고려나전칠기의 조형적 고찰

• 영문명: Physical Features of Lacquerware of Korea's Goryeo Dynasty: A Study of Lacquerware Artifacts Now Preserved Outside of Korea
• 발행기관: 한국조형디자인학회
• 저자명: 정영환(Chung, Young Hwan) 전해운(Jeon, Hae Un)
• 간행물 정보: 『조형디자인연구』한국공예논총 제11집 1권, 1~23쪽, 전체 23쪽
• 주제분류: 예술체육 > 미술
• 파일형태: PDF
• 발행일자: 2008.03.30

영문 초록

Along with celadon and silver-inlaid bronze vessels, lacquerware of Korea's Goryeo Dynasty epitomizes the splendor of that period's artistry and craftsmanship. Goryeo najeon lacquerware is highly regarded for embodying both elegance and beauty so well expressed through its superior artistry and technique of harmonious mother-of-pearl inlay. One noteworthy celebration of Goryeo lacquerware is found within the travelogue Pictorial Chronicle of Goryeo Dynasty, written by Xujin, an envoy from China's Song Dynasty to Goryeo Dynasty, who described being mesmerized by the finest intricacies of Goryeo lacquerware design. Ample examples of parallel shape and design among najeon lacquerware, inlaid celadon, and other artwork of Goryeo period suggest cross-pollination of influences of physical features and technique, perhaps culminating to a heightened state of expression across all areas of artistry of the period. Unfortunately for present-day artisans, brilliant Goryeo lacquerware artifacts were repeatedly taken from the Korean peninsula over the centuries during times of war, thereby leaving only a modicum of artifacts in today's Korea. As such, limitations and difficulties are sharply felt among Korean artisans in najeon lacquerware studies, shape design, and artistic succession. In 1984, the National Research Institute of Cultural Heritage had initiated a worldwide research on Korean artifacts preserved outside of Korea, leading to an investigation of artifact photos, materials, production techniques, design plans, etc. within the holdings of art museums and galleries in numerous countries, which later culminated into a sixteen-volume publication of the research findings. On the other hand, Korea Foundation, since 1986, had conducted a similar study on Korean artifacts by focusing on twenty-one museums in the United States and numerous museums in Japan, and the Foundation's findings were later compiled into a report. In their research approach of Korean artifacts in foreign museums, both the National Research Institute of Cultural Heritage and Korea Foundation comprehensively examined each of the artifacts. It is important to note that though this research shares a commonality with the research of the two aforementioned institutions in that the artifacts in discussions are identical, save for several pieces, this research, however, diverges with their research in terms of nature and purpose. That is, this research specifically focuses on Goryeo lacquerware artifacts now located in various countries by undertaking a compare and contrast analysis of these artifacts from various perspectives, in order to arrive upon an understanding of an archetype design of Goryeo lacquerware and analysis of its unique features. Among the Goryeo lacquerware artifacts preserved outside Korea, those that are the object of this study are outlined in Diagram 1. This study first describes the aforementioned artifacts through diagrams and examines each artifact's unique features. Thereafter, by examining a composite model, which integrates the various features cited in the study, further compare and contrast analysis traces evolutionary changes in lacquerware design, followed by an overall evaluation of the study endeavor. I hope this study, which explores the dimensions of shape, material, and design of Goryeo lacquerware, contributes in the discourse of indigenous artwork culture of Korea and its neighboring countries, as well as around the world. Moreover, I hope this study lends in some way to the advancement of understanding and appreciation for Goryeo najeon

목차

Ⅰ. 서 론

Ⅱ. 한국 옻칠공예의 역사

Ⅲ. 고려나전의 조형적 고찰

Ⅳ. 결 론

■ 참고문헌

키워드

Goryeo Najeon lacquered sutra boxes lacquered cases lacquerware shape lacquerware material lacquerware design