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Constancy and Change in Korean Traditional Craft 2017 Between in Korean Traditional Craft 2017 Traditional Korean in Constancy and Change 한국공예의 Constancy 법고창신 and Change 2017 in Korean Traditional Craft 한국도자의 2017 정중동 靜中動 Between Serenity and Dynamism; Korean Ceramics Korean Ceramics Dynamism; and Serenity Between 한국공예의 참된 가치를 널리 알리고자 The exhibition project first initiated in 2013, 2013년 밀라노에서 첫선을 보인 celebrates its fifth year. From 2017 a new <한국공예의 법고창신(法古創新)>은 approach has been introduced under the 지난 4년 동안 다양한 공예 분야의 장인들과 existing title “Constancy and Change in 현대 작가들의 수준 높은 작품을 엄선해 Korean Traditional Craft 2.0”, signifying the 세계에 선보여 왔습니다. next three years in presenting Korean craft <한국공예의 법고창신 2017>은 around the world. This is certainly a leap forward from what was established in 그 연장선인 동시에 지금까지의 성과를 통합하고 2013 – a platform for promoting genuine 한 단계 더 나아가고자 새롭게 추진하는 Korean craft in Milan, Italy. Previously ‘밀라노 한국 공예 2.0’ 프로젝트의 시작입니다. all materials from clay to metal to wood 이 프로젝트는 지난 네 번의 전시를 통해 to textiles and more were presented 한국 공예의 다채로운 면모를 소개하며 구축한 in the exhibition for a comprehensive 인지도를 바탕으로, 향후 매년 대표 분야를 선정하여 understanding on Korean craft. This year 한국 문화와 한국 공예의 아름다움을 ceramics has been chosen to represent 보다 집중적으로 소개하고, 새로운 문화 콘텐츠로서 Korean craft. The works of leading Korean 한국 공예의 경제적 가치 확장을 추구합니다. ceramicists are showcased in the exhibition continuing the lineage of the rich and long history and tradition of Korean ceramics. The objective behind the project is to expose Korean culture and craft to the rest of the world simultaneously as finding ways to strengthen the economic value of Korean craft as a cultural medium. 한국공예의 법고창신 2017 한국공예의 Constancy 법고창신 and Change 2017 in Korean Traditional Craft 한국도자의 2017 정중동 靜中動 Between Serenity and Dynamism; Korean Ceramics 한국도자의 정중동 靜中動 한국공예의 법고창신 2017 한국도자의 정중동 靜中動 Constancy and Change in Korean Traditional Craft 2017 Between Serenity and Dynamism; Korean Ceramics 004 A Word of Greetings 004 인사말 CHOI Bonghyun | President, Korea Craft & Design Foundation 최봉현 | 한국공예·디자인문화진흥원 원장 006 Between Serenity & Dynamism; Korean Ceramics 006 한국도자의 정중동(靜中動) CHO Hyeyoung | Art Director 조혜영 | 예술 감독 PARK Jungwon | PhD, Curator 박중원 | 큐레이터 010 Korean Ceramics conveyed through Serenity and Dynamism 010 한국 도자; 고요함과 역동성, 그 사이에서 Beth McKillop | Senior Research Fellow, Victoria and Albert Museum 베스 맥킬롭 | 빅토리아 앤드 앨버트 박물관 선임 연구위원 Cheongja (Celadon) 청자 018 KIM Seyong 018 김세용 024 KIM Panki 024 김판기 030 YOO Kwangyul 030 유광열 Baekja (Porcelain) 백자 038 KIM Youndong 038 김윤동 044 SEO Kwangsu 044 서광수 050 LEE Geejo 050 이기조 056 LEE Seyong 056 이세용 062 LEE Youngho 062 이영호 Buncheong 분청 070 KIM Daehoon 070 김대훈 076 SHIN Sangho 076 신상호 082 CHOI Sungjae 082 최성재 Onggi 옹기 090 OH Hyangjong 090 오향종 096 LEE Haksu 096 이학수 Beyond Tradition 전통, 그너머 104 ROE Kyungjo 104 노경조 110 REE Soojong 110 이수종 116 LEE Hunchung 116 이헌정 124 Article 1. 124 논고 1. Continuing the Legacy and Tradition of Korean Ceramics 한국 도자의 역사와 전통 계승 CHANG Kihun | Director, Gyeonggi Ceramic Museum 장기훈 | 경기도자박물관 관장 130 Article 2. 130 논고 2. Contemporary Adaptation along with Constancy and Change of Korean Traditional Ceramics 한국 전통 공예의 현대적 계승과 법고창신(法古創新) CHUNG Yeontaek | Professor Emeritus, Myongji College 정연택 | 명지전문대학 명예교수 136 Selected Biography 136 참여 작가 약력 004/005 A Word of Greetings 인사말 The exhibition project “Constancy and Change in Korean Traditional Craft,” 세계 속에 한국 공예의 우수성을 알리고자 2013년 ‘밀라노디자인위크’에 첫선을 initiated for the Milan Design Week in 2013 as a way of promoting the 보인 <한국공예의 법고창신>전이 올해로 5회째를 맞았습니다. <한국공예의 excellence of Korean craft across the borders, marks its 5th anniversary. 법고창신>전은 지난 네 번의 전시를 통해 세계 속에 한국 공예에 대한 인지도를 The four exhibitions to date have sought to enhance international awareness on 구축하고, 한국 미와 전통 공예의 가치를 바르게 정립하고자 노력해 왔습니다. Korean craft and to deliver the uniquely Korean aesthetic sensibilities and 특히 올해부터는 본 전시의 가장 큰 목적인 ‘전통 공예의 현대적 계승’이라는 취지를 the value of traditional crafts to the world. 더욱 강화하기 위해, 향후 3년간 해마다 대표 공예 분야를 선정하고 해당 영역의 In particular, starting this year, Constancy and Change will focus on one ‘마에스트로’들을 집중 조명함으로써, 세계인들이 한국 공예 문화를 더 깊이 이해하고 craft medium at a time for the next three years. The objective is to achieve the 즐기며 그 현대적 가치를 재발견하는 데 주력할 생각입니다. overarching goal of “perpetuation of traditional crafts,” by showcasing works of leading Korean masters with the aim of allowing international audiences to <한국공예의 법고창신 2017>은 이러한 취지에 따라 ‘도자’를 주제 분야로 선정하고, understand and enjoy Korean craft better, and to rediscover the contemporary 청자·백자·분청사기 및 옹기 분야의 작품 90여 점을 선별하여, 고유한 미감과 value thereof. 기술적·조형적 전통을 바탕으로 시대마다 독창성과 예술성을 두루 성취해 온 한국 도자의 다양한 면모를 선보이는 데 집중했습니다. With the above in mind, this year the medium is ceramics. Some 90 pieces 이번 전시가 전통을 창조적으로 계승하고 발전시켜 온 한국 도자의 역량을 드러내고 have been carefully selected with the planning committee members and presenting cheongja (celadon), baekja (porcelain), buncheong (grayish ceramic 전 세계 문화 예술인들과 보다 활발하게 교류하며 한국 공예의 국제 경쟁력을 높일 ware covered with white slip) and onggi (brown food storing ware), showcasing 수 있는 유익한 시간이 되기를 바랍니다. 더불어 앞으로도 진흥원은 한국 공예의 the epochal changes and artistic achievements of Korean ceramics on the basis 과거와 미래의 잇는 가교로서 그 역할을 충실히 수행하며, 한국 공예의 가치를 높이는 of their technical and sculptural traditions. 일에 더욱 최선을 다할 것을 약속 드립니다. I hope that the exhibition effectively promotes the brilliance of Korean ceramics that connects the past and perpetuates traditions in a creative way; 짧은 준비 기간에도 불구하고 최고의 작품으로 전시에 참여해 주신 열 여섯 분의 while it facilitates increased interactions with international audience; and 도예가들께 진심으로 감사 드리며, 이번 전시 개최에 애써 주신 여러 관계자 enhances international recognition and competitiveness. The Korea Craft & 여러분께도 감사의 인사를 전합니다. 고맙습니다. Design Foundation will remain committed to the role of connecting the past and the future, while upholding the value of Korean craft. 최봉현 I would like to thank the 16 ceramic artists who joined the exhibition with 한국공예·디자인문화진흥원 원장 the best of their work in spite of the rather short period of preparatory time, as well as the organizers and all related people who have beautifully put together this exhibition. Thank you! CHOI Bonghyun President Korea Craft & Design Foundation 006/007 Between 한국도자의 Serenity 정중동(靜中動) and Dynamism; Korean Ceramics The exhibition “Between Serenity and Dynamism; Korean Ceramics” showcases <한국공예의 법고창신 2017; 한국도자의 정중동(靜中動)>은 한국 문화와 한국 90 artworks of 16 artists, covering Korea’s main ceramic history and tradition 공예의 아름다움에 관한 감상과 이해의 수준을 한 단계 높이고자 ‘도자’를 주제 from cheongja (celadon), to baekja (porcelain), to buncheong (grayish ceramic 분야로 선정하고, 총 16명의 작가 90여 점의 작품을 선보인다. 본 전시는 한국 도자를 ware covered with white slip) and onggi (brown food storing ware). This is the 그 전통 양식에 따라 청자·백자·분청사기·옹기 및 현대 도예까지 다섯 분야로 나누고 first time that the exhibition, categorized under the concept of “Constancy 작가 선정에는 ‘한국적 특수성, 의미적 적합성, 분야적 대표성, 미학적 완결성’이라는 and Change in Traditional Korean Craft”, focuses on one material. Previously, 네 가지 원칙을 적용했다. 더불어 전통과 현대, 음과 양, 허와 실, 단순과 복잡, it presented a comprehensive understanding of Korean craft by including all 부드러움과 강함 등 한국 도자에 나타나는 상대적이고 상징적인 요소들의 대비와 materials — metal, wood, ceramics, glass, textiles, lacquer and more. The 조화를 공간 구성과 연출 영상에 반영해 전시에 깊이를 더하고자 했다. objective is to take on a new perspective where each material is examined closely through the works of leading makers in the field. This is a three year initiative beginning with ceramics, then leading on to lacquer and mother-of- ‘정중동(靜中動)’은 한국 문화가 발산하는 미적 특징을 함축한 개념이자 한국 문화의 pearl, and finally ending the third year with textiles and metal work. 외형적·내면적 특성을 담은 표현이다. 직역하면 ‘고요한 가운데 움직임’을 뜻하지만, 상황에 따라 ‘동(動)’ 속에서 끊임없이 ‘정(靜)’을 추구하는 ‘동중정(動中靜)’으로 The three year initiative begins with ceramics as it is the most representative 풀이할 수도 있다. 정중동이 추구하는바, 즉 공존과 통합이 만들어내는 균형 잡힌 craft form of Korea and one that has largely influenced the international scene. 조화는, 단순하고 소박한 가운데 여백의 미를 살리고 화려한 가운데 섬세함이 The exhibition “Between Serenity and Dynamism” epitomizes the aesthetic 살아있는 세련된 한국미를 압축적으로 표현한다. ‘정(靜)’이 ‘표면적으로는 고요한 characteristics and external/internal properties of the Korean culture. It means 가운데 내면적으로는 부단히 움직임’을 뜻한다면, ‘동(動)’은 ‘겉으로는 강하게 “movement amidst tranquility,” while also interpreted conversely as “pursuit 대치하는 듯 보이지만 속으로는 끊임없이 조화를 추구’하는 상태를 이른다. 본 전시는 of serenity amidst dynamism.” The goal of serenity and dynamism — harmony 이런 맥락에서 한국 도자에 관한 철학적인 해석보다는 전통의 맥을 잇고 새로움을 realized by co-existence and integration of two different elements — symbolizes 더하며 창의적으로 진화해 온 모습을 강조함으로써, 관람객들이 한국의 아름다움을 the uniquely sophisticated Korean aesthetic sensibilities that prize the beauty of 보다 직관적으로 경험할 수 있는 기회를 제공하고자 한다. space, simplicity and modesty, simultaneously as maintaining its delicacy and elegance. If “serenity” means “constant movement on the inside but remaining tranquil on the outside,” “dynamism” signifies a state of “ceaseless pursuing 인류의 풍요로운 삶을 위해 용(用)과 미(美)의 측면에서 발전해 온 도자는 지역마다 of harmony and integration, in spite of a strong conflict.” The exhibition aims 그 생활 방식과 문화, 그리고 재료와 기술에 따라 각기 다른 형태를 보인다.
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