조선후기 박쥐상징 회화와 공예품의 분석 - 박물관 소장품을 중심으로 -

Abstract

This thesis is focused on the bat symbol, especially prevalent crafts' pattern in late Joseon period on museum collections. For the use and reperception of them, I am aimed for appropriate analysis of bat symbol by connotation which reflects the characteristics on number, plastic, color symbol. This point of view, bat idea and bat paintings in Joseon period will be the source of meanings to the denotation of bat patterns. In the museum collections, bat paintings and patterns are calculated 324 objects. By functional classification, the bat patterns on dwelling-crafts for the royal and for the people will be discussed. In result, the bat paintings were only a few, however, usually connoted Taoist hermit with super-natural powers, longevity, protector of Lightning-God, praying for long life, which were based on Taoism. Meanwhile the bat symbol of dwelling-crafts for the royal projected the longevity and prosperity of king and queen. By the Five Blessings and good auspices in Chíng dynasty, number of ‘5,4' implied ‘Five Blessings', through the correct recognition of homo-phone, "a bat(蝠,fú)=happiness(福,fú)⇒five bats(五蝠)⇒Five Blessings(五福).” In the case of bat symbol on the dwelling-crafts for the people, especially its for women, it expressed on the metal-decoration of furniture and paper-crafts. In the metal-decoration, the signified of bat symbol were expellant-evil(‘guard’) that of characteristic signifier, white-silver color, number ‘1’ and ‘flying-type'. The bat symbol on paper-crafts for the people signified ‘double happiness’,harmony, sons with number of ‘2’, ‘Five Colors' and the transformation of ‘flying-type'. Accordingly, the bat symbol on the dwelling-crafts for the people marked ‘happiness and guard,' because the people had concrete cognition the bat symbol as a denotation of ‘happiness and ‘guard’ by itself.