국보 제 263호 白瓷靑畵山水花鳥紋大壺에 대한 연구(Ⅰ) = A Study on the "Paekchach' oˇnghwasansuhwajomundaeho"(白瓷靑畵山水花鳥紋大壺), National Treasure No. 263(Ⅰ)

다국어 초록 (Multilingual Abstract)

The So˘ngrihak(性理學) was not only a scholarly base of the higher class people but also a practical standard of their lives, by which lots of ritual ceremonies were performed. The ritual ceremonies were held in the Sadang(祠堂:ancestral shrines), the Hyanggyo(鄕校:Confucian local schools) and feast and meeting places of the higher-class families as well as the royal family. White porcelain ritual vessels were mainly used in the ritual ceremonies. The long and big white porcelain jar with the design of landscape, flower and bird in underglaze blue were frequently mentioned in the records of manners of ceremonies of shown in the drawings and paintings in Choso˘n(朝鮮). It was usually used as a vase. Specifically, the design of phoenix and peony, a couple of cranes and plum flowers with grass on this jar are the same as those in the ornaments and accessories used in the palace, which tells that this jar must have been used in the royal ceremonies. Its body shape is a standard example of white porcelain jars in underglaze blue produced in the 18th century, with the straight mouth, the full-rounded main body, the long stature with decreasing width toward the bottom. Such long and big jars had been made through the whole period of Choso˘n and there was only a slight timely difference in the body shape. In the 18th century, various subjects were frequently drawn in underglaze blue on the white porcelains such as the specific design of Tongjo˘ngch′uwo˘l(洞庭秋月:the lake with a fall moon), O˘ch′onso˘cho(漁村夕照:the sea village with a setting sun), phoenix, peony flower, crane plum flower, pink, weird rock found in this work. White porcelains were characterized as its genuine white color with wide empty parts even after the design were given. It was from special artistic thoughts of Choso˘n people and the design also had a special type of Choso˘n. In the early 18th century, the design was given in simple style, but they became more complex in the mid 18th century as those shown in this work. The landscape began to be decorated as a main pattern with no sub-design in the first half of the 18th century and changed into the style of various subjects with several sub-design. In the second half of the 18th century, stereotyped design in rough style were given in full scale on the body.
The present work has two main types of design, a landscape and flowers with birds. The landscape can be estimated as an independent work considering its style and structure. Such landscapes as Tongjo˘ngch′uwo˘l and O˘ch′onso˘kcho belonged to the Sosangp′algyong(瀟湘八景: Eight Landscape of Sosang). Porcelains with those design with stereotyped subjects were made to the taste of the royal or higher-class people in the 18th century. This reflects their scholastic taste for the unworldliness and aestheticism which newly prevailed through the influence of foreign culture after the period of the "True-View" landscape painting(眞景山水). Moreover, the design of this work can be considered to have close relations with the introduction of Hwabo(畵譜:picture manual). The producing style of the landscape is very similar to that in the Hwabo usually made in woodblock print, from which we guess it was a result form making them in reference to the books. We can find very similar design in the 18th century fine art works or white porcelains in underglaze blue, which tells us that the Hwabo with stereotyped subjects offered not only fine art subjects to the official artists or high-class scholars but also references of the design on the ceramics.
The Ponghwangmorando(鳳凰牧丹圖:the design of phoenix and peony) and the Ssanghakmaehwach′odo(雙鶴梅花草圖:the design of crane couple and plum flowers with grass) were designs which reflect the values of the then society. The design of crane and dwarf tree, which shows the influence of Ching(淸), reflects the tendency of enjoying safety of life and property and the higher class scholars' literary taste of unworldliness and estheticism. Specifically, the phoenix design with weird rocks is the same as that frequently found in royal ornaments, embroidered back and breast insignias, adornments and folding screens, which suggests that this work was used by the royal family. Such designs seem to have a model pattern. They are in an excellent realistic style with an earnest description in detail which cannot be seen in any other porcelain work. we can estimate form this that this work was produced for a special purpose as a best masterpiece.
This work was produced by best artists of that time. This work reflects a new taste of higher class scholars in the later Choso˘n period and is estimated to have been produced not only as a ritual vessel but also as an ornaments. This work with unique design and majestic body shape is undoubtedly an important material for the study on the general tendency of the society, culture and art of the 18th century Choso˘n.

목차 (Table of Contents)

• 1. 머리말
• 2. 백자청화산수화조문대곤의 기형연구
• 3. 백자청화산수화조문대곤의 문양연구
• (1) 洞庭秋月圖
• (2) 漁村夕照圖
• (3) 鳳凰牧丹圖
• (4) 雙鶴梅花草圖
• (5) 文字圖와 從屬文
• 4. 백자청화산수화조문대곤의 산수문의 회화적 특징
• 5. 맺음말