고려시대 풍탁(風鐸)의 전개와 독창성

Abstract

Buddhists have always tended to adorn and embellish Buddhist statues and their surrounding spaces in order toexhibit the grandeur and sublime nature of the Buddha. The various kinds of splendid instruments and implementsused in such ornamentation are collectively called jangeomgu in Korean. Thus, the term jangeomgu encompassesarticles used to decorate Buddhist statues, halos, and baldachin, as well as Buddhist banners and wind chimes, whichare generally hung outside a building. Wind chimes are still widely used at Buddhist temples. In China, judging from various structures such as theWooden Stupa of Yongningsi in Luoyang and the Dunhuang Caves, wind chimes began to be used around thesixth century. As for Korea, Buddhism was first introduced from China during the Three Kingdoms Period, andKoreans accordingly began to build Buddhist temples and buildings. It would appear that wind chimes came to beused around the time that the first temples were built. The oldest extant wind chime in Korea is the gilt-bronze windchime of Baekje, discovered at the Mireuksa Temple Site in Iksan. In general, Korean wind chimes dating from the Three Kingdoms Period are classified into two general typesaccording to their shape and elevation, i.e., those shaped like a Buddhist bell and those shaped like a trapezoid. As thesetwo forms of wind chimes have influenced each other over time, those made during the Goryeo dynasty, having inheritedthe style, structure, and design of the preceding period, display such features. At the same time, the artisans who producedwind chimes pursued technical development and adopted free, yet not extravagant, designs. In particular, Goryeo windchimes are characterized by original designs created through exchanges with other Buddhist art forms of the same period,such as the embossed lotus design band of Goryeo bells; the bullmun design, which served to display the grandeur of theroyal family; the samhwanmun design, which consisted of decorating the interior of a Goryeo incense burner with threeholes; Sanskrit designs; and designs inspired by the windows and doors of stone pagodas. In this way, the production ofGoryeo wind chimes developed with a focus on purpose while being free of formal constraints. This study started out from the fact that the largest number of Korean wind chimes were produced during theGoryeo dynasty. Therefore, research on wind chimes should be based on those of the Goryeo dynasty, especiallysince fewer relevant studies have been conducted compared to studies on other forms of Buddhist art. Forthe purposes of this study, the reasons for the production of wind chimes will be examined first, followed by an examinationof the various styles of Korean wind chimes. Then, based on the findings of this investigation, the development andcharacteristics of the wind chimes produced during the Goryeo dynasty will be explored for each period.