본 연구는 근대성에 대한 인식과 전통에 대한 단절 혹은 계승을 동시에 겼으며 성장해 온 일제강점기 도자의 성격과 그 역할을 밝히는 것에 목적을 두었다. 이를 위해 강점 당시에 시행된 도자정책들이 일제 식민정치와 어떻게 부합되었는지를 분석하는 한편, 이 정책들이 생산 구조를 어떻게 변화시켜 갔으며 파생된 문제점이 무엇인지를 분석해 보았다. 또한 이글은 식민 통치기구의 도자정책들이 '백자생산의 쇠락' 그리고 '일본 양식의 저변화'와 '서구 제도의 이식' 등과 관련되어 있다는 사실에 근거하여 이 기구들을 중심으로 형성된 체제를 각 시기와 정책에 따라 분석, 연구한 것이다. 일제강점기 도자 공예는 식민정책 하에 형성된 다양한 도자정책으로 제작기술과 생산 그리고 수요, 공급자의 위치 등에 있어 역사상 최대 과도기였다. 그러므로 이 시기 요업계는 일제에 의해 새롭게 창출된 이념과 제도 하에서 그에 부합되는 도자를 생산할 수 밖에 없었다. 이 변화는 19세기 말 분원의 해체로 본래 모습을 상실하기 시작한 조선백자가 개항 승인과 함께 국내로 들여 온 일본 생활자기들에 밀리면서 시작되었다. 그리고 식민 치하에서는 일제의 도자정책이 결부되면서 더욱 생산상의 병폐가 끊임없이 속출되었다. 특히 강점 초기부터 강도 높게 시행된 도자정책들은 생산품의 제작 구조에 곧바로 영향을 미친 것으로 파악된다.우선 근대의 대세였던 산업자기의 양산으로 조선백자는 더 이상 복원되거나 향상되지 못했다. 백자 생산의 무력화는 일제의 도자정책으로 인해 더욱 가속되었는데, 이는 일제가 자국의 경제기반과 효과적인 식민지통치를 위한 자본 조달을 위해 왜사기로 불린 일본 생활자기의 수입과 산업자기 생산을 더욱 확대한 것이 주요 원인이었음을 알 수 있다. 산업자기수요가 확대되자 지방가마를 중심으로 상사기, 옹기류 생산이 확대되었는데, 이 역시 도자정책에 따른 이 시기만의 특이한 현상이다. 또한 전통자기의 재현이라는 명목 아래 제작, 연구된 각종 재현품들은 한국 고유의 양식적 특징을 상실시키거나 진부한 답습만을 지속시켜, 진정한 의미에서의 복원과 전승문화를 이끌어 내지 못했다. 이외 창작도예는 조선미술전람회의 등장으로 인해서막이 시작되었으나 이 역시도 문화정치의 의도로 창설되어 새로운 도예장르를 개척해 내지 못하고 병폐들만을 남겼음을 확인할 수 있다. 이와 같이 일제강점기 도자 제반의 양상들은 조선총독부를 중심으로 시행된 도자정책들이 토대가 되었다. 특히 이 기구가 설립한 관련 연구기관들은 보다 체계적이고 구체적인 정책 구현에 다가갈 수 있는 원동력이 되었다. 그러나 이러한 정책들로 인해 나타난 제작 구조들은 근대화된 도자산업과 도자공예문화를 형성시키지 못하고, 개발을 통한 착취와 비정상적인 일본문화의 잔흔만을 남겨 놓았다. 이 연구를 통해 일제강점기에 상실되거나 새롭게 형성된 도자문화를 재인식하고 현재 어떤 경로로 우리에게 전달되고 있는지를 밝혀, 문제의식을 제기하고 올바르게 인식하는 시도로서 본 연구는 그 의의를 갖을 것이다.

This research aims to clarify the characteristics and the roles of the various systems of Korean ceramic art in the period of Japanese occupation when there was perception of modernity and also there were following and breaking with tradition at the same time. So in order to do that, this study analysed how the ceramic policies that were imposed at the period of Japanese occupation of Korea corresponded closely to the Japanese colonial politics, and how these policies got the aspects of ceramic production to change, and what the problems that were derived from the policies were.
And on the basis of the fact that the policies on the ceramics were related with the decline of the production of white porcelains and the increase of Japanese styles and the transplantation of Western systems, this paper analyzed and investigated the systems formed by the organizations for colonial rule, according to each period and policies. In the period of Japanese occupation of Korea, Korean ceramics went through the most transitional phase in the areas of producing skills and production process and the position of ceramic suppliers and buyers on account of many Japanese policies on ceramics.
So Korean ceramic industry could not help but produce ceramics suitable for the situation under the new systems and ideas made by Japan. This change began when Japanese porcelains that were imported since opening port became dominant over Joseon white porcelains that began to lose the earlier characteristics since Buwon(分院) had closed down in the late 19th century. And many problems resulting from the Japanese ceramic policies occurred frequently.
However, structural reform of ceramic production system was made in this period by introducing ceramic production system intended for a kind of ceramic industrialization, which allowed modern ceramic industry. Of course the change in this period was only superficial and Korean couldn't have an active role. But various kinds of products categorized as industrial ceramics began to be produced and this meant clearly that the way of production changed. It can be deduced that the advent of industrial ceramics deeply affected the overall demand system of all the ceramic products including non-industrial ceramics and there were diverse kinds of ceramic products according to the preference of users of each social status. Meanwhile, during this period, the ceramic activities in the provincial kilns contracted more than any other period.
So the quality of the products became worse than the last period of Joseon Dynasty. Consequently, it can be deduced that the gap between the industry ceramics and the provincial kiln ceramics got more widened. These were because Japan who led the reform of ceramic industry, more severely than in any other industry, imposed the policies that could be regarded as bases of colonial industrialization on the whole areas of ceramic industry such as ornamental ceramics, industrial ceramics, refractories, porcelain enamel ware and glass(硝子) etc. from the beginning of the occupation of Korea. And Japan carried out cultural politics under the pretence of preserving and restoring Korean cultural heritage.
These policies on ceramics were carried out mostly by Joseon government-general(朝鮮總督府) and a govermental department called Yiwangjik(李王職) and their research laboratories. Especially, new research and development of ceramics, systems, and producing methods that were definitely different from the previous period were made mostly in the governmental Central Laboratory of Indudstry(管立中央試驗所) according to the enforcement ordinance of Joseon government-general(朝鮮總督府). This Central Laboratory of Indudstry(中央試驗所) of government was a representative department that enforced ceramic policies of Joseon government-general(朝鮮總督府) thoroughly every about 10 years from 1910 to the year of liberation.
Therefore, it can be inferred that the work of this institute had direct effect on the ceramic trend in the period. The major works of Central Laboratory of Indudstry(中央試驗所) are as follows: Firstly, research on the actual conditions about the whole areas of the ceramic industry, and seeking solutions and plans to reform, and education in collaboration with Laboratory of Industry(工業傳習所) were gradually realized in the first period(1910s). Secondly, various policies that would promote the ceramic industry, on a foundation of the achievement of 1910s were introduced and the support for the provincial kilns was gradually started in the second period(1920s).
Thirdly, in the third period(1930s), plans to revive provincial kilns were carried out actively, but it didn't last long, and ceramic policies suitable for Japan's wartime were imposed since the middle of 1930s. Fourthly, the same policies as in 1930s continued in the fourth period. But there was difference between the two periods because the management of the laboratory suffered a setback as Japan's war situation deteriorated. And the policies of Joseon government-general(朝鮮總督府) were consistently enforced in the projects such as exhibitions, ceramic art education and examinations of historic remains.
The policies of YiWangJik(李王職) that collected relics of ceramics while managing Museum of Lee Dynasty(李王家博物館) and participated in excavations of ceramic kiln sites showed more interest in ceramics than in any other cultural properties. Especially YiWangJik(李王職) attempted to recreate traditional ceramics while managing Art Factory of YiWangJik(李王職美術品製作所). However, these policies of YiWangJik were enforced not for proper preservation, succession and restoration of Korean ceramic culture but for Japan's cultural politics, which resulted in various evils and stagnation in the development of Korean culture.
These harsh ceramic policies imposed from the beginning of the occupation of Korea began to affect the aspects of the ceramic production immediately. The recreation of Joseon white porcelain couldn't be progressed further. This incapacity to produce white porcelains was further compounded by Japan's ceramic policies because Japan produced industrial ceramics on a larger scale and exported their porcelains called waesagi(倭沙器) to Korea in order to raise their capital for their contry's economy and efficient colonial rule. As the demand for industrial ceramics increased, ceramics such as sangsagi(常沙器), onggi(甕器) were produced in a larger way, which was a peculiar phenomenon shown only in this period resulting from those ceramic policies. And the recreated ceramics that were made in an attempt to revive traditional ceramics didn't show the original unique qualities.
And the opening of Joseon Fine Arts Exhibition(朝鮮美術展覽會) was a prelude to creative ceramic arts and crafts. But because these exhibition were also held as part of Japan's cultural politics, creative ceramic arts and crafts in the exhibitions couldn't develop into a new genre and Joseon Fine Arts Exhibition only left maladies. As stated above, the policies from Joseon government-general and YiWangJik were the main sources of all aspects of ceramics in the period of Japanese occupation. Especially the governmental research institutes realized the ceramic policies in a systematic and specific way. However, they couldn't achieve modernized industry and culture of ceramic arts and crafts but only committed exploitation through development and left abnormal culture of Japan.
This study would have significance as an attempt to understand the ceramic cultures that lost or newly formed in the period of Japanese occupation and how it came to us and to raise consciousness on this subject and understand this ceramic culture correctly.