안악3호분의 불교적 이해와 묘주도류의 화풍

Abstract

Buddhism seemed to influence on arts when it spread to the East. This paper mainly discussed the effects of Buddhism on the space division of the side room and the changes in the corridor of Anak tomb No. 3. The side room, which was also found in tombs in the areas of Hua Bei (Northern China) and Liaoning during Five-tribe and Sixteen-nation era, was built under the influence of Indian cave temple, coming along with Buddhism. However, Anak tomb No. 3 has been strongly influenced by fine arts from countries bordering Western China. The way to divide its space - left-side room as a residential space and right-side room as a place for life convenience - was similar to the residential structure in the Koguryeo era, which played a critical role to decide what to draw on the wall of the tomb. Also, its corridor, a copy of Caitya-style colonnade of Indian cave temple, was a place for added burial. Its function was similar to that of the secondary walkway at Kizil Caves, which was made for its maintenance workers. The influence of Buddhism was also found in the mural. Although the paintings of the tomb owner and other people on the wall of the side room seemed to show similar aspects in other murals in Hua Bei (Northern China) and Liaoning areas, they also had artistic features from countries near Western China such as concavo-convex style, sharing similar factors found in Kizil Caves. On the other hand, the wife of the tomb owner and her servants in the mural looked chubby, which could be seen in the arts of the countries near Western China such as Kizil. However, the wife's figure seemed to be more chubby than others and reminded of paintings of beautiful women in Northern Wei and the Tang age. Thus, it could be said that the mural was produced when the art of countries near Western China was transferred to the East until the Tang age. The complex and designed winkles in the dresses can be also compared with those on murals in Dongjin era, so called Gu Kaizhi style. These differences indicated that the tomb's owner and his wife were drawn by different painters. Their production dates seemed to be different, which were confirmed by two factors: the corridor was an additional pathway for added burial, and the shapes of lotus on the curtains were different.