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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 제50호
- 발행연도
- 2020.6
- 수록면
- 273 - 298 (26page)
- DOI
- 10.14380/AHF.2020.50.273
이용수
초록· 키워드
오류제보하기
Tokumei Zenken Taishi Bei-Ō Kairan Jikki (A True Account of the Ambassador Extraordinary and Plenipotentiary’s Journey of Observation through the United States of America and Europe), usually abbreviated as Bei-Ō Kairan Jikki, is the official record of the Iwakura Mission’s diplomatic journey to the United States and Europe between 1871 and 1873, published in 1878. Writings related to ceramics in Bei-Ō Kairan Jikki include general introduction and short history of ceramics in each country, accounts of ceramic workshop facilities and manufacturing process, assessments of design, technique and technology, as well as descriptions of ceramic collections and the use of ceramics in Western culture. During the journey, the aim of the mission was to gather a wealth of information on industry, engineering technology, and mineral resources of each country in order to satisfy the nation’s considerable interest in the exploitation of these resources and technologies. In this respect, records on ceramics in Bei-Ō Kairan Jikki can also be understood as significant primary sources that suggest theoretical foundation and orientation of ‘modern crafts’ in Japan and Korea.
In Bei-Ō Kairan Jikki, contemporary ceramic productions, collections, and shapes of specific ceramics which the mission witnessed during the tour of renowned ceramic factories and museums in Europe were depicted in detail. A detailed account of Japanese observation on ceramics indicates that the tour had encouraged the mission to reflect on the status of Japanese crafts and, as to new technologies and designs of the West, to trace the source of inspirations. Members of the mission also saw potential and self-confidence in Western collections and exhibitions of ceramics, including the Weltausstellung 1873 Wien, as well as ceramic manufacturing technologies and designs of the industrialized West. They believed that the balanced promotion of both mechanical and manual industries, under the condition of viewing ceramics as arts and crafts, would enable Japan to preserve pottery-making tradition and create commercial profits at the same time. In other words, the Iwakura Mission consequently changed the course of domestic production of ceramics, which became regarded as both works of art and merchandises by embracing new design and technical improvement under the rubric of policies to increase production in industrial enterprise.
This event therefore led to the binary perspectives on ceramic production in Japan; viewing as artistic handicraft on the one hand, considering as manufacturing industry on the other hand. Accordingly, based on traditional Japanese potteryproduction system already firmly established with sophisticated technology, Japan promoted policies aimed at industrial modernization and entry to the global markets. Furthermore, reforms in ceramic manufacturing technologies-e.g. the improvement of kilns and kaolin, the adoption of new pigments-became reified in subsequently established modern institutions such as the Laboratories of Ceramic Industry and the Nippon Koshitsu Toki Kaisha (Japan Ironstone Incorporation) found both in Japan and colonial Korea.
In Bei-Ō Kairan Jikki, contemporary ceramic productions, collections, and shapes of specific ceramics which the mission witnessed during the tour of renowned ceramic factories and museums in Europe were depicted in detail. A detailed account of Japanese observation on ceramics indicates that the tour had encouraged the mission to reflect on the status of Japanese crafts and, as to new technologies and designs of the West, to trace the source of inspirations. Members of the mission also saw potential and self-confidence in Western collections and exhibitions of ceramics, including the Weltausstellung 1873 Wien, as well as ceramic manufacturing technologies and designs of the industrialized West. They believed that the balanced promotion of both mechanical and manual industries, under the condition of viewing ceramics as arts and crafts, would enable Japan to preserve pottery-making tradition and create commercial profits at the same time. In other words, the Iwakura Mission consequently changed the course of domestic production of ceramics, which became regarded as both works of art and merchandises by embracing new design and technical improvement under the rubric of policies to increase production in industrial enterprise.
This event therefore led to the binary perspectives on ceramic production in Japan; viewing as artistic handicraft on the one hand, considering as manufacturing industry on the other hand. Accordingly, based on traditional Japanese potteryproduction system already firmly established with sophisticated technology, Japan promoted policies aimed at industrial modernization and entry to the global markets. Furthermore, reforms in ceramic manufacturing technologies-e.g. the improvement of kilns and kaolin, the adoption of new pigments-became reified in subsequently established modern institutions such as the Laboratories of Ceramic Industry and the Nippon Koshitsu Toki Kaisha (Japan Ironstone Incorporation) found both in Japan and colonial Korea.
목차
Ⅰ. 머리말
Ⅱ. 이와쿠라 사절단이 방문한 주요 제작장과 현황
Ⅲ. 사절단이 본 유럽의 도자컬렉션과 전시
Ⅳ. 『미구회람실기』의 도자사적 의의
Ⅴ. 맺음말
참고문헌
ABSTRACT
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UCI(KEPA) : I410-ECN-0101-2020-650-000861727