Earticle

연꽃문양의 기원은 인도로 알려져 있으며, 불교의 유입으로 중국을 걸쳐서 한국에 유입되었다. 연꽃은 불교의 탄생설화와 여러 불교경전에서 등장된다. 불교와 많은 관련이 있는 연꽃은 불교문양으로 구현되어 여러 나라에 불교와 함께 확산되었다. 한국 역시 불교가 유입 된 삼국시대부터 각종 불교 조형에서 사용되었고, 고려시대에는 생활용품인 청자에서 적극 활용된다. 특히 청자에서 연꽃문양의 유래는 삼국시대와 통일신라시대부터 사용된 불교양식들을 수용하면서 발전시킨 것이다. 따라서 청자의 연꽃문양은 제작자들과 소비자들의 종교적 열망에 의한 조형적 통찰에 의해서 이루어졌다. 그러나 몽고의 침입과 고려의 무신란으로 주요 수요층의 붕괴와 생산지의 파괴로 청자의 생산은 급감하였고, 이로 인해서 경제적으로 어려워진 도공들의 이탈이 가중되면서 연꽃문양의 청자는 쇠퇴하게 된다. 이 논문은, 연꽃문양의 유래 연구를 통해서 고려청자문양의 새로운 이해를 제시하고 있다.

Study on the origin of the Lotus Flower Patterns expression on Koryo Celadon. The origin of the lotus flower patterns was India and then came in Korea through China with influx of the Buddhism. The lotus flower appears in the birth tale of the Buddhism and many Sutras. The lotus flower much related to the Buddhism was diffused through each nation with Buddhism, which was embodied in Buddhism patterns. Korea had used them in several Buddhism modeling as well since the period of the Three States when the Buddhism came, and by the time Koryo reached it was used positively on the living celadon. First of all, the origin of the lotus flower patterns on the celadon can be referred to an example of the developing them by accepting the Buddhism style which had been used in several Buddhism modeling since the period of the Three States and the Unified Shilla. Therefore we can understand that the lotus flower patterns were the modeling perspicacity according to the religious passion of the producers and the consumers. Because of the Mongolian invasion and the disturbance of the military subjects, however, there was a sudden decrease in production of celadons owing to the collapse of the main consumers and the demolition of the producing centers, therefore the lotus flower pattern celadons declined because of the increase of the potters' separation. This thesis has presented the understanding of the Koryo celadon patterns by studying the origin, of the lotus flower patterns.

예술은 시대적인 배경 및 사회적인 배경에 밀접한 관계를 맺으며 발전해왔다. 고려의 예술인 고려청자 또한 예외가 되지 못한다. 특히 고려청자에서 표현된 연꽃문양은 고려시대의 불교 중시라는 사회적인 요구에 부흥해서 유행되었다. 대표적 불교양식인 연꽃이 청자문양으로 자리 잡게 된 이유로는 고려시대에 불교의 육성정책으로 주요 소비층의 요구와 제작자들의 예술적 안목이 일치했기 때문이다. 연꽃문양의 기원은 인도로 알려져 있으며, 불교의 유입으로 중국을 걸쳐서 우리나라에 유입되었다. 연꽃은 불교의 탄생설화와 여러 불교경전에서 등장된다. 불교와 많은 관련이 있는 연꽃은 불교문양으로 구체화되어서 각국에 불교와 함께 전파되었다. 우리나라 역시 불교가 유입 된 삼국시대부터 각종 불교 조형물에서 쓰여 졌고, 고려에 이르러서는 생활용품인 청자에서도 적극적으로 활용되었다. 특히 청자에서 연꽃문양의 유래는 삼국시대와 통일신라시대부터 사용된 불교양식들을 수용하면서 발전시킨 사례라고 할 수 있다. 따라서 청자의 연꽃문양은 제작자들과 소비자들의 종교적 열망에 의한 조형적인 혜안임을 알 수 있다. 본 논문은 청자에서 나타난 불교식 연꽃문양의 유래와 구체적 활용사례 및 쇠퇴 등을 연구하여 청자의 연꽃문양에 대한 새로운 이해의 시각을 제시해 주었다.

Art has been developed, related closely to the periodic and social background, and Koryo Celadon, art of Koryo, also is not exceptional. Especially the lotus flower patterns expressed on Koryo Celadon were popular owing to the social requirement of respect for the Buddhism during Koryo period. The reason why the lotus flower, the representative Buddhism style, came to be celadon patterns was that the main consumers' requirement agreed with the producers' art discrimination because of the politics of respect for the Buddhism during Koryo period. It is said that the origin of the lotus flower patterns was India and then came in Korea through China with influx of the Buddhism. The lotus flower appears in the birth tale of the Buddhism and many Sutras. The lotus flower much related to the Buddhism was diffused through each nation with Buddhism, which was embodied in Buddhism patterns. Korea had used them in several Buddhism modeling as well since the period of the Three States when the Buddhism came, and by the time Koryo reached it was used positively on the living articles celadon. First of all, the origin of the lotus flower patterns on the celadon can be referred to an example of the developing them by accepting the Buddhism style which had been used in several Buddhism modeling since the period of the Three States and the Unified Shilla. Therefore we can understand that the lotus flower patterns were the modeling perspicacity according to the religious passion of the producers and the consumers. This thesis has presented the vision of the new understanding of the celadon patterns by studying the origin, the concrete paradigm and the decline of the lotus flower of the Buddhism style on the celadon, etc.

This research thesis is designed to put Korean traditional and unique wedding dress with a greater significance and value than any other dress into application right for the global and contemporary trend, as part of a bid to show Korean traditional beauty. To do it, this thesis has attempted to add the traditional beauty to Korean inherent wedding dress and contemporary wedding dress, with the use of various traditional beauty elements, such as the line firm, materials and color based on the research on wedding dress, such as, 'Wonsam' or 'Unlined Jacket, and 'Long-sleeve Red Silk Jacket', and 'Dangeu' or 'Court Suit' that women wore in the Joseon Dynasty. To recreate Korean traditional beauty of line this research thesis has firstly put into the application the sleeve of 'Wonsam' or 'Unlined Jacket' and the form of a large section of 'Wonsam' of 'Unlined Jacket', and 'Doreyon Line' or 'Trimming Line' of 'Dangeu' or 'Court Suit' as wedding dress that women wore in the Joseon Dynasty. Secondly, this thesis has applied lotus and peony patterns out of traditional ones inlaid with 'Long-Sleeve Silk Jacket' into the contemporary wedding dress to develop a creative and special design. Thirdly, regarding the expressive pattern technique, this thesis has designed the repetitive rhythmical pattern with the use of beading technique and embroidery technique, which makes needle work picture and pattern in fabric. Lastly, it can demonstrate the original and distinct Korean style in application of western wedding dress into traditional and contemporary dress, by devising two collections of dress art pieces.

연화문에 나타난 문양은 작품의 내용 미학과 형식 미학에 의해 구현되는 상징과 표상이며, 현상적 의미를 지닌 표현적 행동의 예술적 활동이다. 연구의 목표는 도자조형작품에 나타나고 있는 상징적 개념과, 물성적 형식에 대한 정체성을 이해하고, 예술로서의 화훼가 지니는 표현의 미학적 가치를 정립하는데 있다. 이것은 문양의 외연과 내포에 대한 조건과 속성을 고찰하기 위함이다. 이를 위한 연구의 범위는 80여점의 한국, 중국, 베트남도예작품을 진단 해석 하였고, 형태학적인 접근방법으로 분석하였다. 연구의 절차는 1단계로 연화문의 개념과 상징적 구조를 설정하고, 2단계에서는 형상학적 구성, 지각적 형식인 의미요소간의 상관적 관계성을 비교, 판별, 평가 하였다. 3단계에서는 연화문이 지닌 내용미학으로서의 요소를 확인, 검증하였다. 본 연구를 통해서 확인한 발견점은 연화문의 상징 및 장식 효과를 의미 요소로서의 형식과 소재 및 구성이 지닌 내적요소인 외연(Denotation)과내포(Connotation)로 재해석, 규명하였다. 따라서 이는 연화문이 지닌 존재론적 상태와 현상학적 구조에 대한 미학적 가치를 재확인하는 의미를 지닌다.

Lotus flower pattern is a symbol and emblem which materializes the substantial and formal aesthetics of the piece of art, thus being the artistic activity of expressive behaviour with phenomenal meaning. The purpose of this research is to understand the symbolical concept of pieces of ceramics and the identity of material form, and to establish the aesthetical values of the expression which flower pattern carries out in the form of art. It was done for the consideration of the conditions and properties on extension and connotation of the pattern. In order to achieve the goal 80 pieces of ceramics from Korea, China, and Vietnam were observed and analyzed using the morphological approach method. 1st stage of the research is the establishment of concept and symbolic structure of lotus flower pattern. 2nd stage is comparison, differentiation, and evaluation of mutual relationship between meaningful elements which are perceptual forms and make formal structure. 3rd stage is investigation on the elements of the substantial aesthetics carried out by lotus flower pattern. The most important points discovered through this research is the tries to grasp their relationship to denotation and connotation, effect and symbol and decoration of lotus flower pattern which materialize the substantial formal patterns as structure. The result of this research has reassurance that lotus flower pattern is a symbol and emblem as aesthetics of values which materializes the phenomenal structure.

아스카사(飛鳥寺)는 588년에 소가노우마코(蘇我馬子)의 발원에 의해 조영된 법흥사(法興寺)이다. 여기에서는 10가지 형식의 와당이 출토되었는데, 그 문양의 특징은 화조(花組)와 성조(星組)가 있다. 이러한 백제식 와당 문양은 일본에서는 아스카사 이외에 기내(畿內)를 중심으로 한 많은 아스카시대의 사원과 관동(關東)지방 일부 사원에서만 확인되는 형식이다. 지금까지 백제의 와당은 중국 남조의 영향을 받아 제작된 것으로 이해되어 왔다. 이렇게 인식된 데에는 무령왕릉이나 송산리 6호분이 결정적인 영향을 끼쳤다. 그러나 최근 조사도니 중국 남조의 와당을 살펴보면 백제 와당과 유사한 와당 문양이나 제작기법은 그다지 발견되지 않는다. 오히려 상해(上海)박물관에 소장되어 있는 청주시(淸州市) 출토 석가삼존상이나 청주시박물관에 있는 용흥사지(龍興寺址) 출토 석가삼존상의 연화문이 더 관련이 있다고 생각된다. 그런 점에서 앞으로 백제 와당의 기원을 고려할 때에는 남조 뿐만 아니라 북조와의 관계도 고려해볼 필요가 있다고 새삼 느끼게 된다.

A Study of the Lotus Flower Pattern in the Ceramics during the Goryeo and the Joseon Dynasties Jo, Won Gyo National Museum of Korea The lotus flower appears in various patterns and occupies an overwhelming proportion among the patterns on ceramics of the Goryeo and the Joseon Dynasties (before the Imjin War) as well as in other historical and cultural heritages : lacquerworks of the mother-of-pearl inlay, paintings, metal craftworks, tiles etc. Its shape is divided into the cases of closely resembling the appearance of a natural ecology and the other case of the active expression of gi(氣, aura, strength, ability, energy, and vitality) and hwasaeng(化生, purified energy, expression of life, and the progress of the process). In the current academic world, the latter is called the dangchomun(唐草文, arabesque pattern) or the indongmun(忍冬文, honeysuckle pattern, also known as Palmette in the West), not the lotus pattern. I think that the positve manifestation of gi and hwasaeng represents the various forms of lotus petals. At first, the petals are thin and short, but they grow long especially with rhythmic vines. And the vines are often repeated in succession. In current achademic researches, the small or large the lotus pattern with vines is regarded as a simple combination of two different patterns and vine patterns : lotus flower patterns and vine patterns. Or it is at the level of understanding that it is a rhythmic expression of the lotus flower In addition, although it is obviously a lotus flower pattern in the ceramics of this period, there are definitely misplaced patterns that are called as a peony pattern, a chrysanthemum pattern(菊花文), a bosanghwamun(寶相華文, floral medallion motif pattern), or a ruyi design(如意頭文). Among them, the lotus flower pattern which became the flower-tree form by separating the lotus petals and the lotus leaves is mistaken for the peony blossom pattern. Our ancestors thoroughly understood and expressed various kinds of the lotus patterns as well as their charateristics, the strength and weakness of gi and hwasaeng and depicted location, and succeeded them. The various lotus flower pattern (including the originals) in the ceramics of this period is not related to the symbolic flower of Buddhism that was either imported from China or introduced with Buddhism. It is a unique expression that has already developed within Korean own borders from the Neolithic and the Bronze Ages and that has been spread widely to a very delicate and exquisite level with our universal and inherent belief and tradition. Keywords : gi(氣·氣運, aura, strength, ability, energy, and vitality), hwasaeng(化生, purified energy, expression of life, and the progress of the process), yeonhwahwasaeng(蓮華化生, a change of life progressing in lotus), lotus flower pattern(蓮華文), lotus pattern with vines