가야 고령 고아동 벽화고분의 조영과 성격

Abstract

Goadong murals in Goryeong, the only one in the Greater Gaya regions, wasconstructed during the fall of Greater Gaya. Contrary to the traditional ancestral ritesheld before the grave in Gaya territory, this grave adopts the corridor-style stonechamber and murals that appear to be imported from Baekje. When the relativelyconservative characteristic of tombs is considered, it reveals active and open attitudeon the cultural exchanges of some powers within Gaya region. Particularly, the usageof white clay and painting of murals after making a ground layer with lime of Hobun(oyster shell white) and straw draws attention on the fact that Gaya developed itsown mural production skills. Therefore the Goryeong Goadong murals represents thecombination of Gaya’s active cultural exchanges and its own production methods. During the vortex of wars among Shilla, Gaya, and Baekje in the 6th century, theyalso reflect Gaya’s efforts to avoid the threat from Shilla with various cooperationwith Baekje. For now, the buried person is speculated to have been a pro-Baekje oneamong Gaya’s aristocrats with active attitude toward cultural exchanges with Baekjein the 6th century, who also accepted the tradition of lotus pattern murals and ZenBuddhism oriented view on after life. While most of murals are now decolorised anddrawings of lotus at the ceiling can be seen, it is judged that the lotus gate and cloudshad been painted at the ceiling of Sa-shin-do(Painting of Four Gods). This is relevant tothe contemporary tendency within East Asia. Goryeong Goadong mural is a typical sitethat deserves attention for it represents historical evidences regarding political and culturalcharacteristics of Gaya.