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정계옥 백산학회 2009 白山學報 Vol.- No.84
This thesis is intended to discuss an aspect of exchanges between ancient Korea and Japan, by comparative examination of the early stone‐chamber mounds of Korean YŏngsanRiver valley and the forth to fifth century stone‐ chamber tombs of Kyushu, Japan. There are common characteristics found overall in the early stone‐chamber mounds of Korean Yŏngsan River valley. First, the coffin chambers have square or rectangular planes. Second, the chambers have domed stone ceilings. Third, the chambers walls are usually built with stone blocks on top of a large pedestal stone. Fourth, the entrance to the chamber stretches from the center of the front wall. Fifth, the chamber entrance has a stone door frame. Sixth, objects excavated from the early mounds are found only at the interiors of the chambers, but later mounds revealed additional objects around the chamber entrances or the mound, signifying that a funerary ritual was held after burying the deceased. Horizontal‐digging stone‐chamber mounds of Japanese Archipelago began in northern Kyushu in the late fourth century and spread beyond the island to east. These northern Kyushu stone‐chamber mounds were transmitted from Goguryeo via Baekje and Gaya, to Wa. The late fourth century stone‐chamber mounds exemplified by Rōji and Sukijaki Kofuns, Fukuoka City, developed into the early fifth century standardized forms exemplified by the Marukumayama Kofun, Fukuoka City, and Yokodashimo Kofun, Saga Prefecture. From mid‐fifteenth century, the stone‐chamber mounds spread south to central Kyushu and saw prevalence of regional‐style mounds such as Sekijinyama Kofun, Fukuoka Prefecture, or Edafunayama Kofun, Kumamoto Prefecture. Among the characteristics of the early Yŏngsan River stone‐chamber mounds, the rectangular plane, the large pedestal stone, the location of the entrance and doorframes are stylistic peculiarities that are not found in the kingdoms of Korean Peninsula, Silla and Baekje, but in the northern Kyushu style stone‐chamber mounds. There seems to have been attempts of the regional leaders of the Yŏngsan River valley to forge bonds with Baekje, Silla, Kaya/Gaya and Wa, and increase their influences to these allies in late fifth century, when the first /Baekje capital Hansung fell to Goguryeo armies. This thesis is intended to discuss an aspect of exchanges between ancient Korea and Japan, by comparative examination of the early stone‐chamber mounds of Korean YŏngsanRiver valley and the forth to fifth century stone‐ chamber tombs of Kyushu, Japan. There are common characteristics found overall in the early stone‐chamber mounds of Korean Yŏngsan River valley. First, the coffin chambers have square or rectangular planes. Second, the chambers have domed stone ceilings. Third, the chambers walls are usually built with stone blocks on top of a large pedestal stone. Fourth, the entrance to the chamber stretches from the center of the front wall. Fifth, the chamber entrance has a stone door frame. Sixth, objects excavated from the early mounds are found only at the interiors of the chambers, but later mounds revealed additional objects around the chamber entrances or the mound, signifying that a funerary ritual was held after burying the deceased. Horizontal‐digging stone‐chamber mounds of Japanese Archipelago began in northern Kyushu in the late fourth century and spread beyond the island to east. These northern Kyushu stone‐chamber mounds were transmitted from Goguryeo via Baekje and Gaya, to Wa. The late fourth century stone‐chamber mounds exemplified by Rōji and Sukijaki Kofuns, Fukuoka City, developed into the early fifth century standardized forms exemplified by the Marukumayama Kofun, Fukuoka City, and Yokodashimo Kofun, Saga Prefecture. From mid‐fifteenth century, the stone‐chamber mounds spread south to central Kyushu and saw prevalence of regional‐style mounds such as Sekijinyama Kofun, Fukuoka Prefecture, or Edafunayama Kofun, Kumamoto Prefecture. Among the characteristics of the early Yŏngsan River stone‐chamber mounds, the rectangular plane, the large pedestal stone, the location of the entrance and doorframes are stylistic peculiarities that are not found in the kingdoms of Korean Peninsula, Silla and Baekje, but in the northern Kyushu style stone‐chamber mounds. There seems to have been attempts of the regional leaders of the Yŏngsan River valley to forge bonds with Baekje, Silla, Kaya/Gaya and Wa, and increase their influences to these allies in late fifth century, when the first /Baekje capital Hansung fell to Goguryeo armies.
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정계옥 한국미학회 1988 美學 Vol.13 No.-
'I-pin' means the refinement as a measure to evaluate Chinese paintings since the Tang dynasty. It holds the keys to the system of painting criticism, not to mention the understanding of Oriental painting's style. Accordingly, this treatise takes aim at speculating 'I-pin' in the light of the two, style and criticism, and at clarifying the relationship between 'I-pin' and 'Tzu-jan(nature)'. The conclusion is as follows : First, the concept of 'I', originally indicating the transcendental life style and the spiritual stage, was introduced into the works and the criticism of painting during the Tang dynasty. Second, as to the style 'I-pin' painting mainly used the skill of 'po-mo', and was expressed briefly and roughly as a form of showing the trace of ink(mo), not that of brush(pi). Third, in the light of the criticism, 'I-pin' is the picture expressed frankly and uniquely without the normative forms, and puts more emphasis on the spirit-resonance(chi-yun) than the shape. Fourth, the supreme concept of art was 'Tzu-jan(nature)' in the Tang dynasty, and 'I-pin' in the Sung dynasty. Here, we find that nature and 'I-pin', the two supreme value-concepts of criticism, differs each other in the way of expressing the visible shapes, but they are alike each other in the unvisible, spiritual viewpoint of painting, Therefore, 'I-pin' formed a grade of painting art with its spiritual elevation, and later could back up the spiritual expressionistic art of Sung dynasty. Naturally this has much significance in the painting criticism.
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