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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.
초록· 키워드
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The activity of appraising and enjoying various craftworks in the traditional Korean society was born out of, expanded and distributed by the close interrelatedness between the Confucian customs and the Taoist practice of Cheongwan spirit. Those who had the privileges of possessing Munbangcheongwan ultimately purported to arrive at a high level of spiritual and intellectual ground by fully appreciating the magnificent and superb spirit of the noble way of life. Thus, craftwork appraisal largely evolved around enjoying objects of class and elegant artistry from a highly educated perspective. Those who were able to appreciate such objects enjoyed the art of appreciating the impacts such objects bore upon their lives. This is why the appreciating class at the time valued the appraisal method of verifying the quality and grade of such highly regarded goods very importantly. This may be why many of the leading figures in Taoism, arts, and Confucianism were also well known for their discerning eyes when it came to appreciating the highly regarded goods. The educated class of the Ming and Qing Dynasties in China actually shared this viewpoint, which was previously formed in the time of the Song Dynasty. Such emphasis and purpose placed upon appreciating fine craftworks created standards of appraising them that are very similar across East Asia.
Early practitioners in the art of appraisal were not entirely indifferent to authenticity of the goods they were valuating. However, being loyal to the philosophy of the time that regarded Munbangcheongwan as the practice of ideals, they focused more efforts on discerning the quality and grade of even the imitated goods. This type of view pervaded until the last days of the Chosun Dynasty in Korea. In addition, those who appraised fine craftworks were also those who created demands for such goods.
However, the primary focus of appraising fine craftworks shifted to discerning the imitated from the authentic and valuating the craftworks in terms of their value for collection, as professional collectors emerged along with the expansion of the commercial distribution network in the modern times. Furthermore, with the establishment of art history and archaeology as modem fields of study, new school of appraising fine craftworks for the sake of critiquing historical materials came to be formed. During this time, those who appraised the goods were professional distributors, collectors, and scholars.
With the arrival of the Japanese rule in Korea, professional collectors who would rather distribute the goods than possessing them for themselves began to emerge. The expansion of the commercial distribution network transformed the frames of traditional possession and appraisal of fine craftworks. It should also be noted that the modem times witnessed the rise of appraisal for the sake of critiquing historical materials as an objective, authoritative school of appraisal.
Early practitioners in the art of appraisal were not entirely indifferent to authenticity of the goods they were valuating. However, being loyal to the philosophy of the time that regarded Munbangcheongwan as the practice of ideals, they focused more efforts on discerning the quality and grade of even the imitated goods. This type of view pervaded until the last days of the Chosun Dynasty in Korea. In addition, those who appraised fine craftworks were also those who created demands for such goods.
However, the primary focus of appraising fine craftworks shifted to discerning the imitated from the authentic and valuating the craftworks in terms of their value for collection, as professional collectors emerged along with the expansion of the commercial distribution network in the modern times. Furthermore, with the establishment of art history and archaeology as modem fields of study, new school of appraising fine craftworks for the sake of critiquing historical materials came to be formed. During this time, those who appraised the goods were professional distributors, collectors, and scholars.
With the arrival of the Japanese rule in Korea, professional collectors who would rather distribute the goods than possessing them for themselves began to emerge. The expansion of the commercial distribution network transformed the frames of traditional possession and appraisal of fine craftworks. It should also be noted that the modem times witnessed the rise of appraisal for the sake of critiquing historical materials as an objective, authoritative school of appraisal.
목차
Ⅰ. 머리말
Ⅱ. 文房淸玩 풍조와 공예 감식
Ⅲ. 감식안과 가치기준의 변화
Ⅳ. 감식 경험의 구조화와 제도화
Ⅴ. 맺음말
참고문헌
Abstract
「한국 공예 감식의 변천: 문방청완의 향유와 眼法」에 대한 질의
이송란 선생님의 질의에 대한 답변
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