AMT 공법을 통한 새로운 수처리 방향 모색

김병율,최동민 대한환경공학회 1998 대한환경공학회 학술발표논문집 Vol.1998 No.12

천목다완에 대한 연구

김병율 한국기초조형학회 2021 기초조형학연구 Vol.22 No.2

When three elements of soil, water, and stone meet and go through human hands, the basic “Pottery” that we need most in our lives is completed. The purpose of this study is to describe the history and definition of ceramics and Cheonmokdawan made in Song Dynasty, China, and to present directions to the future by re-examining them in modern times. The research method describes the social situation, aesthetic consciousness, method of use, interest of the general public, and changes in the form of teacups according to the times of the Tang & Song Dynasty where Cheonmokdawan was produced. Distinguish the type of Cheonmokdawan that was used to drink tea and identify the firing methods and characteristics. The research describes the situation of ceramists in Korea and Japan, including China, the current country of origin, and presents the discovery and direction of ceramists who use Cheonmok through the public's attention. They used red soil, iron, manganese, etc. to paint or draw patterns, and produced pottery with black to reddish brown colors. Generally, black or reddish-brown pottery is called ‘CheonMok’, which has been used as pottery for common people in Southeast Asia. “The first black glaze pottery to be fired is known to be near Hangzhou in Zhejiang Province, China's Woljukiln, which is from the 3rd and 4th centuries.” In Korea, papers and books on ‘Cheonmok’ are poorly published, and most of them are researched by Japanese and Chinese scholars. There are many names for ‘Cheonmok’ but when the Japanese monk, who went to the temple of Shenzhong in Zhejiang Province in Japan (1185–1333), returned to his country with a small black bowl, it was brought from the Cheonmok and became to be called a Cheonmokdawan. 흙과 물, 불 이 3요소가 만나서 사람의 손을 거치게 되면 우리들의 생활에 가장 필요한 기초적인 도구인 ‘도자기’가 완성된다. 도자기는 동· 서양을 무론 하고 인간의 역사와 발자취가 있는 곳은 어느 곳에서든지 다양한 형태로 그 산물들을 현재에까지 남기고 있다. 일반적으로 검거나 적갈색 계통의 도자기를 天目(천목)이라 부르는데 이러한 기물들은 한국, 중국, 일본뿐만 아니라 동남아시아에서 서민들의도자기로 사용되어왔으며 현재까지도 생산하고 있다. 이 연구의 목적은 중국 송대에 제작되어 현재까지 이어져 내려오는 도자기, 천목다완의 역사와 정의를 기술하고 현대에 재조명하여 미래지향해야 할방향성을 제시하는 것이다. 연구 방법은 천목다완이 제작되었던 당· 송대의 사회적 상황, 미의식, 사용방법, 일반인들의 관심, 시대에 따른 찻잔 형태의 변화 등을 기술한다. 차를 마시기 위해 사용했던 천목다완의 종류를 구분하고 소성 방법과 특징 등을 알아본다. 현재 종주국인 중국을 비롯하여 한국, 일본의 작가군의 상황을 기술하고 일반인의 관심을 통하여 천목 작가의 발굴과 방향을 제시한다. “검은색 유약의 도자기가 최초로 구워진 것은 중국의 월주요(越州窯)로서 절강성(浙江省)의 항주(杭州) 부근으로 알려져 있으며 이는 3~4세기의 것이다.” 우리나라에서 천목에 대한 논문이나 서적은 미비하게발표되고 있으며 대부분 일본이나 중국 학자들의 연구가 많은 양을 차지하고 있다. 천목에 대한 명칭은 여러 가지 설이 있으나 일본 鎌倉(가마쿠라시대 1185년~1333년)에 중국 절강성(浙江省)에 있는천목산에 있는 선종의 절에 수행하러 갔던 일본의 고승이 수행을 끝마친 후 본국으로 돌아갈 때 그곳에서 공양에 사용했던 검은색 계통의 조그마한 碗(완)을 갖고 귀국하였다. 천목에서 갖고 왔다 하여그 후 검은색 계통의 완 종류를 천목, 천목다완이라 부르게 되었다.

염화 안료 발색에 대한 연구

김병율 한국도자학회 2016 한국도자학연구 Vol.13 No.3

In the 20th century, a sudden change was brought to every aspect of our lives. The advancement of science and technology surpassed the speed of change in people’s values and emotions. Technology changed the entire world into a one-day life zone, and expanded our lifespan up to 100 years old. However, various problems raised into the surface as society became dependent on these technologies. Even in the art field, several new genre was introduced through various forms of abstraction such as installation art, avant-garde, and so on. Ceramics is one area of the many artistic fields, with a close relationship with human’s lifestyle, and it has remained in our history for a long time as a cultural heritage. Before the 14th century, artists used oxidized steel and copper as their medium of work. However, details were lost with these methods of art making. The worldwide introduction of white and blue porcelain from the 14th century Jingdezhen kiln of China enabled for artists to portray precise detail and expression. White and blue porcelain became the center of ceramics by the exportation through silk road, and are still used today. As we entered the 20th century, the development of chemical industry arose, such as the use of chloride pigment, followed by a new style in ceramics. Hydrochloric acid and oxide pigment (cobalt, steel, copper, chrome, etc.) enables great details, and chloride pigment illustrates a soft and clear color formation by soaking into the surface like a watercolor. Out of the many approaches of creating ceramics, color formation using chloride pigment seeks to find its way into the art making practice for ceramic artists. 20세기로 들어오면서 사람의 생활은 모든 면에서 급격한 변화를 가져오게 되었다. 과학 기술의 발달은 인간의 정서나 감정이 따라 가지 못할 정도로 발전되어 세계를 일일 생활권으로만들었고 100세 시대로 수명을 연장시켜 놓았다. 편리함과 안락함이 정신세계를 지배하여 여러 가지 병폐점도 수반되고 있다. 예술분야에서도 새로운 장르가 나타나 이제까지의 예술세계에서는 접해보지 못했던 설치예술, 전위 예술 등 일반인들이 이해하기 어려운 여러 모양의 표현이 나타나게 되었다. 공예속의 도자기는 많은 예술 영역가운데 하나이지만 인간 생활과 밀접한 관계를 갖고 있으며 실생활에 유용하게 쓰여 왔고 수많은 문화유산 가운데 가장 많은 양으로 남아 있다. 14세기 이전의 그림 표현 방식은 산화철, 산화동등을 이용하여 표현 하였으나 세밀하게 나타내기 어려웠다. 14세기 중국의 원(元)대 중국 강서성 경덕진요(景德鎭窯)에서 만들어져 세계에 수출된 청화백자(靑華白磁, White and Blue Porcelain)의 출현은 이제까지와는 다른 새로운표현방식으로 흰 바탕에 푸른색(산화코발트)으로 그림을 그리고 세밀함과 농담표현이 자유로웠다. 청화백자는 세계도자의 중심이 되었으며 실크로드를 통하여 세계에 수출하게 되었고 현대에 이르기까지 제작되고 있다. 20세기로 들어오면서 화학공업(Chemical industry)의 발달로 새로운 도자표현 방법이 개발되었는데 그 중에 한 가지가 “염화 안료”(Chloride Pigment)를 이용한 표현법이다. 염산과 산화 안료(코발트, 철, 동, 크롬 등)의 혼합물로 고체상태의 안료를 액체로 만들어 그림과 채색을하는 표현법이다. 산화코발트는 농담표현과 세밀한 표현이 가능한 반면 염화 안료는 발색이부드럽고 색이 기물에 스며들어 수채화 같이 맑은 느낌을 준다. 다양한 도자표현 방법가운데 염화 안료에 의한 발색법도 도예가 들에게 자리매김 할 수 있도록 모색하고자 한다.

코발트 발색에 대한 연구

김병율 한국도자학회 2014 한국도자학연구 Vol.11 No.1

In Korean university, we teach three different categories of ceramics, namely, traditional ceramics, industrial ceramics, and formative ceramics. Some universities emphasize more on tradition, while others emphasize formative ceramics. In the university where female ratio is greater than male, they tend to teach industrial ceramics along with the other class, due to the nature of the subject, which requires delicacy and patience. After molding and forming, the object goes through bisque firing, and, to display different texture, there is process of coloring. Usually, iron or cobalt is used, but they sometimes are troublesome as they smear onto hands or runs down on the object. It can be said that this may be the one of reason why the white or transparent kind of glaze gets polluted due to powdery material of color come up. After the second firing, wesometimes find the object still retains the running of the glaze. So we did an experiment to maintain the transparency of glaze and to prevent running phenomenon. We mixed CMC in powder state with water, and we mixed the solution with glycerin and glaze to find the point where it does not smear onto hands, yet it is good to brush with. There is preference in the choice of color for everyone. However, I am sure one can find his unique color with careful selection of color, experiment, and research. 한국에서 대학의 도자교육은 전통도자, 산업도자, 조형도자 등 세 가지로 나누어 교육을 하고 있다. 학교에 따라 전통을 중시하기도 하고 조형도자를 중시하기도 한다. 남학생 대비 여학생이 많은 학교에서는 산업도자 위주로 수업을 병행하는 경향이 많다. 이는 섬세함과 인내심을 필요로 하는 과목의 특징이라 하겠다. 성형을 거쳐 정형 후 초벌구이를 끝낸 기물들은 여러 가지로 질감을 표현하는데 공통적으로 나타나는 것은 채색의 단계를 거치게 된다. 보편적으로 철이나 코발트를 많이 사용하는데 때로는 손에 묻기도 하고 기물 위에서 번지기도 해 곤란을 격기도 한다. 유약 시유 시 위에 안료의 분말들이 떠올라 백유나 투명유 계통의 유약들이 오염되는 원인의 하나라 하겠다. 재벌구이를 끝낸 기물들은 안료의 번짐 현상이 그대로 나타나는 것을 종종 목격하곤 한다. 유약의 투명도 유지 및 희석을 방지하기 위해 실험을 하였다. 분말 형태의 CMC에 물을 섞어 액체로 만들어 글리세린과 안료를 섞어 가면서 손에 묻지않고 붓 놀림이 좋은 방법을 연구하였다. 개인에 따라 색의 선호도가 다르지만 좋아하는 색을 선별하여 연구한다면 타인이 같지 못하는 특징을 갖는 색을 갖으리라 생각한다.

中國明代德化窯人物造型研究

張可輝,김병율 한국도자학회 2020 한국도자학연구 Vol.17 No.1

Dehua kilns played an important role in the whole ancient Chinese ceramic industry. They were once known as the three great porcelain capitals in southern China, together with Jingdezhen in Jiangxi and Lilin in Hunan, especially in the Ming Dynasty Dehua County's porcelain production reached an unprecedented peak, geographical, cultural and technological factors such as Dehua County white porcelain to a new unique historical height. The carrier of this characteristic image is the ceramic character shape. The character shape of the Dehua Kiln in the Ming Dynasty of China has a pivotal position in the history of Chinese ceramics, whether it is the study of Chinese Buddhist art or the study of the development of Chinese ceramics, the character shape of the white porcelain of the Dehua kiln in the Ming Dynasty of China can never be bypassed. The prosperity of the Dehua Kiln is inseparable from its superior geographical position and its abundant and unique ceramic firing resources. As the starting point of the ancient Chinese sea route of Silk Road, Port of Quanzhou, it has provided a vast trade market for the development and prosperity of Dehua Kiln, thus promoting the development of ceramic handicraft industry and the exchange and integration of Cultures, providing technical support for the development of Dehua Kiln through the technological improvement caused by population migration Unique ceramic materials make Dehua County white porcelain as white and beautiful as snow. The selection of the subject matter of the character shape of the Dehua Kiln in the Ming Dynasty showed People's belief and culture under the feudal society background at that time. The prosperity of religious belief was bound to have a large number of related derivatives Buddhist and Taoist characters with the same image of different materials and materials are also emerged Dehua Kiln fully utilizes the unique ceramic material to display the religious figure image theme in the religious art and the ceramic art has the unique artistic charm. Theprosperity of overseas trade brought by the sea route of Silk Road made the Western religious figures and street figures of Dehua kiln a new product, adding to the category of Dehua Kiln figures. Dehua kiln character molding techniques, steps clear and rigorous, is conducive to the character molding firing rate and efficiency improvement. Due to the progress of the times, molding material changed into plaster, but traditional molding techniques are still used nowadays. The prosperity of Dehua Kiln's character shape is not only the superior geographical position, advanced porcelain-making technology, unique ceramic material and sufficient culture, but also the artists who are engaged in porcelain industry. As the most influential artist at that time, He Chaozong contributed his own strength to the prosperity of the character shape of Dehua Kiln, d.eveloped Dehua Kiln with his unique artistic achievements, left a large number of valuable ceramic art works as people's valuable spiritual wealth. 德化窯在整個中國古代陶瓷產業中有著舉足輕重的地位,曾經與江西的景德鎮和湖南的醴陵並稱為中國南方的三大瓷都,特別是在明代,德化的制瓷達到了一個前所未有的高峰,地域,文化及工藝等要素把德化白瓷推向了新的獨具特色的歷史高度。而這種特色的形象載體就是陶瓷人物造型,中國明代德化窯的人物造型在中國陶瓷史上有著舉足輕重的地位,不管是研究中國的佛教藝術還是研究中國的陶瓷發展,中國明代德化窯的白瓷人物造型是永遠也不可能繞過的。 德化窯的繁盛與其優越的地理位置及其豐富而獨特的陶瓷燒制資源是分不開的,作為中國古代海上絲綢之路起點的泉州港,為德化窯的發展興旺提供了廣闊的貿易市場,從而帶動了陶瓷手工業的發展,促進了文化的交流與融合,人口遷徙導致的技術改進為德化窯的發展提供了技術支持,獨特的陶瓷材料讓德化白瓷潔白如雪的魅力獨樹一幟。 明代德化窯人物造型題材的選取展現了當時封建社會背景下人們的信仰和文化,宗教信仰的繁榮必定會有大量相關的衍生品出現,不同材質同一形象的佛教及道教的人物形象也展現在人們面前,德化窯充分利用獨特的陶瓷材質所表現的宗教人物形象題材在宗教藝術和陶瓷藝術上有著獨特的藝術魅力。海上絲綢之路帶來的海外貿易繁榮,讓德化窯西方宗教人物題材及市井人物造型成為新品,增添了德化窯人物造型題材的品類。

도태칠(陶胎漆)화분의 옻칠도막에 의한 수분증발량 비교 연구

방기탁,김병율 한국도자학회 2018 한국도자학연구 Vol.15 No.1

As people’s interests and concerns in indoor air quality have been increased recently, they tend to get extremely stressed while worrying about the effects onto their health. Thus, it is in the situation that there is increasing the people’s demand for finding out many kinds of solutions for a good quality of indoor air. Accordingly, people’s interests in air purification plants and the related flower pots are rapidly heightened. For cultivating plants, irrigation, fertilization, temperature and composition of air, etc. are some major important growth conditions, but it is important which kinds of pots are selected, too. The reason is because the moisture evaporation volume of a flower pot makes a big effect on the required moisture level and permeability, etc. of a plant. The pottery pots that are currently used are made of porous materials, so there are many pores into the pottery body. Thus, much loss of moisture is increased and it is quick to evaporate nutrients and moisture quickly from the soil inside a pot. The purpose of this study is to compare the moisture content of lacquered ceramic surface pots as a constituent of the garden culture that has been a part of contemporary life by supplementing its function with traditional pottery to add to the value of pots and present the beauty of Korean emotions and aesthetics every day and not just as containers for plants. A lacquering method is a technique for forming a pot shape with soil and drying it at 800℃~125 0℃ first and second times and then finishing with lacquer coating on the surface of the non-oiled pottery pot. Lacquer as a coating material is a natural material which can be used freely by using other kinds of materials and plays a role as an important medium expressing the identity of a writer through the differentiated production method of a pot while an artist pursues some diversity as many kinds of decoration techniques even in the modern era. Therefore, it is possible for lacquer to be developed as a handicraft material. Taking a look at the results from an experiment, it was found that the moisture evaporation of a lacquer coated pottery pot is suppressed more than that of a non-lacquered pottery pot by 1.84% on average in case of the first coating, by 2.85% on average in case of twice of coating and by 4.24% on average in case of three times of coating. As the results, it is hoped that a lacquered pot could coexist beautifully with the gardening culture in the lives of people and it is expected that some continuous studies could be made for seeking for some new possibilities in the domestic pot market. 최근 실내공기에 대한 국민들의 관심과 우려가 증가되면서 건강에 대한 영향을 걱정하고 극심한 스트레스를 받게 됨으로써 여러 가지 해결책에 대한 요구가 높아지고 있는 실정이다. 이로 인해 공기정화 식물과 그것을 담는 화분에 대한 관심이 급격히 증가되고 있다. 화분 식물가꾸기에 있어서 관수(灌水), 시비(施肥), 온도, 공기조성 등이 주요한 생육조건들이지만 화분의 선택도 중요하다. 이것은 화분으로부터의 수분증발량이 식물의 수분요구도, 통기성 등에영향을 크게 주기 때문이다. 현재 일반적으로 많이 사용하고 있는 도분(陶盆)은 유공성분(盆) 으로서 기벽에 공극(孔隙)이 많아서 화분내의 토양으로부터 영양분과 수분증발량을 증가시키게 되므로 식물에 적합한 화분의 선택을 고려해야 한다. 본 연구에서는 일상생활 속에 자리 잡아가고 있는 정원문화와 어우러진 구성체로서 기존 도분(陶盆)과 옻칠을 이용한 도태칠(陶胎漆)화분에 대한 수분증발량을 비교하여 식물을 담는 용기의 의미만이 아닌 한국의 정서와 미의식이 한데 어우러진 멋을 일상생활에서 접할 수 있도록 하여 화분의 가치를 부가하고자 한다. 옻칠기법의 도태칠(陶胎漆)은 흙으로 성형 · 건조하여 800℃~1250℃에서 초벌 혹은 재벌소성 후 무유(無釉)도자 표면에 옻칠로 마감하는 기법을말하며 이러한 옻칠은 천연의 재료로써 타 재료와의 접목을 자유롭게 표현할 수 있어 현대도예의 장식기법으로써 다양성을 추구하며 화분의 차별화된 제작방법을 통해 작가의 정체성을표현하는 중요한 매체 역할을 할 수 있어 공예재료로써 많은 발전 가능성을 열어주고 있다. 실험결과를 보면 도태칠(陶胎漆)화분이 도분(陶盆)에 비해 수분증발량이 옻칠 1회(초칠)에서 평균 1.84% 옻칠 2회(중칠 1회)에서 평균 2.85% 옻칠 3회(중칠 2회)에서 평균 4.24% 억제되는 것으로 나타났다. 이를 통하여 옻칠을 이용한 도태칠(陶胎漆)화분이 식물의 집으로서 인간의 삶속에서 가드닝(gardening) 문화와 함께 아름답게 공생하길 바라며 국내 화분시장에서의 새로운가능성을 모색해보는 지속적인 연구가 이루어지기를 기대한다.

수묵청화(水墨靑畵)의 현대적 표현 연구

김순식,김병율 한국도자학회 2022 한국도자학연구 Vol.19 No.2

Contemporary ceramic art is expanding its expression areas through the fusion of various genres. After the advent of abstract expressionism in ceramic arts in the 1950s, painting art has had a great influence on the pursuit of post-formalism of traditional ceramics that emphasized functionality. Especially, in ceramic painting, Cheonghwa and Sumukhwa use different expression methods depending on the material, but there are essential similarities. Contingency and speed are expressed with Cheonghwa’s cobalt pigments and Sumukhwa’s water and black ink('meok'), respectively, and they both contain the Xièyì(寫意) ideology that emphasizes the beauty of formality(形式美) and content of art(內容美). Xièyì is similar to 20th century Expressionism painting that emphasizes a form of the senses nd the subjective interpretations of the artist. Traditionally, the Cheonghwa technique has been developed under the influence of the Sumukhwa technique, and examples can be seen with the advent of Chinese Cheonghwabaekja (blue and white porcelain) in the 14th century. To understand ‘Sumuk-Cheonghwa’, it is necessary to have a sufficient understanding of the two fields of Sumukhwa and Cheonghwa. This study is to establish the basis of the modern expression of ‘Sumuk-Cheonghwa’ using the Sumukhwa technique and to expand its application to modern ceramics. To do so, it is analyzed by focusing on ‘Cheonghwa Bunsu’ and ‘Cheonghwa Gongpil.’ In the introduction, the theoretical backgrounds of Sumukhwa and Cheonghwa expressions are described, and the rationale and similarity of expression techniques are examined through Expressionism art and Sumuk-Cheonghwa’s Xièyì to clarify the theoretical basis. In the main body, the expression process of representative Cheonghwa techniques is introduced, and artists who are consistent with the thesis of this study are presented to analyze their characteristics. Through this study, it is expected to provide an opportunity to discuss the theory and practice of systematic ceramic painting and to promote the establishment and expansion of new contemporary ceramic art. 현대도자예술은표현의영역확장을위해다양한장르간융합과모색을통해변하고있다. 1950년 대 추상표현주의 도예의 출현 이후 회화미술은 기능을 중시하던 전통도예의 탈 형식화에 큰 영향을 끼 쳤다. 특히 도자회화에서 청화와 수묵화는 재료에 따른 표현 방식은 다르나 본질적으로 유사한 점이 있다. 수묵화의 물(水)과 먹(墨)으로 표현된 우연성, 신속성, 예술의 형식미(形式美)와 내용미(內容美)를 중시하는 사의적(寫意的) 사상이 그러하다. 사의는 일반적으로 감각의 형식과 작가의 주관적 해석을 중 시하는 것으로 심미적 개성을 강조하는 20세기 표현주의(Expressionism)회화와 유사점이 있다. 전통적 으로 청화기법은 수묵화기법의 영향을 받아 발전되어 왔으며, 14세기 중국 청화백자가 출현하면서 수 묵화기법이 적용된 사례들을 볼 수 있다. 수묵청화는 수묵화와 청화백자 두 분야에 대한 이해가 필요 하다. 본 연구는 이러한 수묵화기법을 활용한 ‘수묵청화’의 현대적 표현의 기반조성과 확장성을 목 적으로‘청화분수’, ‘청화공필’을 중심으로 고찰하였다. 논문의 도입부에서는 수묵화와 청화표현의 이론적 배경을 서술하였으며, 표현주의 미술과 수묵청화의 사의(寫意,xièyì)를 통해 표현기법의 당위성 및 유사성을 고찰하여 이론적 근거를 규명하고자 하였다. 본론 중심부에서는 대표적인 청화기법의 표 현과정을 소개하고, 본 연구의 논지와 부합되는 사례작가들을 선정하여 각각 어떤 특징을 가졌는지 분 석하였다. 연구 결과를 통해 체계적인 도자회화의 이론과 실기의 데이터를 확보하는 계기를 마련하였 으며 새로운 현대 도자 조형예술로서 기반 확립과 확장성을 기대한다.

中国明・清时代古彩装饰技法研究

张灿,김병율 한국도자학회 2020 한국도자학연구 Vol.17 No.3

This paper takes ancient color in the Ming and Qing Dynasties as research object and its decorative technique as main research content. Ancient color is the art of color painting on glaze. Five kinds of low-temperature lead glazes such as red, yellow, blue, green and purple are used to draw pictures on the finished glaze surface with transparent glass texture. Most of the subjects are fish, algae, animals, people, landscapes and so on. The ancient color began in the Ming Dynasty. During the reign of Kangxi, the ancient color developed into the mature stage with the progress of economy, culture and making process of porcelain. Ming and Qing Dynasties is an important period which can represent the achievement of the ancient color art. Technique is an important part of the ancient color. The decoration material of ancient color is excellent and the process is normative, which provide technical support for the decorative effect of the ancient color. The decoration techniques of the Ming and Qing dynasties are reflected in three aspects. The first is the freehand brushwork of technique. Ancient color in Ming and Qing dynasties color express emotion through simple lines and subjective color. The second is the decoration of the pattern. The image of ancient color in the Ming and Qing Dynasties is exaggerated and general. The composition is balanced and complete, making the ancient color with decorative sense and fun. The third one is the implied meaning of subject. Ancient color in the Ming and Qing dynasties express people's good wishes through auspicious themes, folk stories and others. These are the common characteristics of the Ming and Qing dynasties. Because of the different times, the decoration techniques of ancient color of the Ming and Qing dynasties have their own characteristics. Duan Maofa, Shi Yuren, Li Leying, Zhu Legeng and other modern ancient color artists are deeply influenced by the decorative techniques of ancient color in the Ming and Qing dynasties. They inherit the ancient color of the Ming and Qing Dynasties in the aspects of subject, pattern, brush usage, composition, color and so on. Meanwhile, they strive for innovation and give the ancient color a new look. This paper expounds the historical background and technological process of the ancient color in the Ming and Qing Dynasties, especially makes a comparative study on the painting, color techniques, decorative forms of patterns, subjects and other aspects of the ancient color in the Ming and Qing Dynasties. It can be seen that the color contrast of ancient color of the Ming and Qing Dynasties is strong and the image is exaggerated. The patterns are decorative and folk. The ancient color of Ming Dynasty is extensive and lively, while the ancient color of Qing Dynasty is rich and delicate. From the study of decorative techniques of ancient color in the Ming and Qing Dynasties, we can make a summary that decorative techniques, cultural connotation and key points of inheritance of ancient color has important guiding significance for the future development of ancient color, which is also the importance of the study of ancient color in the Ming and Qing Dynasties. 本文以明清古彩为研究对象,以明清古彩的装饰性技法为主要研究内容。古彩是釉上彩绘艺术,在烧制完成的釉面上用红、黄、蓝、绿、紫等五种低温铅釉低温铅釉:低温铅釉是以氧化铅为助溶剂,烧成温度在1000°C以下,上在已烧成的瓷器上,入炉二次烧成的颜色釉。 绘制画面,为玻璃透明质感。题材多为鱼藻、动物、人物、山水等。古彩始于明代,康熙时,经济,文化,和制瓷工艺的进步,使得古彩在康熙时代发展到成熟的阶段,明清是能代表古彩艺术高度的重要时期。工艺是古彩重要的一部分,古彩装饰材料精良,流程规范,这些为古彩的装饰性效果提供了技术支持。明清古彩的装饰技法体现在三个方面。一是技法的写意性 写意性: 以简单的笔墨勾勒出物体的形态,以表达意境。 ,明清古彩通过简单的线条和主观的色彩来表达情感。二是图案的装饰性,明清古彩形象夸张概括,构图讲究平衡圆满,使古彩具有装饰感和趣味性。三是题材的寓意性 寓意性:语言文字或艺术作品里所寄托、隐含的意思。 ,明清古彩通过祥瑞题材,民间故事等题材来表达人们美好的愿望。这些是明清古彩的共同特征。因时代的不同,明清古彩在装饰技法上也有各自的特点。段茂发、施于人、李磊颖、朱乐耕等现代古彩艺术家深受明清古彩装饰性技法的影响,在题材、图案、用笔、构图、色彩等方面继承了明清古彩,同时勇于创新,赋予了古彩新的风貌。 论文通过对明清古彩的历史背景和工艺过程的阐述,尤其是对明清古彩的绘画、用色技法,图案的装饰形式,题材等方面进行了比较研究,可以看出,明清古彩色彩对比强烈,形象概括夸张,图案装饰性强,具有民俗性,并且明代古彩粗放活泼,而清代古彩丰富细致的不同的特点。对明清古彩装饰性技法的研究,可以总结出古彩的装饰技法,文化内涵以及传承的要点,对未来古彩的发展有着重要的指导意义,这也是研究明清古彩的重要性所在。

宋代湖田窑青白瓷历史和发展脉络的考察研究

李梓豪,김병율 한국도자학회 2020 한국도자학연구 Vol.17 No.2

A large number of archaeological excavations have confirmed that the fire of Hutian Kiln in Jingdezhen began to rise in the Five Dynasties and finally died out in the Ming Dynasty at the time of Longqing and Wanli. It lasted for over 700 years, which was very rare among ancient Chinese kilns. In this long period of time, Hutian Kiln fired a variety of ceramics, including White Porcelain, Celadon, Bluish White Porcelain, Yellow and Black Glazed Porcelain, Black Glazed Porcelain, Egg-white Glazed Porcelain, Blue and White Porcelain, Blue and White Glazed Red Porcelain, Blue and Underglaze Red porcelain, Green Glazed Porcelain, Blue Glazed Porcelain, etc., but the most mainstream, most representative products are White Glazed Porcelain. Focusing on the Song Dynasty, this paper studies the decorative techniques of Blue and White Porcelain in Hutian Kiln in Jingdezhen, explores the evolution trend of the decorative techniques of Blue and White Porcelain in Hutian kiln in The Song Dynasty, and demonstrates the inevitable relationship between this trend and the technological development and aesthetic changes at that time. 大量考古发掘资料证实,景德镇湖田窯的窑火远从五代开始兴烧到明代隆(庆)、万(历)之际最后熄灭,其中连续不间断的烧造达700余年,烧造时间如此之长,这在中国古代众多瓷窑中是非常罕见的。在这漫长的岁月中,湖田窯烧制的陶瓷品种众多,有白瓷、青瓷、青白瓷、黄黑釉瓷、黑釉瓷、卵白釉瓷、青花瓷、釉里红瓷、青花釉里红瓷和绿釉瓷、蓝釉瓷等,但是最主流、最具代表性的产品是清白釉瓷。 本文以宋代为主,针对景德镇湖田窯青白瓷的装饰技法进行研究,探究出宋代湖田窯青白瓷的装饰技法的演变趋势,并论证这一趋势与当时工艺发展,工艺审美变迁的必然联系。

중국 치박금삼채(淄博金三彩) 도자 연구

김형철,김병율 한국도자학회 2019 한국도자학연구 Vol.16 No.3

Zibo Three-Colour Glazed Pottery means the three-colour glazed pottery which was made in Zibo, China. Three-colour glazed pottery art,included the three-colour pottery of Tang Dynasty, is a kind of art in Tang Dynasty which means using cryogenic glaze and twice the molding method to create the Chinese Pottery. It is an important method of Chinese Pottery history. I sincerely learned about the history of Zibo Three-Colour Glazed Pottery, and did some research about the kiln site. Zibo Kiln is one of the eight Chinese biggest kiln site, also it is one of the most important kiln site of the three northeast provinces. The pottery art of Zibo is influenced by the three-colour glazed pottery of Tang Dynasty, then became the well-known modern three-colour glazed pottery of Jin Dynasty. The technical characteristic of Zibo Three-Colour Glazed Pottery is very different, I did some research about the production process and molding method. The three-colour glazed pottery is well-known by Tang, Liao, Song and Jin Dynasty which is mainly use cryogenic glaze which include lead composition to coloring it. Also, it contains a variety of minerals which helps it to express more colors. This combination is a traditional way to make the three-colour glazed pottery. In addition, for the purpose, the three-colour glazed pottery of Tang Dynasty is mainly use for normal life, not as the funerary object. The characteristic of the Zibo Three-Colour Glazed Pottery is different as the pattern and decoration technique. The pattern of plant, which is the cultural feature of Shandong, is mainly used on the pottery pattern. They also use several techniques to do the decoration, such as curving, scratching, picking and printing to leave the flower shape on the pottery, and make the different type of pottery. The research of several types of work shows how Zibo Three-Colour Glazed Pottery is being using in Jin Dynasty. Even though they are mainly used as normal life object, they are also use for toys and art formwork as the exhibits. It shows the artistic aesthetic of the citizens and potters in Jin Dynasty. I learned about the modern three-colour glazed pottery and studied the way of expression between ancient and modern. Now, there are two types of pottery artists working in this area, one is trying to imitate the ancients, and the another is trying to innovate. Both of them are helping the development of the pottery art. 치박금삼채(淄博金三彩)는 중국 산동성(山东省) 치박(淄博)시에서 제작된 삼채 도자기를 뜻한다. 삼채 예술은 당대(唐代)의 당삼채(唐三彩)를 비롯한 저온유약을 사용해 두 번 소성하는 기법을 사용하는 도자기이며 중국도자 역사에 큰 영향을 미쳤다. 본 연구는 치박금삼채의 역사적 배경과 제작과정을 중심으로 진행되었다. 치박요(淄博窯)는 중국의 팔대요지 ① 월주요(越州窑) ② 요주요(耀州窑) ③ 용천요(龙泉窑) ④ 경덕진요(景德镇窑) ⑤ 자주요(磁州窑) ⑥ 건양요(建阳窑) ⑦ 정요(定窑) ⑧ 균요(钧窑)중 자주요(磁州窑)의 한 부분으로써 중국 동북삼성의 중요한 요지이다. 또한 당삼채의 영향을 받아 삼채도자를 제작하기 시작했으며 현대에 들어와서는 금삼채(金三彩)로 불리게 되었다. 중국 치박금삼채의 제작과정과 소성방법을 알아보았다. 삼채는 ① 당삼채 ②요삼채(辽三彩) ③송삼채(宋三彩) ④금삼채(金三彩) 등이며 이는 주로 납(Pb) 성분이 함유된 저온 유약으로 여러 가지 광물로 인해 다양한 색을 띠는 특징이 있다. 당삼채가 주로 명기(明器)를 제작한 반면 금삼채는 주로 생활용품을 제작한 것 또한 특징이다. 다양한 문양과 장식기법을 통해 치박금삼채의 작품 특성을 연구하였다. 문양은 주로 식물문양을 사용하였는데 이는 당시 산동지역의 문화적 특징 이였다. 또한 각화(刻花), 획화(划花), 척화(剔花), 인화(印花)등의 장식 기법이 사용되었다. 제작된 비율을 보면 대부분 생활 용기지만 장난감이나 조형물 또한 함께 제작되었는데, 이를 통해 당시 도공과 서민들의 심미관을 볼 수 있다. 현대에서는 전통을 이어가는 도예가 들과 전통과 현대를 융합하여 새로운 삼채도자기를 만드는 작가 두 명을 소개 하였다.