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- 저자 : 尹烈秀(토론자) (검색결과 1 건)
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李泰浩(LEE Tae-ho),尹烈秀(토론자) 고구려발해학회 2003 고구려발해연구 Vol.16 No.-
This paper is a study on the mode of expression used in Late wee Kingdoms period mural paintings depicting the Four Gods (四神), the four divine imaginary animals that safeguard the four directions. The Four Gods was a common theme on mural paintings in Goguryeo tombs (高句麗古墳) from the second half of the sixth century to the first half of the seventh, and the four imaginary animals, the blue dragon (靑龍) painted on the eastern wall, the white tiger (白虎) in the west, the red phoenix (朱雀) in the south, and Hyeonmu (玄武), a black creature being a combining the features of a snake and a turtle in the north, were symbols of protection and the repulsion of evil spirits. Due to their exquisite artistic qualities these mural paintings have received attention both nationally and abroad since their discovery and they have been the subject of many studies, but the trend has mainly been to analyze their content. In 1998 I was able to see some of the tombs in the Pyeongyang (平壤) area in person. I analyzed one aspect of these mural paintings that so far has been overlooked, their mode of expression, and based on this I have tried to make a unified reappraisal of the chronology of the Four-Gods Mural Paintings of both Late wee Kingdoms Period Goguryeo and Baekje (百濟). First of all I show that the Late Three Kingdoms Period method of arranging the Four Gods on each wall of the one-chamber tombs didn't appear in Goguryeo first, but rather in the early sixth-century Baekje Song-san-ri tombs No.6 (宋山里6號墳). The people of Baekje developed this Four-Gods tomb style for the first time in the Song-san-ri tomb No.6, being influence by the Chinese Yang Dynasy (梁), a feature it shares with the tomb of king Mu-nyeong (武寧王陵). Furthermore, they invented the unique technique of plastering only the forms of the Four Gods on the brick walls to later paint them. This method was later continued in the late sixth century Goguryeo Four-Gods Tomb of Ho-nam-ri (湖南里四神塚). The Four Gods had been a common motif since the Chinese Han Dynasty (漢), and had appeared as part of mural tomb paintings in Goguryeo for over two hundred years. They grew in relative importance in the late fifth and early sixth century, being no less important than the human-genre paintings and other decorative paintings, and we cannot disregard the possibility that mural paintings depicting only the Four Gods might have emerged in the extension of this. The Four Gods mural paintings of Late Goguryeo rested on a 200 years old tradition of Fresco painting, in the early sixth century adopting and modifying the forms of the Four Gods in the tomb style of the Northerm and Southern Dynasties (南北朝時代), following after Northern Wei (北魏) in China. Moreover, recently cases have been discovered in China from the Sui (隋) and Tang (唐) Dynasties that resemble the Four Gods paintings of late-sixth to early-seventh century Goguryeo, indicating that they also were very active in adopting new modes of expression from abroad. This active attitude gave the people of Goguryeo the momentum to invent independent techniques of mural painting, such as the method of painting directly on the stone surface, as can be found in the Ho-nam-ri Four-Gods tomb, the Tong-gu Four-Gods tomb (通溝四神塚), and the O-hoe tombs Nos.4 and 5 (通溝五??墳 4號ㆍ5號墓), or the method of painting on stone surfaces in slight relief, as can be found in the Gang-seo-dae tomb (江西大墓) and Gang-seo-jung tomb (江西中墓). If we re-arrange the chronology of the tombs into early sixth century, middle and late sixth century, end of the sixth to early seventh century, according to the modes of expression of Four-Gods Mural Paintings of the Late Three Kingdoms as outlined above, it will look as follows. In the early sixth century, the Four Gods motif first appeared in the Song-san-ri tomb of Baekje, and this was continued in the middle and late sixth century in the Ho-nam-ri Four-Gods tomb and jin-pa-ri tombs Nos.4 and 1 (眞坡里4號ㆍ1號墳) of Goguryeo. In this process
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