근대전환기 국내 사료 분석을 통한 서양자기 사용실태 연구

엄승희(Eom, Seunghui) 한국미술사교육학회 2017 美術史學 Vol.- No.33

본 논고는 근대전환기에 수입된 서양자기 가운데 식기사용의 실태를 사료기록 및 유물을 바탕으로 추론하여, 전반적인 흐름과 동 시기 조선요업에 미친 영향을 파악하는데 그 목적을 두고 있다. 근대전환기에는 1876년 강화도조약 체결 이후 서구열강과의 통상조약을 계기로 서양문물이 본격적으로 수용되었다. 특히 국가 간의 수교 체결 이후 문호개방은 더욱 확대되면서 새로운 대외교류가 이루어졌다. 서양자기들 역시 이 무렵 대부분 수교국들을 중심으로 조선에 들여와서 사용되었다. 서양자기 가운데서도 양식기들은 자주적인 근대국가를 천명하고 세계화에 합류하려던 대한제국기에 가장 활용도가 높았다. 조선 왕실은 외교인사들을 수시 궁에 초청하여 서양식 연회를 베풀었고, 때문에 연회의 성격은 다분히 국가의례적이었다. 그 외 양식기는 왕실의 일상생활용품으로 쓰이면서 상당량이 공급되었다. 따라서 근대전환기의 양식기는 외교인사와 고위관료들을 접대하기 위한 국가 필수품이었지만 왕실의 상차림과 식문화에 어느 정도 영향을 미쳐 사용범위가 비교적 다각적이었다. 특히 조선 왕실과 특권층을 중심으로 양식기 사용이 보편화되면서, 근대 서구의 음식문화 토대가 자연스럽게 형성되고 도자에 대한 인식이 일부 전환되었을 것으로 보인다. 그밖의 사료 기록에 따르면, 왕실 이외 각국 공사관(公使館), 대중시설 등의 서양식 연회 및 접대성격 등을 어느 정도 파악할 수 있다. 서양자기의 사용이 점진적으로 확대되던 근대전환기는 이로 인해 형성된 도자문화가 조선말기 요업에 어느 정도 파급되었다고 볼 수 있다. 그러나 실제로는 이 시기의 국가정세와 재정은 날로 위태로웠고 분원의 민영 이후 조선요업은 최대 위기를 맞이하면서 서구 제도술(製陶術) 도입은 실효를 거두지 못했다. 따라서 서양자기가 세계 각국에서 수입되어 일부 특권층에 신선한 자극이 되었지만 그 기술력과 문화가 조선요업과 사회에 직접적으로 미친 영향은 거의 없었다. 근대전환기의 서양자기는 일부를 제외하면 대부분 국가의례용으로서 사용되어 외교정책 수립을 위해 반드시 구비해야만 했다. 따라서 양식기의 사용은 이 시기 외교와 서구문명이 수용되는 가운데 유입된 특별한 문화적 소산이라고 할 수 있겠다. The purpose of this paper is to infer the state of the use of the imports of Western ceramic crockery in the period of transition to modern era from studies of the remaining relics and historical material, and give a general overview of the historical development, and examine the influence of the imports of Western ceramic crockery on the Chosun ceramic industry. Western culture began to be introduced on a large scale into Chosun in the period of transition to modern era through the commercial treaties that were signed between Chosun and Western Powers after Ganghwa Treaty of 1876. Especially the establishment of the diplomatic relations with other countries made the door of Chosun open more, and enabled Chosun to have contact with foreign countries in a new way. Mostly from the countries that Chosun had diplomatic relations with, the Western ceramics were imported and used in Chosun. In the period of Daehan Jeguk (Great Korean Empire) that declared herself independent and tried to become a globalized country, the ceramic crockery was most useful among the Western ceramics. The royal household of Chosun often invited diplomatic officials into the royal palace and hold Western style banquets, therefore, the banquets had characteristics of national ceremony. And the ceramic crockery was used not only for ceremonial purpose but also for the purpose of daily use in the royal household and the royal household was supplied with a great deal of crockery. The ceramic crockery that was imported in the period of transition to modern era was necessary articles for receiving diplomatic dignitaries as guests, but it also affected the way of setting table and the culinary culture in the royal household to a certain degree. Especially, it seems that as the Western ceramics got used widely among Chosun"s royal family and privileged class, this trend became naturally the foundation for Chosun"s Western style culinary culture in the modern era, and people"s understanding of ceramics was changed to some degree. Also these documents inform us, to a certain degree, about the trends in the Western style banquets and the ways of entertaining guests of each nation"s legations and public facilities as well as the royal household. It can be inferred that the newly formed trend in the use of Western ceramics in the period of transition to modern era when the use of Western ceramics was gradually increasing affected the Chosun"s ceramic industry, to a certain degree, in the late period of Chosun dynasty. However, Chosun"s political and financial situation was becoming endangered at that time, and Bunwon came under private management, with the result that the ceramic industry of Chosun fell into its biggest crisis and the effort of introducing the skills of making Western ceramics to Chosun had no effect. Even though the ceramics imported from various countries around the world provided fresh stimulus to some people from privileged class, the newly formed ceramic-related culture and the skills of making Western ceramics had little effect on the ceramic industry and society of Chosun. The Western ceramics in Chosun in the period of transition to modern era were mostly used for national ceremonial purpose, so they were inevitably necessary for making diplomatic policies. Therefore, the trend in the use of the Western ceramics was a special cultural product resulting from the diplomacy in the period of transition to modern era and the introduction of Western civilization.

일제강점기 會寧陶器의 생산과 유통

엄승희(Eom, Seunghui) 호서사학회 2017 역사와 담론 Vol.0 No.81

함경북도 최북단에 위치한 회령은 조선 초기 완전히 한반도의 영토로 영입되면서 일대에서 지역 특유의 도기가 본격적으로 생산된 것으로 보인다. 현재로서는 조선조 회령에서 생산된 도기의 정확한 유형과 수요공급의 양상을 파악하기 힘들지만, 이전에 수용된 외래양식을 유지하면서 한편으로는 회령 고유의 기법이 새롭게 파생되었을 것으로 추측된다. 근대전환기에 접어들어서는 국가상황이 위기에 처해지고 分院마저 민영체제로 전환되면서 조선의 요업은 위기에 봉착했다. 회령을 중심으로 한 이북지역의 요업 역시 동일한 영향을 받았다고 볼 수 있다. 그리고 적어도 회령은 1920년대에 접어들기 전까지 요업실정이 낙후하여 생산실적이 매우 저조했으며, 제작장 분포 역시 전국에서 가장 하위권에 속했다. 그러나 일부 열정적인 제작자들의 생산참여와 조선총독부의 지원이 증폭되던 20년대 중반에 이르면 완연하게 새로운 구조체제를 구축하며 도기의 대량 생산이 가능해졌다. 특히 조선총독부의 지원은 친일파 제작자였던 崔冕載를 통해 전폭적으로 확대되면서 공동작업장 설립과 해외 수출, 해외학자 초청강연 등이 이어졌다. 1930년대 중반까지 회령도기 생산량은 꾸준하게 상승하면서 일본, 만주 등지로의 수출량도 동반 증가하여 생산고는 최고치를 달성했다. 그러나 당시의 생산품은 산업도기로서 대량 생산되어 전통의 제작기술이 반영되지 못한 일면이 있다. 예컨대 灰釉를 대체하여 화학제조유를 활용하고 일본풍 양식을 차용하기 시작한 일제강점기의 회령도기는 수익창출을 최우선시 하며 상당량이 일본인 수요자들에게 공급되었다. 이처럼 회령도기는 유구한 역사를 지니고 있었지만 근대기에 접어들어 일제의 요구와 관심이 증폭되면서 변질되는 경향이 없지 않다. 현재 회령도기는 소수의 전세품만이 전해지고 이를 입증할 만한 사료가 부족하지만 차후 다양한 접근방식과 사료를 수집한다면 회령 고유의 도기실체를 파악하는데 한발 다가갈 수 있을 것으로 기대한다. From the time when Hoeryeong located in the far north of Hamgyeong-bukdo was included in the territory of the Korean Peninsula in the early period of Chosun dynasty, the pottery in the region seems to have been produced in earnest. Now It is difficult to know exactly about the type of the pottery produced in Hoeryeong in the period of Chosun dynasty and about the aspects of the supply and demand of the pottery. In the period of transition to modern era, Chosun came into jeopardy and Bunwon got privatized, which put the ceramic industry of Chosun in difficulty. The ceramic industry in the regions of North Korea represented by Hoeryeong was also considerably affected. Before 1920s, the pottery industry of Hoeryeong was lagging behind and the amount of pottery produced in the region was very low, and the number of workshops was also lowest in Korea. However, in the early and middle 1920s, the support from some potters and Japanese government-general of Korea got increased, which created a new situation for Hoeryeong pottery. Especially, through Choi Myeonjae who was a member of the pro-japanese group and could get a lot of support from Japanese government-general of Korea, the establishment of workshops for group work, the export of the pottery into Japan and inviting foreign scholars to Korea, Hoeryeong pottery became more known. Until the middle 1930s, the amount of the pottery that was produced in Hamgyeong-bukdo province increased steadily, and reached the highest point while the export into Japan and Manchuria etc. increased. However, it seems that the pottery made in those days was produced not by the traditional way of making Hoeryeong pottery, but by the way of industrial production. For the purpose of making a profit and in order to produce pottery in large quantities and supply Japanese consumers with the pottery, the potters who produced Hoeryeong pottery used chemical glaze instead of traditional ash glaze made from straw ash, and moreover, began to borrow Japanese style. As mentioned above, Hoeryeong pottery has a long history, but it can"t be said that its traditional characteristics didn"t change while the need and interest of the Japanese Empire increased. There"s some difficulty in tracing the flow of the history of Hoeryeong pottery because there are only a few relics remaining over generations and moreover, it is difficult to prove that the remaining relics are real Hoeryeong pottery. However, by taking various approaches and conducting in-depth studies, it will be possible to come to know what Hoeryeong pottery is really like.

서울 종로(鐘路) 청진지구(淸進地區) 출토 근대 도자의 성격과 특징

엄승희 ( Seunghui Eom ) 이화여자대학교 도예연구소 2018 陶藝硏究 Vol.- No.27

The examination of the historic ruins of the Cheongjin Districts (19 districts in total) in Jongno-gu that continued to be conducted since the official excavation of the District 6 in 2004 has been completed except 8 districts. In the excavation site, the stratum of the late period of Chosun dynasty and the ones of modern and contemporary period were discovered, and modern ceramic relics were unearthed. Until now, the study on the ruins from which modern ceramic relics were excavated was not conducted, and only some relics are using as a teaching material. The reason we pay attention to the ruins of the Cheongjin Districts with respect to modern ceramic is that the total area of the ruins and the districts are very broad, and some remarkable relics showing the ruins were places of consumption were unearthed. Cheongjin-dong was a place where there were a lot of comings and goings of people because, since Chosun dynasty began, this place was located in the center of capital city and was lined with governmental offices and castles, and also Sijeon (a market that consisted of many shops that were licensed by government) was formed. In the modern period, yojeongs (high class Korean style restaurants) began to stand in a row along the sides of Junghak stream in the west of Cheongjin-dong, therefore pleasure-seeking culture developed, and also Japanese governmental offices and educational institutions were established and Japanese merchants hold the dominant position in the most sectors of local commerce. So it seems that these situations made the characteristics of the ceramics that were distributed into the region change. The result of the excavation of Cheongjin Districts ruins shows that jojil white porcelain and Japanese porcelain for domestic consumption and for export are in the majority. And it has been confirmed that these earthenware relics were used in the commercial facilities and residential areas and governmental agencies in the region. Because more that 90% of the ruins has been disturbed or destroyed, it is difficult to understand the actual state of the ruins, but it is obvious that Cheongjin-dong began to have different features from the other regions of Jongno in the process of the advent of a variety of building areas and enlargements and reconstructions of the buildings. It seems that it was possible to purchase ceramics from nearby porcelain shops of Sijeon or ‘Kwangjang market’, and also in the ‘Namdaemun market’ in Jung-gu, various kinds of ceramics were available to the residents. Cheongjin-dong was able to have active contacts with Jung-gu in many sectors thanks to many bridges linking the two regions. Especially, the ceramic culture and trade formed through ‘Gwangtong bridge’ seems to have been driving forces promoting trade with Japanese porcelain merchants in Jung-gu. The results of the excavation of Cheongjin-dong shows that, even though Jongno-gu was the region that was densely populated by Koreans, it was a special region where new ceramic culture was formed while Japanese governmental officers and merchants coexisted with various Korean residents of all social standings.

대한제국기 平壤磁器株式會社 설립의 성격과 의미

엄승희(Eom, Seunghui) 호서사학회 2015 역사와 담론 Vol.0 No.76

근대기 도미타 기사쿠(富田儀作)가 구현한 청자재현의 메커니즘과 그 식민성 연구

엄승희(Eom, Seunghui) 고려대학교 한국학연구소 2021 한국학연구 Vol.77 No.-

도미타 기사쿠(富田儀作,1858~1930)는 19세기 말엽 대한제국으로 도항하여 다양한 이권사업을 전개시킨 인물로서, 특히 한국의 도자문화에 대한 깊은 관심이 반영되어 청자재현사업을 구현하고 성공시켰다. 그의 청자사업은 시기적으로 개성 일대의 고려고분 발굴이 최고조에 이르는 시점에 구상되었으며, 일련의 연구과정과 최고의 제작기술력 확보를 통해 시작되었다. 이 시기 청자재현의 메커니즘은 고려청자가 지니고 있는 심미적, 기술적 가치를 본연 그대로 표현하는데 있었다. 특히 비색(翡色)을 창출하기 위한 노력이 그가 전개시킨 청자사업에서 가장 중요한 관문이었다. 재현청자들은 상업성을 강하게 표출하기 시작한 1920년대 초반 이전까지만 하더라도 도미타가 이룩하고자 했던 ‘재현적 가치’와 ‘전승’이라는 고유성을 이식시키는 것에 초점 맞춰졌다. 그러나 이후 청자 제작이 이윤사업으로 점차 전환되어 감으로써, 다방면에서 재현의 본질을 상실시키거나 변질시키는 문화가 만연해졌다. 따라서 근대기 도미타 기사쿠의 청자재현은 한국 도자 그 자체에 대한 그의 열정이 제작에 이르게 하여 도자의 새로운 장르를 형성시키는데 이바지하였다. 그러나 궁극적으로는 올바른 재현문화를 구현시키는 과정에 식민지적 근대성을 부여함으로써, 올바른 전승문화를 이룩하는데 많은 한계를 남겼다. Tomita Gisaku(1858-1930) was a person who traveled to the Korean Empire at the end of the 19th century and developed various interest projects. In particular, his deep interest in Korean ceramic culture was reflected, and he implemented and succeeded in the celadon reproduction project. His celadon business was conceived at the time when the excavation of Goryeo tombs in the Kaesong area reached its peak, and began through a series of research processes and securing the best manufacturing technology. At this time, the mechanism of celadon reproduction was to express the aesthetic and technical values of Goryeo celadon. In particular, efforts to create colorimetric color were the most important gateway to the celadon reproduction project he developed. Until the early 1920s, when the audience began to express their commerciality strongly, the focus was on grafting the uniqueness of the ‘reappearance value’ that Tomita sought to achieve into ceramics. However, as the production of reproduction celadon gradually turned into a profit business, the culture of losing or altering the essence of reproduction in many ways became widespread. Therefore, the reproduction of celadon by Tomita Gisaku in the modern period led to the production of his passion for Korean ceramics itself, contributing to the formation of a new genre of ceramic art. Ultimately however, it left many limitations in achieving a correct tradition of tradition by giving colonial modernity to transplanting the correct representation culture into the Joseon.

한양도성 출토 근대도자의 특징과 소비 형태

엄승희(Eom, Seunghui) 한국미술사교육학회 2020 美術史學 Vol.- No.40

한양도성 내 유적의 근대도자는 지난 10여 년간 집중 발굴되었다. 궁궐지를 비롯하여 관청, 상업시설, 교육기관, 料亭 등이 밀집한 지역과 조선인 민가를 유지했던 유적의 근대문화층에서 19세기 말엽으로부터 20세기 전반을 편년할 수 있는 많은 유물들이 출토되어 이 유물들은 근대도자의 시기설정에 주요한 단서들을 제공하고 있다. 이 유적에서 출토된 근대도자들은 근대기에 가장 광범위하게 소비된 제품의 편년과 양식적 특징을 이해하는 것 이외에도 지역간의 도자유통 및 수요공급체제가 변모하는 실태를 파악할 수 있게 해준다. 특히 거주지역의 인구분포와 건물지 분포에 따라 도자의 소비경향과 기종이 구별되고 있음을 알 수 있어 주목된다. 즉 양질품과 조질품의 출토상황이 그 지역의 거주상황에 직접적인 영향을 받고 있다는 점을 확인할 수 있다. 조선백자는 19세기 말엽 이후 제작상의 특징이 뚜렷이 구분되지 않고 유사성을 띠는 것에 반에, 일본자기 및 서양자기 등 수입자기 출토 상황은 지역적 격차가 뚜렷하다. 이는 근대 초기부터 분원백자의 품격이 현저하게 하락하지만 상대적으로 외래자기의 국내 유입이 활성화된다는 것을 의미하며, 서울의 중심가인 사대문 안에서 가장 그 특정적인 성향이 두드러진다는 사실을 명확하게 뒷받침해주고 있다. The Modern Porcelains in the ruins in Hanyangdoseong has been discovered for more than 10 years. At the modern level of palaces, government offices, commercial facilities, educational institutions, and restaurants, and the ruins of Korean dwellings, many relics were excavated from the late 19th century to the first half of the 20th century. It provides key clues. Modern Porcelains excavated from these ruins allow them to understand the changes in porcelains distribution and acceptance supply systems between regions, as well as understanding the age and aquaculture characteristics of the products most widely consumed in modern times. In particular, it is noted that the consumption trends and types of porcelains are distinguished according to the population distribution of the residential area and the distribution of the buildings in the residential area. In other words, it can be confirmed that the excavation situation of high quality and quality products is directly affected by the living situation in the region. Since the late 19th century, the characteristics of manufacturing have not been clearly distinguished from each other since the end of the 19th century. This implies that the quality of the original white porcelain drops considerably from the early modern times, but the domestic influx of foreign magnetics is relatively active, and it supports the fact that the most specific tendency is prominent in the four great gates of Seoul.

근대기 한불(韓佛)의 도자교류

엄승희(Eom Seunghui) 한국근현대미술사학회 2013 한국근현대미술사학 Vol.25 No.-

한국 현대도예와 이화여자대학교(梨花女子大學校) : 전통도자의 현대적 재해석과 조형도자에 대한 모색

엄승희 ( Seunghui Eom ) 이화여자대학교 도예연구소 2020 陶藝硏究 Vol.- No.29

Korea's Modern Ceramic gradually took its form after the Korean government was established. After the turbulent period, the systematic cultural policy and the harmonious harmonization of the cultural and art world for modernization gradually developed in the dichotomous context of the correct succession of tradition and the acceptance of formative ceramics. In particular, even in the early 1960s, traditional ceramics were recognized as a major area of creation beyond the object of tradition, and Ewha Womans University tried to aim for correct pottery education by introducing related education. In other words, Ewha Womans University, which first started teaching related pottery in 1959, recognizing the importance of modernization and succession of traditional ceramics, actively revived the needs of the time. In particular, Ewha's ceramic education focused on national policy and related projects that emphasized the traditions of the 1960s and 1970s, while focusing on rethinking the meaning of traditions from various angles. As the first educator, Professor HwangJong-gu(황종구) was appointed as a first-time educator, and scientific experiments and representations were successfully performed on celadon and various other traditional ceramics. Since the mid 1970s, the rapid increase in the pottery population has resulted in a structure different from that of the modern ceramic art industry. In particular, the acceptance of formative ceramics was sufficient to change the existing ceramic culture. Ewha's education encompassed this trend and, on the other hand, maintained the existing education and continuously presented the development and vision of Modem Ceramic Art. Therefore, ceramic education and research at Ewha Womans University, which started in 1959, has been reborn as a combination of Korean tradition and modernity, and will continue today, and will continue to expand this pottery culture to contribute to the development of Korean Ceramic.

사가현립규슈도자문화관(佐賀県立九州陶磁文化館) 한국도자 컬렉션의 형성과 그 특징

김은경(KIM, EunKyoung),엄승희(Eom, SeungHui) 고려대학교 한국학연구소 2024 한국학연구 Vol.91 No.-

This study examines the collection process and cultural implications of approximately 200 pieces of Korean ceramics housed in the Kyushu Ceramic Museum in Saga Prefecture, Japan. Based on the research findings of the National Research Institute of Cultural Heritage in 2010 and the Overseas Korean Cultural Heritage Foundation in 2023, this paper comprehensively analyzes the formation process and cultural significance of this collection.<BR/> First, the study analyzed the circumstances surrounding the donation of the collection and the characteristics of the donors to understand the background of its formation. Subsequently, the temporal and typological distribution of the ceramics in the collection was examined to identify its defining features.<BR/> The findings reveal that this collection was primarily formed through donations from local Japanese collectors since the mid-20th century, encompassing a diverse range of works from Goryeo celadon to modern and contemporary ceramics. Notably, The collection, dominated by Joseon white porcelain and modern ceramics, exemplifies the collecting proclivities of Japanese connoisseurs in the early 20th century. Furthermore, the identification of some modern and contemporary pieces as imitations of traditional ceramics demonstrates the characteristics and demands of the East Asian art market during that period.<BR/> This study establishes that the collection transcends mere objects of appreciation, holding significant historical value that reflects the complex aspects of ceramic cultural exchange between Korea and Japan. Moreover, it proposes that a comprehensive approach incorporating various academic fields such as ceramic history, art history, cultural anthropology, history, and museology is necessary to fully comprehend the multilayered meanings and values of national heritage located overseas. Through this, the research aims to vividly illuminate an aspect of modern and contemporary Korean-Japanese cultural exchange history and suggest new directions for future studies in Korean-Japanese ceramic cultural exchange.