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韓國의 菊花文 硏究

Title
韓國의 菊花文 硏究
Other Titles
(A) STUDY ON CHRYSANTHEMUM PATTERN IN KOREA
Authors
蔡秀璟
Issue Date
1987
Department/Major
대학원 의류직물학과
Keywords
국화문한국문양
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
本 硏究는 菊花文의 發生 및 그 象徵的인 意味를 考察하고, 高麗時代와 朝鮮時代의 工藝意匠에 나타난 菊花文의 表現特質과 樣式變遷을 통하여 韓民族의 造形的 特質에 대해서 論하였다. 高麗時代와 朝鮮時代를 통해서 菊花는 長壽, 君子의 節槪, 自然感情등의 象徵的인 意味를 가지며, 三國時代以來 觀賞用으로 많이 심어져 왔으나 高麗時代에 처음 工藝意匠의 文樣으로 등장하였다. 高麗時代에는 도안풍으로 형식화된 正面形 野菊文이 주류를 이루며, 末期로 갈수록 소형화, 단순화 되었다. 그러나 正面形 野菊文은 장식화된 기교속에서 실제의 菊花를 형상화한 것처럼 보였다. 朝鮮時代에는 큰 花文을 가진 겹국화문이 主가 되어 사실적인 표현수법에 의해서 입체적인 형태로 다양하게 표현되었다. 한편, 野菊文은 점차 간략화, 도안화되어 末期에는 梅花文 또는 梨花文도 이 형식을 취하게 되었다. 그리고 高麗時代의 菊花文에서 보이는 인위적인 기교는 사라지고, 대담하게 생략 · 재구성한 형태로 묘사되었다. 이와 같은 高麗時代의 朝鮮時代의 菊花文에는 '사생풍', '단순화','비대칭','해학적'등의 韓民族 고유의 造形特質이 공통적으로 나타났다. 韓國의 菊花文의 花文은 주로 正面形 野菊의 花文으로 時代의 變遷과 도안풍인 경우에서도 계속 菊花의 이미지를 잃지 않고 있었다. 또한 완벽한 형태와 기교를 理想美로 삼은 中國民族의 藝術意欲 표현된 크고 화려한 菊花文과 다른 '생명력을 부여한 自然美 '라는 韓民族의 藝術意欲에 의해 단순 · 소박하게 표현된 菊花文은 '質朴하고 純眞한 멋'과 '무기교의 기교'를 나타냈다.;This thesis is on the origin and the symbolic meaning of Chrysanthemum Pattern and the formative characteristics of Korean people through the expression style and its change revealed on the artistic designs in the Koryo˘-and Yi Dynasty. The Chrysanthemum Pattern itself has the symbolic meaning of longevity, the integrity of a superior man and the emotion for nature in Koryo˘-and Yi Dynasty. Chrysanthemum has been cultivated for ornamental plant from Three Kingdoms Era and appeared as an artistic design in crafts from Koryo˘ Dynasty for the first time. In Kory Dynasty, front-style Wild Chrysanthemum Pattern, formalized into the design style, was the main stream and the closer to the end of the era it went, the more miniaturized and simplified the style was. But the front-style Wild Chrysanthemum Pattern was regarded as the formation of a real Chrysanthemum in an arristic craftsmanship . In Yi Dynasty, the Redundant Chrysanthemum Pattern with large flower pattern was the main stream and was variously expressed as cubic form in realistic description. In the meantime, Wild Chrysanthemum Pattern has been gradually simplified and designed and thus it effects on the Plum - and Pear - blossoms Pattern. And the Chrysanthemum Pattern was described in the form of fearless abbreviation and reconstruction rather than in the form of artificial craftsmanship shown in Koiyo˘ Dynasty. It has been seen that there were some common formative characteristics in the Chrysanthemum Pattern which were native to Korean people in those two era, in Koryo˘ - and Yi Dynasty: 'natural style', 'simplification', 'asymmetry' and 'humour'. The flower pattern of the Chrysanthemum Pattern in Korea was mainly the front-style Wild Chrysanthemum Pattern and has kept the image of Chrysanthemum itself regardless the change of an epoch and the case of the design style. In contrast with the large and gorgeous Chrysanthemum Pattern expressed by the artistic volition of Chinese people who considered the perfect structure and art as an ideal one, it revealed the 'simple and naive MEOT( 멋 )'and 'artistic excellence of non-art' expressed by the artistic volition of Korean people who pursued the beauty of nature endowed life.
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