韓國 카톨릭 金屬聖物에 關한 考察 : 龕室을 中心으로 AROUND THE TABERNACLE = A STUDY ON THE HOLY OBJECTS OF KOREAN CATHOLIC

다국어 초록 (Multilingual Abstract)

The followings are the results of analysis about the tabernacles.
First, there are two manufacturing methods of tabernacles. One is the way to stick nonferrous metals on wood with glue, in this case, it's in danger of destruction by fire because of the inflammability of wood and glue. The other is the way to plate with nonferrous metals after fixing the insulation or the fireproof materials on wood, and adding on an iron plate. This method has better firmness, duration, and the high fire prevention and fireproof effect owing to assembling method without using glue, and adding an iron plate and insulation.
Second, in these days, we can notice it's changing from a hexahedral form a polyhedric and Gothic form.
The forms emphasized on the formative character appears, reflects on one's faith and artistic expression, and becomes a little bit bigger. That means the formative trends of the times and the change of the artistic sense effect on Catholic artworks, and also Cathoic artworks are connected with the contemporary trend of art closely.
The general form is a hexahedron among about 40 tabernacles, taking 60% of all. And the horizontal form of hexahedral tabernacles are the most common form among hexahedrons, taking about 56%. Such a phenomenon happened because a right-angled hexahedron implies the sense of security, dignity and rigidity most effectively among the various forms of tabernacle, and because of its practicality.
In materials, copper is used most frequently and the followings are next in order, brass, bronze, stainless steel, sterling silver, iron, and nikel silver. The reason why copper maintains a superior position is because it's soft and easy to do plasticity of sheet metal. Brass is good for expressing grace and beauty with its golden color. Because bronze is appropriate to the relief of the complicated patterns as the molding material, it's used a lot after copper and brasss. And the tabernacles constructed lately are made with iron and marble besides those materials, and it's from the reason concerned about its permanence and firmness.
In the technics of the surface decoration, relief by molding, texture of the traces by hammering, chasing are representative, and partly we can find out the technics of engraving, inlay, enamel, and open work. Although molding is highly evaluated because it's easy to express the complicated patterns and proper to relief, it doesn't have the aroma of handicraft and metalwork.
Third, the proportion of width to length is generally(1.3~1.1):1, and the relation between the length of body and that of bottom doesn't have specific rules, but the proportion of 8:1 is general.
Although it's hard to find out using Golden mean and Root in the proportion of width to length of taberncles, partly analyzed, there are many adapted near the proportion of Root and Golden mean, especially ?? and ?? are predominant.
Fourth, in the pattern described on tabernacles, mostly the cross patterns are shown without omission, and besides the patterns of grape, wheatear, and fish are used symbolic meaning of the Sacrament. But some tabernacles constructed lately have the symbolic meaning of modem sense, excluding the traditional Catholic symbols. This fact is understood as the part of artistic expression to show the one's faith and thoughts with religious visual language.
In color, we can analyze it as two parts, a body and patterns, the major color of patterns is gold(63%), and the followings are red and yellow. In the color of body, the best usage is brown(34%) and the next is gold(23%), besides there are silver-gray and yellow.
The reason gold is used a lot is to heighten sacredness, nobility and dignity, and brown is used to express to noble and graceful image, comparing with gold.
Fifth, as saying Missa ［Mass］, because a tabernacle must not to be the object of worship, it's better to avoid the place on the altar and the direction to central aisle. Thus the left or right side behind the altar is good place to install a tabernacle.

목차 (Table of Contents)

• Ⅰ. 序論
• Ⅱ. 龕室의 宗敎的 考察
• A. 聖美術의 歷史와 與體用 聖物
• B. 龕室의 起源 및 意義
• C. 韓國의 카톨릭 傳來와 龕室의 現況
• Ⅲ. 龕室의 造形 分析的 考察
• A. 龕室의 構造
• B. 形態 및 技法에 의한 分析
• 1. 六面體形
• a. 正六面體形
• b. 直六面體形
• 2. 多角面體形
• 3. Gothic形
• 4. 사다리 및 Pyramid形
• 5. 圓筒形 및 球形
• C. 比例에 의한 分析
• D. 象徵性에 의한 分析
• 1. 文樣의 象徵性
• a. 그림 문자 文樣
• b. 動物 文樣
• c. 植物 文樣
• d. 기타의 文樣
• 2. 色彩의 象徵性
• Ⅳ. 龕室의 安置 位置
• Ⅴ. 龕室의 現代的 活用方案
• Ⅵ. 結論