This study aims to establish a researcher’s image through a photograph, accepting Jangdokdae where Onggi (Korean potteries) stands as one single scene. To this end, studies on Onggi and Jangdokdae, the main subjects of photograph were carried out first. And then the researcher’s image and the photograph that was interpreted in the esthetic point of view were presented.
The key for the study, the photograph takes two approaches. One is a technological approach; pan-focus and intentional exposure compensation. This approach mainly focuses on preventing color from losing its quality due to lack of exposure and highlighting serene and dignified features of Onggi. The other is image approach to control a photographer to remain cool and not to be carried away by arbitrary feelings. In addition, the study reveals esthetic and restrained structures with color for psychological communication in the context of ‘New topographics’ and ‘New color’ which were major topics in the 1970’s.
The author used the photograph of Onggi and Jangdokdae to bring nostalgic memories of Onggi and Jangdokdae which are now losing their stands in the modern society. Also the photograph represents the reality where Onggi and Jangdokdae are treated as if they only exist as instrumental tools in traditional culture. It shows that Onggi and Jangdokdae are gradually dissipating or being neglected for a long time. The scene of Jangdokdae gives a precise clue of where Jangdokdae stands now. Jangdokdae in the photo shows how Jankdokdae is treated as an accessory for sightseeing and to reproduce old sentiment deliberately. The intentional and calculated composition and reproduction are what today’s Jangdokdae is about. Folksy color and lyrical nostalgia of Jangdokdae are well presented in the photograph, which is filled with ‘plaintiveness’. It also shows hope to cherish our memories of what we’ve experienced from Jangdokdae and pity of the fact that these memories are being faded away. Moreover, the photo displays loneliness and a sense of alienation hidden under splendid colors, and it also reinterprets new image with esthetic value. The study intends that the photograph plays as an invisible bridge that connects people in the past and present by extending the meaning of image of Jangdokdae where Onggi is put.
That’s because loneliness and a sense of alienation found in the photo have traditional life, constrained in modern society, to be reinterpreted as modern esthetic value. The researcher hopes that color, line and side of scene of Jangdokdae can be acknowledged as an esthetic beauty that is valued today as well after the study is presented.