조선 분청사기‘ 귀얄문’에 나타난 직관적‘ 즉흥성’에 관한 연구

Abstract

Whereas ceramics all over the world were crafted using elaborate plans and contrivances atthe time, Joseon buncheong ware reveals the pictorial elements of abstract expressionismthrough intuitive ‘spontaneity’ that cannot be found in other countries. The purpose of thisarticle is to establish a new recognition of the value of Joseon buncheong ware by analyzingrandomized spontaneity in the gwiyal technique using Western and Eastern aesthetics. For this,this article studies the ‘spontaneity’ aesthetics of gwiyal decoration by analyzing the origin andcharacteristics of Joseon buncheong ware compared to Eastern Asia’s buncheong wares, andalso by looking into the ‘spontaneity’ emerged in Eastern art through Zen Buddhist painting andthe ‘spontaneity’ of abstract expressionism of Western modernist paintings. Dalmado, a typeof Zen Buddhist painting is closely related with gwiyal technique of buncheong ware in that itexpresses the ‘void’ ideology with one or two brush strokes without any artificial technique. Andavant-garde artists laid a theoretical basis of ‘spontaneity’ aesthetics through the ‘spontaneous’art of ‘lines’ to express their inner world. In conclusion, the common grounds of Eastern andWestern art with ‘spontaneity’ originate from the avant-garde innovativeness of denying thetraditions and order of art of the past and pursuing new art. Above all, it is rare phenomenonthat the avant-garde innovativeness starting from Joseon buncheong ware has succeeded tocontemporary Korean potter in the light of the general tradition of craft.