제주대학교 Repository

馬形土偶 제작에 관한 연구

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Alternative Title
A Study of the Production of Horse-shaped Clay Figurines
Abstract
Tow is small clay figurines shaped like humans, animals, household goods, and even houses. Clay figurines were excavated in not only Korea but also all around the world. Despite different modeling qualities, they were made as the symbols to pray for abundance and fertility, and also used for burial items. As indicated by a number of clay figurines excavated especially in Shilla and Gaya historical sites, they were actively produced in Korea since the Three Kingdoms period.
Shilla clay figurines, depicting the scenes of dancing, singing, playing musical instruments, and man and woman making love, demonstrate thought and life in those days. People at that time were influenced by nature worship and animism, the belief that souls inhabit all objects and nature; the belief in recurring worlds that life after death is same as life in this world; and worship for Earth Mother, the belief that earth's life has to do with female fertility. These clay figurines show ancient people's fear of death; worship for the sky, earth, and sun and wishes for abundance and fertility.
Clay figurines, usually made with simple hands, are characterized by their unartful shapes. They are symbolically expressed through an exaggeration or bold abbreviation of some parts of the body. Their forms are particularly marked by vitality, naturalness, and witty, humorous beauty. Found were many animal-shaped clay figurines, especially like horse rider-shaped and horse-shaped figurines. As a cultural symbol, the horse appears in ancient cave paintings, Goguryeo tomb murals, and Shilla heavenly horse pictures. From ancient times the horse was regarded as a mystic animal linking between heaven and earth; a psychic medium between this world and the world to come; and an animal carrying the soul of the deceased to the kingdom of heaven.
The horse is the animal of great significance in Jeju history and culture, as shown by Tamna-sunryeok-do (portrait of inspection tour of Tamna) portraying the scene of choosing Jeju horses to present to the king and Gosu-mokma depicting an idyllic scenery in which horses graze against the Jeju's peaceful setting. I refer to these cultural symbolism and Jeju horses designated as the precious natural treasure No. 347, as the theoretical background of my Tow making as follows.
Firstly, I create horse-shaped clay figurines, on a theoretical basis as occult icons and burial items. Secondly, I apply the position at attention, one of the features of Egyptian art, to reinforce solidness and express the true nature of clay figurines. As my pursuit of this nature is linked to archetypal images, my work making is based on the Carl Jung's archetype theory. Thirdly, I refer to Jeju's geopolitical position along with Wilhelm Worringer's "urge to abstraction" theory that the initial artistic impulse in humanity had been towards abstraction, due to infertile, heartless natural surroundings and uncertainties about the future.
I throw clay figurines with simple hands, pounding the clay with a paddle to earn solidness. I make use of the Jeju clay with a high degree of iron content, to express the image of reddish brown Jeokda, one of Jeju horse species. I do the first firing at 800℃ and the second firing between 1,180℃ and 1,250℃ after applying ash glaze, to represent the natural beauty of Towand characteristics of Jeju horses Jeokda and Gara.
In conclusion, this study is a new attempt to bring about diverse modeling qualities through a combination of the features of Tow and Egyptian art. It also focuses on Jeju horse's characteristics and its meaning in terms of form, underlining Jeju's cultural symbols and the importance of their expression.
However, there is a limit in a representation of Tow's nature and archetypal image. This is because Tow was usually made to use for practical daily life, not to display merely. I come to realize its archetypal image can be reproduced when I see ancient people's thoughts and wishes in a holy state derived from my mind. There are some lacks in my exploration of horse's nature and archetypal image, if approached through the concept of Egyptian art's position at attention. The task I will face in the future is to make diverse attempts to express the features of Jeju horses, in the firing process.
Author(s)
양미경
Issued Date
2008
Awarded Date
2008. 2
Type
Dissertation
URI
http://dcoll.jejunu.ac.kr/jsp/common/DcLoOrgPer.jsp?sItemId=000000004172
Alternative Author(s)
Yang, Mi Gyeong
Affiliation
제주대학교 산업대학원
Department
산업대학원 산업디자인학과
Advisor
허민자
Table Of Contents
Ⅰ. 서론 = 1
1. 연구의 목적 = 1
2. 연구의 방법 및 범위 = 3
Ⅱ. 토우(土偶)의 일반적 고찰 = 5
1. 토우의 기원(起源)과 의미 = 5
2. 토우를 통해 본 고대인의 사상 = 11
1) 자연숭배(自然崇拜)사상 = 12
2) 계세(繼世)사상 = 14
3) 지모신(地母神)과 성신(性神) = 16
3. 토우의 조형적 특성 = 17
1) 과장과 변형 = 18
2) 해학성 = 20
3) 자연성 = 22
Ⅲ. 말(馬)의 문화적 상징성과 그 조형성 고찰 = 25
1. 말의 기원과 문화적 상징성 = 25
1) 말의 기원 = 25
2) 말의 문화적 상징성 = 26
2. 선사·고대에 나타난 말의 상징과 조형적 특성 = 28
1) 벽화에 나타난 말 = 28
2) 마형토우(馬形土偶)와 토기(土器)에 선각(線刻)된 말 = 31
3. 탐라순력도(耽羅巡歷圖)를 통해 본 제주마(馬) = 34
1) 제주마의 역사와 문화 = 34
2) 제주마의 특성 = 37
Ⅳ. 마형토우 제작과 설명 = 41
1. 마형토우 제작에 관한 이론적 배경 = 41
1) 주술적(呪術的) 기원(祈願) = 41
2) 본질성(本質性)에 관한 추구 = 43
3) 추상적(抽象的) 표현 = 46
2. 제작방법 = 48
3. 작품설명 = 50
Ⅴ. 결론 = 66
참고문헌 = 68
Degree
Master
Publisher
제주대학교 산업대학원
Citation
양미경. (2008). 馬形土偶 제작에 관한 연구
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Graduate School of Industry > Industrial Design
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