복식과 제의로 본 고조선문명과 홍산문화

Abstract

The Chinese refer to the ancient culture of the Manchurian region collectively as the Liaohe Civilization(遼河文明). The two most representative cultures within the Liaohe Civilization is the Hongsan Culture during the Chalcolithic Age and Xiajiadian Culture during the early Bronze Age. As a large number of cultural remains were excavated continuously and a cumulation of researches was progressed since the 1980’s, the scholars of China have expressed their awe towards its vast magnitude and high quality. With this, they have started to schematize the culture assuming it was spread separately from the midstream region of the Yellow River. However, the characteristics of the remains and excavations that were discovered continuously across a broad range in the Manchurian region did not approve of such inconsistent interpretations of the Chinese scholars. Eventually, it was designated as the Liaohe Civilization, a title that described an independent personality. The radical purpose of this generic cultural term was not to separate the ancient culture of the Manchurian region from the culture of Yellow River, but to include both the culture of Manchuria and Yellow River in the Huang-di(黃帝) Culture. The culture of the Manchurian region was naturally separated from the ancient cultures of the Korean Peninsula, Maritime Province of Russia, or the Japanese Archipelago, and was designated as a culture of peripheral districts, different from the culture of the Yellow River. However, the prehistoric culture of Manchuria was very extensive and since it had very similar cultural personalities as the Korean Peninsula, it cannot be merely classified from the name of a river, Liaohe(遼河), and cannot be included in the Huang-di Culture even more, because it has distinct personalities from the civilization of Yellow River. In his 『Ancient Society』, Lewis Henry Morgan described the development of the culture of mankind as a development through a barbaric stage to an uncivilized stage reaching towards a civilized stage. He used the term ‘society of a civilized stage’ to refer to a society that reached the stage of state. The Korean Peninsula and Manchuria, which were the domains of Gojoseon, had distinguished their personalities from the Huang-di Culture since the prehistoric ages, and shared the culture of homogeneity as well as forming a cultural community. In other words, Gojoseon was the hearth of civilization as the first state to have emerged from North-East Asia. As a result, it would be correct to call the ancient civilization of North-East Asia that was formed by the Gojoseon around the Korean Peninsula and Manchurian region, as the Gojoseon Civilization. This paper re-interpreted the geographical environment, literature evidences and archaeological evidences around the cultures of costumes and ritual ceremonies, and clarified the sphere and personality of the Gojoseon Civilization. The analyses of 『The Chronicles of the Three States』, 『The Book of Early Tang Dynasty(舊唐書)』, 『The Book of Late Tang Dynasty(新唐書)』, 『The Topography of Tang Dynasty(括地志)』, 『Tongdian(通典)』, 『Shiji(史記)』 and 『Hanshu(漢書)』, which are literatures of Korea and China, reveal that the territories of Gojoseon during the reign of Emperor Qin Shi Huang have covered the entire district of the Korean Peninsula, as well as the Luan River of Manchuria. In this region, it is clear that the traditions of the ritual ceremonies of the Hongsan Culture have passed down through generations from the Gojoseon Era to Goguryeo Era. Additionally, it also explains that Taoist saints(仙人) have existed during the reign of Emperor Qin Shi Huang in the Korean Peninsula and Manchurian region. Dangun Wanggeom was the ruler of Gojoseon, and was called a Taoist saint as the highest religious leader of Gojoseon, an era that believed in spiritual immortality(仙). The altar sites mentioned above are places in which the Taoist saints have carried out religious rituals, and the Korean Peninsula and Manchuria are all ritual culture districts that have the same characteristics as Gojoseon. The human-shaped and animal-shaped jade accessories excavated from the Hongsan Culture remains are bowls used in rituals (禮器) that act as a type of medium during the ritual ceremonies. Other costume decorations and impractical jade accessories were interpreted as materialistic symbols(標象) that highlight authority and position. In addition, the possibility that the jade accessories and jewelries, which would have decorated the costumes of the Hongsan Culture, were symbolic marks(標志) signifying the highest authority rule was analyzed. From the end of the Gojoseon Era to the Era of the Three States, the characteristics of the ritual ceremonies succeeding the Gojoseon can be observed through these distinguishing personalities and development stages of the jade decorations that appear continuously. Following the culture of the ‘City of God(神市)’ during the era of Hwanwoong, the Heavenly Emperor, the continuous appearance of the religious remains, where the jade accessories of the Gojoseon era are excavated, can be seen as a reflection of the religious rituals in the Tale of Dangun. The symbolism of Hwanwoong, the bear and the tiger appearing in the Tale of Dangun have become reflections of the religious rituals of the ancient people. Gojoseon was comprised of the race of Hwanwoong that served the God as a patron saint, the race of bears that served bears as their patron saint, and the race of tigers that served tigers as the patron saint. Dangun of Gojoseon was a religious leader that ruled many ethnic groups, as well as a political leader. As a result, the symbolic remains that contain the religious rituals of the Gojoseon Era have displayed a variety of forms and continually developed until the Era of the Three States. Besides jade accessories, the development of the metal culture brought about the production of decorations and basins for ritual ceremonies made of bronze and gold in various forms. The round shaped lean-to or button decoration that was used widely on Gojoseon costumes is interpreted to be used on costumes to display the image of the sun’s heat and light by using a lean-to decoration as a medium to represent the tradition of Cheonsin religion that serves the God of Sun since the New Stone Age. During the time of Hongsan Culture, the people that resided in the Korean Peninsula or Manchuria, the domains of Gojoseon, were also represented in the form of sunlight on symbols that were engraved on spindles which were important ingredients for the attire. Most of the spindle patterns that were found in the Gojoseon regions of the Korean Peninsula and Manchuria show uniform figures - from the middle of the hole, there are several lines engraved in a way that the lines are drawn in straight lines or curved lines to show the dispersion of sunlight. This shows the same context as the symbols that appear on the bronze mirrors and scabbard of mandolin shaped daggers of Gojoseon. The patterns that are designed by drawing such lines also appear on the remains of the New Stone Age and containers of the bone needles found in the remains of the Bronze Age, and other geometric ornaments that are engraved on bone sculptures. As such, the decoration techniques and peculiarity of the patterns that appear on the costumes and decorations of Gojoseon were passed down to other states and continue to the Era of the Three States. It well represents the lively volition of formative arts and the dynamic ritual sentiment as it has grown as crucial decoration techniques of an ethnic group. Such notion shows that the style of costumes and decoration techniques are decisive elements that fully disclose the identity of a culture and visual symbols that prove the cultural sphere of the Gojoseon.