丹靑의 繪畵史的 考察

다국어 초록 (Multilingual Abstract)

Considering that our people had applied the colors to the crokery, it seems that as considered in this paper, the history of using the colors has begun since their settlement.
I set up the history of Danchung and the scope of Byoljihwa by concentrating on the mural paintings of the old tomb in the Kokuryo period drawn in colors, especially the varied-colors.
I discovered through documents and collection of similar phrases that belonged to the ancient Chinese cultural sphere, our people had accepted with wisdom the foreign cultures, not imitating but substantiating them by creativity.
From a view of thought, it i s clear that the decoration and the colored picture of the mural paintings of the old tomb in the Kokuryo period were based on a view of the future life of the primitive religion.
As told in this paper, I want to make sure that it holds true for the Danchung in the architecture.
As described in this paper, while the social position and the origin of the dead were recored. it was not known who drew the Danchung. It is particularly difficult to find Korean beauty in our arts, if excluded entirely the native religions, Confucianism, Buddhism and Taoism.
The culture flowing in the devoted craftsman's vein is a product of the tradition, and thought, philosophy and religion are achieved through the congelated context and succeeded to. It is generated not so much by a special religion as by the craftsman's hand making use of the Danchung. That is, although the history and the religion has changed, the craftsmen who have succeeded to the veins of the traditional culture aren't replaced at a time and they are meeting the eternal spirit through Danchung.
The Byoljihwa in the Danchung is very pictorial and unique in the method of painting, follows the established rules and taboo, and represents the craftsman's individuality. As discussed in the religious thought, the object of its representation is so extremly polytheistic that it is different in temple, shrine or palace, and the whole represented in the mural paintings of the old tomb has been transmitted to us;
It is hard to succeed to the tradition with ease, so we must devote our-selves to achieve it. It is related to the historical sense, and it is impossible for us to give it out to anyone. For historical consciousness is a sense and not only time past of past but time past of past. Consequently, we should endeavor to make alive the original consciousness of beauty based on the traditional beauty elaborated through the long history.

목차 (Table of Contents)

• 목차 = 1
• ABSTRACT = 7
• Ⅰ. 序論 = 9
• 1. 目的 = 9
• 2. 硏究 方法 = 11
• Ⅱ. 丹靑의 槪念 = 13
• 1. 丹靑의 吏的 意義 = 13
• 2. 丹靑의 時代的 背景 = 14
• 3. 丹靑의 目的 = 15
• Ⅲ. 丹靑의 種類와 畵員 = 19
• 1. 種類 = 19
• 1) 가칠丹靑 = 20
• 2) 긋기丹靑 = 20
• 3) 毛老丹靑 = 20
• 4) 鐫丹靑 = 21
• 5) 기타 = 22
• 2. 畵員 = 22
• 1) 圖畵署 = 24
• 2) 畵僧 = 24
• Ⅳ. 丹靑의 宗敎的 背景 = 26
• 1. 土俗信仰的 思想 = 26
• 2. 佛敎的 思想 = 38
• 3. 儒敎的 思想 = 45
• Ⅴ. 丹靑의 繪畵史的 變化 = 50
• 1. 槪要 = 50
• 2. 彩色畵로서의 時代的 作品 傾向 = 52
• 1) 史前 時代 = 52
• 2) 三國時代 <高句麗 時代> = 53
• 3. 彩色 技法 및 繪畵的 背景 = 89
• 4. 別枝畵의 繪畵史的 意味 = 92
• Ⅵ. 結論 = 97
• 參考文獻 = 100