전통관목 장미속(Rosa spp.) 수목의 상징성과 식재 양상 = Study on the Symbolism and Planting Patterns of Traditional Shrub Roses (Rosa spp.)

국문 초록 (Abstract)

본 연구는 장미속(Rosa spp.) 중에서 찔레꽃, 월계화, 해당화, 노란해당화를 대상으로 중국과 한국의 고문헌과 고회화를 분석하여 다음과같은 상징성과 식재 양상을 도출하였다.
첫째, 자생지, 개화 등 생육 특성, 수형, 화색 등 다른 형태를 지닌 전통관목 장미는 다양한 상징성을 기반으로 주체의 관념과 선호에 따라 궁궐, 관아, 민가 정원의 화계와 화오, 담장가, 시렁, 생울타리, 화분에 식재되었다. 둘째, 산지나 길가에 자생하는 찔레꽃은 다화성으로부부 화합과 다산을 상징하며, 덩굴성으로 담장가에 식재하거나 가시를 이용한 생울타리를 만들어 은은한 향과 담박한 미를 즐겼다. 사대부들은 시렁에 찔레꽃을 얹어 중국에서 유래한 장미가(蔷薇架)의 정서를 대신하였다. 셋째, 중국 원산으로 조선에 도입된 월계화는 매달 개화하는특성으로 장춘, 불로, 선경을 상징하며 귀하게 여겨 정원의 화계, 화오에 심어 즐기고, 내한성이 약해 월동을 위해 화분에 심거나 화병에꽂아 감상하였다. 넷째, 해당화는 관동팔경 명사십리로 대표되는 해안가 지역성을 지니며, 중국의 해당에 부여된 양귀비 이미지가 전이되어아름다움을 표상하고, 화계나 화오에 식재하여 자색 꽃과 향기를 즐겼다. 다섯째, 노란해당화는 황색의 번영과 풍요를 함의하며 궁궐이나관아, 민가 정원의 담장가나 시렁에 식재되었다.
이러한 전통관목 장미속의 상징성과 식재 양상은 중국에서 유입된 관념과 문화에 한반도의 풍토 조건과 조선 문인의 심미적 지향이개입된 결과이다.

다국어 초록 (Multilingual Abstract)

This study analyzes classical texts and historic paintings of China and Korea concerning four taxa within the genus Rosa—R.
multiflora(Multiflora rose), R. chinensis(China rose), R. rugosa(Rugose rose), and R. xanthina(Yellow rose)—and presents the following findings on their symbolism and planting patterns.
First, traditional shrub roses—differentiated by growth traits such as native habitat and flowering and by morphological traits such as habit and flower color—carried diverse symbolic meanings; in accordance with the conceptions and preferences of the planters, they were planted in flower terraces (花階) and flower beds (花塢), along walls, on trellises, as hedgerows, and in pots within the gardens of palaces, government offices, and private residences. Second, R. multiflora, which grows wild in mountains and along roadsides, symbolized conjugal harmony and fecundity by virtue of its many-flowered character; as a climbing shrub it was planted along walls or formed into thorny hedgerows, where its subtle fragrance and unadorned beauty were appreciated. Scholar-officials placed R. multiflora upon trellises, thereby substituting for the sentiment of the jangmiga (薔薇架) originating in China. Third, R. chinensis, native to China and introduced to Joseon, symbolized perpetual spring (長春), agelessness (不老), and the realm of immortals (仙境) through its characteristic of blooming every month, and as a prized plant it was enjoyed in the flower terraces and flower beds of gardens; owing to its weak cold-hardiness, it was potted or arranged in vases for overwintering and indoor appreciation. Fourth, R. rugosa carried a coastal regional identity represented by Myeongsasimni (明沙十里) of the Gwandong Palgyeong (關東八景). As the image of Yang Guifei (楊貴妃), originally ascribed to the Chinese haitang Malus spp. (海棠), was transferred to R. rugosa, the species came to symbolize beauty, and it was planted in flower terraces and flower beds for the appreciation of its purplish-pink flowers and fragrance. Fifth, R. xanthina, connoting the prosperity and abundance associated with the color yellow, was planted along walls and on trellises in the gardens of palaces, government offices, and private residences.
These symbolic meanings and planting patterns of the traditional shrub Rosa emerged as the conceptions and culture introduced from China were mediated by the natural and climatic conditions of the Korean Peninsula and the aesthetic orientations of Joseon literati.