고전조각 모조의 의의 : 보존·수복교육·보급

牧野隆未 용인대학교 박물관 2003 丹豪文化硏究 Vol.- No.7

繪畵.典籍문화재 보존의 역사와 현황

박지선 용인대학교 박물관 2007 丹豪文化硏究 Vol.- No.11

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한국도자에 있어서 생산과 소비

윤용이 용인대학교 박물관 2004 丹豪文化硏究 Vol.- No.8

朝鮮時代 白瓷 工房의 種類와 性格 : Types and Characteristics

장남원 용인대학교 박물관 2004 丹豪文化硏究 Vol.- No.8

A systematic exploration of the structures, scales, and working processes of the white porcelain works may give answers to the questions on various changes in making of the white porcelain. The works, where most of the processes are done from the refining of original materials to the glaze on the product, could be an important index to show the quality producing techniques of the white porcelain. It can be safely said that the works sites and products in the kiln sites tell us the general characteristics of the White Porcelain in Joseon(朝鮮) Dynasty as follows: First of all, most works sites in kilns seemed to have the facilities to refine and mix clays, store clays and glaze, shape, decorate, and glaze the porcelains; there seemed to be 2 to 5 works sites to a kiln. It could be varied according to their types and products, but the kilns usually had site complex for storage and refinement, a small-sized firing site, and a hypocaust installation. Sometimes they had individual kilns but shared the workshops nonetheless. Secondly, workshops were located 10~30 meters from the kilns, generally in front of the kilns or at the sides of them. Workshops were at the lower level than the kilns, and they were built around the side exits of the kilns, with some geographical exceptions. Conclusively it could be implied that the location of the workshops was related to the working courses for stacking in kilns. Third, works were founded on the hardened earth and consisted of the earth, while the apparatus and temporary facilities used wood. Fourth, remodelling of the works of moving of the kilns seemed to have taken place during the leisurely times with no regular schedule, which was usually between July and August, or November and December on the lunar calendar. Fifth, there were relatively a large pile of refinement wastes around the works, and the refining process took much space in the works. Works were strategically located neat the valleys, which was to make the advantage of the water supply for the refining process. Especially the local kilns had a lot of refining facilities in works sites such as Seungju Hukok-ri, Suncheon Munkil-ri, Muan Piseo-ri, Jangseong Suok-ri, and Cheongyang Daebak-ri, where potters mined the local clay to refine and produce on site. Sixth, there were some differences in the works of the Kwangju(廣州) official kilns(官窯) and local kilns. We cannot generalize hastily with the established data, of course, but until now there has not been any pit or facility for refining process in Kwangju kilns. It is contrasted with many piles of refinement wastes and a lot of storage pits in local kilns for white porcelain. It might be partly related to the fact that official kilns had a supply of good quality clay all over the country to produce the best white porcelains. Namely, Kwaungju kilns had refined clay delivered; therefore the kilns did not have to install the refining process facilities.

複制中國書畵文物的歷史和現狀及複制工藝技術

曹靜樓,郭文林 용인대학교 박물관 2003 丹豪文化硏究 Vol.- No.7

Imno(臨摹 copying) of the painting and writing in China is combined result of many closely-related elements that include Chinese cultural tradition and philosophy and substantial characteristics of Chinese paintings and calligraphy. ① Chinese rulers throughout history, under the so-called theory of 'Sungkyohuajoinlon' (成敎化助人論 to help people by educating them) often relied on paintings as a means to strengthen their governing foundation while using them to educate their subjects and people. For example, Hyojaeuisudo ≪孝子義士圖, a painting of devoted children and righteous people≫ meant the loyalty and obedience, Yulyujun ≪烈女傳, a story of virtuous women≫ was used to signify the importance of chastity in a feudal society. Paintings with such themes were met with the rulers ethics and, with the supports from the rulers, used as a means to publicize their ethics and educate their subjects and people. ② There were many rulers who were good at or loved the writing and painting in ancient China. Among many, Taizhong Li Shimin at Tang Dynasty(唐 太宗 李世民), Xianzhong Li Jiangji(玄宗 李降基), Huizhong Jo Ji at Song Dynasty (宋代 徽宗 趙佶), Xunzhong Zhu Jianshen at Ming Dynasty(明代 憲宗 朱見深), Gaozhong Hong Li at Qing Dynasty(靑代 高宗 弘力) are such examples. Development of painting and writing arts in China was achieved with the interests of rulers in them, and important eras that marked the history of Chinese painting and writing arts were created. Until the year of Huizhong(徽宗), the level of painting and writing was an important condition in deciding a governmental position. However, in ancient times, since there was a limited number of painting and writing works and lack of printing technology, emperors and high officials of literature had to be satisfied only with enjoying them and hoped to possess them. In the government, a special bureau was established to educate and raise the professionals who could duplicate the paintings and writings. This tendency influenced the society as a whole, and the atmosphere of reproduction of painting and writing works by duplication gradually culminated. ③ Chinese philosophy had also influenced their painting and writing arts. Chinese drawings pursue objectivity and has an expression style of Chuninhapil (天人合一, heaven and human beings are one). In Chinese drawings, artists describe the natural object and at the same time transfer their mind and feelings in them. Nature in the drawings is not just the nature as it is seen, but it is the nature observed and attained by artists and drawn from deep inside of artists. When people learn Chinese drawings for the first time, they are not taught how to describe the forms as in the western style but receive formative train in that people enter into the nature and sketch. This is the reason why artists, when copying the works in the past, are able to obtain the feelings of nature and learn various brush techniques that are applied in Chinese drawings. Therefore, copying is a significant method to learn Chinese drawings. For example, SunMyo(線描 line description) has a certain form, and a famous ShipPalMyo (十八描 18 descriptions) including ChulSunMyo(鐵線描), YuSaMyo (遊絲描), NanYupMyo (蘭葉描), YuYupMyo (柳葉描), JoEuiMyo (曹衣描) was created. Since these lines don't exist in natural objects, it is impossible to learn them through sketching. They can be learned only by copying the works in the past, in which they equates with various drawing styles that are applied when painting various objects. For example, JunBup(준法 technique to express the feel of the surface as it is) used for landscape drawings is helpful when expressing the touch and feelings of various rocks. For example, BuByukJun(斧劈준) or WooJumJun(雨點준) are good for expressing the characteristics of Chinese northern landscape, PiMaJun(披痲준) or MiJumJun(米點준) for Chinese southern landscape. This JunBup does not exist in natural objects such as mountain or rock, and artists can learn the right JunBup for various rocks through copying the works of the past. ④ Traditional thinking that stresses the relationship between a teacher and disciple in Chinese culture had also influenced Chinese painting and writing arts. When people beging to learn Chinese drawings, they must copy the works of their teacher. Therefore, when other people look at the drawings, they know who is with which teacher and which school. The drawings of certain artists are used as an educational purpose when students learn drawings for copying. For example, SaSaengJinBuDo ≪寫生珍禽圖≫ by Huang Jun (黃筌) in Song Dynasty was inherited to his son and learned as a work for copying. Each word in Immo(臨摹), according to the explanation in the ancient literature, has a separate meaning, Mo(摹 to copy) means Tap(榻 to copy), and Im(臨 to overlook) means Sa(寫 to write). Current meaning of Im(臨) is, while looking at the original drawing, to understand deeply and in details. When doing it, not only the techniques of brush, ink, and color but also the compositional characteristics should be thoroughly studied in order to completely familiarize with the form and line of the original drawing. And then, it has to be reproduced on another paper in one moment, and the copy does not have to be and can not be exactly the same as the original. Im(臨), based upon the complete understanding of the original, is to complete the copy with one energy without looking at the original. Mo(摹) is, while placing a thin paper right over the ancient drawing book, to copy both thick and thin lines, and Mo(摹)'s meaning in copying of a painting (摹畵) is the same. In ancient times, Mo(摹) was replaced with Mo(模 to imitate) or Mu(撫 to stroke). In other words, a transparent paper is placed over the original, the first copy is accurately made, the original is removed, drawing paper is placed over the first copy, and drawing is done in details while referring the original. Two words, Im(臨) and Mo(摹), originally impose a separate meaning and cant be one word, but they are habitually used as one word. Mo(摹) used in current China cant be Im (臨) but has to be called as Motap (摹榻). Especially, copying and counterfeiting are fundamentally different and can't be used as same meaning. The purpose of copying is a complete reproduction of energy and form of the original, and it is to conserve and actively publicize the original. The purpose of counterfeiting is to gain profits while falsely stating someone else's name as his or her own, and it includes the meaning of damaging the original. They also have difference in using the technique. The work of copying is faithful to the original and completely reproduce the smallest detail. People producing the copies must perfectly understand the spirit and form of the original, and successful copies should contain both the form and spirit. Rather, counterfeit is not based on the original but freely drawn upon studying a certain brush style of ones own. As a result, artists of counterfeit who are very well aware of the brush style used by the original artist are famous artists and might be the person who lives the same period with or the disciple of the original artist. Paintings produced for the purpose of counterfeiting possibly be the fraud and trouble to judge the authenticity of the work in a later period. Copying project of painting and writing at the Palace Museum is to replace the original work with the copied one by the time of difficulty in exhibiting the original, which is the best way to conserve the original. Copying of ancient paintings and calligraphy does not only mean the line description, outlining, coloring), or usage of ink. It is a very difficult process of re-creation that requires sincerity and efforts. Since the Palace Museum has started the copying project in 1950s, top artists are putting their efforts to copy and duplicate highly-valuable cultural artifacts. They have copied famous drawings of Qin, Tang, Song and Yuan dynasty with strict working attitude and exquisite techniques. Famous Chungmyungsanghudo≪淸明上河圖≫, Hanheejaeyayeondo ≪韓熙載夜宴圖≫, Guasukpyungwondo≪과石平遠圖≫ by Kwak Hee(郭熙), and Chunggeumdo ≪聽琴圖≫ by Jo Gil (趙佶) are such examples. Not many professionals are working for the copies in China. There were few in the Shanghai(上海) and Nanjing(南京) Museum during 1980s, but they are no longer there with various reasons. In Dunhuang(敦煌) and Xian (西安), frescoes are mainly being replicated. The quality of professionals who work to copy at the Palace Museum are the best in its technique and size and cannot be compared to other museums. Copying one painting successfully requires a lot of preparations. When producing the copies, it takes from few days to several years. Thus, safety of the original should be guaranteed, and there should not be done even a small damage. But observing the original should be convenient, and copying process should be progressed with many attentions.

高麗時代 金屬 佛具 造成과 願主

서성호 용인대학교박물관 2006 丹豪文化硏究 Vol.- No.10

高麗時代 寺址 出土 磁器의 器種과 性格 : 생산과 소비의 관점에서 Variety and the Characteristics

이종민 용인대학교 박물관 2004 丹豪文化硏究 Vol.- No.8

Since 1990s, the major achievement in Korean Archaelogical studies includes the excavations of temple sites, where a lot of ceramics has been dug up as their major specimens. The excavations from temple sites reflect the consumptive trend of the monks, the largest consumer group in the times when Buddhism was the dominant religion. Goryeo monks consisted of the social elites and cultural leaders in the hierachical society, so we can say their consumptive trend had a lot of influence on making of the celadon porcelain. It can be summarized briefly according to the data from excavations: porcelain excavations from temple sites can be categorised in celadon, white porcelain, and imported porcelain; historic temples seemed to have consumed common items from the early Goryeo to later times. Among these items, Korean celadons were found in the form of bowl and tea vessels even in the earliest stage. In the Middle Goryeo Dynasty, various everyday vessels appeared in place of bowl and tea vessels; and in later Goryeo celadon items were simplified, usually in the forms of food vessels. Celadons were circulated nationwide if they were in high quality, but if they were in low quality, they came from the kiln near the temples. Compared to this, white porcelain was found in the temples near the workshops, which signified the consumptive pattern different from the ones of the high quality celadon. The import porcelain such as Yaozhouyao-type(燿州窯系 celadon(靑磁), Dingyao-type(定窯系) white porcelain(白磁), Jingdezhenyao-type(景德鎭窯系) qingbaiporcelain(靑白磁, porcelain with bluish-white glaze), Jianyao-type(建窯系) tenmoku(天目, stoneware with black-glaze), Jizhouyao-type(吉州窯系) tenmoku(天目) were found as many as the high quality celadon in proportion and numbers, which was related to the conditions for domestic porcelain production. Especially the celadons with molded design and hard white porcelains in good quality, and black glazed tea bowls were the major imports, which could not be produced found in Goryeo dynasty (高麗) Porcelains from the temple sites consistently corresponded to the products from kilns in each age. This implies most of the kiln products were consumed in temples. As time passed by, the items changed in types, and this might be because the new forms of porcelain from China accelerated the change. Also it was partly due to the gradual change in social institutions. It is not certain how much the temples have contributed to the change, but it is for certain that since the active majority who accepted the new culture of ceramics gathered around the temples. thus playing an important role the change of the types in Goryeo celadon.

한국 서화유물 모사의 역사와 현황

박지선 용인대학교 박물관 2003 丹豪文化硏究 Vol.- No.7

Copying of painting and writing artifacts has been known as a process that painters must follow. It is often found in the history of painting theory that copying does not only mean the reproduction of whatever is visible but also implies the transfer of invisible and internal world of soul. Copies of paintings and writings in the past were studied systematically through the methods of mo (摹, to copy), im(臨, to overloook), and bang(倣, to imitate), however, such methods are no longer significant in materialistic modem world. The purpose of painting and writing copies in the past was to study, appreciate, and record, however, it is now to use as a means of economic profits for limited people as economic value of artifacts overrules cultural one. Therefore, in modern perspective, the copies are considered more negatively and widely understood that copies equate counterfeit. The problem of counterfeit has existed throughout history, but the techniques of counterfeit in modern world have been developed enormously along with the rapid development of high-techs. A word, copy, is easily found in historical literatures of the Eastern paintings and writings. In Korea, Joseonwangjosillok(『朝鮮王朝實錄』), the Record of the Joseon Dynasty) contains many words of mosa(摹寫, copy of a painting), mojo(摹造, copy of a sculpture), and mogak(摹刻, copy of a carving). It also has the negative record about copied and counterfeited document, however, in most cases, it deals with copying of a kings portrait. (Joseonwangjosillok 『朝鮮王朝實錄』) Record about the copy of kings portrait tells that the pictorial book for copies was created under the kings order to recover former kings portraits that conserved poorly. It also tells that high ranking officials in the government were even gathered to decide what materials to use for copying. Moreover, it was very often that the officials with outstanding achievements were given an award of meritorious retainer under the special order of a king, and these awards were copied for multiple numbers by their offspring and conserved. In Joseon Dynasty, most of the copying was actually done by the offspring to reproduce their ancestral portrait to keep it at the shrine, and it was sometimes done by well-known painters to make outstanding calligraphies or paintings enjoyed and appreciated. Thus, the copies of portraits in Joseon dynasty were done for such practical needs. Copies in contemporary world impose more meanings than before. First, copies of the actual state(現狀模寫) are to reproduce the present state of a painting artifact. It is produced to replace the original artifacts by the time of a long period exhibition. Since the original artifacts have to be reproduced exactly the same, the damage done by insects, de-coloring by oxidation and stain by mildew also have to be reproduced exactly the same. Moreover, the background materials, colors and degree of damage of the original artifacts should be carefully observed and analyzed with the help of scientific method and equipment. And then the materials that are the closest to the one applied for the original should be used. Second, copies of restoration (復原模寫) are to recover, rather than to exhibit, the original artifact to its pre-damaged status after the research and observation. This was widely used in the past when the offspring wanted to recover their ancestral portrait to its perfect form. Copies of restoration should be done with similar materials that were used to produce the original, but people might feel unfamiliar and uncomfortable with the original colors reproduced. Therefore, copies of restoration sometimes is treated with antique colors. Copying tradition in Korea was totally discontinued after the Japanese colonial period, and it is only recent that copying has been revived by the efforts of few artists who have interests in it. However. copies done by them, until now, is hardly regarded as a reproduction by reviving the original techniques and materials upon thorough research and analysis of the original artifacts. This is because it is very rare to have an opportunity to see the original and to research and analyze the original materials. Yet, fortunately, in June 2002, the Kyonggi Provincial Museum was donated two pieces of a portrait of Lee InYup under the condition of conserving the original and producing its copy. Thus, the copying project of portraits has finally begun. And among the artifacts restoration projects organized by the Ministry of Cultural Artifacts, a project to copy the artifacts owned by the Sosoo Institute(紹修書院), located in the North KyungSang Province, was launched to replace the originals concerning possible damages by poor conservation environment during exhibition. This project was started by the Bureau of Culture and Travel at the City of YoungJu, and it is planned to replace the original artifacts with copied ones during the time of exhibition. Since the launch of this project, a portrait of Huihun(晦軒), the 111th national treasure, and a portrait of Juseboong(周世鵬), the 117th treasure, have been done, and the project has been expanded for local tangible cultural artifacts. Along with scientific development, numerous recording medium have been also developed. People might think that the work of copying is no longer necessary since the development of camera. Taking photos requires a lot less work than copying, and printing can reproduce things as the same. But duplication by camera is limited to the world that can be expressed only through the lens. Printing, also, is similar to photos, but it can use similar background materials and adjust the shade of colors. Photos fade slower than prints. However, neither can express the touch of original colors used. Reproduction of the original colors thickness, brightness, and particles size can only be done by copying, and only copying can revive and succeed the original painting style. Yet, copying also has its shortcomings. Copying cant be hundred percent same as the original and is also costly. Therefore, I'd like to recommend that all three methods should be used accordingly. Copies in contemporary world are to conserve cultural artifacts, succeed and learn traditional techniques, and inherit intangible customs of the past. And copying projects should not be limited to the field of portraits. The most urgent field is the Thankas in traditional Buddhist temples. These Thankas have been and will be there for a long period of time. However, regardless of being a national treasure, many of them are abandoned in a very poor environment. Not only the damages from surrounding environment but also damages by candles, animals and insects lack any kind of countermeasures. In the future, development of copies should be encouraged not only for the conservation of cultural artifacts but also for the succession of traditional techniques. Moreover, artists who cm participate in such projects should be raised with a long-term perspective. Throughout the Japanese occupation in early 20th century, most of traditional cultures and arts in Korea were either disappeared or deteriorated. At that time, Japanese cultures along with the western ones were flooded and accepted without having a choice. And we, in 21st century, are even unsure what is a tradition. In the end, the most ideal way to restore traditional culture is to conserve existing cultural artifacts and study and restore them. In this regards, copying might be the best method to combine together all three fields of conservation, research, and restoration. Copying, until now, has been limited to study, appreciate, and record, and regarded as a method to produce counterfeit. However, in 21st century, such negative aspects and prejudice about copying should be overcome, and copies should be regarded as an alternative way in conserving cultural artifacts.

중국 서화유물 복제의 역사와 현황 및 복제 기법

曹靜樓,郭文林 용인대학교 박물관 2003 丹豪文化硏究 Vol.- No.7

금속공예기법에 따른 보존처리 방법

김수기 용인대학교박물관 2006 丹豪文化硏究 Vol.- No.10

Traditional metal crafts have various materials and uses. Even though the same in material and use, they are, however, mutually different in the degree of corrosion or damage, depending on the methods or techniques of manufacturing. Accordingly, different methods of preservative treatment should be also adopted in accordance with metal working techniques. Not greatly deviating from those of metal remains in general, various methods of preservative treatment by metal working techniques are to be summarized as follows. It is desirable not to elute corrosion factors from the cast iron relics where intergranular corrosion has occurred, but to temper them with synthetic resins and infiltrate the glue into them as quickly as possible. Besides, it is desirable to infiltrate the glue into the crevices of metal joint as in intergranular corrosion after tempering them with synthetic resins, or to fill them with restoration agent. The relics decorated with inlays or precious metals should be treated for treatment with all stabilizing chemicals or strengthening agents selected, depending on the basis metal whose ionization is active. At the parts decorated with inlays or precious metals, it is desirable to confirm, with X-ray films, parts which have got loose and to remove rust from them carefully using a microscope lest the traces of grinding, made for polishing at the time of manufacturing, should be eliminated. At the gilt bronze relics, rust is chemically removed. At the same time, physical methods should be also appropriately used according to the state of relics since much damage may occur according to the state of plated gold. Exposed to extinction for various reasons, all cultural properties including metal relics should be safely preserved and displayed in the environment suitable for its material and state. They are all valuable cultural inheritances regardless of kind and grade and should be handed over intact to descendents.