신라 문양전 연구 : 경주지역을 중심으로

다국어 초록 (Multilingual Abstract)

A Study on Silla Design Brick
- Centering on Gyeongju Region -

Kim, Su - Hee

Department of Resources Studies
The Graduate School
Gyeongju University

(Supervised by Professor kang, bong won)


(Abstract)
Our country's brick was manufactured and used mainly from three kingdoms period, by being influenced and transmitted according to installation of China's Hansagun.
Through the period of Guknae castle in Goguryeo and the period of Hanseong in Baekje, the brick in the early days can be examined. What the brick came to enter the Korean peninsula for the first time can be said to be around 2nd～1st century when Hansagun was installed. Along with the spreading in the manufacturing technique of roof-end tile, it brought about a big change in our country's architectural culture and residential life.
The manufacturing technique in brick and the method of stamping design in three kingdoms period were progressed with similar stage to Korea's traditional roof-end tile. It was confirmed to be consistent in several aspects. The technique at that time can be presumed through the excavated relics.
With entering the unified Silla period, the colorfully brick culture comes to be blossomed by absorbing the manufacturing technique of brick in Goguryeo and Baekje.
The purpose of this study is to re-explore its value and to examine about the process of a change in design brick, which is estimated to be pavement brick, by researching into brick, which had been used as the architectural sub-material along with roof-end tile in building architecture from the old times.
Especially through a research on Simun(施文:carving design) technique in design brick, which was excavated in Gyeongju, it analyzed and inquired into each attribute, thereby having been able to obtain the following decisions.
First, a fact that the design brick was manufactured and used even in Silla region during three kingdoms period was proved by the excavated relic.
Second, a method of stamping the upper design of the excavated brick in Gyeongju can be divided largely into the mould for roof-end tile and the mould for brick. The mould for roof-end tile had been used from three kingdoms period up to unified Silla period. The mould for brick is estimated to have been used from the late 7th century when the brick had been manufactured and started to be used in earnest due to building Silla＇s royal capital and temple.
Third, the design, which had been prevailed the most in the design material during ancient Silla period, is lotus design. The floral medallian is carved design as the material that had not been seen in ancient Silla period when is the previous period, along with the use of the mould for brick from the unified Silla period. The brick of floral medallian can be seen to be characteristic that is indicated in the design brick of the unified Silla period.
The Simun(施文:carving design) technique in ancient design brick has very close relationship with Simun technique in Korea's traditional roof-end tile. Owing to the use of mould for brick in the unified Silla period, the design brick comes to be independently developed in light of design.

목차 (Table of Contents)

• Ⅰ. 서론....................................................................................................................... 1
• 1. 연구사 검토........................................................................................................... 2
• 2. 연구 목적............................................................................................................... 4
• Ⅱ. 전(塼)의 범주................................................................................................... 5
• Ⅲ. 경주 출토 문양전의 형식........................................................................... 8
• 1. 경주 출토 문양전의 현황................................................................................... 8
• 2. 기준 속성.............................................................................................................. 27
• 3. 형식 분류.............................................................................................................. 28
• Ⅵ. 경주 출토 문양전의 변천과정................................................................ 48
• Ⅴ. 결론...................................................................................................................... 53
• 참고문헌....................................................................................................................... 55
• Abstract....................................................................................................................... 59