曾肅良Tseng, Su-Liang王明彥Wang, Ming-Yen2019-09-052012-8-172019-09-052012http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0697670056%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/102336始燒時間在十五世紀的朝鮮青花瓷，在東亞地區屬時間較早者，其專設官窯生產的模式，亦在時間上與明朝官窯相近，而壬辰倭亂（1592-1598）之後，朝鮮青花瓷的紋飾，則出現不同於倭亂之前，與明青花瓷相近的特徵，呈現出明顯的朝鮮特色。就此來看，十五、十六世紀的朝鮮青花瓷，應與明青花瓷有一定程度的關連性，並且可做為以景德鎮產品為仿效對象，自中國向鄰近地區擴張的東亞青花瓷生產活動中，較早受到中國青花瓷影響的例子，藉以深入瞭解十五、十六世紀之際，中國周邊地區面對此波以明朝為中心，漸次向外擴散的青花瓷風潮時，所採取的態度與反應。 本文的研究主軸，主要包括二個部分，一為在現已累積的基礎研究之上，對於十五、十六世紀的朝鮮青花瓷紋飾，針對不同風格之間，有關使用者的品味與階層群體的議題，以及主流風格的轉變所代表的意義進行討論，此外，在紋樣選用的背後，其可能存在的意涵與目的，亦將納入觀察範圍之內。另一則為在東亞青花瓷交流脈絡底下，有關十五、十六世紀的朝鮮青花瓷，其始燒背景、生產方式、象徵意涵，與明青花瓷之間可能的關係，以及此時期的朝鮮青花瓷紋飾，可能受到明青花瓷影響的部分，並針對其紋飾中的外來元素未見於明青花瓷者，納入其他可能承載相關圖像的載體，討論中朝二地有關相同圖像，在不同地區與媒材之間的傳播、運用及轉化等問題。 本文希望能夠在現有豐富的基礎研究上，將朝鮮青花瓷放入當時的使用脈絡進行討論，還原在當時的時空背景下，朝鮮青花瓷不管是在本身，或是其所帶有的紋飾風格與紋樣種類上，所被賦予的意義，藉此嘗試對於早期朝鮮青花瓷研究的其他可能性。此外，亦希望藉由瞭解此時期朝鮮青花瓷紋飾中，來自於明青花瓷與其他如中國繪畫、版畫等媒材的外來元素，能夠對於明青花瓷影響朝鮮青花瓷的認識，在時間與窯場性質上能有所突破，並同時補充在東亞青花瓷交流活動中，屬於早期受到明青花瓷影響的例子。另外，亦期望對中朝之間，有關圖像傳播的可能途徑與媒介，以及中國版畫對朝鮮美術的影響範圍，能有所認識與拓展，並將朝鮮繪畫受到中國版畫影響的時間，能夠繼續向上追溯。Joseon blue and white porcelains, which was first produced in the 15th century, was developed earlier than the blue and white porcelains of other countries in East Asia. In addition, the time Joseon started to produce only by royal kiln was very close to that of Ming Dynasty. After Imjin War（壬辰倭亂）, Japanese invasion of Korea 1592-1598, the ornament of Joseon blue and white porcelains appeared more obvious Joseon characteristics. That is very different from the previous ones which have characteristics close to Ming blue and white porcelains before Imjin War（壬辰倭亂）. According to what mentioned above, the 15th and 16th century Joseon blue and white porcelains should have a certain degree of correlation with Ming blue and white porcelains; it could also be an earlier example of how the Chinese blue and white porcelains affect the production activities of blue and white porcelains in other Asian countries nearby. This example also offer some explanations to the attitudes and reactions the region near China took when facing the blue and white porcelains wave spread out from Jingdezhen in 15th and 16th century. The study is mainly concerning two parts. First, building upon the numerous previous researches that are accumulated so far, it will discuss issues about the tastes and class groups of the owners who kept Joseon blue and white porcelains that bear ornaments in different styles. The possible meanings and purposes behind the choices of patterns will also be included in the discussion. Second, under the context of the East Asian blue and white porcelain exchange, it will discuss the possible relation of the production background, mode of production, and symbolic meanings between Joseon and Ming blue and white porcelains. Moreover, the ornament of Joseon blue and white porcelains which may be affected by Ming blue and white porcelains in this period will also be under discussion. On the other hand, the foreign elements in the ornament of Joseon blue and white porcelains which can’t be found in Ming blue and white porcelains will be discussed. Through investigating the carriers that carry related images or motifs, how the same images or motifs are spread, used and transformed in different regions and media between China and Joseon Dynasty will also be discussed. Furthermore, through the aplenty information deriving from previous researches, this study on ornament of Joseon blue and white porcelains in 15th and 16th century could discuss Joseon blue and white porcelains under the context of that period. Thus it will help us understand the meanings which were given to Joseon blue and white porcelains itself or the ornament styles and patterns of species it has under the historical background at that time. At the same time, it could also expand other possibilities for studying early Joseon blue and white porcelains. In addition, this study will help to understand the influence which Ming blue and white porcelains brought to Joseon blue and white porcelains in more other periods of Ming Dynasty, also from more different kinds of kilns than we ever knew before. It will add the earlier case of the influence which Ming blue and white porcelains had brought to other regions near China in the blue and white porcelain exchange activities in East Asia. As to the possible ways of images or motifs communication and media between China and Joseon Dynasty, this study will also provide a clearer understanding, even the influence which Chinese woodblock prints brought to Joseon Dynasty’s art could also expand from paintings to porcelain and could trace to earlier time.朝鮮青花瓷朝鮮官窯青花瓷官窯紋飾中韓瓷器交流工藝與繪畫圖像傳播視覺文化Joseon blue and white porcelainsJoseon royal kilnblue and white porcelainsroyal kilnornamentceramic interaction of China and Koreacrafts arts and paintingsimages communicationvisual culture