統一新羅와 唐의 銜鳥文 硏究 (A Study of Hamjomun, Pattern of a Bird Holding Various Objects in Its Beak, of Unified Silla and Tang)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 24호 / 61 ~ 85페이지
· 저자명 : 신숙

초록

This study concerns hamjomun, a pattern that depicts a bird holding a pearladorned object, a ribbon or a sprig of flowers in its beak. In ancient societies, people viewed birds as holy creatures that linked the earth with heaven. Thus, they regarded the sight of birds flying with objects held in their beaks as a significant sign.
Hamjomun, which prevailed in the Sassanid Empire of Persia, spread to Central Asia and then to China. In China, the pattern was first used in the Han Dynasty. It secured its position as a leading pattern during the Tang Dynasty following the South and North periods. In Korea, hamjomun first appeared during the Three Kingdoms period and came to be widely used during the Unified Silla period. The close political and cultural relations between Unified Silla and Tang had a significant impact on the prevalence of hamjomun in the Unified Silla Dynasty.
Hamjomun can be grouped into two according to the objects the bird holds in its beak, i.e., a ribbon or a sprig of flowers. A pattern featuring a pair of birds also appeared around this time. Stone reliefs or relics unearthed from tombs dating back to Han China display early examples of a pattern featuring a bird holding a ribbon, while artifacts dating back to the South and North Dynasties show a bird holding a lotus flower or lotus bud some of which were depiected on Buddhist artifacts. Prior to the Tang period, the pattern was mostly used in objects for adorning tombs or Buddhist works of art, and signified the wish for rebirth or ascension into heaven as a fairy of the dead, as well as representing the Buddhist idea of the lotus as a symbol of the purity of heart and mind.
Concerning relics dating back to the Sassanid Empire of Persia or Sogdiana, the hamjomun pattern is found in mural paintings, gold and silver wares and woven textiles. In many of the paintings appear water birds such as ducks and a bird holding a string of pear-beads. It is interpreted that the birds shown holding a string of pearlbeads,which symbolizes the authority and dignity of kings, signified messengers of Ahura Mazda, the supreme divinity of the Zoroastrian cult of Persia. In the pattern connoted divine authority and religious symbol.
During Tang, China and Unified Silla of Korea, hamjomun started undergoing various changes in its characteristics. First of all, it came to be used in a variety of areas,including gold and silver wares, bronze mirrors, woven textiles, sculpture and architecture, thus showing a clear contrast with previous periods, when it was only usedin tombs or in Buddhist art. As for birds, apart from pheonix and red pheonix,different species of birds appeared, including cranes, mandarin ducks, mocking birds,swallows, sparrows, magpies, etc. Amid such a change, the pattern came to be regarded as a more universal sign of fortune associated with longevity, wealth, success, and happy married life. In particular, in some of artifacts for women, such as mirrors and incense jars, bore an interesting hamjomun featuring a couple of mandarin ducks, their heads entwined together, holding a band of ribbon together. This pattern was chosen to represent ever lasting love and it evidences a drastic change in its meaning from its previous periods.
During the Unified Silla period, through close contact with Tang China, they came to adopt the characteristics of hamjomun and used it to decorate various object of art. Of extant relics from Unified Silla period, hamjomun is commonly found on roof tiles, thus indicating that the pattern was a representative motif in roof tiles. This is a unique characteristic of hamjomun, which reveals that the pattern was widely used to decorate architecture, undiscovered in other countries. The esthetic sense of the people of Unified Silla is displayed in the layout of the suitably adapted version of the pattern within the circular or rectangular space of convex or concave roof tiles.
This study attempts to shed light on the characteristics of hamjomun in style and its changes in the symbolic significance during Tang China by comparingmun iith that of the Sassanid Empire of Persia, Sogdiana, es its precd itg periods in China (i.e. Han and Nanbeichao). This study also attempts to investigate the genealogy of hamjomun pattern from the Three Kitgdoms to the Unified Silla periods and examine the cultur thinfSoences between Unified Silla and Tang, Chinabett is hoped that this study will contribute to the ehaog Tto discover how patterns changed and were accommode Unia alscultur l exchanges between peoples of different regions.

영어초록

This study concerns hamjomun, a pattern that depicts a bird holding a pearladorned object, a ribbon or a sprig of flowers in its beak. In ancient societies, people viewed birds as holy creatures that linked the earth with heaven. Thus, they regarded the sight of birds flying with objects held in their beaks as a significant sign.
Hamjomun, which prevailed in the Sassanid Empire of Persia, spread to Central Asia and then to China. In China, the pattern was first used in the Han Dynasty. It secured its position as a leading pattern during the Tang Dynasty following the South and North periods. In Korea, hamjomun first appeared during the Three Kingdoms period and came to be widely used during the Unified Silla period. The close political and cultural relations between Unified Silla and Tang had a significant impact on the prevalence of hamjomun in the Unified Silla Dynasty.
Hamjomun can be grouped into two according to the objects the bird holds in its beak, i.e., a ribbon or a sprig of flowers. A pattern featuring a pair of birds also appeared around this time. Stone reliefs or relics unearthed from tombs dating back to Han China display early examples of a pattern featuring a bird holding a ribbon, while artifacts dating back to the South and North Dynasties show a bird holding a lotus flower or lotus bud some of which were depiected on Buddhist artifacts. Prior to the Tang period, the pattern was mostly used in objects for adorning tombs or Buddhist works of art, and signified the wish for rebirth or ascension into heaven as a fairy of the dead, as well as representing the Buddhist idea of the lotus as a symbol of the purity of heart and mind.
Concerning relics dating back to the Sassanid Empire of Persia or Sogdiana, the hamjomun pattern is found in mural paintings, gold and silver wares and woven textiles. In many of the paintings appear water birds such as ducks and a bird holding a string of pear-beads. It is interpreted that the birds shown holding a string of pearlbeads,which symbolizes the authority and dignity of kings, signified messengers of Ahura Mazda, the supreme divinity of the Zoroastrian cult of Persia. In the pattern connoted divine authority and religious symbol.
During Tang, China and Unified Silla of Korea, hamjomun started undergoing various changes in its characteristics. First of all, it came to be used in a variety of areas,including gold and silver wares, bronze mirrors, woven textiles, sculpture and architecture, thus showing a clear contrast with previous periods, when it was only usedin tombs or in Buddhist art. As for birds, apart from pheonix and red pheonix,different species of birds appeared, including cranes, mandarin ducks, mocking birds,swallows, sparrows, magpies, etc. Amid such a change, the pattern came to be regarded as a more universal sign of fortune associated with longevity, wealth, success, and happy married life. In particular, in some of artifacts for women, such as mirrors and incense jars, bore an interesting hamjomun featuring a couple of mandarin ducks, their heads entwined together, holding a band of ribbon together. This pattern was chosen to represent ever lasting love and it evidences a drastic change in its meaning from its previous periods.
During the Unified Silla period, through close contact with Tang China, they came to adopt the characteristics of hamjomun and used it to decorate various object of art. Of extant relics from Unified Silla period, hamjomun is commonly found on roof tiles, thus indicating that the pattern was a representative motif in roof tiles. This is a unique characteristic of hamjomun, which reveals that the pattern was widely used to decorate architecture, undiscovered in other countries. The esthetic sense of the people of Unified Silla is displayed in the layout of the suitably adapted version of the pattern within the circular or rectangular space of convex or concave roof tiles.
This study attempts to shed light on the characteristics of hamjomun in style and its changes in the symbolic significance during Tang China by comparingmun iith that of the Sassanid Empire of Persia, Sogdiana, es its precd itg periods in China (i.e. Han and Nanbeichao). This study also attempts to investigate the genealogy of hamjomun pattern from the Three Kitgdoms to the Unified Silla periods and examine the cultur thinfSoences between Unified Silla and Tang, Chinabett is hoped that this study will contribute to the ehaog Tto discover how patterns changed and were accommode Unia alscultur l exchanges between peoples of different regions.

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