高麗 中·後期 思想을 통해본 銅鏡 文樣의 象徵性 硏究 = Study on symbolism of patterns of bronze mirror viewed through the ideas of mid-to-late period of Goryeo Dynasty

다국어 초록 (Multilingual Abstract)

(Abstract)

As demonstrated by their shapes, patterns and forms of remains, the bronze mirror have been, since their origins, utensils containing ritual, divine symbolism, and in the prehistoric age, they have been recognized as priests' devices to express mysterious divine acts.
The bronze mirror gained symbolic meaning as a path through which the priests are granted miracles and ability from the heaven, as it was believed that the miracles and prophecy of the heaven appeared on the bronze mirror.
It was generally perceived that such symbolic meaning of the bronze mirror disappeared during Goryeo age, as their usage was established as a tool for beauty care. However, as significance and role of bronze mirror still continued to exist in the Goryeo age, I intended to demonstrate that the bronze mirror was a special symbol, which expressed ideas and religious faith of the time.
While the symbolic meaning of the bronze mirror was linked to the heaven (Sun) in the prehistoric age, during the period of influx of Han(漢) culture through Nakrang(낙랑), it began to be seen as symbol of the lord paramount, who had power to exercise the trading right. In the age of Three States, the bronze mirror was perceived as a spiritual media, which would shed light on the dead, connecting them to the heaven, thus buried as a tribute to protect the dead. With influence of buddhism, the bronze was granted enlightening or protecting role, and was enshrined as a sarira case in a pagoda, or used as divine device, such as earth-pressing tool, or a device to express personal religion. In the age of Goryeo as well as Unified Shilla, the ritual, divine symbolism of the bronze mirror still remained, and they were perceived as a device for religious expression.
This means that the bronze mirror in Goryeo were not simple living utensils-cosmetic device-, but devices with religious, divine purposes, and expression of the ideas and religious faith. It can be said that in the various symbols appearing on the back of the bronze mirror, the ideas of the time were actively reflected.
From such perspective, I intended to approach the chronicle of the symbols on the bronze mirror, by examining the symbolic meanings of the bronze mirror in the context of ideas of the mid-to-late Goryeo era.
The mid-Goryeo era was a time when the royal authority and family-oriented aristocracy, which had been established during the previous era, were solidified through systematic and ideal platform on one hand, but the vice of the system was emerging due to the feud among the factions and pressure from alien power. Amid feud among the Buddhist branches and corruption of some Buddhist circles connected to particular aristocrats, Euichon(의천) tried to revamp the Buddhist circles and solidify the ideal basis of royal authority through Chuntaejong(천태종). However, as wide obliteration of the scriptures and the record of "Goryeo Dokyung"(고려도경) demonstrates, shamanist, and superstitious ideas prevailed even in the sects of the Buddhism. This characteristics may, as seen in "Hunyoshipjo"(훈요십조) declared by Taejo, have resulted from the amalgamative features of Goryeo's Buddhism, which embraced folk beliefs which have descended from the previous age, and at the same time represent the intention of the Goryeo Dynasty, which tried to unite its people under ideas of the Buddhism.
As such, the symbols on the bronze mirror of mid-Goryeo have characteristics of monarch-oriented, 'Hokuk Bulkyo'(호국불교)-Buddhism as religion for defense of the regime'. Examples of such bronze mirror are Chang-chun-whang-myung-hang-hae-mun-won-hyung-kyung(창천황비명항해문원형경), yong-su-jun-gak-in-mul-mun-won-hyung-gyung(용수전각인물문원형경) and ssang-yong-mun-won-hyung-kyung(쌍용문원형경), which are classified as bronze mirror made during the mid-Goryeo age, representing worship of Sun and Moon, worship of dragon, and idea of Buddhism as religion for national defense. Meanwhile, bang-kyk-ho-jup-mun(방격호접문), which is believed to have origin in the symbol drawn on the ceiling of mal-gak-jo-jung(말각조정), can be considered with its connection to the mal-gak-jo-jung of Goguryo era, thus inflow of people of Balhae(발해).
The late period of Goryo was a period of chaos characterized with material exhaustion prevalent in all areas of politics, economics, society and culture as well as spiritual confusion, as virtually all national territory was destroyed due to disturbances caused by the militaries, who later seized the power, invasion of Mongol and subsequent ruling of Won, and the people who witnessed the fall of the royal authority lost central prop.
Under the double stress of economic poverty and spiritual chaos, the people may have expressed their longing for an absolute being, Maitreya(미륵), and their prayer for well being, more through superstitious, shamanist beliefs. The popularity of bronze mirror with Buddhist symbols with esoteric nature and man-ja-bum-euh-mun-kyong(만자범어문경) represents the superstitious, shamanist trend of the Buddhism of the time. In addition, the symbols such as gu-gap-mun(귀갑문, symbol of turtle) and chil-bo-mun(칠보문, symbol of seven gems) seem to represent longing for long life expressed in bang-kyk-ho-jup-mun-kyung(방격호접문).
Meanwhile, the bronze mirror with flower symbols, such as bo-sang-wha(보상화), dang-cho(당초), yeonwha(연화, lotus) and gukwhamun(국화문), which have been popular since the era of Dang, were related to Buddhist beliefs, and were continuously used, as many of such symbols were contained in hyangwan, covers of the Bhuddist texts and pictures, and other various Buddhist devices.
Besides, eomun(어문, symbol of fish), which was symbol of great fortune and prolificity prevalent in Gum age, un-hak-mun(운학문, cloud and crane), representing divinity and long life, and dong-ja-mun(동자문, symbol of a child), representing prayer for material fortune as well as preach of sunjae(선재), a young monk, each show close link to ideas of Goryeo people's with nature of superstitious, and shamanist beliefs.
Meanwhile in the symbols of Goryeo's bronze mirror, those prevalent in Chinese dynasty's, such as Song(송), Yo(요), Gum(금) and Won(원), were continuously reflected. Through the original symbols that expressed the folk beliefs descending from ancient ages and Goryeo people's Buddhist ideas despite such external shocks, the bronze mirror reflect the ideas and aesthetic views of Goryeo's people.

목차 (Table of Contents)

• (Abstract)
• Ⅰ. 序 論
• 1. 硏究目的
• 2. 硏究方法
• Ⅱ. 銅鏡의 起源과 象徵性
• 1. ‘鑒’起源說
• 2. ‘陽燧’起源說
• Ⅲ. 出土 銅鏡의 象徵性
• 1. 副葬品으로서의 銅鏡
• 1) 先史時代의 多鈕鏡
• 2) 樂浪文化期의 銅鏡
• 3) 三國時代 및 統一新羅의 銅鏡
• 4) 高麗의 銅鏡
• 2. 地鎭具로서의 銅鏡
• 3. 舍利具로서의 銅鏡
• 4. 그 외 信仰 表現物로서의 銅鏡
• Ⅳ. 高麗 中․後期 銅鏡의 思想的 背景
• 1. 高麗銅鏡 文樣의 時代 背景
• 1) 高麗 中期의 時代 背景
• 2) 高麗 後期의 時代 背景
• 2. 高麗銅鏡 文樣의 思想的 背景
• 1) 高麗 中期의 神異的 佛敎 信仰
• 2) 高麗 後期의 神異的․神呪的 佛敎 信仰
• Ⅴ. 高麗銅鏡 文樣의 象徵性
• 1. 鏡像, 佛像文系鏡
• 2. 卍字梵語文鏡
• 3. 昌天煌丕銘航海文鏡
• 4. 龍樹殿閣人物文鏡
• 5. 龍文鏡
• 6. 方格胡蝶文系-方格胡蝶文․龜甲文․七寶文鏡
• 7. 寶相花․唐草文鏡
• 8. 蓮花文․牧丹文․寶花文系鏡
• 9. 菊花文鏡
• 10. 雙魚文鏡
• 11. 雙鶴雲文鏡
• 12. 童子文鏡
• Ⅵ. 高麗 中․後期의 思想과 銅鏡 文樣
• 1. 高麗 中期 神異思想에서 유래한 銅鏡 文樣
• 2. 高麗 後期 神異․神呪思想에서 유래한 銅鏡 文樣
• Ⅶ. 結 論