우리나라 七寶紋樣에 관한 硏究

Abstract

The purpose of this dissertation is to examine the historical considerations and the expressed significance and form of the seven - treasure - pattern in our traditional designs which is not yet systematically studied and to examine the new art form from foundation laid by national characteristics of beautiful and traditional art which was created by our ancestors. The materials for this dissertation are gathered from the visits of the National Museum, the Folk museum University museums, and Buddist temples centering around the remains of seven - treasure - pattern from Koryo and Yi dynasty but I was not able to examine the chronological transformation of seven - treasure pattern due to difficulty of estimating exact periods of the remain. At first, the study was made regarding the form and significance of the remains of Chinese eight - treasure - pattern and eight - Taoist - pattern which influenced our seven - treasure - pattern, Secondly, the seven - treasure - pattern which was handed down through the ages in our country was studied through relevant literatures. The classifications of the remains according to their uses are as follows: weaving, embroidery, wooden craft, mother-of-pearl, metal craft, bone craft, and pottery. Many remains was used the pattern of seven-treasure and another kind of patterns. The good- fortune - pattern, which was also used along with seven - treasure - pattern, is by and large classified as geometrical, animal, and botanical patterns. Geometrical patterns contain swastikca-shape pattern, 亞 (chinese letter) pattern, fret pattern good forture language pattern, cloud pattern, and turtle back pattern. Animal patterns contain dragon pattern, oriental pheonix pattern, crane pattern, bat pattern, butterfly pattern mandrain duck, pattern and fish pattern. Botanical patterns contain mythical peach pattern, pomegranate pattern, chrysanthemum pattern, poeny pattern, plum pattern, orchid pattern, lotus pattern, and bottle gourd pattern. The good-forture-pattern expressed man's three dearest wishes which are long life, wealth and fame, and many male offsprings. Chines eight-treasure-pattern and eight-Taoist-pattern were used somewhat in our country but not in a certain set form and mostly a few of the seven-treasure-pattern were tried. It is believed that the seven-treasure-pattern was originally transmitted from China through imperial court and Buddist temples and by the end of Yi dynasty, they were used throughout the land.;우리의 傳統紋樣 中의 아직 체계화 되어있지 않은 七寶紋에 대하여 역사적 고찰, 거기에 표현된 의미와 형태를 규명하고, 우리 선인이 이룩한 아름다운 傳統藝術의 固有性을 基盤으로 새로운 藝術을 규명함이 논문의 目的이다. 資料의 蒐集方法은 각 대학 박물관을 비롯한 국립박물관, 민속박물관, 사찰등을 탐방하였다. 그러나, 그 遺物의 年代를 正確히 측정하지 못하여, 七寶紋의 變化를 알아볼 수 없었다. 우리나라의 七寶紋에 影響을 준 中國의 八寶와 八仙에 대하여 그 형태와 의미, 現存遺物을 考察하였으며, 우리나라에 전래된 七寶紋에 대하여 문헌을 통해 硏究하였으며, 그 遺物을 用途別로 분류하면 織造物, □飾, 木工藝, 螺鈿漆器, 金屬工藝, 骨角工藝. 陶磁器등으로 나눌 수 있으며, 또한 거의 主紋과 副紋으로 混用하여 使用되었다. 이 七寶紋과 함께 使用된 吉慶紋은 크게 幾何紋, 動物紋, 植物紋으로 分類하였는데 幾何紋은 萬字紋, 巴紋, 亞字紋, 雷紋, 吉祥語紋, 雲氣紋, 龜甲紋 動物紋은 龍紋, 鳳凰紋, 鶴紋, ??紋, 胡蝶紋, 鴛鴦紋, 魚紋 植物紋은 三多紋, 菊花紋, 牧丹紋, 梅花紋, 蘭草紋, 李花紋, 蓮花紋, 葫蘆紋이다. 이 吉慶紋의 뜻을 보면, 人間이 念願하는 長壽, 富貴, 多男 등을 表現하고 있다. 中國의 八寶紋, 八仙紋은 우리나라에 들어와서 쓰여지기는 하였으나, 형태는 일정치가 않으며. 全 七寶紋을 사용한 것이 아니라, 대부분 그중 몇개가 施文된 것을 볼 수 있다. 七寶紋은 황실유물과 佛家를 통해 中國에서 받아들여졌으리라 믿어지며, 궁정을 中心으로 朝鮮末期에 이르러서는 一般 庶民에게 까지 널리 一般化 되었다고 믿어진다.