창호(窓戶) 문양을 시문한 도자 식기 디자인 연구

Abstract

Since the ceramic tableware is closely related to the eating habits of Korean people, they would be an important element that can best demonstrate the national sentiments of Korea. In order to make beautiful and distinguished tableware, this may requires establishing the food culture righteously and time to spare in our living that can enjoy these elements. If it is designed so that the traditional beauty of Korea can be added onto the ceramic ware and the artistry could be shared commonly, this may make a way to succeed to the traditional culture. Hence in order to accomplish these goals, this study has tried to restructure the formative arts of Chang-Ho (windows and doors) pattern which is a traditional art pattern of Korea and to design the ceramic tableware of holding the traditional beauty of Korea by writing patterns onto the ceramic tableware. The following results were obtained. First in the process that studies the formative arts of Korean traditional Chang-Ho patterns, I could see that the Chang-Sal (lattice of window) and horizontal/vertical/diagonal patterns hold not only a perfect order, but also balance and harmony only with basic structural patterns. From these, I could feel the visual beauty that comes from a partition of simple and explicit patterns. Especially, Ccot-Sal-Moon (carved flower-grill door) with the elegant patterns and colors of Buddhist temple has exhibited the culmination of Korean beauty as to be converted and designed into the patterns of modern sense. Second, I have made the ceramic tableware of holding Korean beauty either by writing the patterns of Chang-Sal (window lattice) on the front of ceramic tableware or by restructuring them in part with some blank. As a result, the design of Chang-Ho patterns matched well with the ceramic tableware and made us to feel serene and comfortable. Third, the overall production method and enamel were prepared while basing on the traditional techniques and the Bakji (paring or peeling) technique was used for the pattern writing (Si-Moon) while trying to express the ingenuousness of traditional beauty and suppressing the colors by inscribing either the patterns with lines or the patterns of Chong-Hwa (blue-flower). I earnestly hope that our trial of applying the traditional Chang-Ho patterns of Korea in the design of ceramic tableware may help to conserve the cultural identity of Korean culture and has made a moment of feeling the traditional beauty of Korea in our living. I hope that the design study on the ceramic tableware of traditional beauty and elegance can be continued further in the future so that a lot of ceramic tableware (reflecting the traditional sentiments of Korea) can be produced. In this way, I hope that they can elevate the pride in the artistic beauty of Korea and the traditional beauty can be commonly observed in our living.