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Ͼ ҉ 韓國鳯山放蕩者面具掛飾 ҉ Ͽ
ୢ Korean Bongsan Drunkard decorative Mask ୢ

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҈自朝鮮的高麗時代開始,韓國各地都流行一種名為「處容」(Tal chum)的面具舞劇。處容起初是農間巫當(即巫師)在酬神和伏魔時所跳的舞蹈,之後慢慢演變成平民百姓在端午節等大節慶時的民間藝術。

҈反映庶民的想法是處容的最大特色,不少劇目均有濃厚的諷刺意味,控訴貴族及僧侶等特權階級的腐敗無能,並道出由此而來的民間疾苦。

҈圖中的是一個「放蕩者」面具,該故事講述一破戒僧人、放蕩者和年輕巫女之間的不倫關係。諷刺故事中人的所作所為,以紓發大眾心中的鬰結和憤怒。同時勸戒世人凡事善惡有報。

҈面具可算是當時的民間縮影,原型並非來自神明或惡魔,而是貴族、書生、老婦等尋常百姓。面具一般由紙和木為原料,色彩鮮艷且表情十分豐富多樣。以不對稱為特色,部分甚至以扭曲的形相來突顯角色的性格特徵。

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҈ Tal chum is a mask dancing tradition of Imperial Korea,which are popular among farming societies during the Goryeo period. At first, it was a kind of ritual dance performed by Wudang(Shamans).Using mask as a medium to communicate with gods. The form of mask dancing have slowly developed into a folklore opera usually being perform at festive celebrations.

҈ To mock and satire the corrupted upper class is one of the diagnostic property of Tal chum dances.Directly reflecting the anger and grudging of grassroots.

҈ The mask in the picture represents the Drunkard (chwibari). In the drama, a very holy monk abandons his doctrines and seduces a shaman girl. Later, a drunkard appears and, challenging the monk, wins the girl for himself.  After she bears his baby, she abandons him, and chwibari undertakes to educate his child himself. To bring out the message of”Good and evil will always be rewarded, it is only a question of time”.

҈ Gods and deities’ appearances are not popular in Talchum mask designs.Most of the mask are presenting the faces of ordinary people.Using paper mache and wood as the source material. In order to present and amplify the perception of the characters,faces are usually decorated with bright colors,facial features are asymmetric or even twisted.

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Ͼ ҉ 韓國鳯山放蕩者面具掛飾 ҉ Ͽ ୢ Korean Bongsan Drunkard decorative Mask ୢ

HK$0.00Price
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