| Abstract |
| There have existed Parkheukgerse mythology, Suktalhae mythology, and Kimalji mythology, in which there appear various formative elements symbolic of incantation and shamanism, such as eggs, white horse, the sun, well, dragon, and snake. These formative elements are represented typically as shapes or patterns characteristic of Shilla earthenware; for example, horse-head-decoration horn-shaped cup, round large-size pots such as eggs or gourd, round dotted pattern and wedge-shaped pattern, wave-shaped pattern on the leg of Gobe[ a kind of cup], earthenware having Yongrak[a kind of decorations] suggestive of gold light emitted from a gold crown, an auspicious-animal shaped Juja[a kind of pictographic blue porcelain] representing a birth of a dragon, etc. Namely, it can be found that Shilla people`s consciousness of beauty with their sheer naturalism-seemingly rather indifferent and humble-while pursuing something natural in making Shilla earthenware and their indefinite sense of beauty without hanging on to something precise are in good harmony with the incantatory and shamanist atmosphere. Such facts give a solemn message to those of us living in modern times that the reality we are facing also could be an important formative element in creating art of work and the current stream of ideology as well as an attitude toward creating art of work. In other words, like Shilla earthenware represents the periods of Shilla, we also have to do research and create art of work on a systematic basis in order that our art of work in modern times could represent our current ages, not limited to the level of playing game for fun. |
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| Key Words |
| Mythology, Sheer naturalistic consciousness of beauty, Shamanism |
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