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초록· 키워드
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Ancient China developed many kinds of funeral am in East Asia. Mural painting is one of them. Koguryo adopted tomb murals as a new genre of funeral art. But, KOgUiyO digested and reorganized, reconstructed, reinvented much contents of tomb murals. As example, hunting scene was not so important in tomb murals of northwest China in the 4th century, but it was described as a weighty item in the wall of main chamber in early period of Koguryo tomb murals at Jian(集安) area in the 5th century.
After adopting the mural tomb as a funeral art genre from abroad and assimilating it during a period of 100 years, Koguryo transformed it into a chapter in the development of its own distinct culture. The unification of northern China by the Northern Wei(北魏) gained momentum from the middle to the end of the 5th century. As a result East Asia saw the establishment of the regional powers Koguryo, the Northern and Southern Chinese Dynasties(南北朝) and the R ur n(柔然) in M b i(漠北). These four powers came to control all other local powers. Concerning its foreign relations in East Asia, Koguryo now found itself forced to devote its energies to strengthening its position as a dominating power in Northeast Asia in the preservation of the balance of power between these four countries.
As a dominating power in Northeast Asia, Koguryo culture influenced all other local cultures in Northeast Asia. Koguryo became the cultural center in Northeast Asia. Men of Koguryo thought that Northeast Asia was a distinctive cultural area in East Asia. Tomb murals of Koguryo was adopted at Silla(新羅). Backejae(百濟) made two mural tombs at 6th and 7th century. Koguryo emigrants participated in the work of tomb murals in Japan after the collapse of Koguryo.
Although the influence of the artistic styles of tile Chinese Southern and Northern Dynasties until the middle of the 6th century on the Koguryo tomb murals from the 6th and 7th century can be confirmed, the traces of the transmission and adoption of the Chinese culture that developed after this period in China are not that evident. The fact that the tendency to prefer the Four Deities(四神) as the subject of tomb murals, noticeable from the late 5th century on, moved on to the stage of distinct Koguryo murals with the Four Deities as the exclusive subject, is a phenomenon du.t should be seen in the light of the changing circumstances of Koguryo's foreign cultural exchange policies.
After adopting the mural tomb as a funeral art genre from abroad and assimilating it during a period of 100 years, Koguryo transformed it into a chapter in the development of its own distinct culture. The unification of northern China by the Northern Wei(北魏) gained momentum from the middle to the end of the 5th century. As a result East Asia saw the establishment of the regional powers Koguryo, the Northern and Southern Chinese Dynasties(南北朝) and the R ur n(柔然) in M b i(漠北). These four powers came to control all other local powers. Concerning its foreign relations in East Asia, Koguryo now found itself forced to devote its energies to strengthening its position as a dominating power in Northeast Asia in the preservation of the balance of power between these four countries.
As a dominating power in Northeast Asia, Koguryo culture influenced all other local cultures in Northeast Asia. Koguryo became the cultural center in Northeast Asia. Men of Koguryo thought that Northeast Asia was a distinctive cultural area in East Asia. Tomb murals of Koguryo was adopted at Silla(新羅). Backejae(百濟) made two mural tombs at 6th and 7th century. Koguryo emigrants participated in the work of tomb murals in Japan after the collapse of Koguryo.
Although the influence of the artistic styles of tile Chinese Southern and Northern Dynasties until the middle of the 6th century on the Koguryo tomb murals from the 6th and 7th century can be confirmed, the traces of the transmission and adoption of the Chinese culture that developed after this period in China are not that evident. The fact that the tendency to prefer the Four Deities(四神) as the subject of tomb murals, noticeable from the late 5th century on, moved on to the stage of distinct Koguryo murals with the Four Deities as the exclusive subject, is a phenomenon du.t should be seen in the light of the changing circumstances of Koguryo's foreign cultural exchange policies.
목차
Ⅰ. 고구려 고분벽화의 전개
Ⅱ. 동아시아 고대 장의미술의 흐름
Ⅲ. 고분벽화와 장의미술
〈Abstract〉
「高句麗 古墳壁畵와 동아시아 古代 葬儀美術」討論文
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