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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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초록· 키워드
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Mural painting tombs were constructed during the Xihan period in the political center, while disappeared after the collapse of the Han dynasty. Afterwards, they were widely introduced to Koguryo, and modem day Liaoning and Gansu areas, China. Koguryo tombs during the fourth and fifth centuries AD were constructed using stones, and all the walls were painted with daily lives and the ceil was decorated by painting symbolic features such as the sun and moon.
It has been believed that the appearance of mural painting tombs in Koguryo reflected the cultural influence from China, and Liaoning in particular. However, painting tombs in Liaoyang and Chaoyang of Liaoning show several differences from those of Koguryo. In the Liaoyang tombs, coffins were placed in a parallel direction, while those of Koguryo show longitudinal arrangement. Mural chambers of Chaoyang tombs are parallelogram in shape, while Koguryo tombs expose square plan form. Paintings also show different patterns: Liaoyang and Chaoyang tombs were painted predominantly with daily lives, while various symbolic elements were expressed in Koguryo tombs. On the other hand, paintings suggest close affinities between Koguryo and Gansu tombs.
Gansu mural painting tombs were identified in Wuwei, Juiquan, Jiayuguan and Dunhuang. Gansu tombs were influenced by Han mural painting tombs with some regional elements added. Juiquan tombs, in particular, are close to Koguryo tombs in various aspects, including the longitudinal arrangement and painting patterns of daily lives on the wall and symbolic elements on the ceil. Differences are also recognized between the two: Gansu tombs were constructed with bricks and Taoist and Buddhist elements were not painted.
Similarities between the Koguryo and Gansu tombs suggest cultural relationship between the two regions, as reflected by figures from the western region painted in Koguryo tombs. Given the Juiquan's geographical location, it is possible that Koguryo introduced cultural elements from the west via Juiquan. The cultural contact between Koguryo and Quian Quin also supports the possibility. China during the late fourth century AD was divided into three dynasties, Quian Yan, Quian Quin and Dong Jin, and Koguryo introduced the Buddhism via Quian Quin in 372AD. This suggests Quian Quin played a role of gateway from which Koguryo introduced various cultural elements from the western region.
It has been believed that the appearance of mural painting tombs in Koguryo reflected the cultural influence from China, and Liaoning in particular. However, painting tombs in Liaoyang and Chaoyang of Liaoning show several differences from those of Koguryo. In the Liaoyang tombs, coffins were placed in a parallel direction, while those of Koguryo show longitudinal arrangement. Mural chambers of Chaoyang tombs are parallelogram in shape, while Koguryo tombs expose square plan form. Paintings also show different patterns: Liaoyang and Chaoyang tombs were painted predominantly with daily lives, while various symbolic elements were expressed in Koguryo tombs. On the other hand, paintings suggest close affinities between Koguryo and Gansu tombs.
Gansu mural painting tombs were identified in Wuwei, Juiquan, Jiayuguan and Dunhuang. Gansu tombs were influenced by Han mural painting tombs with some regional elements added. Juiquan tombs, in particular, are close to Koguryo tombs in various aspects, including the longitudinal arrangement and painting patterns of daily lives on the wall and symbolic elements on the ceil. Differences are also recognized between the two: Gansu tombs were constructed with bricks and Taoist and Buddhist elements were not painted.
Similarities between the Koguryo and Gansu tombs suggest cultural relationship between the two regions, as reflected by figures from the western region painted in Koguryo tombs. Given the Juiquan's geographical location, it is possible that Koguryo introduced cultural elements from the west via Juiquan. The cultural contact between Koguryo and Quian Quin also supports the possibility. China during the late fourth century AD was divided into three dynasties, Quian Yan, Quian Quin and Dong Jin, and Koguryo introduced the Buddhism via Quian Quin in 372AD. This suggests Quian Quin played a role of gateway from which Koguryo introduced various cultural elements from the western region.
목차
Ⅰ. 머리말
Ⅱ. 中國 甘肅省 壁畵墳의 特徵과 築造時期
Ⅲ. 中國 甘肅省 4ㆍ5세기 벽화분과 高句麗 壁畵墳의 比較
Ⅳ. 맺음말
Abstract
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