일본 고세토(古瀨戶)에 보이는 수입도자의 수용 = Acceptance of imported Ceramics seen in Koseto, Japan

다국어 초록 (Multilingual Abstract)

Ko Seto (古瀨戶), or Old Seto, is a term referring to the glazed ceramic ware produced in Seto kilns in Japan during the medieval times. It is a well known fact that Ko Seto kilns produced a great variety of vessel types under the influence of the vessels from Southern Song.
The difference between the techniques of the two was so great, however, that there has been a lot of controversies on their relationship. All the vessel types of Ko Seto underwent changes on their own, but it would be a subject to be handled after a discussion of the oldest form discovered so far. In this study, I will present a general information of the changes Ko Seto underwent before proceeding to the relationship between the original and the copied by taking one of the representative Ko Seto vessels copied from the original imported from China, and the influence of the Chinese ware upon the Ko Seto vessels.
The development of the Ko Seto ware can be divided into three stages: the First Stage (FS, late 12th - late 13th century) marked by the vessels coated only with ash glaze; the Second Stage (SS, late 13th - mid 14th century) by the decoration with iron glaze and a wealth of designs; and the Third Stage (TS, late 14th - late 15th century) by the decline of decorative designs and the mass production of table ware such as bowls, dishes, and plates. The first of the three stages is then subdivided into four phases (PI to PIV) of which the first (PI) is further subdivided into two, a and b, and the second (PII) into three, a to c. The second stage is also
subdivided into four phases (PI to PIV), and the third stage into five phases (PI to PIII, Old IV, and New IV). The entire history of Ko Seto started between the mid and late 12th century, a period characterized by the unglazed jar with four lugs, and ended with the Ogama (大窯) stage (late 15th to early 17th century). One of the most famous vessels representing the Seto ware under the influence of imported celadon works, the jar with four lugs, was produced from the earliest to the very last phase. The four-lugged jars produced in the early phase are marked by the narrow and low foot, an inverted trapezoidal or triangular cross section, unglazed surface, and three-tier horizontal lines decorating the upper body. Vessels of the Ia phase of the First Stage feature a wide, flaring foot, oval body, thick and short neck, and everted mouth rim while those of the Ib phase a high and narrow foot, globular body with voluminous shoulder, and narrow and high neck. Meanwhile, the white jars with four lugs excavated in Japan are largely divided into four Groups, GI to GIV, and their appearances suggest that the FS PIa vessels are copied from the white ceramic jars with four lugs in GII and the Ib vessels from those in GIII. The vessels after the FS PII are, however, distinctively different from the white ceramic jars with four lugs in the GIV, revealing that they had taken their own route of changes. Also, some of the early jars with unglazed surface show the foot and body similar to those of the vessels in Group II although the shape of the lugs are hardly seen in the white ceramic jars with four lugs. The production of Ko Seto bottles started from the Ib phase of the First Stage and continued until the New IV phase of the Third Stage. The bottles made in this period are classified into three groups (Bottle Type I, Bottle Type II, and Bottle Type III) according to their shapes of which the Type 1 vessels are marked by narrow waist and divided into two subgroups (A and B) according to the degree of narrowness of their waist. The vessels of the A subgroup of the FS PIb feature the inverted mouth and the B subgroup the rounded lip. The vessels of the FS PIIa also came to have rounded lips and later added by raised and angled bands. The Type II bottles in the FS PIb came to be marked by a raised band around the neck's middle part, a step around the border between neck and shoulder, the rounded lip, and raised and angled bands. In the SS PI period, there appeared vessels with the raised band around the neck's center and these gradually established themselves as a dominant form. The III bottles that appeared in the TS PI period are known to have copied from the Japanese lacquer bottles. The white and blue plum bottles excavated in Japan are divided into Type I, marked by a straight body with the neck encircled by a raised band, and Type II, the everting neck and mouth and narrow lower body. By comparison, Goryeo plum bottles feature a thinner foot, narrower waist, and more elegant curves of the body. It is highly probable that the bottles A of the Type I copied the Goryeo celadon plum bottle while the bottles B the white and blue plum bottles of Type II, the Type II bottles with a raised band around the neck the blue and white plum bottles of the Group I, and the Type II bottles with a raised band around the neck that appeared again during the SS PI the Chinese plum bottles with dark brown glaze. The wide-mouthed jars of Ko Seto began to be produced during the SS. The jars of the SS PI are characterized by a long body with flat bottom, and short neck while the jars of the SS PII by an upright, taller neck, and those of the SS PIII by an even taller neck with slightly inverted mouth. The wide-mouthed jars of Ko Seto are believed to have been related with the ash-glazed celadon jars, and the Type II bottles of the SS PI with the brown-glazed vessels. The celadon jars are characterized by a tall foot, dish-shaped lid, and body elaborately decorated with lotus petals carved in low relief while the brown-glazed wide mouth vessels features a low foot and the body decorated with an incised peony and vine design. The decoration of the surface and the shape of the base suggest that the Ko Seto jars had imitated the brown-glazed vessels. The Temmoku tea bowls of Ko Seto are divided into four groups. The bowls of the Group A in the SS PI period are characterized by the foot made separa

목차 (Table of Contents)

• 서문-고세토란 무엇인가
• 1. 고세토의 변천(편년표 참조)
• 2. 사이호에 대하여
• 3. 병류에 대하여
• 4. 광구호에 대하여
• 5. 천목다완에 대하여
• 맺음말-수입도자 수용의 여러 단계