서울 中區지역 유적 출토 근대 도자

엄승희(Eom Seung-hee) 한국미술사학회 2017 美術史學硏究 Vol.296 No.296

일제시기 재한일본인(在韓日本人)의 청자 제작

엄승희(Eom, Sunghee) 한국근현대미술사학회 2004 한국근현대미술사학 Vol.13 No.-

근대기 한불(韓佛)의 도자교류

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

대한제국기 平壤磁器株式會社 설립의 성격과 의미

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

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.

야나기 무네요시(柳宗悅)의 조선민족미술관 한국 도자 컬렉션 형성과정과《이조도기전람회(李朝陶器展覽會)》 개최의 의미

엄승희 ( Eom Seung-hui ) 대한전시디자인학회 2023 전시디자인연구 Vol.20 No.2

This Thesis examines the overall background of the establishment of the Joseon Museum of Art, established in Gyeongseong(京城) by Yanagi Muneyoshi in 1924, and attempts to analyze the overall reason for the completion of the Korean ceramic collection, which was the museum's main collection. Yanagi Muneyoshi has visited Joseon several times since 1916 to establish an art museum and expressed a great interest in Korean art. In particular, he was greatly impressed by the Joseon White Porcelain handed over by his close acquaintance Asakawa Takumi, which had a significant impact on the purpose and operation of the art museum in the future. It is no exaggeration to say that the prelude to the Korean ceramic collection began through the Joseon Porcelain Exhibition(李 朝陶器展覽會), which was held about three years before its official establishment. This exhibition was an inspiration to Yanagi himself, who established Japanese folk art theory and began to open his horizons as a craft theorist, and at the same time, it was an opportunity to call for re-awareness of Korean ceramics. In other words, the aesthetic perspective of Korean ceramic art, from unknown civilians to royal government white porcelain, and the task of restoring the identity of Korean porcelain, began to be a central context for Yanagi Muneyoshi's craft theory. Therefore, the meaning of the Joseon Museum of Art in the middle of the Japanese colonial period is not only a space for collecting and researching Korean art, but also a space that paradoxically expresses his craft theory.

일제 강점 후반기 재조선 일본인들의 근대도예(近代陶藝) 성립과정과 특징적 양상

엄승희(Seung Hui Eom) 경희대학교 산학협력단 예술디자인연구원 2024 예술· 디자인학연구 Vol.27 No.2

본 논문은 일제 강점 후반기 도자공예계의 변모가 창작 장르의 기반을 구축함과 동시에 그 연장선상에서 도예가의 성장이 이루어지는 과정을 분석하는데 초점 맞춰졌다. 이 과정을 통해서 도자예술은 다방면에서 근대성을 표출할 수 있는 여건과 활동들을 보장받았으며, 이는 궁극적으로 근대도예의 성립을 의미했다. 그럼에도 근대도예 성립과정은 일제 강점 중반 이후에 표출된 다양한 요업 이력들이 함축되어 나타난 결과로서 이해되기보다 조선총독부의 문화정치의 일환으로서 성장한 바가 컸기 때문에, 다분히 정치적 함의가 내포된 것으로 평가된다. 그 함의로 인해 드러난 창의적 개발의 제한과 전문교육의 부재는 이 시기 도자예술계 성장에 직접적인 한계였다. 또한 근대도예 성립의 중심에서 선두지휘한 재조선 일본인 관료들은 소위 엘리트계층 집단이었으며, 이들은 조선의 도자문화에 대한 진부한 향토성을 강조하는 반면 일본적 취향을 적극 이입하여 근대화로의 성장을 근본적으로 저해했다. 특히 조선미술전람회를 통해 입증된 근대도예의 흐름은 당대 문화통치의 전개 방향과 이로 인해 발생된 폐단을 단적으로 보여주는 대표적인 사례로 볼 수 있다. This thesis is focused on analyzing the process of the transformation of a new ceramic craft industry in the second half of the Japanese colonial period, which established the foundation of the creative genre, and the process of the growth of a ceramic artist along the lines of that extension. Through this process, the conditions and activities for the expression of modernity in various fields of ceramic art were guaranteed, which ultimately meant the establishment of modern ceramics. Nevertheless, the process of establishing modern ceramics is evaluated as a political implication that has grown and maintained as a part of the cultural politics of the Japanese Government-General of Korea rather than being understood as a result of the implied history of active ceramics since the middle of Japanese colonial rule. The limitations of creative development and the absence of professional education due to its implications were the direct limitations of the ceramic art world at this time. In addition, the Japanese Colonial Settler who took the lead at the center of the establishment of modern ceramics were a so-called elite class group. And While emphasizing the banal locality of Joseon's ceramic culture, they actively introduced Japanese tastes, impeding the growth of modernization. In particular, the flow of modern ceramics, proven through the Joseon Art Exhibition(朝鮮美術展覽會), can be viewed as a representative example that clearly shows the direction of cultural rule at the time and the evils that have arisen from it.

애국계몽기(1900~1910) 민족신문에 표출된 도자기업 개혁 구현과 부국지술론(富國之術論) : 『황성신문』과 『대한매일신보』를 중심으로

엄승희 ( Eom Seung Hui ) 덕성여자대학교 인문과학연구소 2024 인문과학연구 Vol.39 No.-

Focusing on the national newspaper published between the 1900s and 1910, the so-called Patriotic Enlightenment, this paper focused on analyzing the overall status and characteristic aspects of ceramic companies of the time. Ceramic production during this period led new reforms in various fields to realize the modernization of the ceramics industry, and these contents are most clearly and concretely grasped through the articles in the HwangseongShinmun and DaehanMaeilSinbo, which are classified as representative national newspapers of the time. The representative contents advocated by this newspaper can be classified into three main categories. First of all, comments on the real task faced by ceramic companies were visualized through editorials and editorials of the two newspapers, and it is said that these articles were generally advocated by the enlightening forces. In addition, the trend of leading the reform through the establishment of a modern ceramic production center was reported closely, most representatively on Pyongyang(平壤) Ceramic Co., Ltd and Bunwon(分院) Ceramic Co., Ltd. In particular, the content of the report emphasizing that the key to breaking down the status of the declining ceramic companies and moving toward modernization is the expansion and base of related education, which can be seen as the most urgently needed problem in the overall ceramics industry facing the Korean Empire. Although the political situation in which much of the sovereignty was invaded from imperial Japan and the sectarian party dispute between proponents of the enlightenment movement and extreme conservatives served as considerable limitations in moving in the direction pursued by ceramic companies, the achievements made on the path of transition were the fruits of recognizing as an industry that could strengthen the country.

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.

근대기 세브르국립도자박물관의 한국 도자기 소장과 수용

엄승희(Eom Seung-hui) 한국근현대미술사학회 2015 한국근현대미술사학 Vol.29 No.-

Musee national de ceramique de Sevres is the greatest museum for ceramics in Europe that was founded in 1824, This museum have had international cultural exchange including exporting ceramics since in the 19th century and have solidified its position internationally. Joseon began a close relationship with the museum from 1886, the year when France-Joseon Treaty was ratified. Victor Collin de Plancy, the first French diplomatic minister to Joseon played an important role as a bridge for the Musee national de ceramique de Sevres to participate in manufacturing and improving Korean ceramics, which was a direct opportunity for him to collect a lot of Korean ceramics. Especially, it is noteworthy that when Gojong(高宗), the emperor of Joseon and Sadi Carnot, the president of France exchanged their ceramics as gifts in order to celebrate France-Joseon Treaty, the French ceramics were the ones that had been manufactured in Sevres and the Korean celadon items are now housed in the Musee national de ceramique de Sevres. It is also meaningful that when Joseon white porcelains faced uncertain future after Bunwon(分院) came under private management in 1884, Musee national de ceramique de Sevres factory’s manufacturers were invited to Joseon and helped with founding an arts and crafts school. In modern period of France, Joseon studies was not a well-explored field compared to other oriental studies, but Andre Billequin’s donation of a lot of Korean ceramics to Musee national de ceramique de Sevres and his study on these ceramics paved the way for the research into the history of Korean ceramics studies, via Musee national de ceramique de Sevres. And minister Plancy along with anthropologist Charles Louis Varat and Colonel Lee collected, donated and researched Korean celadon, white porcelains, Buncheong celadon and earthen ware chronologically which helped to shape the present Korean room at Musee national de ceramique de Sevres. As mentioned above, Musee national de ceramique de Sevres accepted the Korean ceramics art actively after France-Joseon Treaty and was fascinated by the unique ceramic culture and created a new form of ceramics. For example, the Koryo celadon pottery that Gojong presented to the president of France was reborn as a new type of celadon ware. Unable to be supplied with ash-glaze, they had to use crystallization glaze and copper red glaze, which resulted in the creation of beautiful and colorful European celadon peculiar to Sevres. This unprecedented approach was the result from their fascination with the oriental mystical ceramics. In this way, Musee national de ceramique de Sevres tried to understand Korean ceramic art thanks to the effort of a few persons like minister Plancy from the 19th century. The reason why the Musee national de ceramique de Sevres in modern times draw our attention is because of the fact that they not only housed Korean ceramics in the museum but also manufactured new type of ceramics using original Korean ones and publicized them internationally and kept collecting Korean ceramics and did research. From the point of view of producing ceramics, the Korean modern times was a period of upheaval. It was minister Plancy’s personal effort that contributed in large part to the cooperation between Joseon and Musee national de ceramique de Sevres. However, this provided an opportunity for Koryo celadon and Joseon white porcelains to be established as important foreign cultural assets in French society. Musee national de ceramique de Sevres could not completely express the beauty of Korean ceramics that they pursued. But it is meaningful that they made a positive contribution in adoration of Korean ceramic culture for the first time in Europe and above-mentioned facts are the reasons for this study.