5세기 고구려와 북위의 고분미술의 畫稿의 전래와 적용

Abstract

The pictorial program of a wall painted tomb reflects the comtemporary ideology and artistic development. Each program consists of specific subject matters which might have been inspired by two or three dimensional forms of previous funerary art tradition. The representations of the funerary art repertoire are quite limited due to the conventional and ideological characteristics of the genre itself. Thus, it is natural to assume the usages of painting copies transmitted throughout the ages. In the 5th century of Koguryo and the Northern Wei, the use of the painting copies have probably based on the former funerary art tradition and the newly introduced Buddhist art. Thus, it is necessary to discern the formation and transmission of the painting copies of the funerary art of Koguryo and the Northern Wei shown in each wall painting tomb. The painting copy might have been accumulated by following the former tradition and the newly introduced artistic inspiration. On the other hand, the introduction of new painting copies could have produced an interesting adopting process of the placement of each subject matter into a new context or out of the original context. This paper investigates the possible usage of the painting manuals in the 5th century of East Asia in terms of the traditional painting copies and the foreign ones. The 5th century wall paintings of Koguryo have the mixed styles of the Han and the Wei-Jin and the Northern and Southern dynasties of China. It can be understood in that the funerary art painting manuals of Eat Asia probably have been used for a long term period as cumulated over the times. If the painting manuals were transmitted in the form of a booklet, it is possible that the already transmitted painting manuals could have been combined with the newly arrived painting manuals. The mixture and the incorporation of the accumulated painting copies would have decided the placement and the meaning of each painting subject in each painting tomb