‘Moon Jars(白瓷大壺, Baekjadaeho)’ means round white porcelain jars around 40cm in height produced in the 17th–18th century during Joseon. Differently from general white porcelain jars, the name ‘Moon jar’ by modern collectors, rega... ‘Moon Jars(白瓷大壺, Baekjadaeho)’ means round white porcelain jars around 40cm in height produced in the 17th–18th century during Joseon. Differently from general white porcelain jars, the name ‘Moon jar’ by modern collectors, regarding milky-white and round shape as the full-moon, has become a proper noun that indicates this jar form. And settled down as the representative Korean white porcelains. However, nevertheless such high cultural status, lack of actual data of the 17th–18th century moon jar and fixation to recognition stopped at research mainly with discussion, as the result, comprehensive research output is insufficient. Here, this research investigated the recognition spread process currently fixed through the background where the term ‘white porcelain moon jar’ was created and spread, which decisively influenced image spread of this heritage, and searched the original name that had been utilized while production by analyzing the literature data of Joseon. Also, this research comprehended the formative characteristic and change aspect of moon jar by analyzing artefacts and widely considered the point of time of production and characteristic. Moon jar is called ‘Baekjadaeho(白瓷大壺)’ or ‘Baekjaho(白瓷壺)’ in Chinese. However, these Chinese words are the comprehensive terms that include not only globular jar(圓壺, Wonho) but also baluster jar(立壺, Ibho, its body displays a slim, long form), which did not classify the utensil form. Here, Cultural Heritage Administration in progressed overall rearrangement of designation of naming of national nomination movable cultural asset in November, 2011 with unification of naming method, designating‘White porcelain Moon jar(白磁壺)’as the official name. However, Ho(壺) was the term that Japanese people called jar, as the result of investigating literature record, it was called Hang(缸) in Joseon Dynasty. Particularly, since the 17th century when this utensil form began to be produced, a term‘Baekdaehang(白大缸(Daebaekhang(大白缸)))’regarding white porcelain jar appeared, also, such terms that divide form were uses, such as ‘Wonhang(圓缸)’ or ‘Ibhang(立缸)’. Therefore, the researcher considers that Chinese characters that indicate this form should be Hang(缸), instead of Ho(壺). Also, to differentiate the form from baluster jar(立壺, Ibho, its body displays a slim, long form), this research suggests to use‘Baekdaewonhang(白大圓缸)’ or ‘Baekjadaewonhang(白瓷大圓缸)’as the round and large jar, the research object. However, this research continued its point with ‘Baekjadaeho(白瓷圓壺)’, which has been combined over 100 years. Due to its large size, moon jar was difficult to mold at a time due to production technique of Joseon. Accordingly, two bowls(鉢) in the same size were joined up and down to produce one piece. Therefore, the maximum diameter appears in the center of the body of the joint part, making about 1:1 proportion between the diameter and height. This production method was not confirmed in the record during Joseon Dynasty, but appeared in Song Eungseong’『Cheongonggaemul(天工開物 <An Essay for the research of Polytechnics History of the Korea & China>)』 during Chinese Ming, accordingly, the origin is determined to be from China. However, moon jar, produced by this technique of the same period, existed a lot below 40cm, furthermore, some were in 17cm size. Therefore, this technique was devised to produce a large jar, however it seemed to have been utilized habitually also in small jars. Accordingly, it is necessary to reconsider whether of determining the scope of this heritage merely focusing on size. As the result of analyzing artefacts produced with upper·lower joint technique, proportion between height with diameter mostly appeared 1 : 1, however in case when the diameter was bigger than height (diameter> height), beads form appeared in proportion below 1(d):0.78(h), in case when height is bigger than diameter(diameter<height), oval shape(長圓形) in over 1(d):1.20(h) appeared. Such oval shape jar seemed to be transformed shape produced in the process same as moon jar produced in the 17th–18th, considering that they were produced a lot during the late 19th century, they seemed to have been gradually transferred. That is, as mentioned in the above, definition of moon jar was established·spread during modern period, therefore, it is improper to exclude beads form and oval shape jar, produced since the 19th century, which show very similar characteristics in overall shape or production technique among moon jar of the same period production. However, since oval shape is in the form that appeared since the 19th century, which this research did not treat, since the research period was set until the 18th century. A large white porcelain jar(白瓷大壺, Baekjadaeho) are all in vertical heel, sometimes in flopping form by their weight or asymmetric form while baking, only difference in heel appeared in process. Accordingly, form of body and heel has difficulty in classifying the form. Here, as the result of classifying the type based on the jar hole which shows definite change aspect, since inner axis line was separately engraved after joint, evaginated around in 45°diagonally, while「╱」 outer axis line in Ⅰ type (A)-keenly angular form「<」, B-falls in straight line, however in form of several times’carving「ⵎ」, C-slowed angular type trimming the end nevertheless in an acute angle「（」 and showed difference in straight standing form in Ⅱ type「⎾」. Regarding pattern, underglaze iron and blue and white techniques were utilized, displaying Cloud and Dragon Design(雲龍紋)·Bamboo Design(竹紋)·Plant Design(草紋)·Tiger Design(虎紋)·Grape Design(葡萄紋). However, besides the 1 piece among artefacts engraved with patterns, all used underglaze iron technique, and 90% of them are remarkable since they were engraved with Cloud and Dragon Design. On the other hand, as the result of analyzing the excavated items, Moon jar could be presumed with the possibility to be been produced since around 1630s using upper and lower parts joint technique, particularly, they seemed to have produced a lot in kiln sites of Yongin Wangsanri(旺山里), Seondongri(仙東里, 1640~1649), Songjeongdong(松亭里, 1649~1654), Yusari(柳寺里, 1660~1664), and late Sindaeri(新垈里, 1665~1676) and Jiwolri(池月里, 1677~1687年代), which were operated during mid 17th century. Besides, jar hole pieces(口緣片) was found in regional kilns of Daedaeri, Gapyeong Hapanri nearby Gyeonggido Gwangju royal kiln, presumed as moon jar, which are considered to have influence mutually, which are near to royal kiln, nevertheless regional pottery. Therefore, difference in form that appeared in moon jar can be supposed to be related to the characteristic of production site rather than production period. Large white porcelain jars before production of moon jar were mostly in baluster jar(立壺, Ibho, its body displays a slim, long form) shape, which shape was presumed to have used for envoy reception and the ordinary storage utensils for royal family and governmental office, besides royal family affairs. Also, as large size globular jar(圓壺, Wonho), they were produced in joining method of upper and lower parts. Early 17th century, when moon jar were presumed to begin to be produced, was a period to try to restore the finance that was broken down due to wars. However, still it was difficult to precure the goods to be used for royal family affairs and envoy reception. However, such baluster jar(立壺, Ibho, its body displays a slim, long form) in different form in upper and lower parts seemed to be difficult to produce quickly through joining upper and lower parts. Accordingly, a necessity of white porcelain jar would have stood out to replace the function of the general storage utensil as baluster jar(立壺, Ibho, its body displays a slim, long form) and for efficient production while replacing the royal family affairs. On the other hand, it was determined that this utensils were produced in the regional kilns nearby Gyeonggido Gwangju area royal kiln and the kilns within the influence thereof, which were excavated from Joseon period governmental office sites such as Jongmyo, Military site, Sejongno 2 district, and Jongno Cheongjindong sites as the consumption area. Besides, nevertheless the quantity was small, there were some letters that indicated royal kitchen, such as 「Utbatsho(웃밧쇼)」, 「Yeonryeonggun Gyeotjubang(연령군 겻주방)」, etc. That is, it is possible to presume that these utensils were utilized as ordinary storage utensils of royal family and official government, instead of private living utensils while their production. Moon jar is difficult to fine the production mode in China and Japan in the same period. Accordingly, the recognition that it was the utensil reflected with Korean unique esthetic consciousness is prominent. Particularly, as the esthetic sense that was formed by the collectors of these utensils have rapidly spread having high cultural status as it was mentioned by the managers of institutes with public confidence such as the National Museum and or Cultural Heritage Administration or famous scholars several times. However, there’s a difficulty in multi-phased research due to absence of distinct historical materials of moon jar and lack of data of chronological heritages. Therefore, the researcher considers this research has a significance that it approached the actuality of moon jar that was not properly investigated meanwhile but only concentrated on esthetic aspect. ，韩语论文题目，韩语论文 |
