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高句麗 壁畵와 甘肅省 魏晋時期(敦煌 包含) 壁畵 比較 硏究
朴雅林(PARK Ah-rim),權寧弼(토론자) 고구려발해학회 2003 고구려발해연구 Vol.16 No.-
Though it only lasted for 166 years, the period of the Three Kingdoms and the Western and Eastern jin (220 to 386 A. D) may be more than a transitional period. The unique temporal and regional significance of the Wei-Jin tombs lies in the fact that they represent not only the Wei-Jin transformation of the Han funerary art tradition; they are also a precedent to Northern Dynasties art, including Xianbei tombs. Gansu and Liaoning Wei-Jin tombs also are related to the characteristics of tile period of five barbarians states and sixteen kingdoms. Chinese funerary art subjects first established in the Han continued into later dynasties without much modification. The employment of these subjects from a nan-ow repository of Han funerary art is also observed in Koguryo. While the Wei-Jin murals can signify the transmission of Chinese culture to the Chinese border, they, on the other hand, could mean the originality of non-Chinese tomb builders, who took the Han Chinese funerary art tradition which had, by that time, weakened in the Central Plain region, and preserved it in the frontier regions such that it could be revived in the late Northern Wei. In connection with Koguryo tombs, the significance of these mural tombs of the Wei-Jin period, especially in Liaoning and Gansu province, lies in their intermediate and contributive roles in the initial development of Koguryo mural tombs. While murals and relief sculptures in tombs and funerary shrines from the Han indicate the formation of funerary art traditions which would be transmitted to Koguryo murals, the work on the mural tombs of the Wei-Jin period, which are closely connected to early Koguryo tombs in temporal and regional aspects, may have given direct inspiration to or had interactions with the styling of early Koguryo tombs. TIle likeness of funerary art in the northwest and the northeast frontiers of China during the Wei-Jin period connects two remote regions under one trend, suggesting that non-Chinese and Chinese people living along the northern frontier of Chinese territories may have established particular artistic and cultural bonds. When considering the influences of the Han art, the temporal gap between the fall of the Han and the beginning of Koguryo mural tombs raises a question about the reasons for the preservation of Han tradition in northeast region. The lack of mural tombs in the Central Plain in the period light after the fall of the Han is interesting to notice. The unusual extension of Han styles may be partly answered if the beginning of Koguryo murals goes back to the 3rd century as argued by Li Dianfu, If the early Koguryo tombs, including the Tomb of the Dancers, are dated to the 3rd or to me 4th centuries, they may be close to the late Eastern Han period tombs as well as to the Three Kingdoms and the Eastern Jin tombs. The last part of the paper was given to the study of Buddhist art in Gansu, especially Dunhuang Mogao caves. Chinese Buddhist art has demonstrated continuous interactions and fusion with funerary art of Koguryo. Buddhist art elements incorporated into Koguryo tombs can be examined through the study of Buddhist stone caves constructed in Central Asia and China along with the spread of Buddhism during the Northern and Southern Dynasties. It is me middle phase Koguryo tombs that Buddhist-inspired motifs and themes are apparent. The early phase of Koguryo tombs such as the Wrestlers Tomb and Anak Tomb No. 3 are earlier than Northern Liang caves at Mogao (397~439) and Binglingsi Cave No. 169 (420 A. D). Comparisons to those Buddhist caves in China, thus, help us to date the middle phase tombs such as me Tomb of the Three Chambers and Changchuan Tomb No. 1 to the 5tll century, and the early phase tombs such as the Tomb of the Dancers to the 4th century. The Dancers Tomb and Changchuan Tomb No.1 have very similar subjects of daily life. But, Buddhist-influenced themes on the Changchuan Tomb ceiling tell us that by the time of the c