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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2018.12
- 수록면
- 29 - 59 (31page)
- DOI
- 10.46834/jkmcah.2018.12.36.29
이용수
초록· 키워드
오류제보하기
This paper studies the perception and periodic changes in the assessment of Korean ceramics in Modern Europe. Accordingly, the paper also focuses on the background circumstances regarding the level of awareness on the subject of Korean ceramics in Europe at the time. This is accomplished through the study of various European publications including books, theses, catalogues, etc. printed and circulated from the late 19th century to the first half of the 20th century.
The first Korean wares to appear in Europe were either imported by Dutch merchants or brought over by scholars and missionaries. Both routes originated from Japan and these first ceramics arrived on the European continent from 1860 up until 1880. The importation of these early Korean examples was brought about by the ‘Japonism’ craze for collecting Japanese art prevalent throughout Europe at the time. The imported materials were comprised of Joseon Buncheong wares, Japanese Chawan modeled after Korean Regional White Porcelain, multicolored porcelains similar to Kakiemon wares, and low quality wares meant for daily use. This primary wave of wares was a poor representation of both the range and quality of Korean ceramics. Naturally, the European scholars of this period based their assessments on the examples available to them and conclusively questioned whether Korean ceramics were worthy of significant academic consideration.
In the years spanning 1890 and 1900—after Korea established diplomatic relations with England, France and Germany—Korean ceramics such as Goryeo celadons and Joseon White Porcelain, collected by merchants and diplomats that presided over Korea, began to appear in Europe. During this time, researchers lacked an understanding of Korean dynasties such as Goryeo or Joseon but had ample opportunity to directly examine specimens of Goryeo celadons or Joseon White Porcelain. Thus, the categorization and appraisal of Korean ceramics was established through solely aesthetic elements like glaze color, glaze condition or appearance, decorative technique, etc. Overall, though the growing European collections of Korean ceramics were definitively identified by their production region and classification, they were still predominantly perceived as mainly objects of ethnographical interest and study rather than art historical objects.
From 1910 until 1920, collecting activity and academic research in Europe centered on Chinese ceramics and wares excavated from Goryeo dynasty tombs. Japanese words such as ‘Koraiyaki’ and ‘Mishima’ were used so often that they became the unofficial adopted terms to refer to Goryeo ceramics in European academic circles and society. Post 1910, additions to European collections of Korean ceramics were selected based foremost on criteria of form and economic value. It follows that the high quality wares of the Goryeo dynasty formed the core of newly formed Korean ceramic collections throughout Europe. At the same time, studies comparing the Goryeo wares in Europe to excavated Chinese ceramics were actively conducted during this period.
During the last period covering 1930 up until 1940, the term ‘Corean Pottery,’ representing the ceramics of different Korean dynasties such as Silla, Goryeo and Joseon, replaced the Japanese words previously used in Europe to refer to Korean ceramics. Despite the decrease in the collecting activity of and scholarly studies on Korean ceramics, this period is defined by the positive reassessment of Silla earthenware and Joseon ceramics formerly devaluated by European scholars.
The first Korean wares to appear in Europe were either imported by Dutch merchants or brought over by scholars and missionaries. Both routes originated from Japan and these first ceramics arrived on the European continent from 1860 up until 1880. The importation of these early Korean examples was brought about by the ‘Japonism’ craze for collecting Japanese art prevalent throughout Europe at the time. The imported materials were comprised of Joseon Buncheong wares, Japanese Chawan modeled after Korean Regional White Porcelain, multicolored porcelains similar to Kakiemon wares, and low quality wares meant for daily use. This primary wave of wares was a poor representation of both the range and quality of Korean ceramics. Naturally, the European scholars of this period based their assessments on the examples available to them and conclusively questioned whether Korean ceramics were worthy of significant academic consideration.
In the years spanning 1890 and 1900—after Korea established diplomatic relations with England, France and Germany—Korean ceramics such as Goryeo celadons and Joseon White Porcelain, collected by merchants and diplomats that presided over Korea, began to appear in Europe. During this time, researchers lacked an understanding of Korean dynasties such as Goryeo or Joseon but had ample opportunity to directly examine specimens of Goryeo celadons or Joseon White Porcelain. Thus, the categorization and appraisal of Korean ceramics was established through solely aesthetic elements like glaze color, glaze condition or appearance, decorative technique, etc. Overall, though the growing European collections of Korean ceramics were definitively identified by their production region and classification, they were still predominantly perceived as mainly objects of ethnographical interest and study rather than art historical objects.
From 1910 until 1920, collecting activity and academic research in Europe centered on Chinese ceramics and wares excavated from Goryeo dynasty tombs. Japanese words such as ‘Koraiyaki’ and ‘Mishima’ were used so often that they became the unofficial adopted terms to refer to Goryeo ceramics in European academic circles and society. Post 1910, additions to European collections of Korean ceramics were selected based foremost on criteria of form and economic value. It follows that the high quality wares of the Goryeo dynasty formed the core of newly formed Korean ceramic collections throughout Europe. At the same time, studies comparing the Goryeo wares in Europe to excavated Chinese ceramics were actively conducted during this period.
During the last period covering 1930 up until 1940, the term ‘Corean Pottery,’ representing the ceramics of different Korean dynasties such as Silla, Goryeo and Joseon, replaced the Japanese words previously used in Europe to refer to Korean ceramics. Despite the decrease in the collecting activity of and scholarly studies on Korean ceramics, this period is defined by the positive reassessment of Silla earthenware and Joseon ceramics formerly devaluated by European scholars.
목차
Ⅰ. 머리말
Ⅱ. 한국도자 관련 출판물의 종류와 내용
Ⅲ. 한국도자에 대한 시기별 개념과 인식 변화
Ⅳ. 한국도자에 대한 인식 변화의 배경
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (38)
참고문헌 신청
안드레 에카르트 / 2003 / 에카르트의 朝鮮美術史 / 열화당
A. W. Franks / 1878 / Catalogue of a Collection of Oriental porcelain and Pottery / George E. Eyre and William Spottiswoode
Bernard, Rackham / 1918 / CATALOGUE OF THE LE BLOND COLLECTION OF COREAN POTTERY / Victoria and Albert Museum
Bing, Samuel / 1906 / COLLECTION S. BING: OBJECT D’ART ET PEINTURES DU JAPON ET LA CHINE / Durand-Ruel
Bodet, Frédéric / 2015 / ROMAN D’UN VOYAGEUR-Victor Collin De Plancy L’histoire des Collections Corèennes en France / Nouvelles Editions Loubatières
A. W. Franks / 1878 / Catalogue of a Collection of Oriental porcelain and Pottery / George E. Eyre and William Spottiswoode
Bernard, Rackham / 1918 / CATALOGUE OF THE LE BLOND COLLECTION OF COREAN POTTERY / Victoria and Albert Museum
Bing, Samuel / 1906 / COLLECTION S. BING: OBJECT D’ART ET PEINTURES DU JAPON ET LA CHINE / Durand-Ruel
Bodet, Frédéric / 2015 / ROMAN D’UN VOYAGEUR-Victor Collin De Plancy L’histoire des Collections Corèennes en France / Nouvelles Editions Loubatières
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UCI(KEPA) : I410-ECN-0101-2019-605-000326932