한국 미술에 호명된 고구려 고분벽화-해방 이후-1970년대의 전개 양상을 중심으로-

Abstract

Goguryeo tomb mural painting has been recognized as a grand cultural heritage containing the national soul of the Korean Peninsula and as picturesque funerary art of the powerful nation. Upon close observation of Goguryeo tomb mural painting, we could notice that it was recorded after the Liberation as ethnic art that influenced the ancient Japanese culture and in the 1960s and 1970s as the starting point of our painting and a link between the ancient oriental painting history. In fields regarding oriental painting creation, Goguryeo ancient tomb mural painting was suggested as a creative solution for the establishment of ethnicity and the pursuit of modernity. Especially, Ung-no Lee saw the formativeness of Goguryeo tomb mural painting as a replacement of colour painting and the stylistic root of abstraction. Additionally, in the 1970s, the methodology that analyzed the ways of producing Goguryeo tomb mural painting, especially the quality of pigments, and applied them to the colouring of oriental painting was published. Goguryeo tomb mural painting was used to achieve the globalization of oriental paintings by overcoming the tendency of creations concentrated in ink painting and expressing the superiority of colour painting. The oriental painting world, which wanted to be evaluated within the scope of contemporary art, cited tradition to express its distinction from other genres. As such, Goguryeo ancient tomb mural painting has been actively used as the model that matches the discourse of ethnicity, the beginning of the depiction of Korean art history, and a creative solution to achieve the modernity of oriental painting. This can be said to be a phenomenon that can prove the significance in art history and rich formativeness that Goguryeo ancient tomb mural painting retains.