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尹龍二 동국대학교 박물관 2003 佛敎美術 Vol.17 No.-
The celadons excavated at Seonwonsa temple site is divided into two types. The one is celadons that was made in the middle 13th century, in other words, these works made after the foundation of Seonwonsa temple. The other is bowl and dish made in 1380's. The celadons related with foundation of Seonwonsa temple is similar to those excavated at King Heejong's tomb, Seoklung (1237) , such as bowl, flower-shaped dish, cloud and crane design on the lid, and so on. In additoin celadon rectangular dish, circular dish, and flower-shaped dish excavated at King Myeongjong's tomb, Jilung(1255) are close to those of Seonwonsa temple site. Of all the celadons excavated at Seonwonsa temple site the former celadon and inlaid celadon are to show that time of Foundation. Also celadons such as bowl, flower-shaped dish, rectangular incense burner, and chair excavated at Yongjang castle (1271) located in Jindo island and Beophwasa temple site are similar to those of Seonwonsa temple site. Especially rectangular incense burner, chair, celadon tile have something to do with Palace, those celadons are to show that Seonwonsa temple was the temple supported by Palace. In the Seonwonsa temple site celadon with inlaid character Imsin(壬申, 1332) was excavated. Celadon bowl with inlaid lotus and phoenix is supposed to be producted at the same period. Coming to late 14th century, celadon bowl with inlaid lotus and aprabesque begin to be shown like celadon with inlaid character Jeong lung (1365). When celadons with inlaid excavated at Mooan Doripo that is supposed to be procucted in the 1370's compare with celadons excavated at Seonwonsa temple site, celadons of this temple site are supposed to be procucted in the 1380's. Of all celadons excavated at Seonwonsa temple site celadon and celadon with inlaid of middle 13th century are supposed to be made in Buan Yucheonri. The vessel type is dish, bowl, pot, celadon plate, and so on. Celadon with inlaid character Imsin(壬申, 1332) is supposed to be made in Gangjin Sadangri. But celadons of the 1380's are supposed to be made in Gyeonggi and Hwanghae province.
尹龍二 龍仁大學校 傳統文化硏究所 1997 丹豪文化硏究 Vol.- No.2
1. Choson(朝鮮) dynasty had its cultural renaissance in the 18th century. In that period, the development of agriculture, trade and Choson Configuration enabled Koreans to discover their own mentality and gave their full scope to the originality which they had been inherited form the ancient times. This century, under the reigns of three Kings of Sukchong(肅宗), Yongjo(英祖) and Chjongjo(正祖), was a classical period when the Shilhak(實學:a practical school of Choson Confucianism), the fine arts and the ceramics established marvellous achievements. Masterpieces of the white porcelains in underglaze blue were made on the basis of those achievements. 2. As for the changes of the 18th century Choson Kwanyo(朝鮮 官窯:the Ceramics Made in the Governmental Kilns): in its early period, under the reigns of King Sukchong, King Kyoungjong(景宗) and King Yongjo, most ceramics continued to be made tin the governmetal kilns of Kwangju(廣州), especially in the Kunp′yongri(宮坪里) kiln and Ohyangri(五香里)klin(1717~1720),the Kwannumri(觀音里)klin(1721~1725) and the Kumsari(金沙里)klin(1726~1751); in its late period, under the reigns of King Yongjo and Chongjo, the Punwonri(分院里) klin(1752~1883) made the milky white porcelains and the bluish white porcelains according to the theory of fixing the governmental kilns. Especially, the masterpieces were made including the clear white porcelains I underglaze blue on the milky white porcelains in the Kumsari kiln and on the milky white porcelains in the Punwonriklin. 3. In the 18th century, some best works of white porcelains in underglaze blue were produced in the Kumsari kiln(1726~1751) with refined neat and clean grass flower patterns on the milky white bodies. The Punwonri kiln(1752`1883) made standard masterpiece of the white porcelains in underglaze blue with pictorial patterns such as landscapes, human figures, four gracious plants, eight riverside landscapes and flowers and birds on the milky white or bluish white bodies. The white porcelain jar with landscape, flower and bird design in underglaze blue in this paper can be also estimated as one of the standard masterpieces as produced between the late Jimsari and the early Punwonri period in the 1750's considering its straight-up mouth, long stature, milky white glaze with the patterns of eight riverside landscape, plum flowers with birds, Chinese "longevity", "happiness" and "health" characters, cintanami bead belt, transformed wild goose and arabesque.