한·몽 역만자 문양(󰂇)의 비교 시론 = A First attempt in Comparative Study on Has patterns of Korea and Mongolia

다국어 초록 (Multilingual Abstract)

Considering that Buddhist paintings with left-facing swastika patterns were concentrated in late Goryeo era, an importation of influences from Yuan period China can be contemplated, although this has not yet been proved. Indeed Buddha wears left-facing swastika symbol on his chest was one characteristic of late Goryeo Buddhist paintings, this figure was changed into right-facing swastika or died out by Joseon dynasty. This is an artistic phenomenon of Buddhist paintings.
'Geodonsaji Wongong Guksa Seungmyotapbi(圓空國師勝妙塔碑, Tortoise-borne stele of National Preceptor Wonggong at the site of Geodon temple)' in Wonju, South Korea is one of Buddhist relics worth referring to. This stele, erected in 1025(King Hyeonjong 16th year), has important designs carved on its tortoise pedestal: 1.2 meters tall stone tortoise is incised with symmetrical hexagons based on the nearly hexagonal shape of tortoise's shell, right-facing and left-facing swastikas are engraved inside the hexagons accompanied by flower motifs. It is the oldest-known artifact; two forms of the swastikas are co-existing. This represents that left-facing swastika symbols were already in use before 'Buddha Amitabha', the Goryeo Buddhist painting in 1286. Then, this might suggest two things: that the beginning of left-facing swastika pattern in Korea cannot be dated to the period of cultural exchange between Korea and Mongolia, and the pattern itself also cannot be limited to the motifs of late Goryeo period. Unfortunately, however, relics prior to Wongong Guksa Seungmyotapbi have not yet been found.
Among the Buddhist ceremonial objects bearing the swastika patterns, 'Cheongdongjeeunipsahyangwan(靑銅製銀入絲香垸, Bronze incense burner with inlaid silver design of Pyochungsa Temple)' is noteworthy. It was made in the late Goryeo(14th century) and four left-facing swastikas are decorated symmetrically with silver thread on its surface. These patterns belong to the same period as the left-facing swastika symbols in the Goryeo Buddhist painting, 'Buddha Amitabha' in 1286. Another artifact can be compared to this incense burner is 'Cheongdongjeeunipsajeongbyeong(靑銅製銀入絲淨甁, Bronze Kundik with inlaid silver design)' housed in the National Museum of Korea. This bronze bottle is engraved swastika motif in four directions around the upper neck portion. It is dated from 'Wongong Guksa Seungmyotapbi' to between the late Goryeo Buddhist painting and 'Cheongdongjeeunipsahyangwan'. The change of patterns in Buddhist art might be inferred from this given context. Another example of bearing swastika patterns is 'Cheoljebuseoksamyunghyangwan(鐵製銀入絲浮石寺銘香垸, Iron incense burner inscribed Buseoksa with silver). With four standardized swastika symbols carved, it was produced in 1739 when swastikas began to wane in Buddhist art.
Presumed to be made during the late Goryeo era, 'Embroidered Screen, Penjing in the four seasons'(刺繡四季盆景圖, housed in the Museum of Korean Embroidery), designated as National Treasure No. 653, is the oldest extant embroidered folding screen. Differing from embroidered screens of Joseon, this screen consists of four panels and portrays a lotus pot, a lantern, and 'seven treasures' motifs. In addition, a swastika pattern appears in the bottom of the second panel. With this motif, the influence of Buddhism can be assumed.
A swastika design, unlike its disappearance from Buddhism and its art, was widely used in folk household items during the Joseon dynasty. The motif was applied to decorate in almost everything from official uniforms to common household objects, and survived until modern and present age. This means that it was not only a familiar motif in daily lives, but a symbol which conformed to the traditional ideal.
Then, what can be expected from the comparative study on swastika patterns between Korea and Mongolia in the future? Firstly, the tradition of swastika patterns in the late Gorye...

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