http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
全虎兌(JEON Ho-tae),朴雅林(토론자) 고구려발해학회 2004 고구려발해연구 Vol.18 No.-
After changing the capital in 427A.D., Pyongyang(平壤) became the new center of Koguryo's politic and culture. 5th century culture of Koguryo spreaded out having Pyongyang as its center, and its progress and details are well described in mural paintings. Until first half of 5th century, the main themes of mural paintings in Pyongyang area are everyday life and custom scene, but main theme changed from middle period of 5th century. The Divine Lotus(天蓮) as decorative figures were chosen as a painting theme in some mural tombs. Four deities(四神), which were only a matter in mural paintings, became a subject in another mural tombs. Because Pyongyang became the capital and center of Buddhism, King Dongmyong' s tomb(東明王陵), which was constructed in middle of 5th century in Pyongyang as a tomb for the Founder in Koguryo, was decorated with Divine Lotus. National power of Koguryo wanted to dominate Koguryo society on the Buddhistic ideology. And there are much possibility that Royals and Nobles of Koguryo decided to decorate the Founder's tomb with Divine Lotus as a symbol of Paradise of Buddhism(淨土). Because of that, the mural paintings of Pyongyang area which were painted in second half of 5th century contains many matters which were deeply related with Buddhism.
全虎兌(JEON Ho-tae),崔光植(토론자) 고구려발해학회 2003 고구려발해연구 Vol.16 No.-
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.
全虎兌(JEON Ho-tae),朴雅林(토론자) 고구려발해학회 2005 고구려발해연구 Vol.21 No.-
East Asian culture of 4th~5th century, with China as its center, was in a current of rich and new culture. Buddhism and Daoism, was religious conception itself, which was in the center of this change. Especially, Buddhism led the social and cultural change in northern China which was under the rein of Northern Foreigners. The influence even reaches Koguryo by the end of the 4th century. Koguryo merged Nangnang(樂浪) and Daebang(帶方) to itself by the beginning of 4th century, and by the end of the 4th century, Koguryo added Liaodong(遼東) to its territory. After this, Koguryo began to accept the cultures of regions where the Chinese culture was familiar, or blooming. It is because of this that the makings of Koguryo tomb murals begin in earnest by mid-4th century. Funeral art, which was advanced in Nangnang and Liaoyang(遼陽) regions, influenced the makings of tomb murals in Pyeongyang(平壤) and Jian(集安) areas of Koguryo. The actual influence can be seen in the Chinese type tombs of Pyeongyang regions. Koguryo tomb mural of Pyeongyang and Jian regions were influenced both directly and indirectly. Pyeongyang region and Jian region shows difference in lotus patterns as main subject, and acceptance of West Asian cultures. This is because the two cultures had a regular difference between each others' cultural traditions.