朝鮮時代 染織物에 表現된 蓮華文 硏究

Abstract

本 硏究는 蓮華文의 發生 및 그 象徵的인 意味를 고찰하고, 주로 朝鮮時代 染織物(織, 刺繡)에 나타난 蓮華文의 表現樣式의 變遷과 造形的 特質에 대해 논하였다. 印度를 발생지로 하여 中國을 통해 三國時代에 韓國에 전래된 蓮華文은 佛敎의 상징으로 애용되었는데, 朝鮮時代에 이르면 신성의 상징으로 服飾이나 生活用品 등에 장식되는 吉祥的인 장식문양으로서의 의의를 갖게 된다. 高麗時代 佛畵의 服飾에 表現된 蓮華文은 蓮唐草文 형식과 측면형의 蓮華가 寶相華風의 團花文을 이루는 형식으로 나타났는데, 蓮華는 자연에 있는 꽃처럼 표현되고 주로 金色으로 문양을 나타냈다. 朝鮮時代 染織物에서는 織(造)나 刺繡로 蓮華文이 표현되었는데, 蓮唐草文, 立枝形 蓮華文, 寫生風 蓮華文 등의 3가지 유형으로 다양하게 나타났다. 花文은 측면형의 蓮華가 주류를 이루었는데, 後期로 갈수록 단순화, 도안화되는 경향을 보였다. 꽃잎의 윤곽선은 朝鮮 初期에는 先端이 뾰족한 유선형이었으나 中期에는 S자 곡선을 그리면서 날카롭게 휘어지고 後期로 갈수록 점차 부드러운 유선형으로 표현되었다. 봉오리와 씨방은 주로 실제의 형태를 단순하게 도안화시켜 표현하였고 잎에는 잎맥을 표현하여 寫生風的인 느낌을 주었는데, 後期로 갈수록 단순화되었다. 줄기의 리듬은 대부분 한가하고 여유있는 특성을 보였으며, 蓮唐草文의 경우 波狀線을 이룰때 그 曲線이 완만하게 나타났다. 이러한 朝鮮時代 染織物에 표현된 蓮華文에는 '사생풍', '단순·소박', '비대칭', '해학적' 등의 韓民族 고유의 造形的 特質이 공통적으로 나타났다. 또한 中國의 완벽에 가까운 형식미에 대하여 韓民族에 의해 단순·소박하게 표현된 蓮華文은 '생명력의 강조'를 통한 '미완성의 자연미'를 나타냈다.;This thesis was reviewed on the origin and the symbolic meaning of lotus pattern, and particularly the transition and formative characteristics of the expressive style of the lotus pattern expressed on the textile (fabric, embroidery) of the Chosun Dynasty were discussed. The lotus pattern whose origin is India and which had been introduced through China into Korea in the period of the Three States(Kokuryo, Baikjae, Silla) has been habitually used to the symbol of Buddhism, and it has the significance of representing the auspicious, decorated pattern on costumes, household goods, etc. in the Chosun Dynasty. The lotus pattern expressed on costumes of Buddhistic painting in the Koryo Dynasty appeared in various forms of 'the lotus scroll pattern', 'the mass flower pattern of Bosangwha(寶相華) class of the lateral style lotus'; these lotus were depicted as same the lotus as those in nature, with a color of gold representing the typical color of the lotus pattern. In the textile of the Chosun Dynasty, the lotus pattern was expressed in ways of weaving or embroidery and it appeared in various patterns, for example, in three styles of 'the lotus scroll pattern', 'the standing twig lotus pattern', 'the natural style lotus pattern'. The flower pattern was mostly used to the lateral style lotus in the early stage, and however later it became more simplified and designed to be so. The contour of the petal was a form of streamline in the end of the petal in the early stage, however in the mid stage, the colour was a form of the S-shape, sharply bent, and later, it was expressed in a form of softer streamline. The bud and the ovary were expressed with the real forms of them simplified, and the leaf was expressed by nervures to be felt of a natural style and became simplified in the later stage. The rhythm of the stem, since when the wavy line is formed, the curve appeals dull, was mostly characterized by being free and leisured. In the lotus pattern of the Chosun Dynasty textile, the Korean people's peculiar characteristics such as 'natural style', 'simplification', 'asymmetry', 'humour' etc. appeared commonly. In contrast with the Chinese formal beauty which is almost perfect, the lotus pattern that had been expressed by Korean artistic volition represented 'an unfinished natural beauty' through 'an emphasis on vitality'.