개인구독
소속 기관이 없으신 경우, 개인 정기구독을 하시면 저렴하게
논문을 무제한 열람 이용할 수 있어요.
지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
이용수
초록· 키워드
오류제보하기
The researches on artists have been extremely deficient in Korean art history studies. Although craft is very closely related with the evolution of human culture among various genres of art, there are difficulties in investigating ideas, formative beauty, artists included in crafts because crafts more emphasized practicality as well as beauty compared with painting, sculpture, architecture.
Because craftsman regards sympathy by many people rather than subjective beauty as of greaterimportance in manufacturing crafts which stress the practicality, the tradition is more emphasized rather than the unique characteristics of an artist. In this context, 'non-individualism', i.e., 'anonymity' is included as one of the characteristics of craft and the uniqueness of an artist is rarely appeared compared with other genres of art. In addition, approach is not easy differently from 'study on artist' which has the modern concept because craft emphasizes 'public nature' about a certain group rather than 'who' (individualism) due to its 'anonymity'.
The historical existence of craftsmen, however, cannot be overlooked, because there are many crafts of the Three Korean Kingdoms period and the Unified Silla dynasty among the existing Korean artsand they were the performances by the traditional factor, the interaction with the advanced culture, and the techniques of craftsmen.
The title of Jangin cannot be found in the arts of Koguryo and Paekche. As a result of the investigation based on the inscriptions and literatures in the Three Korean Kingdoms Period and the Unified Silla Period, Jangin (匠人) was used in same senses of Gongjang (工匠) and Jang (匠), and was defined as the workman engaged in the crafts.
The concept of craft is differentiated from architecture, painting, and sculpture, and the concept of craftsman is captured in broader senses than modern senses where craftsman is a workman engaged in practical crafts. Therefore, craftsman are meant as a manufacturer of wooden pagoda, stone pagoda, stupa, statues, bronze bells, portraits without any classification of genres of modern senses.
Based on the inscriptions and literatures of the existing crafts of which the titles and names of craftsmen are clear, it is recognized that the hierarchy of craftsmen was already established in the Three Korean Kingdoms period, and there existed the official craftsmen who belonged to the national organization and the dominant class endowed with official grade and social position, and the noble families controlled the excellent craftsmen operating the private crafts studio in the Unified Silla period. Especially, it is notable thatindividual craftsmen belonged to the private families were also endowed with the official grades from the nation.
As a result of the investigation of the national organization, craftsmen in the Three Korean Kingdoms and the Unified Silla periods participated in the national construction activities engaged in private families or government offices, and took charges of the supply of commodities demanded by royal families and the nobles.
Most of them were endowed with the position between the 4th official class and the 6th official class, thus their social position seemed to behigher than that of Koryo Period and Chosun dynasty. This means that the position of a craftsman was not determined by his blood as in the case of the craftsmen from the dominant class like Abi and the priest craftsmen who played roles in crafts as a way to realize the Buddhism.
It seemed to be due to the re-allocation of craftsmen who had existed in the diversified forms to the national organization by emphasizing the role of craftsmen during the cultural and physical establishment processes and wars in the formation period of ancient countries. The role of priests as a way of self-discipline also affected this after the official admission of Buddhism.
Because craftsman regards sympathy by many people rather than subjective beauty as of greaterimportance in manufacturing crafts which stress the practicality, the tradition is more emphasized rather than the unique characteristics of an artist. In this context, 'non-individualism', i.e., 'anonymity' is included as one of the characteristics of craft and the uniqueness of an artist is rarely appeared compared with other genres of art. In addition, approach is not easy differently from 'study on artist' which has the modern concept because craft emphasizes 'public nature' about a certain group rather than 'who' (individualism) due to its 'anonymity'.
The historical existence of craftsmen, however, cannot be overlooked, because there are many crafts of the Three Korean Kingdoms period and the Unified Silla dynasty among the existing Korean artsand they were the performances by the traditional factor, the interaction with the advanced culture, and the techniques of craftsmen.
The title of Jangin cannot be found in the arts of Koguryo and Paekche. As a result of the investigation based on the inscriptions and literatures in the Three Korean Kingdoms Period and the Unified Silla Period, Jangin (匠人) was used in same senses of Gongjang (工匠) and Jang (匠), and was defined as the workman engaged in the crafts.
The concept of craft is differentiated from architecture, painting, and sculpture, and the concept of craftsman is captured in broader senses than modern senses where craftsman is a workman engaged in practical crafts. Therefore, craftsman are meant as a manufacturer of wooden pagoda, stone pagoda, stupa, statues, bronze bells, portraits without any classification of genres of modern senses.
Based on the inscriptions and literatures of the existing crafts of which the titles and names of craftsmen are clear, it is recognized that the hierarchy of craftsmen was already established in the Three Korean Kingdoms period, and there existed the official craftsmen who belonged to the national organization and the dominant class endowed with official grade and social position, and the noble families controlled the excellent craftsmen operating the private crafts studio in the Unified Silla period. Especially, it is notable thatindividual craftsmen belonged to the private families were also endowed with the official grades from the nation.
As a result of the investigation of the national organization, craftsmen in the Three Korean Kingdoms and the Unified Silla periods participated in the national construction activities engaged in private families or government offices, and took charges of the supply of commodities demanded by royal families and the nobles.
Most of them were endowed with the position between the 4th official class and the 6th official class, thus their social position seemed to behigher than that of Koryo Period and Chosun dynasty. This means that the position of a craftsman was not determined by his blood as in the case of the craftsmen from the dominant class like Abi and the priest craftsmen who played roles in crafts as a way to realize the Buddhism.
It seemed to be due to the re-allocation of craftsmen who had existed in the diversified forms to the national organization by emphasizing the role of craftsmen during the cultural and physical establishment processes and wars in the formation period of ancient countries. The role of priests as a way of self-discipline also affected this after the official admission of Buddhism.
목차
Ⅰ. 머리말
Ⅱ. 工藝와 匠人의 槪念
Ⅲ. 古代 三國ㆍ統一新羅의 匠人
Ⅳ. 맺음말
ABSTRACT
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
崔天若이 제작·감독한 조선 왕실 御寶 연구
미술사학연구(구 고고미술)
2019 .12
-
고려시대 金屬工藝의 匠人
미술사학연구(구 고고미술)
2004 .03
-
韓國 典籍分野 無形文化財의 傳承現況 考察
아시아민족조형학보
2011 .12
-
조선 전기 경공장의 기술 통제와 분업
미술사논단
2018 .12
-
근대기 한국의 공예문화 : ‘공예가’의 등장과 근대적 재편
한국디자인학회 학술발표대회 논문집
2013 .05
-
공예(工藝), 모던의 선택과 문명적 성찰 : 용어 사용 이후의 위기와 어젠더
한국근현대미술사학
2011 .12
-
사진 분야 국가기술자격 시험의 현황과 개선에 관한 고찰 - 전문가의 심층 면접을 중심으로 -
AURA
2014 .01
-
한국 근대‘공예’용어의 개념
한국디자인학회 학술발표대회 논문집
2014 .05
-
장서각 소장 왕실도서 표장직물 복원 방법과 절차
아시아민족조형학보
2007 .12
-
금속공예 연구의 현황과 전망
미술사학
2007 .08
-
한국 공예사 연구의 미학적 문제
미술사학
2007 .08
-
페트루스 크리스투스의 <금세공인> : 장인(Craftsman)과 사업가(Entrepreneur)
서양미술사학회논문집
2013 .02
-
사진 분야 국가기술자격 시험에 관한 사진교육자의 의식조사
AURA
2014 .01
-
한국 근대기의 공예상황
Archives of Design Research
2013 .11
-
한국 공예사학의 장르관습과 위계구조
미술사학
2007 .08
-
조선미술전람회 공예부의 개설 과정에 대한 고찰 : 전람회를 통한 근대 공예 개념의 형성과 확산
미술사논단
2014 .06
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-609-014719331