조선 말 청화백자에 장식된 외국산 직물 문양의 연원과 유입과정

Abstract

Among the patterns of blue and white porcelains fabricated in the late Joseon dynasty around the 19th century, there are some foreign fabric patterns such as swaskika, wave, hexagonal, and coin patterns. These fabric patterns usually appear on the wide and flat surface of various white porcelains or in the positions of supplementary patterns. They can be easily found in foreign ceramics such as China, Japan, and Europe. Therefore, various kinds of textile patterns shown in white porcelain from the Joseon period are seen as foreign elements newly adopted from exchange with other cultures in the ceramic field. To examine their origins and transmission process, research in this paper focuses first on the fabric patterns found in various Chinese crafts. It has been confirmed that fabric patterns were widely circulated in illustrations and scriptures, and became reference to produce various artifacts. It has also confirmed the possibility that the producers’ mobility from one place to another and change in the production mode in accordance with the times spurred the spread of the patterns. On the other hand, it has been noted that various patterns of fabrics are prominently displayed on porcelains produced for export in the Ming and Qing periods. They are often found in porcelains made at Jingdezhen for export to Europe and Japan, such as Kraak, wucaiciqi(五彩瓷器) and shonzui porcelain(祥瑞瓷), implying their association with the taste of outside consumers. Particularly, the circle of the Japanese tea ceremony, which favored Chinese-made fabrics, seemed to be able to reflect their taste of patterns in porcelain when they placed a large amount of ceramics order to China. Finally, the textile patterns have been traced in the Joseon blue and white porcelain. A comparative study of actual materials confirms the possible influence of the decorational trend of Japanese ceramics in the late Joseon period. It also confirms that the elements formed by exchanges in ceramics between China and Japan after the 16th century continued to be imitated and recreated in Japan, which might have then flown into Korea during the 19th century. This paper has significance in understanding through the fabric patterns various schemes of foreign style appearing in white porcelain at the end of the Joseon dynasty. It is also meaningful for identifying the status of the Joseon blue and white porcelain in the East Asian ceramic history by addressing it from the viewpoint of the history of ceramic exchange in East Asia.