고려청자 문양 연구에서 그동안 모란과 작약, 훤화와 연화 문양의 세부 특징을 분석하지 않고, 훤화를 연화나 초화로 분류하거나 작약을 모두 모란으로 명명하는 경우가 대부분이었 다. 이러한 경향은 중국도 마찬가지이다. 본 논문에서는 중국 정요 자기의 영향을 받은 각 화목의 문양과 구성 요소를 비교 분석하여 문양을 분류하고 명칭 분류의 필요성을 제기하였 다. 대부분 모란으로 분류되었던 작약문의 존재를 확인하고, 작약이 중앙 관사인 중서성을 상징했던 사실도 문헌 기록을 통해 밝혔다. 또 정요 자기에서 연화문으로 분류되던 여러 형 식의 훤화문도 고려청자에 영향을 주었다. 정요 자기와 고려청자의 화훼절지문은 문양 구성이 유사하지만 시문 기법에서는 차이가 있다. 고려에서는 정요 자기의 음각과 유사한 획화 기법 대신에 성형과 시문이 동시에 가능 한 압출양각 기법을 선택하였다. 정요 양식의 화훼절지문 청자는 12세기 전반과 후반의 제 작 경향이 달랐다. 12세기 전반에는 압출양각과 함께 음각 기법도 구사하고, 백색내화토 빚 음이나 규석 받침이 품질 차이 없이 생산되었다. 정요 자기의 문양을 해체하여 재조합하거나 시문 기법을 바꾸는 등 외래 요소에 대한 적극적 변용도 행해졌다. 그러나 12세기 중반 이후 부터는 절요접시의 꺾임이 완만해지고, 모란절지문과 작약절지문만 압출양각 기법으로 13세기 초까지 생산되었다. 또한 선화봉사고려도경의 ‘定器制度’에 대해 연관된 여러 용어의 용례를 검토한 결과, 정요 자기의 크기, 형태, 규격 등을 의미한 것으로 파악하였다. 따라서 ‘정기제도’는 12세기 전반에 고려청자 제작에 정요 자기의 영향이 매우 컸던 상황을 충실하게 기술한 것으로 판단 된다.

Scholars in Korea and China have conducted research on the various decorative motifs found on celadon. However, previous studies do not consider or examine the specific elements that can be used to identify and differentiate between designs that are visually similar and often confused. Two such examples are the moran (牡丹, moutan peony) and chagyak (芍藥, Chinese peony) designs as well as the hwŏnhwa (萱花, daylily) and yŏnhwa (蓮花, lotus) designs. Therefore, this study aims to provide a comparative analysis of floral motifs that decorate Goryeo celadon, especially in terms of their composition. In doing so, it becomes evident that there is a need to establish a classification system, which can be used to generate names for different designs and motifs that clearly specify the flower depicted in the decoration of Goryeo celadon. Likewise, this article focuses on the chagyak motif, which was often mistaken for the moran flower. According to historical records, the chagyak design was not only a decorative motif, but also a symbol for Chungsŏsŏng (Central Secretariat), a central government office of the Goryeo Dynasty. Additionally, one must further consider the hwŏnhwa design in its various forms. Though it was erroneously categorized quite frequently due to its similarity to the yŏnhwa design, this does not change the fact that the hwŏnhwa design had great influence on Goryeo celadon. The Ding ware of the Song Dynasty and celadon from the Goryeo period were both decorated with hwahwejŏlchi (花卉折枝, flowering branch) designs that were similar in terms of composition. However, there were clear differences in the methods used to apply such designs. Ding ware was decorated using the fine-line carving (劃花) technique, which was similar to the incision (陰刻) technique. On the other hand, Goryeo potters chose a method that allowed for the simultaneous use of sculpting techniques in addition to the application of decorative motifs. Moreover, there is a distinct contrast between the production of Goryeo celadon with hwahwejŏlchi designs made in the style of Ding ware before and after the mid-twelfth century. One of the largest contributing factors to this divergence lies in the decorative motifs of Goryeo celadon. The incision (陰刻) and molding (壓出陽刻) techniques were used in tandem to decorate Goryeo celadon throughout the first half of the twelfth century, and the use of white fire clay or silica spurs were not decisive factors in determining the quality of celadon. This was also a period of experimentation when foreign elements were actively adopted, transformed and applied to Goryeo celadon in various ways. For example, the composition of designs found on Ding ware was disassembled and reorganized into new arrangements, or there were changes made to the application method of decorative elements. However, after the mid-twelfth century, the form of the chŏryo (折腰) dish rim indentations reached the last stages of development, and this particular type of dish started to be decorated with the moran and chagyakjŏlchi (芍藥折枝, flowering branch with Chinese peony) designs using the molding technique until the early thirteenth century. Finally, after examining several instances of the term ‘Dingqi zhidu (定器制 度)’ in Xuanhe Fengshi Gaoli Tujing (宣和奉使高麗圖經, Illustrated record of the Chinese embassy to the Goryeo court in the Xuanhe era) by Xu Jing (徐兢, 1091-1153), I have come to the conclusion that the term refers to the various aspects of Ding ware such as size, form and production standards. In conclusion, ‘Dingqi zhidu’ gives a faithful and truthful account of the significant influence of Ding ware on the Goryeo celadon created during the first half of the twelfth century.

<차 례>
[국문초록]
Ⅰ. 머리말
Ⅱ. 정요 자기 화훼절지문의 시문 기법과 형식
    1. 정요 자기의 시문 기법과 문양의 종류
    2. 화목(花木)의 상징과 문양의 세부 특징
Ⅲ. 고려 12세기 화훼절지문의 종류와 특징
    1. 모란절지문과 작약절지문
    2. 훤화절지문과 연화절지문
Ⅳ. 정요 양식 고려청자의 제작 시기
    1. 문양 요소의 유사성
    2. ‘定器制度’의 의미와 제작 시기 검토
Ⅴ. 맺음말
▌참고문헌

• 조은정(고려청자박물관 전시운영팀장, 학예연구사) | Cho Eunjung (Director of Exhibitions, Goryeo Celadon Museum)