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뤄스핑(羅世平),김원경(번역자) 한국미술연구소 2004 美術史論壇 Vol.- No.19
중국 북부의 넓은 초원에서 일어난 거란족은, 唐(618-907)과 五代(907-960) 동안에 북방에 遼(907-1125)를 건립한 후 오랫동안 宋(960-1279)과 관계를 지속하여 문화적으로 ?庸五代를 계승하고 뒤로는 송과 융합하였다. 고고발굴이 이루어진 거란 고분의 벽화는 당과 송 사이의 문화교류를 잘 나타내준다. 20세기 초부터 일본 고고학자들이 중국의 동북지역과 내몽고에 들어가 고고학적 성과를 얻기 시작하여 지금까지 1백여년 동안 고고학자들은 1백 기가넘는 요대 벽화를 발굴하였다. 그것들은 주로遼의 五京 지역에 분포한다. 이들 벽화고분을 세 가지 유형으로 나눌 수 있다. 1. 帝王陵: 내몽고의 巴林右旗에서 발굴된 慶陵이 있다. 2.거란 귀족무덤: 上京(지금의 내몽고 巴林左旗), 中京(지금의 내몽고寧城)과 東京(지금의 요녕 選陽)에 집중적으로 분포한다. 지금의 내몽고, 요녕성과 길림성에 걸쳐 분포하고 聚族 장례 특징을 지니고 있다. 거란 귀족의 대표적인 벽화무덤에는 내몽고의 庫倫旗 거란 귀족의 묘지, 阿魯科爾沁旗에 있는 奈曼旗 陳國公主와 그 남편 蕭紹矩의 묘, 會同 5년(942)에 매장한 耶律翼之의 무덤과 天贊 2년(923)의 寶山 벽화무덤 등이 있다. 요녕성 遼陽 義縣 蕭愼微 가족무덤, 法庫縣 葉茂臺의 요대 무덤과 阜新縣關山 蕭和 가족묘지 등 역시 중요하다. 3.漢族 무덤: 주로 西京(지금의 山西省 大同)과 南京(지금의 北京)과 하북성의 宣化에 분포한다. 요대의 벽화고분은 자료가 풍부하고 벽화의 圖像이 역사적ㆍ문화적 정보를 풍부하게 담고있는 데다가 최근 요대 묘실벽화에 대한 고고학과 미술사 연구에 새로운 성과들이 끊임없이 나타나, 최초의 고고학 조사단계를 점차 벗어나 역사와 문화 및 예술 등의 각 방면에서 요대 역사, 문화와 미술의 빈 공백을 채우고 있다. 본 논문은 요대 벽화무덤에 대한 학술 연구의 중요성을 느끼고 1백여 년에 이르는 요대 벽화무덤의 발굴과 연구에 대한 학술사를 정리하여 연구심화를 돕고자 하였다. The Qidan race which Emerges to the northern prairie in China between Tang (618-907AD) and Five Dynasty (907-960AD) rises to the northern of China. After founds the Liao Dynasty (907-1125AD) also has the relations for a long time with the Song Dynasty (960-1279AD). The Qidan has manifests culture exchange with Tang and Song on the mural of the tomb which the archaeology excavates. From the beginning of the 20th century, the japan archaeologists enter into the northern-east area and the Inner Mongolian of China and make the archaeology investigation to now, archaeologists had detected the mural of the Liao dynasty having more of hundred in the hundred years. They mainly distributes in the area of Liaos Wujing (五京, five capitals). We maybe divided three types about these tomb murals: 1. The emperors mausoleum. It is the mausoleum of Qing(慶陵) which located the Balinyou qi (巴林右旗) in inner Mongolian. 2. The Qidan aristocrat grave. They are distribute the Shang jing (The upper capital, now BalinZuo qi (巴林左旗) in Inner Mongolia), Zhong jing (The middle capital, now Ningcheng (?城) in Inner Mongolia) and Dongjing (The east capital, now Liaoyang (遼陽) in Liaoning Province). The range encircled Inner Mongolia, Liaoning province and Jilin province today and gather together a graveyard which the clan buried. The important mural tombs of the Qidan aristocrats are, for example, in Inner Mongolian, the Qidan aristocrat s graveyard on the Kulun qi (庫倫旗), the tomb of Princess Chen Guo and her husband Xiao Shaoju on the Naiman qi (奈曼旗), the tomb of Yelu-yuzhi who buried in Huitong (會同) five year (942AD) and the Baoshan (寶山) mural tombs belong to the Tianzan (天贊) two year (923AD) on the A-lu-kr-qin qi (阿魯科爾沁旗); in Liaoning Province, the family graveyard of Xiao Shenwei on Yixian County (義縣), the mural tomb of Yemaotai on Faku county (法庫縣) and the family graveyard of Xiaohe on the Fuxin county (阜新縣). 3. The Han people graves. It mainly distributes in Xijing (The west capital, now Datong (大同), Shanxi Province) and Nanjing (The south capital, now Beijing) and Xuanhua (宣化) in Hebei Province. The mural tombs of Liao dynasty preserve richly historical and cultural information. It attracted the archaeologists and art historians to research and got in the some accomplishments in recent years, The research from the initial archaeology investigation gradually penetrated into historical and cultural and art each aspect. Some of the blanks about history, culture and arts of Liao dynasty was filling. This is an article which academic history about discover and research on the mural tomb of Liao dynasty. The purpose is to research deeply the influence and interaction of culture between the Qidan and the Han people.
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펑펑(Peng Feng),김원경(번역자) 한국미술연구소 2004 美術史論壇 Vol.- No.18
Based on his original theory of body-mind relation, Michael Polanyi gives a credible interpretation to west painting, especially, the representational painting. According to Polanyi s theory of tacit knowledge, our knowledge is a tacit, personal integration of subsidiary clues into a focal whole. Subsidiary awareness is the function of our body, but focal awareness, the function of our mind. Based on this account of tacit integration of knowing and being, mind and body, Polanyi claims that the perception of a painting is to integrate a subsidiary awareness of its canvas into its focal awareness of image. This subsidiary awareness distinguishes the normal painting both from a focal awareness of the canvas plus brush-strokes, in which the painting falls apart: and from a total unawareness of the canvas, which produces a deceptive illusion. Undeniably, Polanyi s account is somewhat correct to west representational painting and even representational arts including drama, poetry, fiction, and so forth. But Polanyi' s account is not suitable to modem abstract painting and especially Chinese painting. In contrast with west representational painting, Chinese painting does not give focal awareness of representational image, but lines. inks, and even empty space. Now, based on Polanyi' s theory, we can differentiate four kinds of paintings: 1) strange representational painting which gives deceptive illusion by focally seeing the perspectival image without the restraint of subsidiary awareness of the flatness of canvas: 2) modem abstract painting which is "essentially canvas plus brush -strokes" without the restraint of subsidiary awareness of painted object: 3) normal representational painting, Polanyi favored, which produces transnatural image by focally seeing the perspectival linage with the restraint of subsidiary awareness of the flatness of canvas: 4) Chinese painting which give the focal awareness of lines and inks with the restraint of subsidiary awareness of the painted object. With this differentiation, we can dearly see the difference between Chinese painting and west painting including strange representational painting, modem abstract painting, and normal representational painting.
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