북간도 명동학교 막새기와의 꽃문양에 나타난 민족의식

Abstract

This paper aims to identify tile-end patters found in Myeongdong village, Bukando and the relation to the Independence movement. To this end this paper shows an additional part about the advent of Ihwa (flower of plum) and Mugunghwa (rose of Sharon) and their changing processes in the modern period to the existing research. As Japan introduced Ihwa as the standard pattern for the currency note design and also the flower started to be used as a national emblem of the Daehan empire, it was considered as the national flower. The flower’s status was lowered to a family emblem of Yiwangga by the Japan’s high-handed policy since 1905. Mugunghwa, however, became a symbol of the national flower of Daehan empire by being a main flower pattern in 「Hunjangjorye」(1900) and 「Mungwandaeryebokjesik」(1900) and appearing on the cover-page of 『National Anthem』(1902). By singing Mugunghwa song and using the flower as a letterhead pattern, the flower has naturally become the national flower. On this historical background, this paper understands flowery patterns in two perspectives. Firstly, from a iconographical point, the flower could be both Ihwa and Mugunghwa. Secondly, from historic and sentimental perspectives, the flower seems to be Mugunghwa only. It is because Myeongdong village, mecca of the national education and independence movement, does not accept Ihwa flower as a national symbol. There is some possible reasons: just because they did not have a proper Mugunghwa design, they applied Ihwa pattern to making Mugunghwa icon; people used the native apricot flower in Myeongdong as a camouflaged flower symbol of the independence movement. Regardless of its physical features, people in Myeongdong village considered the flower as Mugunghwa. Myeongdong school is one of national schools abroad. In order to encourage nationalism, founders intentionally carved patterns of Taegeuk and Mugunghwa on the school building as well as convex tile-end of residential houses. Without this kind of nationalism it was virtually impossible to organize a series of Independence movement against Imperial Japan. Accordingly, it is obvious that the patterns of Taegeuk and Mugunghwa on the convex tile-ends was part of sentimental foundation of Korean nationalism in Myeongdong village. Hope this paper provide an opportunity to broaden research area of history of Korean Independece movement and Korean Modern & Contemporary History by interpreting ‘culture of the time’ which was obviously crucial part of cultural background and foundation of the national spirit.