본 연구는 조선 전기 상감청자의 제작 특징이 국가의 재정 및 의례제도와 긴밀히 연동된 결과임을 밝히고, 조형양식의 출현과 지속, 변화를 대내외 질서와 법식에 부합하는 기명체계 정비의 일환으로 해석하였다. 또한 세종대에 내선 공상 기명이 백색 자기류로 재편되면서 상감청자는 문양자기로서의 효용성이 부각되며 그 의례적 활용이 증대되었음을 확인하였다. 나아가 상감청자의 시기별·지역별 제작 차이는 기명의 성격뿐 아니라 사용처 및 유통망의 다변화에 기인한 것임을 규명하였다. 초기 강진 계통 상감청자가 경상도와 서울·경기 지역을 중심으로 확산되는 현상은 여말선초 내륙 교통망의 제도적 강화에 힘입어 나타난 결과로 해석된다. 이후 조운 경로의 재조정은 금강 유역의 요업 활성화와 전라·충청도 가마의 지역적 변용을 촉진한 한편, 강진요 해체의 결정적 요인으로 작용한 것으로 분석된다. 이와 같은 복합적 전개는 조선 전기 상감청자의 이원적 계보 형성이라는 독특한 양상으로 귀결되었다.

This study reassesses the formal trajectory and shifting significance of sanggam (inlaid) celadon in fifteenth-century Joseon, situating its production within the court’s fiscal and ritual reforms. Challenging formalist readings that reduce the ware to a lingering Goryeo legacy, the paper contends that sanggam celadon was deployed to serve the institutional demands of the nascent dynasty. Its continued nationwide production was systematically reshaped over time and across regions, propelled by the state’s imperatives of administrative consolidation and ritual orthodoxy. Beginning with the dynasty’s founding and accelerating under King Taejong, state reforms drove the standardization of the vessel system, recasting sanggam celadon as more than an iteration of Goryeo precedents. The reign of King Sejong marked a critical juncture: as the official ceramic vessel system consolidated around white porcelain and stamped buncheong wares, sanggam celadon secured a specialized role as a motif-bearing medium. Its visual legibility—predicated on the tonal contrast inherent to the inlay technique—sustained demand for the ware and expanded its ritual functions at court and across the provinces. This realignment is evident in the emergence of new sanggam celadon forms and motifs associated with archaic ritual vessels, a phenomenon that became increasingly pronounced from the 1420s onward. Following the establishment of the official court kilns in the late fifteenth century, this specialized demand persisted, albeit on a reduced scale, within the white porcelain-centered system, confirming sanggam celadon’s enduring place within the state’s institutional framework. The paper also offers a new account of the dissolution of the Gangjin kiln system, attributing its collapse to the state’s reorganization of transport networks. The development of inland waterways along the Namhan River from the late fourteenth century extended a Gangjin-derived stylistic lineage into the Gyeongsang and Gyeonggi regions, while facilitating the supply of high-quality royal tribute ceramics from those regions. The subsequent restructuring of maritime transport routes stimulated the growth of buncheong kilns across the Jeolla and Chungcheong provinces, undermining Gangjin’s geographical advantages and hastening its decline. These successive transformations, rooted in state-directed reform and the diversification of distribution networks, ultimately engendered a dual lineage in fifteenth-century sanggam celadon.