고구려 각저총 천상문양의 정체성 및 변천과정 연구-중국 위진남북조 고분벽화와의 비교를 중심으로-
A Study on the Identity and Changed Processes of Tianshangwenyang Revealed in Goguryeo’s Gakjeochong -Focused on the Comparison with Mural Paintings of Weijinnanbeichao Tombs in China-
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This paper is to examine the identity of tianshangwenyang revealed in Wrestlers’ Painting of Goguryeo Gakjeochong, and to investigate the changed processes of similar patterns revealed at other Goguryeo tombs such as Muyongchong, Daeanri No. 1 Tomb, Deokheungri Tomb, and Chinese Weijinnanbeichao Tombs such as Shalingcun No. 7 Tomb and Shalingpoduoluoshifumuhezangmu at Datong, and Dingjiazha No. 5 Tomb at Jiuquan. Domestic and foreign scholars’ opinions on the identity of tianshangwenyang revealed in Goguryeo Gakjeochong vary from Yunwen to Yunqiwen, Yunduowen, Liuyunwen, Niaowen+Yunwen and Zhenmushenfuwen. I saw that pattern as Zhenmushenfuwen, whose reason lies in the examination related to the character of its arranged space, formal and coloristic analysis, and the concept of Tanggufusangtu at Gakjeochong and Muyongchong. And the Zhenmushenfuwen was transformed according to the change in time and space, and so I divided into four styles from J. J. Winckelmann’s view of Formgeschichte, and depicted their character. The 1st style, Ancient Style, says Zhenmushenfuwen painted on the upper part of Wrestlers’ Painting of Goguryeo Gakjeochong and the upper part of its southern corridor. This icon forms are schematic and determinate, and the red color was used by Mogufa. As for linear depiction, it is abstract, and the black color was used by Mogufa. The 2nd style, Grand or Sublime Style, says Couple Painting at Gakjeochong, Hunting Painting at Muyongchong, Figures Group Painting at Daeanri No. 1 Tomb, Zhen- mushenfuwen depicted at Shalingcun No. 7 Tomb and Shalingpoduoluoshifumuhezangmu in Datong. This style is divided into two. The 1st sect is applied to Couple Painting at Gak- jeochong, and its similar examples are Shalingcun No. 7 Tomb and Shalingpoduoluoshifu- muhezangmu in Datong. The 2nd sect is applied to Hunting Painting at Muyongchong, and Figures Group Painting at Daeanri No. 1 Tomb. The 3rd style, Grace Style, is applied to Zhenmushenfuwen of Wrestling Painting at Muyongchong. Its Zhenmushenfuwen begins to spread over the entire screen contrary to the previous cases. And the central icon mostly remains as the linear form or being with rings, but as a whole there was a big change from form-based depiction to the refined linear-based depiction. The 4th style, Imitator Style, is applied to Herdsman·Weaver Painting and Hunting Painting at Deokheungri Tomb, and, as for Chinese case, Dongwanggong, Xiwang- mu, Bailuyu·Yuren, Tianma Paintings of Dingjiazha No. 5 Tomb at Jiuquan. Here linear depiction-centered Zhenmushenfuwen appeared at Grace Style was entirely dissolved in form, and is divided into two. The 1st sect is applied to Hunting Painting at Deokheungri Tomb and Dongwanggong, Xiwangmu, Bailuyu·Yuren, Tianma Paintings of Dingjiazha No. 5 Tomb at Jiuquan. The 2nd sect is applied to Herdsman·Weaver Painting at Deokheungri Tomb. In the 1st sect, the central icon is treated with a red colored free and abstract form by Mogufa, and we can recognize a freer atmosphere from its surrounding linear depiction. In the 2nd sect, the central icon is transformed into a small ribbon form, and painted in red color. The surrounding linear depiction was entirely lost schema and fomality and transformed into freest form.
Abstract
This paper is to examine the identity of tianshangwenyang revealed in Wrestlers’ Painting of Goguryeo Gakjeochong, and to investigate the changed processes of similar patterns revealed at other Goguryeo tombs such as Muyongchong, Daeanri No. 1 Tomb, Deokheungri Tomb, and Chinese Weijinnanbeichao Tombs such as Shalingcun No. 7 Tomb and Shalingpoduoluoshifumuhezangmu at Datong, and Dingjiazha No. 5 Tomb at Jiuquan. Domestic and foreign scholars’ opinions on the identity of tianshangwenyang revealed in Goguryeo Gakjeochong vary from Yunwen to Yunqiwen, Yunduowen, Liuyunwen, Niaowen+Yunwen and Zhenmushenfuwen. I saw that pattern as Zhenmushenfuwen, whose reason lies in the examination related to the character of its arranged space, formal and coloristic analysis, and the concept of Tanggufusangtu at Gakjeochong and Muyongchong. And the Zhenmushenfuwen was transformed according to the change in time and space, and so I divided into four styles from J. J. Winckelmann’s view of Formgeschichte, and depicted their character. The 1st style, Ancient Style, says Zhenmushenfuwen painted on the upper part of Wrestlers’ Painting of Goguryeo Gakjeochong and the upper part of its southern corridor. This icon forms are schematic and determinate, and the red color was used by Mogufa. As for linear depiction, it is abstract, and the black color was used by Mogufa. The 2nd style, Grand or Sublime Style, says Couple Painting at Gakjeochong, Hunting Painting at Muyongchong, Figures Group Painting at Daeanri No. 1 Tomb, Zhen- mushenfuwen depicted at Shalingcun No. 7 Tomb and Shalingpoduoluoshifumuhezangmu in Datong. This style is divided into two. The 1st sect is applied to Couple Painting at Gak- jeochong, and its similar examples are Shalingcun No. 7 Tomb and Shalingpoduoluoshifu- muhezangmu in Datong. The 2nd sect is applied to Hunting Painting at Muyongchong, and Figures Group Painting at Daeanri No. 1 Tomb. The 3rd style, Grace Style, is applied to Zhenmushenfuwen of Wrestling Painting at Muyongchong. Its Zhenmushenfuwen begins to spread over the entire screen contrary to the previous cases. And the central icon mostly remains as the linear form or being with rings, but as a whole there was a big change from form-based depiction to the refined linear-based depiction. The 4th style, Imitator Style, is applied to Herdsman·Weaver Painting and Hunting Painting at Deokheungri Tomb, and, as for Chinese case, Dongwanggong, Xiwang- mu, Bailuyu·Yuren, Tianma Paintings of Dingjiazha No. 5 Tomb at Jiuquan. Here linear depiction-centered Zhenmushenfuwen appeared at Grace Style was entirely dissolved in form, and is divided into two. The 1st sect is applied to Hunting Painting at Deokheungri Tomb and Dongwanggong, Xiwangmu, Bailuyu·Yuren, Tianma Paintings of Dingjiazha No. 5 Tomb at Jiuquan. The 2nd sect is applied to Herdsman·Weaver Painting at Deokheungri Tomb. In the 1st sect, the central icon is treated with a red colored free and abstract form by Mogufa, and we can recognize a freer atmosphere from its surrounding linear depiction. In the 2nd sect, the central icon is transformed into a small ribbon form, and painted in red color. The surrounding linear depiction was entirely lost schema and fomality and transformed into freest form.
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