고구려 미술의 팔메트(palmette) 문양 고찰 (A Study on the Palmette Pattern in Goguryeo Art)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 24호 / 7 ~ 37페이지
· 저자명 : 제송희

초록

The palmette pattern, which has its origin in Western Asia, flowed into China since the Han period (漢代, BC. 220-AD. 220) and has prevailed in the Northern and Southern Dynasties in the early 5th century to the late 6th century. In that process, the palmette pattern was added with auspicious images (祥瑞), xiancao (仙草celestial plant), or Buddhist lotus flowers to an original symbolic image of the abundance and the victory. This thesis considers the process how the palmette pattern was accepted by the Goguryeo in Korean Peninsula and analyzes its meaning.
The palmette pattern flowed into Goguryeo through two channels. The first one is the three-leaf motif (三葉紋), which appeared after the late 4th century and was expressed continuously until the 6-7th century. This pattern was accepted in the through Earlier Yan (前燕) and Later Yan (後燕) when Goguryeo’s national power increased since the late 4th century. Even though it is identified that the three leaf motif received ideas from Earlier Yan and Later Yan’s sheep-herding weapons in its formative stage, it was developed to the forms such as proto-honeysuckle (環形), heart shape (心葉形), and radial shape (放射形) by Goguryeo’s efforts. It is an obvious fact that the three-leaf motif had a great influence on Silla’s metal arts and it also affected in some degree to Northern Wei. It was possible because Goguryeo maintained a longer settlement culture than the Northern Wei.
The second line is identified from the ancient tomb murals depicting Four Directional Deities (四神) in the 6-7th century, which accepted the palmette pattern again from the Southern and the Northern Dynasties (南北朝). These ancient murals in the Tomb of Four Directional Deities depicted on four main walls of burial chamber, was appeared originally on the ceiling, to emphasized the meaning of the Four Gods. Also, it decorated the celestial world with constellation, auspicious animals and plants,immortals, and a heavenly apsaras to create universal space. In this process, Goguryeo accepted the palmette pattern of Southern and Northern Dynasties’ as decorative elements. It expressed lotus shapes by simplifying the Southern dynasties’ Floating Cloud Type (雲氣形) and utilized the form of combinations of flat lotuses and the palmette.
These patterns prevailed mainly in Pyeongyang. In case of the Northern Dynasties’ halfpalmette scroll type, there are Eastern Wei’s half-palmette scroll representations like those in the Tonggu Tomb of Four Directional Deities (通溝四神塚). But Goguryeo Art developed elaborate, elegant, and lifelike half-palmette scroll type like those on the murals in Gangseodaemyo (江西大墓Great Tomb of Gangseo) or in Gangseojungmyo (江西中墓, Middle Tomb of Gangseo).
The palmette pattern was accepted in Goguryeo by transforming the images to the realm of Immortals (仙界), celestial plant (仙草), or the cosmic tree (聖樹). Therefore,in Goguryeo, Buddhist meaning of reborn soul (化生) was replaced with the image of cosmic tree, which is pursued by Taoist belief.

영어초록

The palmette pattern, which has its origin in Western Asia, flowed into China since the Han period (漢代, BC. 220-AD. 220) and has prevailed in the Northern and Southern Dynasties in the early 5th century to the late 6th century. In that process, the palmette pattern was added with auspicious images (祥瑞), xiancao (仙草celestial plant), or Buddhist lotus flowers to an original symbolic image of the abundance and the victory. This thesis considers the process how the palmette pattern was accepted by the Goguryeo in Korean Peninsula and analyzes its meaning.
The palmette pattern flowed into Goguryeo through two channels. The first one is the three-leaf motif (三葉紋), which appeared after the late 4th century and was expressed continuously until the 6-7th century. This pattern was accepted in the through Earlier Yan (前燕) and Later Yan (後燕) when Goguryeo’s national power increased since the late 4th century. Even though it is identified that the three leaf motif received ideas from Earlier Yan and Later Yan’s sheep-herding weapons in its formative stage, it was developed to the forms such as proto-honeysuckle (環形), heart shape (心葉形), and radial shape (放射形) by Goguryeo’s efforts. It is an obvious fact that the three-leaf motif had a great influence on Silla’s metal arts and it also affected in some degree to Northern Wei. It was possible because Goguryeo maintained a longer settlement culture than the Northern Wei.
The second line is identified from the ancient tomb murals depicting Four Directional Deities (四神) in the 6-7th century, which accepted the palmette pattern again from the Southern and the Northern Dynasties (南北朝). These ancient murals in the Tomb of Four Directional Deities depicted on four main walls of burial chamber, was appeared originally on the ceiling, to emphasized the meaning of the Four Gods. Also, it decorated the celestial world with constellation, auspicious animals and plants,immortals, and a heavenly apsaras to create universal space. In this process, Goguryeo accepted the palmette pattern of Southern and Northern Dynasties’ as decorative elements. It expressed lotus shapes by simplifying the Southern dynasties’ Floating Cloud Type (雲氣形) and utilized the form of combinations of flat lotuses and the palmette.
These patterns prevailed mainly in Pyeongyang. In case of the Northern Dynasties’ halfpalmette scroll type, there are Eastern Wei’s half-palmette scroll representations like those in the Tonggu Tomb of Four Directional Deities (通溝四神塚). But Goguryeo Art developed elaborate, elegant, and lifelike half-palmette scroll type like those on the murals in Gangseodaemyo (江西大墓Great Tomb of Gangseo) or in Gangseojungmyo (江西中墓, Middle Tomb of Gangseo).
The palmette pattern was accepted in Goguryeo by transforming the images to the realm of Immortals (仙界), celestial plant (仙草), or the cosmic tree (聖樹). Therefore,in Goguryeo, Buddhist meaning of reborn soul (化生) was replaced with the image of cosmic tree, which is pursued by Taoist belief.

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