『樂學軌範』 樂器와 儀物의 色彩와 文樣硏究

A Study of the Coloring of Musical Instruments and the Patterns of Ceremonial Objects in the Akhakgwebeom

In ancient Asia, musical instruments were based on the concept of Palgwe (八卦) or the “8 Elements of Divination” namely, stone (石), metal (金), string (絲), bamboo (竹), wood (木), leather (革), gourd (匏), and earth (土) or clay. Central to this concept are the five elements that symbolize the five directions (五行), namely, metal (金), wood (木), water (水), fire (火) and earth (土). Through these five elements, the forces of the cosmos are believed to be controlled. Each of these elements also are represented by the colors white (白色), blue [blue (靑色) or green (綠色)], black (黑色), red (赤色) and yellow (黃色). From a long time ago, it was taken for granted that colors possessed a spiritual meaning deeply woven into the religious beliefs of daily human life, and so it makes sense that colors were considered in the use of practical things such as dwellings, clothing, food, daily furniture, etc. Given that the use of colors are dependent upon factors such as time period, region, nation, ethnic group and the effects and feelings that arise out of certain geographical features and climates, we can see that the use of colors was very diverse. It was also believed that the Five colors (五色) of the five directions, mentioned above, possessed an auspicious and powerful energy to block minor demons and bring forth the five blessings (五福). The presence of five-color clouds over a certain location was believed to be a particularly auspicious sign of prosperity. Also, in general, these five colors represent the beautiful hues of a fantastic world. This Five-Color notion is connected with a distinctively Asian nature-oriented way of thinking, namely that the foundation of the way the Asian world is believed to be ruled is based on this Yin-Yang Five-Direction philosophy (陰陽五行思想). Actually, the basis of the cosmos, human society and our present state of existence, according to the Yin-Yang Five-Direction philosophy, is the Yin-Yang concept itself. It is through the concept of Yin-Yang forming a continuous and fluid harmony of life and death, creation and extinction, that we can understand the transformation of one element to another: Wood to Fire, Earth, Metal and Water. Through the principles of the Five-Directions, the people of ancient times interpreted the various conditions of the cosmos and the state of human world and were able to make divinations, tell fortunes and pray for good luck. When our ancestors utilized color, they did not create color schemes based solely on a visual sense of beauty. Rather, color selection was based on the mutual relationship of the five colors where the forces of compatibility or life-giving (相生) and incompatibility or conflict (相剋) were considered extremely important. They did not just think visually but were able to come to a more philosophical and cosmological grasp of reality. For example, the following rotating combination of (Yin-Yang) pairs of the five elements are seen to be theoretically compatible or life-giving: Metal-Water (金生水), Water-Wood (水生木), Wood-Fire (木生火), Fire-Earth (火生土), and Earth-Metal (土生金). The following combinations are considered incompatible and are believed to work against eachother: Earth-Water (土剋水), Water-Fire (水剋火), Fire-Metal (火剋金), Metal-Wood (金剋木), and Wood-Earth (木剋土). This Yin-Yang Five Direction philosophy is evident in the old paintings found in ancient burial mounds (古墳璧畵), the architecture of royal palaces and temples, and specifically in the color design of temple pillars, rafters [danchong (丹靑)] and musical instruments. Also, this concept can be seen in the folk art of making traditional color pouches, called Obangnangja (五方囊子), from strips of cloth dyed in the five shades of blue, red, yellow, white and black.