국립중앙박물관 소장 〈청자 투각 칠보문 향로〉의 조형과 상징에 관한 고찰 = A Study on the Form and Symbolism of the Celadon Incense Burner with Openwork Design Held by the National Museum of Korea

다국어 초록 (Multilingual Abstract)

This paper aims to comprehensively analyze the formulaic characteristics and assembly method, as well as the symbolic meaning, of the celadon incense burner with openwork design―a Korean National Treasure held by the National Museum of Korea. This artifact has an inventive form that combines heterogeneous elements, such as a spherical openwork lid, a lotus-shaped burner, and a base supported by rabbit figures. This research aims to clarify the production background and cultural context of this incense burner by employing textual-historical approaches, iconographical interpretation, and comparative stylistic analysis. In particular, this paper examines the suitability of the descriptive term “chilbomun” (七寶文, literally “seven treasures design”) and its relation with the “spherical design” (毬文) seen in Song dynasty architecture, as well as the significance of the incense burner’s production amidst the political and religious atmosphere of during the reign of King Uijong (r. 1146~1170) of Goryeo. Furthermore, this paper reveals the multilayered meaning behind the incense burner’s amalgamation of Buddhist symbolism and Daoist elements, such as the lotus-shaped wish-fulfilling jewel and the moon rabbit, going on to suggest the possibility that the incense burner was created in close relation with the good fortune-seeking rites of the Goryeo royal family.
The celadon incense burner with openwork design demonstrates a stylistic inventiveness that is demonstrated by it sophisticated sculptural technique and its combination of heterogeneous compositional elements. The artifact’s official name includes the aforementioned term “chilbomun,” translated variously as “cloisonné design” or “auspicious-character design,” which seems to have originated from Japan. However, during the Goryeo dynasty in which it was made, it appears that the incense burner would have been referred to by its production technique. Although references to this design could not be found in Korean historical documents of the time, such as the Goryeosa (History of Goryeo) or personal literary collections, the Song dynasty architectural treatise Yingzao fashi (營造法式) refers to the pattern as a “spherical design” (毬文, K. gumun, C. quiwen). Thus, a reconsideration of the current term “chilbomun” in favor of the term “gumun” is needed. The spherical design of the openwork incense burner goes beyond it auspicious meaning, demonstrating the realization of an inventive sculptural aesthetic through its repetitive and formulaic arrangement of the pattern via the openwork technique. This can be regarded not as the result of the simple adoption, but rather of the novel stylization of the form.
The form of the incense burner resembles the flower garland wish-fulfilling jewel (火焰寶珠) seen in Goryeo Buddhist paintings, and, based on its technological association with celadon ware and other excavated artifacts, it is presumed to have been produced in the mid- to late twelfth century during the reign of King Uijong. This incense burner can be interpreted as having been produced amidst the political and religious environment of the time, which included Buddhist ceremonies and royal rituals. A comprehensive exploration as to the actual venue at which the incense burner was used and the context surrounding its function, as well as the associated incense-burning culture, remains a task for future research.