고구려 오회분 오호묘 벽화의 조벽지(粗壁地)기법에 대한 연구-옻칠기법의 적용 가능성에 대한 검토

Abstract

Studying the manufacture techniques of ancient Goguryeo tomb mural is not just to define and succeed traditional manufacture techniques but because it can be a clue to distinguish that from other cultural areas. It offers basic data needed to choosing the method of preservation and its material. In this study, I would like to see Sobyuksi manufacture techniques through the 5th tomb of 5-helmet shape tomb, which hasn’t been treated. Especially I see the possibilities that lacquering would be one of method to make ancient Goguryeo tomb mural. Most papers about ancient Goguryeo tomb mural up to now from the view of art history or archeology. Even for papers about the manufacture techniques of mural paintings have treated how to paint it or used material, which means paper about Sobyuksi manufacture techniques is none. Those papers only explain about the manufacture techniques by the principle of lime film of cave paintings. For lacquering in Northeast Asia, it was already technically completed in China 7000 years ago, and you can see it through various relics made at that times. In Korea also, you can see its fineness and splendidness from lacquer ware of B.C. 200∼300, which was unearthed in Daho-Ri, as well as from wooden props for dead king or queen’s head and feet, in the royal tomb for King Mu-nyeong of Baekje. The painting in lacquering and coloring on the bark of white birch, seen on‘ A Thousand Horses’in A Thousand Horses Tomb which was excavated about the year 600, is another good example of ancient painting with lacquering. Lacquering was not only for wood but also for porous mineral terra-cotta and stone surface. You can see lacquer coloring or vestige of lacquering on arms and war horses made of terra-cotta, at the royal tomb for first emperor of China Qin Shi Huang. Besides, you can another case on Sukhyeyoungjo Sakyamuni Gilt Stone Statue made in the southern Chinese country Yang in A.D. 546. Especially Sukhyeyoungjo Sakyamuni Gilt Stone Statue was made in the 6th century, the time of manufacturing the 5th tomb of 5-helmet shape tomb, which shows a little chance of using lacquer for the tomb. In spite of tough environment of the ancient tomb to preserve murals, the 5th tomb of 5-helmet shape tomb has been well kept, displaying the following traits. 1. Black and color pigments are thick. 2. Black line has the same gloss as lacquered surface. 3. Murals on dewy part are clear. (Image clarity of lacquering) 4. The overall wall is coated in brown, and colors are remarkably different between left out granite and un-left part. 5. Brown adhesives are used on the joint of granite boards, and some pigment or adhesives are seen as fallen down. 6. Gold, pine stone, and jade were used, which are the most widely used materials for lacquer work. 7. Colors of some pigments are smeared, and as a slippery phlegmatic temperament, that is somewhat oily. The above is specialties of lacquer paintings, which displays a little chances that the 5th tomb of 5-helmet shape tomb may be made by lacquering. This traits were also confirmed at Gangseo Great Tomb located in Sammyo-Ri, Gangseoguyeok, Nampo-city, North Korea. Possibly those are special traits of the third period (A.D. 550∼650) ancient Goguryeo tomb mural. In a situation where picking sample ore is impossible, study by similar sample ore is required, as well as comparative study with murals painted directly on the surface of the stone, among existent ancient tomb mural in South Korea. This would be a clue to clarify painting manufacture techniques of ancient Northeast Asia, and would be a starting point of rational and scientific plan for preservation and management of other ancient tomb murals which were made by similar manufacture techniques.