秦代瓦當의 型式과 그 特徵

• 영문명: Form and Characteristics of Eaves Tile in the Qing Dynasty
• 발행기관: 한국고대학회
• 저자명: 白種伍(Baek, Jong‐ Oh)
• 간행물 정보: 『선사와 고대』先史와 古代 32輯, 245~273쪽, 전체 29쪽
• 주제분류: 인문학 > 역사학
• 파일형태: PDF
• 발행일자: 2010.06.30

국문 초록

瓦當은 기와의 상단부분의 아래 부분에 위치하고 일반적으로 반원형(半瓦當)과 원형(圓瓦이 있으며 서까래를 보호할 뿐만 아니라 처마를 장식하는 효과도 있다 와당은 문양이 시 ) . 當문되지 않은 소문와당과 문양와당으로 대별되는데 진대 문양와당은 圖像瓦當, 圖案瓦當, 文字瓦當등 크게 세 종류로 분류된다.秦나라에서는 각종 단독 동물모양의 圓瓦當이 유행하였다. 예컨대 사슴, 표범, 夔鳳, 두꺼비등이다. 이 시기 도안와당에서 太陽文(혹은 水渦文)이 많이 장식되었는데 이는 하늘의 뜻을받들어 秦人水德을 숭상하는 것과 관련이 깊다. 도상와당에는 나무, 나뭇잎, 말, 물고기, 나비,잠자리, 주작, 곡식 등의 소재가 많이 보인다. 葵文瓦當은 다양한 변화를 거치며 강한 회전감이 있다. 葵瓣은 세 개의 선으로부터 복선으로 변화하고 이후 단선으로 간략화 되고 있다. 또진대의 수렵활동을 반영한 동물와당은 감소되고 黃老思想을 상징하는 사신와당이 성행한다.이 시기 도안와당은 雲文이 대부분이고, 문자와당이 부흥하게 되는 시기이다. 이렇듯 와당문양의 발전은 구체적이고 사실적인 것에서 추상적으로 전환되며 변화한다.그리고 秦문자와당들은 전국 중말기와 통일전후, 통일이후의 세 시기로 구분되며 동시기의도상이나 도안와당의 제작기법과도 유사성을 가지고 있다. 전국 중말기에는 와당과 수키와의제작에 泥條盤築法과 切當法을 주로 사용하고 있으며 통일 전후까지 지속적으로 채용하고 있으나 점차 간소화되는 경향을 보여준다.

영문 초록

Eaves tile(Wadang) is also called Wadoo(瓦頭) or Dang(當) in which Dang refers to the bottom part of a thing. This term was first seen in the Qianlong Period of the Qing Dynasty. Eaves tiles are located at the end of roof tiles. Normally, there are two types, a half‐circle type and a full‐circle type. These tiles not only protect the rafters of the roof but also decorate the cornice. The pattern on Eaves tiles is a combination of practical architecture and artistic beauty. Eaves tiles are classified into Unpatterned, which have no pattern thereon and the Patterned eaves tiles. Then, there are three kinds of Patterned eaves tiles – Icon eaves tiles, Design eaves tiles, and Character eaves tiles. In the Qing Dynasty, circle‐type eaves tiles with a single animal pattern were popular. For example, there are the patterns of deer, leopards, a single‐legged phoenix, toad, etc. In this period, the Sun pattern (or pattern of a small pond) was widely used in Design eaves tiles. This is related to the philosophy of the dynasty, which respected the will of God and the water and ethics worshiped by people. In Character eaves tiles, the subjects such as tree, leaf, horse, fish, dragonfly, Chu Bird, cereal, etc. were used frequently. Many of the sunflower‐pattern eaves tiles were found in Fengxian, Riyang, and Xianayng. There have been various changes in the sunflower‐pattern with a strong sense of rotation. Reviewing the transition of the sunflower pattern, the sunflower leaf has changed from three lines to double lines and then finally it was simplified into a single line. In the Han Dynasty, there were frequent exchanges between the central area and the marginal area according to the exchanges between the North and the South areas. Their stability in politics and prosperity of economics promoted the development of culture and art. Owing to the philosophical influence of the Huang‐Lao School, the patterns of eaves tiles changed in numerous ways. The animal‐pattern eaves tiles that reflected the hunting activity of the Qing Dynasty decreased and Four‐Guardian patterned eaves tiles symbolizing the Huang‐Lao School were popular and proliferated. At that time, the cloud pattern was most frequently used for the design eaves tiles and Character eaves tiles proliferated. As shown above, the pattern in eaves tiles has changed from specific and realistic to abstract. The Character eaves tiles of the Qing Dynasty have been classified into three periods of the Mid and Late Era of Civil Wars (of which character patterns used were ‘日月山川利’, and ‘華市’), the Unification Era (of which character patterns used were 來谷宮當’, ‘蘄年宮當’, ‘壬子’, and ‘商’) and the post‐Unification Period (of which character patterns used were 橐泉宮當, etc.). There were similarities with the production technique of icons and design patterns of that time. In the mid and late period of Civil Wars, two molding techniques were mainly used for manufacturing eaves tiles and male‐roof tiles. The techniques were the Clay-accumulation technique(泥條盤築法) that used clay for making a cylinder-shaped body and the Cutting technique(切當法) that separated eaves tiles from cylinder-type ware. The techniques had been consistently employed until the Unification Era but they were gradually simplified.

목차

Ⅰ. 머리말

Ⅱ. 圖像瓦當

Ⅲ. 圖案瓦當

Ⅳ. 文字瓦當

Ⅴ. 맺는말

키워드

진 한 도상와당 도안와당 문자와당 운문 니조반축법 절당법 Qing Dynasty Han Dynasty Design eaves tiles Character eaves tiles Cloud‐ pattern Clay‐ accumulation technique Cutting technique