업다지 기법을 응용한 도자조형연구 = A Study on Ceramic Formative Art applied Technique of joining

국문 초록 (Abstract)

본 연구는 조선 백자의 제작과정 중 업다지 기법에 주목하여 이를 현대적으로 변용하고 연구자의 주관적 철학을 표현하는데 중점을 두었다. 이는 조형적으로 표현되는 기법만이 아닌 주관적 심상의 표현으로 나타나고 이해되길 바라는 접근이다.

업다지 기법을 통해 제작된 여러 기형에서 발현되는 무위적 변형은 한국미를 대표하는 특질로서 이해되며 한국적인 심상에 기초하여 탄생된 자연스러운 아름다움은 시대를 초월하여 인정받고 있다고 생각한다. 또한 기법과 더불어 흑색과 백색의 대비를 함께 접목시킨 조선시대 항아리는 음양사상의 간결한 표현으로서 강한 인상을 드러내며 현대적인 느낌을 자아낸다. 전통에서 찾을 수 있는 현대성을 우리의 현재에 반영함으로서 과거와 현재가 소통하고 이를 바탕으로 미래의 가치로서 형성될 것이다.

인간 생활과 밀접한 도자기는 한 사회의 가치관을 대변하고 있으며 현재에도 그 가치와 역할을 다하고 있다. 하지만 무분별한 변화와 파격에 정서적 충돌을 일으키며 정체성을 찾을 수 없는 이 시대의 산물 속에서 전통을 통해 찾을 수 있는 현대성은 21세기가 추구해야 할 조형정신에 큰 축이 될 것이라고 생각한다. 또한, 도자기가 본연의 쓰임새를 갖출 뿐 만 아니라 철학을 표현하려는 태도는 하나의 예술로서의 가치를 가지게 하는 미의 표현 주체로서의 역할을 하게 될 것이다.

이러한 제작태도와 기법의 활용을 통해 빠르게 변모하며 새로운 것을 추구하는 현대사회 속에 새로운 대안으로 부각되는 동양사상을 기반으로 그 가치를 표현하여 현대인에게 중용론적 사고를 일깨우고자 한다. 그리고 다른 개체의 융합과 입체적 장식효과를 형성하는 기법을 적극적으로 사용하여 대비적 성격의 화합과 공존에 관한 사유와 재인식의 계기를 마련하고자 한다. 본 연구를 통해 제작된 작품이 조형적 아름다움과 더불어 철학적 공감대를 형성하는 이야기로서 존재할 수 있기를 기대해본다.

다국어 초록 (Multilingual Abstract)

The focus of this study is to pay attention to the joining technique among the production processes of Chosun white porcelain to modernly transform it and express the subjective philosophy of the researcher. This is an approach that hopes that it will be shown not only as the formatively expressed technique but also as the technique of the expression of subjective image.

I think the inactive transformation manifested in various abnormalities produced through joining technique is understood as the characteristics that represent Korean beauty and natural beauty created based on Korean image is being recognized by transcending time. Also, the jar that combined the contrast of black and white along with the technique revealed a strong impression through the concise expression of yin and yang and evokes modern feel. The past and present will be able communicate by reflecting the modernity that can be found in tradition in our present and formed as future value based on this.

Pottery that is closely related to human lives is representing the values of a society and it is still fulfilling its value and role even today. However, I think the modernity that can be found through tradition in this time in which emotional conflicts occur from indiscretionary changes and irregularities and identity can't be found will become a big axis to the formative spirit the 21st century should seek. Also, the attitude of trying to equip pottery with its natural usage and express philosophy will play the role of the subject of the expression of beauty that possesses values as an art.

I seek to awaken the thoughts of moderation to modern people by expressing the value of Oriental thoughts that are being emphasized as a new alternative in the modern society that quickly transforms and seeks new things through such attitude of production and use of the technique. Also, I seek to prepare an opportunity for the reason and new understanding for the harmony and coexistence of contrasting characteristics by active using the technique that creates fusion with other individuals and forms three dimensional decorative effect. I hope that the artworks created through this study can exist as the story of forming philosophical consensus along with its formative beauty.

목차 (Table of Contents)

• 목 차
• Ⅰ. 서론
• 1. 연구배경 및 목적 ·························································· 1
• 2. 연구방법 및 범위 ·························································· 3
• Ⅱ. 이론적 배경
• 1. 업다지 기법
• 1) 업다지 기법의 정의 ··················································· 5
• 2) 백자 달항이리의 아름다움 ······································ 6
• 3) 업다지 기법의 활용 ··················································· 8
• 2. 공존에 관한 고찰
• 1) 공존 ············································································ 10
• 2) 음양사상 ···································································· 12
• 3. 참고도판 ······································································· 14
• Ⅲ. 작품제작 및 설명
• 1. 제작의도 ··································································· · 18
• 2. 작품설명 · ···································································· 18
• 3. 제작결과 ····································································· 38
• Ⅳ. 결론 ··············································································· 40
• 참고문헌 ·············································································· 41
• ABSTRACT ········ ······························································ 42