고구려인의 미의식과 고분벽화

Abstract

Koguryo tomb murals show what aesthetics Koguryo people’s cultural identity was based on and how it shows period, region, and unique and universal quality. Anak Tomb No.3 or Gakjeochong murals show that in the first half of the 5th century, people of Pyeongyang and Guknaeseong shared the idea that similar ways and orders of life ruled the current and the afterlife but differed in the aesthetics and social values including the idea of human beauty and design of clothes. After moving its capital city to Pyeongyang in 427 A.C.E., Buddhism became significantly popular in the Koguryo society, also influencing the subjects of the tomb murals. A number of decorative lotus pattern murals produced around Jian Guknaeseong region shows that the creators attempted to reproduce Pure Land of Lotus inside the tombs. In the 5th century Koguryo Jian Guknaeseong region, people viewed lotus flowers as pathway to the afterlife and beautifully depicted them. The major tasks of the 5th century Koguryo society were to unify the northern and southern culture and establish a new culture of Koguryo-centered world view. The two lotus flowers in full bloom located in the front chamber and main chamber ceiling stones of Ssangyeongchong suggest that people who sought to establish the new Koguryo culture endeavored to go one step further from merely unifying the northern and the southern style. The age of the Four Deities in tomb murals that began in the early 6th century was led by Pyeongyang region. The Four Deities of Jinpari Tomb No.1 share many stylistic elements with their Chinese Southern Dynasty counterparts. The Four Deities of Tonggusashinchong of Jian Guknaeseong region, however, show more differences than similarities with those of Chinese Northern and Southern Dynasties. The Four Deities of Gangseodaemyo is the new piece of artwork following the distinct northern and southern cultural trends of Koguryo characterized by the Deities in the murals of Jian and Pyeongyang region. The painter’s genius to have the Four Deities flow through the depth of cosmic space by clearing out the background confirms that the new culture based on the Koguryo-centered world view has established itself around Pyeongyang around the 7th century. The sophisticated analysis and expression of specific subject and concept began in Koguryo and became a part of Korean art, ideology, culture and religion. The highly polished works of art created in the Korean North and South Dynasty confirms that the experience, aesthetics, and sense from Koguryo tomb murals continued throughout the time, adding to depth and breadth.