第56期 近代中西琺瑯彩繪研究的新視野專號
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2024 / 3
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pp. 131 - 186
傳入朝鮮王朝的清代琺瑯彩繪瓷器及其接納狀況的初步研究
A Fundamental Study on the Introduction and Acceptance of Qing Enamel Painted Porcelain During the Joseon Dynasty
作者
金恩慶 Eun-kyoung Kim *
(高麗大學文化遺產融合學部 Division of Cultural Heritage Convergence, Korea University)
金恩慶 Eun-kyoung Kim *
高麗大學文化遺產融合學部 Division of Cultural Heritage Convergence, Korea University
中文摘要

朝鮮在以儒家政治為基礎並崇尚節儉的國家基調下,雖然以無紋的白瓷消費為主,但從十八世紀中後期開始,中國的彩瓷消費和流入情況正在增加。特別是以朝鮮王室為中心,進入清代新生產的被稱為「法瑯」或「洋磁琺瑯」的新品種不斷引進,這一點值得關注。這很有可能是清朝皇室所製作的「瓷胎畫琺瑯」或「銅胎畫琺瑯」等的畫琺瑯。出土及傳世品也與朝鮮王室有關,大部分以十九世紀末期景德鎮民窯生產的粉彩及廣彩為主。在十八世紀後半葉,以琺瑯顏料精心「作畫」進行裝飾的琺瑯彩繪瓷器在朝鮮王室中備受矚目。這一現象的背景,源自於朝鮮對近代化進程的渴望與追求。從這一立場出發,彩繪瓷器已然超越了奢侈品的範疇,轉變為一個國家自強不息、應對時代巨變所帶來混亂的最佳媒介。它們不僅是朝鮮跟隨時代潮流的象徵,更是展現其精幹形象與堅定決心的最佳手段。

英文摘要

During the Joseon era, the predominant preference in ceramics was for unadorned white porcelain, reflecting the national ethos of prudence and austerity grounded in the Confucian principles. However, from the latter half of the 18th century onwards, there was a notable surge in the consumption and importation of colored ceramics from China. Of particular interest were the emerging varieties known as Falang (“enamel”) or Yang ci falang (“enamel of foreign colors”), which began circulating, particularly within the Joseon royal court. It is highly likely that these varieties belong to the Hua falang (“polychrome painted enamel”), such as Citai hua falang (“tin-glazed enamel”) or Tongtai hua falang (“copper-body painted enamel”), produced in the Qing court. The excavated and passed-down objects are also related to the Joseon royal family, predominantly including the pieces of Fencai (“powder colored porcelain”) produced by Jingdezhen private kilns in the late 19th century, and Guangcai (“Canton porcelain”) from Guangzhou. The prominence of polychrome-enameled porcelain, embellished through the technique of “painting” with “enamel pigment,” within the Joseon royal court in the late 18th century, suggests a departure from viewing colored pottery as a mere luxury. Instead, it is seen as projecting a sophisticated image in line with Joseon’s aspirations towards modernity. This shift indicates a deliberate effort to align with contemporary trends, portraying Joseon as a self-assured modern nation capable of navigating the complexities of a rapidly evolving era.

中文關鍵字

朝鮮; 朝清交流; 琺瑯彩繪瓷器; 畫琺瑯; 粉彩; 廣彩

英文關鍵字

Joseon Dynasty; Joseon-Qing Exchange; Polychrome enameled porcelain; Huafalang; Fencai; Guangcai