• 복식
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• 제50권7호
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• pp.195-218
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• 2000

This study investigates the characteristics of European knitted works from a historical perspective. Specifically, this study deals with the following research topics: 1) the origin and development of knitting. 2) the characteristics of knitting industry according to the change of times, 3) the comparison of local knitting patterns and cultures. 4) 7he symbolic meaning of the designs in the knitted works and theire functions. This research is barred on the survey of the relevant literature and photographs. The results of the study are summarized as follows. 1) The introduction of knitted works was closely connected with the climatic and socio-economic conditions of the places of the origin. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. 2) In ancient times, abstract and geometric patterns have developed in Europe under the influence of Arabian knitted work. Middle Ages saw the flourishing of Arabian knitted works representing the authority of the church. In early modern times, the knitted work assumed the wealth of the royal families and the nobles. But afterward it was gradually Popularized among the middle classes. Knitting was then regarded as one of the women's major cultural activities. However, recently in the interwar periods. the knitting industry did not flourish and the knitted works came to serve merely as comfort goods by political urge. Knitted works were introduced in Korea around 1870 (the 7th or 8th year of king Kojong era) by Catholic missionaries and they started to be made by machine in 1917. 3) As for the propagation of the knitted work into Europe, there are three routes estimated. The traditional knitting patterns of local areas and their characteristics are summed up as follows : (1) England Guernseys are thick dark blue wool, whereas Jerseys are thinner and of various colors. The knitted shawls of Shetland are world-famous for their fine, lace-like texture that they can be through a wedding-ring. The knitted work of Fair Isle shows several distinctive features, such as the use of no more than two colors, patterns with diagonal lines. symmetry within the patterns, the prominent OXO patterns, and horizontal bands of patterning. The representative knitted work of Aran is Aran sweater made for fishermen to developed from guernseys of Scotland. (2) Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. (3) Baltic area : The Latvian and Lithuania stockings have very ornate patterns. Many of the Estonian knit stockings and mittens share designs. Komi was well-known for its symmetric diamond pattern. Komi patterns include colored stripes, borders of pattern and all-over designs of complex diagonals. (4) Balkan area : In Yugoslavia, the patterns of roses, leaves and flowers were used for stockings, gloves and leggings. Greek knitting resembled southern Russian knitting, which utilized light colored patterns with dark colors for a background. Turkish patterns are symmetric vertically or horizontally. 4) The traditional knitting patterns net only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns also represented Power or authenticity Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns.

• 미술자료
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• 제100권
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• pp.140-170
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• 2021

정유재란을 겪으며 전소(全燒)된 화엄사는 벽암각성(碧巖覺性)(1575~1660)의 주도 아래 재건이 이루어졌다. 대웅전에는 목조비로자나삼신불상이 봉안되었는데, 1634년에 완성하여 1635년에 점안·봉안되었다. 2015년에 석가불상 복장 <시주질>과 노사나불상 대좌 내부 판재(板材)에 적힌 <묵서명>이 조사되고, 2020년에 노사나불상의 복장 <시주질>이 조사되어 비로자나삼신불상의 조성에 참여한 청헌, 응원, 인균을 포함한 열여덟 명의 조각승들이 밝혀졌고 선조(宣祖)의 아들 의창군 이광(李珖)을 비롯한 왕실과 종친, 천명이 넘는 승속(僧俗)의 시주자들이 동참한 대규모 불사였음이 알려졌다. 비로자나삼신불상의 본존은 높이 2.76m의 장육불상으로 당시 불교조각에서 널리 유행하던 장신형의 비례감이 아닌 두부가 크고 어깨가 좁은 고식(古式)의 단구형(短軀形) 비례감을 보인다. 주먹 쥔 왼손을 오른손으로 감싼 비로자나불의 지권인(智拳印)과 보관을 쓴 보살형의 노사나불상은 북송대에 고려로 전해진 전통적인 도상(圖像)이며, 석가불상이 결한 독특한 항마촉지인의 형식은 명(明)에서 전래된 경(經) 변상도에 나타난 도상이 불교조각에 반영된 것으로 생각된다. 화엄사 비로자나삼신불상에서 나타나는 신구(新舊) 양식과 도상의 혼재는 화엄사 불사(佛事)를 맡았던 조각승들이 고려시대 불교조각의 귀족적 전통을 계승한 조선초기 불교미술에서 화엄사 삼신불상의 범본을 구하려했던데서 비롯된 것으로 이해된다. 또한 전란으로 소실된 고려시대 비로자나삼신불상의 원(原) 모습에 가깝게 복원되기를 바라는 화엄사 산중대덕(山中大德)들의 기대가 불상조성에 영향을 주었을 것으로 생각된다. 이와 같은 관점에서 화엄사 삼신불상의 노사나불상은 고려시대 비로자나삼신불상과 도상적으로 연결될 수 있으며 고려시대의 화엄사에 이와 유사한 도상과 양식의 비로자나삼신불상이 봉안되어 있었을 가능성을 상정해 볼 수 있다. 만우 휘헌의 『화엄사지』(1924)에 따르면, 화엄사는 고려 왕실의 축성의례를 거행해온 사찰로 여겨지는데, 이 전통이 조선후기까지 이어져 화엄사 재건 불사에서 새로 조성된 대웅전 비로자나삼신불상 역시 조선왕실의 축성의례를 위한 예배대상이었을 가능성이 크다. 따라서 화엄사 재건에 왕실과 종친이 시주자로 참여한 점도 이와 관련이 있을 것으로 생각된다.