元代陶磁文樣에 관한 硏究 : -with Particular to Celadon Wares from Sinan = The Decorative Designs of Chinese Ceramics of the Yuan Period
저자
金元東 (曉星女子大學校 美術大學 藝術學科)
발행기관
학술지명
권호사항
발행연도
1994
작성언어
Korean
KDC
230.000
자료형태
학술저널
수록면
123-164(42쪽)
제공처
소장기관
This paper deals with the decorative designs of the Yuan Period wi particular reference to the sources and symbolism of those designs on the celadon wares excavated from the seacoast near Sinan, Korea. Unlike the Song potters who were primarily concerned with elegance of shape and excellence of glaze, the Yuan potters showed a great interest n the surface decoration. The drastic change from the Song tradition was undeniably demonstrated in blue and white wares around the middle of the fourteenth century. As far as the decorative motifs of the celadon vessels from Sinan are concerned, the Yuan potters inherited most of the Song repertoire of decorative motifs which include peony, lotus, chrysanthemum, prunus, fish, dragon, key-fret etc. from various sources of Song ceramics, particularly from Ding, Cizhou and Northern celadon wares. This makes an interesting contrast with the decorative motifs of blue and white wares which the Yuan potters accommodated the non-Chinese designs to a significant extent.
The apparent changes, however, began to emerge during the Yuan period in designs as well as in technique of decoration and manner of execution. A significant change in designs is noticed by the fact that Yuan potters hardly used mallow, phoenix and combed patterns which were very popular in Northern celadon and Ding wares during the Song period. On the other hand, they introduced the flowers of the four seasons, the eight trigrams and the eight treasures, all of which were rarely use during the Song period.
At any rate, the majority of the decorative motifs of the Chinese celadon wares excavated off Sinan seacoast are derived from the flora and fauna of China. Floras include peony, lotus, chrysanthemum, prunus, orchid, plantain, camellia, litchi and other plant scroll designs : the faunas include fish and crane. Besides the native flora and fauna, lions were introduced as decorative motifs, probably through China's Buddhist contact with India. Two imaginary animals, the dragon and the phoenix, are also used, although the phoenix design only appears in the celadon wares in the handles of some mallet-shaped vases. As religious symbols, the eight trigrams, eight treasures and swastika are popular motifs on the Sinan celadon vessels.
The symbolism associated with these designs represents their wishes for longevity, wealth, health, fame, nobility, fertility, prosperity of descendents etc. As far as the symbolism of the motifs is concerned, each motif has an already well established symbolism by tradition based on its unique charactenatics or qualities, its homonyms or literary associations. For example, the peony traditionally symbolizes wealth, as it is often called fuguihua(富貴花). The lotus was closely associated with Buddhism as a symbol of purity, although its religious significance faded considerably during the Yuan period. Plantain symbolizes self-education on the basis of a legend that a poor student used the plantain leaves to writs on for want of better material. The dragon which is one of the oldest decorative designs signifies many different things such as the genius of strength and goodness the spirit of change, the productive force of moisture or rain, the emperor and the emperial authority, fertility and fame. Fish often symbolizes fertility and regeneration among other things, owing to the extraordinary reproductive powers. On the basis of the legend that the crane can live as long as one thousand years, it is associated with longevity.
The symbolism of some motifs is based on the association of homonyms. In the case of fish, the Chinese pronunciation yu 魚 "fish" sounds exactly the same as another word, yu 餘 which means abundance, leisure or wealth. Therefore fish are also represented as a symbol of wealth or abundance. In case of eight treasures and eight tirgrams, each of these emblems represents the auspicious religious or philosophical significance.
In this paper, the sources, variety and symbolism of these decorative motifs are discussed in detail with the specific examples of Sinan celadon wares which show these motifs. The discussion of the specific examples includes the variety of the given decovative motifs and the method of execution accompanied with plates and figures of the concerning designs.
another significant aspect of the celadon vessels from Sinan is that the Yuan characteristics are demonstrated in their new explorations with surface decoration in biscuit and iron-oxide or copper-oxide spots, robust shapes, heavy potting, and the large size of vases and plates which were primarily intended for the export markets. Especially due to the freedom from the fastidious prescription of patrons and emergence of mass-production, the Yuan potters eventually broke away from the traditional Song conons of taste. They explored the new direction of surface decoration with a sense of spontaneity and strength, using various methods of execution.
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