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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Jinpari tomb No.1, as we can determine from the composition and contents of the mural paintings, as well as the level of techniques applied to them, is definitely a mural tomb constructed in the middle of the 6<SUP>th</SUP> century. The ‘gatekeeper’ described upon the passageway wall inside the tomb seems like an entity that in nature pretty much resembles the Buddhist Four Heavenly Kings [四天王像], who are generally believed to have guarded Buddhist installations’ ‘Main chambers’ which had been traditionally deemed as the world of “Cloud-born Spirits”[雲氣化生] and ‘Harmony’ between Yin & Yang elements[陰陽]. The mural paintings in Jinpari tomb No.1 shows us a stage in which new religious and artistic concepts based on the aforementioned Cloud-born Spirits notion were well embraced by the Goguryeo people, but still to be thoroughly processed and localized by the artists and technicians of the time.
Status of the mural paintings spotted in this tomb, and of course the tomb itself, seem to be reflecting social conditions of the early 6<SUP>th</SUP> century Goguryeo. During this period, with East Asian politics showing less than turbulent attributes, Goguryeo was actually enjoying stability and prosperity. However, domestically, tensions were arising among members of the ruling class over some yet-to-be-seized new opportunities. And it did not take long for such tensions to evolve into a full fledged conflict over the very throne of the dynasty.
Jinpari tomb No.1 is a work from a period in which the Goguryeo dynasty, while benefitting from foreign stability and prosperity, was falling into a state of domestic troubles and division. We can sense all the conflicts, frustration and discomfort that the people might have been feeling from the very inside of the tomb. Burdened by such ‘awareness of insecurity’ caused by social instability, the Goguryeo artists of the time must have found it difficult to properly digest all the newly imported cultural elements, and process them as part of their own. They were not able to transform such newfound insights and integrate them into the ‘Goguryeo sense of art.’ Later, when the Goguryeo people finally found the time to do just that, thanks to the again-stabilized domestic situation, they were able to construct memorable tombs such as the Gangseo-dae’myo mural, with touches of ‘Goguryeo originality’ abundantly embedded in the designs and paintings inside the tomb.
Status of the mural paintings spotted in this tomb, and of course the tomb itself, seem to be reflecting social conditions of the early 6<SUP>th</SUP> century Goguryeo. During this period, with East Asian politics showing less than turbulent attributes, Goguryeo was actually enjoying stability and prosperity. However, domestically, tensions were arising among members of the ruling class over some yet-to-be-seized new opportunities. And it did not take long for such tensions to evolve into a full fledged conflict over the very throne of the dynasty.
Jinpari tomb No.1 is a work from a period in which the Goguryeo dynasty, while benefitting from foreign stability and prosperity, was falling into a state of domestic troubles and division. We can sense all the conflicts, frustration and discomfort that the people might have been feeling from the very inside of the tomb. Burdened by such ‘awareness of insecurity’ caused by social instability, the Goguryeo artists of the time must have found it difficult to properly digest all the newly imported cultural elements, and process them as part of their own. They were not able to transform such newfound insights and integrate them into the ‘Goguryeo sense of art.’ Later, when the Goguryeo people finally found the time to do just that, thanks to the again-stabilized domestic situation, they were able to construct memorable tombs such as the Gangseo-dae’myo mural, with touches of ‘Goguryeo originality’ abundantly embedded in the designs and paintings inside the tomb.
목차
머리말
1. 고분의 개요
2. 고분의 구조와 벽화 제재 분석
3. 6세기 평양문화와 진파리1호분
맺음말
참고문헌
〈Abstract〉
참고문헌 (35)
참고문헌 신청
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UCI(KEPA) : I410-ECN-0101-2016-911-001374584