몽골의 인장에 나타난 알항헤(망치문양)디자인의 상징성 -한국의 뇌(雷)문양과의 비교를 중심으로-
A symbolism of the Alkhan-khee(hammer pattern) represented in Mongolia's seal -Focusing Korea's lightning pattern design-
2
조회
0
다운로드
3
인용
0
참고문헌
키워드
초록
In this paper, it compared the symbolism of the Mongolia's Alkhan khee(hammer pattern) and Korea's lightning pattern representatively and commonly appeared in geometric patterns of Mongolia and Korea, in the historical and folkloristic consideration. Mongolia's hammer pattern originates from the hammer seal. Its forms and types are dozens of them, they appeared in earthen vessels, bronze wares, rock painting, deerstone, Mongolian stone statues, etc, from the prehistoric age. It is a northern original cultural form of cultural symbol that had been used constantly from the ancient as a concise form that is connecting to posterity in the form of seal. That is, it reflects the national sentiment, and religious ceremonies, as a lucky pattern representing plenty of life, the eternal strength, happiness of life, power, courage, and longevity for centuries. In addition, it is formalized in unique geometric decorative patterns of the most commonly used in Mongolia, involving the deep symbolical meaning. lightning pattern of Korea is a leading pattern in geometric patterns. From the prehistoric age, lightning pattern had been used as earthen vessels, bronze wares, the Buddhist ceremonial instruments, representing the authority of the palace decorations, and household goods. And lightning pattern is a lucky pattern involving symbolism as eternal power and happiness of neither the beginning nor the end, harmony and fusion, power and strength, prosperity, and longevity. Therefore, in the historical and folkloristic consideration we find that the pattern of Mongolia's hammer pattern and Korea's lightning pattern is the same in the form, cultural circles and symbolism, and they involves the transcendent symbolism of immortality which is the core idea of northern Shamanism.
Abstract
In this paper, it compared the symbolism of the Mongolia's Alkhan khee(hammer pattern) and Korea's lightning pattern representatively and commonly appeared in geometric patterns of Mongolia and Korea, in the historical and folkloristic consideration. Mongolia's hammer pattern originates from the hammer seal. Its forms and types are dozens of them, they appeared in earthen vessels, bronze wares, rock painting, deerstone, Mongolian stone statues, etc, from the prehistoric age. It is a northern original cultural form of cultural symbol that had been used constantly from the ancient as a concise form that is connecting to posterity in the form of seal. That is, it reflects the national sentiment, and religious ceremonies, as a lucky pattern representing plenty of life, the eternal strength, happiness of life, power, courage, and longevity for centuries. In addition, it is formalized in unique geometric decorative patterns of the most commonly used in Mongolia, involving the deep symbolical meaning. lightning pattern of Korea is a leading pattern in geometric patterns. From the prehistoric age, lightning pattern had been used as earthen vessels, bronze wares, the Buddhist ceremonial instruments, representing the authority of the palace decorations, and household goods. And lightning pattern is a lucky pattern involving symbolism as eternal power and happiness of neither the beginning nor the end, harmony and fusion, power and strength, prosperity, and longevity. Therefore, in the historical and folkloristic consideration we find that the pattern of Mongolia's hammer pattern and Korea's lightning pattern is the same in the form, cultural circles and symbolism, and they involves the transcendent symbolism of immortality which is the core idea of northern Shamanism.
참고문헌 (58)
- 강우방, "한국미술의 탄생" (2007), 솔출판사
- 김일권, "우리 역사의 하늘과 별자리" (2008), 고즈윈
- 박원길, "북방민족의 샤마니즘과 제사습속" (1998), 국립민속박물관
- 박원길, "유라시아 초원제국의 샤마니즘" (2001), 민속원
- 박원길, "몽골비사에 나타난 몽골족 기원설화의 분석", 몽골학, 13, pp.3~90 (2002), 한국몽골학회
- 박환영, "몽골의 전통과 민속 보기" (2008), 박이정
- 백승정, "몽골의 공예에 나타난 오갈즈(Ugalz) 문양디자인의 상징성 - 한국의 소용돌이 문양디자인(渦紋, 蕨手紋)과의 비교를 중심으로 -", 몽골학, (30), pp.329~360 (2011), 한국몽골학회
- 백승정, "한국과 몽골의 전통문양디자인 비교- 몽골의 연속문양(Алхан хээ)과 길상문양(θлзий хээ)을 중심으로-", 몽골학, (28), pp.287~326 (2010), 한국몽골학회
- 백승정, "몽골의 게르(Ger)에 나타난 북방문화원형 디자인 연구", 몽골학, (31), pp.1~40 (2011), 한국몽골학회
- 아리엘골란, "선사시대가 남긴 세계의 모든 문양" (2007), 푸른역사
- 우실하, "전통 문화의 구성 원리" (1998), 소나무출판사
- 임영주, "한국의 전통 문양서울" (2004), 대원사
- 임영주, "한국문양사" (1998), 미진사
- 장장식, "몽골민속기행" (2002), 자우출판
- 장장식, "몽골유목민의 삶과 민속" (2005), 민속원
- 한국문화재보호재단, "한국의 무늬 개정판" (2005), 예맥출판사
- Ariel Golan, "선사시대가 남긴 세계의 모든 문양" (2004), 푸른역사
- B.Myagmarbayar, "History of Mongolian Ger" (2006), Ulaanbaatar
- E.A.노브고라도바, "몽골의 선사시대" (1995), 학연문화사
- 김재인, "천 개의 고원." (2001), 새물결출판사
- J.C.Cooper, "그림으로 보는 세계문화 상징사전" (2000), 까치글방
- Joseph Campbell, "신화의 이미지" (2006), 살림출판사
- Joseph Campbell, "신화의 힘" (2002), 이끌리오
- M.Eliade, "세계종교사상사" (2005), 이학사
- M.Eliade, "이미지와 상징" (1988), 까치
- N. TSULTEM, "Mongolian Arts and Crafts" (1987), State Publishing House
- Д.Бяар, "몽골석인상의 연구서울" (1994), 혜안
- Tumurkhuyag Jadambiin, "creative methods of inventing ornaments" (2010), Mongolia
- National Museum of Mongolia, "Tumurkhuyag Jadambiin", ~ (2009)
- 占柱, "Mongolian Folk Designs" (1998), 내몽고문화출판사
- M.Eliade, "세계종교사상사" (2005), 이학사
- 中澤新一, "나카자와 신이치의 예술인류학" (2009), 동아시아
- Чингис хаан: Би энд нойрсоно, "С.Бадамхатан", Эрдэм шинжилгээнтй бүтээлүүд, ~ (2005)
- Монгол ардын хээ угалз, "Б.Болд", УБ, ~ (2006)
- Б.Даажав, "Ger(1-2)", Nomadic, 4(1) (2000)
- Б. Даажав, "Mongol ger design history", Nomadic, 27 (2002)
- эр - Монгол уран барилгын үндэс, "Б.Даажав", УБ, ~ (2006)
- МОНГОЛ БЭЛГЭДЭЛ ЗҮӤ, "С.Дулам", УB, ~ (2007)
- Монголын домог зʏйл дʏр, "С.Дулам", УБ, ~ (1989)
- Монголын зан аалийн ойлбор, "Лувсанчойдон", УБ, ~ (2010)
- Монгол зурхайн тʏʏхэн товчоон, "Д.Мөнх-Очир", УБ, ~ (2006)
- Монгол гэрийн үүсэл хөгжлийн түүх, "Б.Мягмарбаяр", УБ, ~ (2007)
- Tumurkhuyag Jadambiin, "creative methods of inventing ornaments" (2010), Mongolia
- National Museum of Mongolia, "Tumurkhuyag Jadambiin", ~ (2009)
- Монгол алтайн бʏс нутгийн ард тʏмний эдийн соёл, "Б.Баасанхʏʏ", УБ, ~ (2006)
- Монгол хээ чимэг, "Л.Батчуулун", УБ, ~ (2000)
- Монгол ардын хээ угалз, "Б.Болд", УБ, ~ (2006)
- "도-3, 도-4", 몽골국립박물관, ~
- E.A.노브고라도바, "도-5, In 蒙古의 先史時代", pp.74~, 연문화사
- E.A.노브고라도바, "도-6, In 蒙古의 先史時代", pp.87~, 학연문화사
- 임영주, "도-7, In 한국의 전통문양", pp.26~ (2004), 대원사
- 임영주, "한국의 전통문양", pp.25~ (2004), 대원사
- 임영주, "한국의 전통문양", pp.23~ (2004), 대원사
- 임영주, "도-10, 도-11, 도-12 ,도-13, In 한국의 전통문양", pp.215~ (2004), 대원사
- 임영주, "도-14, In 한국의 전통문양", pp.233~ (2004), 대원사
- 임영주, "도-15, In 한국의 전통문양", pp.240~ (2004), 대원사
- E.A.노브고라도바, "도-16, In 몽고의 선사시대", pp.280~, 학연문화사
- E.A.노브고라도바, "도-17, In 몽고의 선사시대", pp.295~, 학연문화사