高麗時代 禁制와 工匠制를 통해 본 金屬象嵌技法의 양상 = A Study of the Metal Inlay Techniques Seen through the Institutional Prohibitions and Artisanshipduring the Goryeo Period

다국어 초록 (Multilingual Abstract)

This research paper aims at a comprehensive understanding of various aspects of the inlay techniques used by metal craft artisans of Goryeo, the historical background and characteristic elements of the techniques, their significance in the sector of craft, and the relationship and interactions between metal craft and other handicrafts such as pottery and woodworking.
The metal inly techniques used by Goryeo artisans are typically divided into three, “line inlay”, “area inlay”, and “molten metal inlay” which was, by comparison, less widely used.The first and essential step in metal inlay is to cut a pattern into the substrate metal which is comparatively harder than the inlay metal. The “line inlay” refers to the technique of inserting metal wires into the lines forming a pattern cut on the bed of the substrate metal while the “area inlay” uses a shaped metal sheet to insert into the cut area of the base metal. The “molten metal inlay” techniques used mercury or nail to insert inlay metal to the pattern cut on the surface of the substrate metal.
The following discussion focuses on the background in which inlay became a majortechnique for the decoration of metal objects during the Goryeo Period. The discussion deals with the contemporary views on the technique inscribed on the surface of incense bowls and direct examples contained in historical texts such as Goryeosa (The History of Goryeo) and Goryeosa Jeoryo (Essentials of the History of Goryeo). It also includes the use of metal artifacts with inlay decorations for religious or diplomatic purposes and the background of the prohibitions proclaimed in 1175, the 5<SUP>th</SUP> year of the King Myeongjong’s rule, which played decisive role for the technique to grow into a main means of decorating metal objects.
The research on the Goryeo’s handicraft production led to the discovery of the profession called Hwaeop (“artistic profession”) whose main role was to provide decorative designs for craftworks. The subjects dealt in connection with the research include the role and the working process of the decorative artists, their position and treatment they received in the Goryeo society as well as the mutual relationship between the techniques.
The research also focuses on the designs and techniques used for their application by analyzingthe remaining metal artifacts decorated by the inlay technique of Goryeo. The remaining artifacts reveal that the technique was used extensively to decorate various daily objects as well as Buddhist ritual objects such as incense burners.Favored designs were largely conceived from reed and willows with water birds, auspicious Chinese characters, and dragons and phoenixes.
The inlay technique during the Goryeo Period was used not only for metal objects but other artifacts such as the mother-of-pearl lacquerware vessels and pottery, growing into a most distinguished feature of the handicrafts of Goryeo, reflecting ideologies and aestheticism of Goryeo people. This research paper is expected to provide a reliable analysis on the metal objects of Goryeo decorated with inlay techniques in connection with the aestheticism, politics, economy, diplomacy, culture, and arts and crafts of Goryeo.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 銘文과 史書를 통해 본 象嵌技法의 개념과 발달 배경
• Ⅲ. 匠人制度로 본 공예품 제작과 畵業
• Ⅳ. 金屬象嵌技法의 문양과 양상
• Ⅴ. 맺음말
• 참고문헌
• ABSTRACT

참고문헌 (Reference)

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