Korean Dancheong is an excellent traditional art work of various patterns and harmonious colors which reflects Koreans' national ideas, motions and aesthetic senses. Korean Dancheong is traced to the wall paintings of the Goguryeo Dynasty and has been developed and advanced more and more with Buddhi...
Korean Dancheong is an excellent traditional art work of various patterns and harmonious colors which reflects Koreans' national ideas, motions and aesthetic senses. Korean Dancheong is traced to the wall paintings of the Goguryeo Dynasty and has been developed and advanced more and more with Buddhism accepted into Korea. Dancheong has been influenced by thoughts, cultures and religions and glorified as a representative of Korean traditional formative arts. Dancheong has the practical purpose of lengthening the longevity of wooden structures, and besides, expresses formative beauty in the form of various colors ad patterns according to the characteristics and uses of structures such as palaces, temples, and academic institutions. The most distinctive of Korean Dancheong patterns is the ones on the tips of beams, purlines and house rafters which are called Meoritcho. The patterns of Meoritcho are applied to painting buildings without fail, occupy the largest part of the area painted in Dancheong. This is such a characteristic of Korean Dancheong distinguished from that of other countries as can be the most essential element of Korean Dancheong. Thus, this study has investigated the formative characteristics of Korean Dancheong focusing on Meoritcho, the patterns on the tips of beams, purlines and house rafters. Chapter II deals with the notion and purpose of Dancheong, the origin of Dancheong, and aspects of changes in Dancheong throughout the Period of Three Nations, the Goryeo Dynasty and the Joseon Dynasty. It has also examined the meaning of Dancheong and its changes over the historical periods. Dancheong is a pattern or picture painted in multi-colors on things and buildings. The purposes of Dancheong are as follows: first, to conceal the flaws of wooden structures, second, to show off dignified and imposing air by painting grave and authoritative patterns on the special structures such as palaces and temples, third, to distinguish those structures from ordinary buildings and to display their characteristics, and finally, to exhibit and record the structures which are special monuments. As for the origin of Dancheong with the above four purposes, the colors and patterns of Dancheong can be traced to the wall paintings of the Three-Nation Period. During the Goryeo Dynasty, Buddhism was the national religion, so Dancheong of brilliant colors and patterns was developed and inherited. Geum dancheong of complexity and brilliance, and Moro dancheong of relative simplicity were applied. At the same time, brilliant gold and blue colors or primary colors (Jinchae) were applied to painting Dancheong. During the Joseon dynasty, the policy of Buddhism repression prohibited Dancheong of brilliant colors, whereas the buildings for the royal family were magnificently decorated in brilliant colors like Geumbyeok or Jinchae. Chapter III has examined various kinds of Dancheong as follows: Gachil dancheong, Geutgi dancheong, Moro dancheong, Eolgeum dancheong, Geum dancheong, and Gajeungeum dancheong. It has also analyzed their respective formative characteristics. Gachil dancheong is base painting in one color out of cyanin green and iron oxide red. This is a architectural principle, but is used for ordinary houses' dancheong and also used as a base for Geutgi dancheong, moro Dancheong and Geum dancheong. Geutgi dancheong is Dancheong finished by making parallel lines in Chinese ink and powder on Gachil dancheong. It is used for Confucian buildings like Jongmyo (Ancestral shrines) and Seowon (Academic Institutions). Moro dancheong is placing simple patterns at both the ends of the tips with the base of Gachil dancheong in the middle of the tips. Eolgeum dancheong is a mixed form of Moro dancheong and Geum dancheong with simple patterns placed in the middle of tips. Moro dancheong and Eolgeum dancheong can be found in the Dancheong of the royal families' architectures. Geum dancheong whose name is derived from silk denoted in Geum is painted with complexity and brilliance. It is used along with Geutgi dancheong and Moro dancheong. Gajeungeum dancheong is a superb Dancheong of much more complexity and brilliance than that of Geum dancheong with overlapped animal and plant images or flying fairy images. Geum dancheong and Gajeungeum dancheong are mainly used for Buddhistic architectures. Chapter IV has examined the origin and meaning of Meoritcho, the patterns on the tips of beams, purlines and house rafters. The kinds of Meoritcho are divided according to pattern placement and forms. The time when Meoritcho began is not definitely known, but the patterns of Meoritcho can just be traced to the murals painted on the walls of ancient tombs. Pattern placement has the following divisions of the patterns: Ap-meoritcho pattern, Dwin-meoritcho pattern, On-meoritcho pattern, Ban-meoritcho pattern, Onbatang-meoritcho pattern, and Banbatang-meoritcho pattern. When both tips of beams and eves are symmetrical, they have the same meoritcho pattern. When they are asymmetrical, they have different Meoritcho patterns: the front pattern is Ap-meoritcho, and the backside pattern is Dwin-meoritcho. On-meoritcho is the whole of a pattern, and Ban-meoritcho is half a pattern. Banbatang-meoritcho is the pattern either on the upper or lower part of the beam, and Onbatang-meoritcho is half a pattern in the middle of the narrow beam. According to the pattern forms, there are four kinds such as Gwanja-meoritcho, Byeong-meoritcho, Janggu-meoritcho patterns, and Gyeopjanggu-meoritcho. Gwanja-meoritcho is a complete red flower pattern surrounded by ripple patterns. Byeong-meoritcho is a bottle-shaped pattern which is Janggu-meoritcho cut in half. Janggu-meoritcho and Gyeopjanggu-meoritcho have Meoritchos which are bilaterally symmetrical and Sandglass-shaped with Banbatang patterns on the upper and lower part. Chapter V has analyzed the formative characteristics of Meoritcho patterns according to the kinds of beams by examining the features of principal patterns and the composition of each part of Meoritcho. First of all, Meoritcho is composed of three: Nokhwa meoritcho, Yeonhwa meoritcho and Juhwa meoritcho. Nokhwa meoritcho is decorated with green flowers which are its main patterns and which are surrounded by double spiral patterns (Gyeot-goppaengi) or across which straight lines run(Jilim). Around the green flower patterns, the base is of lotus leaf color or iron oxide red, around which the line of green color or green-yellow color circumscribes to finish the Meoritcho. Yeonhwa meoritcho is most widely used of all Meoritchos for Dancheong. The upper part of a lotus flower pattern is decorated with a pomegranate pattern, over which a pot pattern and spot called Minjujeom are placed in order. Yeonhwa-meoritcho whose main pattern is a lotus flower is chiefly used as Meoritcho for Moro dancheong and Geum dancheong, and can be a representative Meoritcho in Korea. Juhwa meoritcho is in the form of a persimmon stalk whose four blade patterns are painted in colors of pink, lead red, and toluidine red. Its composition is relatively simple, and is used to decorated many kinds of beams and extended eaves. It is also used as Meoritcho patterns for the king's bedchamber hall, an academic institution called Seowon and a Confucian shrine and school called Hyanggyo. Meoritcho is composed of various parts such as Nakeundong (a traditional Korean sock, beoseon pattern), Soknokhwa (an inner green flower pattern), a lotus flower pattern, a pomegranate pattern, a pot pattern, and a spot. Nakeundng is a decoration added to the lower part of the inner green flower pattern which is a lotus flower cup for Yeonhwa meoritcho of Geum dancheong. Into the end of the decoration, a yellow line is wound, and its lower part is bound in a bunch, which looks like a beoseon, a traditional Korean sock, and is called Beoseonbon. On the ovary of the inner green flower pattern, two spiral patterns are painted, one in the right direction and the other in the left. On the spiral patterns, a hard crust pattern for a flower budding connects the right and left leaves. The lotus flower is a main pattern of Yeonhwa meoritcho, and its pattern is painted in pink or lead red, with a pomegranate pattern placed on it. The color scheme of the ripple in the lotus flower pattern contrasts a warm color and a cold one in complementary colors, and brings about variation. In between, a line of Chinese ink and powder is inserted to make harmony. Seokryudong is a pattern in the form of a pomegranate which symbolizes fertility, riches and prosperity. A pot-shaped pattern at the top of the pomegranate pattern decorates the margin of the Meoritcho and is painted in yellow and circumscribed in Chinese ink. Minju spot is at the top of Yeonhwa meoritcho that is the most important. It stands for hope, light and sacredness, and is painted in white. It always decorates the top of the sari case anywhere. These days, Dancheong is in the limelight as one of the most beautiful traditional formative arts in Korea. It is because various delicate patterns are shown in five brilliant colors and make a harmony of magnificence, gorgeousness and mystery. In particular, the patterns of Meoritcho is of various colors and styles which are difficult to find in other countries than here in Korea. They reveal Korean senses of formative art and their symbolic meanings as they are. In future, more systematic research should be done on Dancheong to inherit and develop Korean excellent traditional art.
Korean Dancheong is an excellent traditional art work of various patterns and harmonious colors which reflects Koreans' national ideas, motions and aesthetic senses. Korean Dancheong is traced to the wall paintings of the Goguryeo Dynasty and has been developed and advanced more and more with Buddhism accepted into Korea. Dancheong has been influenced by thoughts, cultures and religions and glorified as a representative of Korean traditional formative arts. Dancheong has the practical purpose of lengthening the longevity of wooden structures, and besides, expresses formative beauty in the form of various colors ad patterns according to the characteristics and uses of structures such as palaces, temples, and academic institutions. The most distinctive of Korean Dancheong patterns is the ones on the tips of beams, purlines and house rafters which are called Meoritcho. The patterns of Meoritcho are applied to painting buildings without fail, occupy the largest part of the area painted in Dancheong. This is such a characteristic of Korean Dancheong distinguished from that of other countries as can be the most essential element of Korean Dancheong. Thus, this study has investigated the formative characteristics of Korean Dancheong focusing on Meoritcho, the patterns on the tips of beams, purlines and house rafters. Chapter II deals with the notion and purpose of Dancheong, the origin of Dancheong, and aspects of changes in Dancheong throughout the Period of Three Nations, the Goryeo Dynasty and the Joseon Dynasty. It has also examined the meaning of Dancheong and its changes over the historical periods. Dancheong is a pattern or picture painted in multi-colors on things and buildings. The purposes of Dancheong are as follows: first, to conceal the flaws of wooden structures, second, to show off dignified and imposing air by painting grave and authoritative patterns on the special structures such as palaces and temples, third, to distinguish those structures from ordinary buildings and to display their characteristics, and finally, to exhibit and record the structures which are special monuments. As for the origin of Dancheong with the above four purposes, the colors and patterns of Dancheong can be traced to the wall paintings of the Three-Nation Period. During the Goryeo Dynasty, Buddhism was the national religion, so Dancheong of brilliant colors and patterns was developed and inherited. Geum dancheong of complexity and brilliance, and Moro dancheong of relative simplicity were applied. At the same time, brilliant gold and blue colors or primary colors (Jinchae) were applied to painting Dancheong. During the Joseon dynasty, the policy of Buddhism repression prohibited Dancheong of brilliant colors, whereas the buildings for the royal family were magnificently decorated in brilliant colors like Geumbyeok or Jinchae. Chapter III has examined various kinds of Dancheong as follows: Gachil dancheong, Geutgi dancheong, Moro dancheong, Eolgeum dancheong, Geum dancheong, and Gajeungeum dancheong. It has also analyzed their respective formative characteristics. Gachil dancheong is base painting in one color out of cyanin green and iron oxide red. This is a architectural principle, but is used for ordinary houses' dancheong and also used as a base for Geutgi dancheong, moro Dancheong and Geum dancheong. Geutgi dancheong is Dancheong finished by making parallel lines in Chinese ink and powder on Gachil dancheong. It is used for Confucian buildings like Jongmyo (Ancestral shrines) and Seowon (Academic Institutions). Moro dancheong is placing simple patterns at both the ends of the tips with the base of Gachil dancheong in the middle of the tips. Eolgeum dancheong is a mixed form of Moro dancheong and Geum dancheong with simple patterns placed in the middle of tips. Moro dancheong and Eolgeum dancheong can be found in the Dancheong of the royal families' architectures. Geum dancheong whose name is derived from silk denoted in Geum is painted with complexity and brilliance. It is used along with Geutgi dancheong and Moro dancheong. Gajeungeum dancheong is a superb Dancheong of much more complexity and brilliance than that of Geum dancheong with overlapped animal and plant images or flying fairy images. Geum dancheong and Gajeungeum dancheong are mainly used for Buddhistic architectures. Chapter IV has examined the origin and meaning of Meoritcho, the patterns on the tips of beams, purlines and house rafters. The kinds of Meoritcho are divided according to pattern placement and forms. The time when Meoritcho began is not definitely known, but the patterns of Meoritcho can just be traced to the murals painted on the walls of ancient tombs. Pattern placement has the following divisions of the patterns: Ap-meoritcho pattern, Dwin-meoritcho pattern, On-meoritcho pattern, Ban-meoritcho pattern, Onbatang-meoritcho pattern, and Banbatang-meoritcho pattern. When both tips of beams and eves are symmetrical, they have the same meoritcho pattern. When they are asymmetrical, they have different Meoritcho patterns: the front pattern is Ap-meoritcho, and the backside pattern is Dwin-meoritcho. On-meoritcho is the whole of a pattern, and Ban-meoritcho is half a pattern. Banbatang-meoritcho is the pattern either on the upper or lower part of the beam, and Onbatang-meoritcho is half a pattern in the middle of the narrow beam. According to the pattern forms, there are four kinds such as Gwanja-meoritcho, Byeong-meoritcho, Janggu-meoritcho patterns, and Gyeopjanggu-meoritcho. Gwanja-meoritcho is a complete red flower pattern surrounded by ripple patterns. Byeong-meoritcho is a bottle-shaped pattern which is Janggu-meoritcho cut in half. Janggu-meoritcho and Gyeopjanggu-meoritcho have Meoritchos which are bilaterally symmetrical and Sandglass-shaped with Banbatang patterns on the upper and lower part. Chapter V has analyzed the formative characteristics of Meoritcho patterns according to the kinds of beams by examining the features of principal patterns and the composition of each part of Meoritcho. First of all, Meoritcho is composed of three: Nokhwa meoritcho, Yeonhwa meoritcho and Juhwa meoritcho. Nokhwa meoritcho is decorated with green flowers which are its main patterns and which are surrounded by double spiral patterns (Gyeot-goppaengi) or across which straight lines run(Jilim). Around the green flower patterns, the base is of lotus leaf color or iron oxide red, around which the line of green color or green-yellow color circumscribes to finish the Meoritcho. Yeonhwa meoritcho is most widely used of all Meoritchos for Dancheong. The upper part of a lotus flower pattern is decorated with a pomegranate pattern, over which a pot pattern and spot called Minjujeom are placed in order. Yeonhwa-meoritcho whose main pattern is a lotus flower is chiefly used as Meoritcho for Moro dancheong and Geum dancheong, and can be a representative Meoritcho in Korea. Juhwa meoritcho is in the form of a persimmon stalk whose four blade patterns are painted in colors of pink, lead red, and toluidine red. Its composition is relatively simple, and is used to decorated many kinds of beams and extended eaves. It is also used as Meoritcho patterns for the king's bedchamber hall, an academic institution called Seowon and a Confucian shrine and school called Hyanggyo. Meoritcho is composed of various parts such as Nakeundong (a traditional Korean sock, beoseon pattern), Soknokhwa (an inner green flower pattern), a lotus flower pattern, a pomegranate pattern, a pot pattern, and a spot. Nakeundng is a decoration added to the lower part of the inner green flower pattern which is a lotus flower cup for Yeonhwa meoritcho of Geum dancheong. Into the end of the decoration, a yellow line is wound, and its lower part is bound in a bunch, which looks like a beoseon, a traditional Korean sock, and is called Beoseonbon. On the ovary of the inner green flower pattern, two spiral patterns are painted, one in the right direction and the other in the left. On the spiral patterns, a hard crust pattern for a flower budding connects the right and left leaves. The lotus flower is a main pattern of Yeonhwa meoritcho, and its pattern is painted in pink or lead red, with a pomegranate pattern placed on it. The color scheme of the ripple in the lotus flower pattern contrasts a warm color and a cold one in complementary colors, and brings about variation. In between, a line of Chinese ink and powder is inserted to make harmony. Seokryudong is a pattern in the form of a pomegranate which symbolizes fertility, riches and prosperity. A pot-shaped pattern at the top of the pomegranate pattern decorates the margin of the Meoritcho and is painted in yellow and circumscribed in Chinese ink. Minju spot is at the top of Yeonhwa meoritcho that is the most important. It stands for hope, light and sacredness, and is painted in white. It always decorates the top of the sari case anywhere. These days, Dancheong is in the limelight as one of the most beautiful traditional formative arts in Korea. It is because various delicate patterns are shown in five brilliant colors and make a harmony of magnificence, gorgeousness and mystery. In particular, the patterns of Meoritcho is of various colors and styles which are difficult to find in other countries than here in Korea. They reveal Korean senses of formative art and their symbolic meanings as they are. In future, more systematic research should be done on Dancheong to inherit and develop Korean excellent traditional art.
※ AI-Helper는 부적절한 답변을 할 수 있습니다.