지원사업
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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국사연구회 한국사연구 韓國史硏究 제195집
- 발행연도
- 2021.12
- 수록면
- 49 - 78 (30page)
- DOI
- 10.31791/JKH.2021.12.195.49
이용수
초록· 키워드
오류제보하기
King Sosurim’s official endorsement of Buddhism and King Gogukyang’s encouragement of the religion to seek good fortune both happened while Guknaeseong was still Koguryo’s capital. In 427 A.C.E., Koguryo moved its capital to Pyeongyang. However, Guknaeseong remained as the hub of Buddhism with the support of the state. The nobles and the common folk of Guknaeseong not only accepted Buddhism as part of their everyday life but also as the basis for the new view of the afterlife.
The frequent appearance of lotus blossoms as a side or even main motif in the tomb murals around the mid-5th century also stem from such change in people’s views. The tomb murals of 5th century Guknaeseong area show a variety of lotus blossoms. The reincarnation through lotus blossom that can be seen in Samsilchong and Jangcheon Tomb No.1 show how such ideas were accepted and expressed by people.
In Muyongchong murals, the reincarnation through lotus blossom (蓮花化生) is descrived as lotus buds and blossoms rising to the heavens. The newly reincarnated occupants of the heavens are the immortals that are either seated or flying. In the Samsilchong murals, which date later than the Muyongchong murals, the reincarnation is depicted as human figures emerging from the lotus blossoms. In the Jangcheon No. 1 Tomb, the same concept is depicted as a man and a woman emerging from the same lotus blossom. In other words, the concept of reincarnation through lotus blossoms that emerge in the Muyongchong murals is refined in a more Koguryo style in the Jangcheon Tomb No. 1. With their casket placed in the space with many bodhisattvas, cosmic wrestlers, and lotus blossom reincarnations, the deceased couple of the Jangcheon Tomb No. 1 likely had a very clear idea of their life in the Pure Land.
In contrast, the only lotus blossoms in the south and the north tombs of the Tonggu Tomb No. 12 are the ones decorating the ceiling corners of the casket room. The remaining spaces are instead adorned with scenes of everyday life. Even if the deceased dreamed of a life in the Pure Land, their new place, rather than being a Buddhist paradise, resembles more of a replication of the current life in accordance of the more traditional view of afterlife in Koguryo. Though the owners of the Tonggu Tomb No. 12 may have believed themselves to be Buddhists, they had little understanding of the Pure Land that was the Buddhist idea of paradise. This shows how in the Guknaeseong region of the mid-5th century Koguryo, murals depicted Buddhist view of afterlife but the depth of understanding reflected differed from tomb to tomb.
The frequent appearance of lotus blossoms as a side or even main motif in the tomb murals around the mid-5th century also stem from such change in people’s views. The tomb murals of 5th century Guknaeseong area show a variety of lotus blossoms. The reincarnation through lotus blossom that can be seen in Samsilchong and Jangcheon Tomb No.1 show how such ideas were accepted and expressed by people.
In Muyongchong murals, the reincarnation through lotus blossom (蓮花化生) is descrived as lotus buds and blossoms rising to the heavens. The newly reincarnated occupants of the heavens are the immortals that are either seated or flying. In the Samsilchong murals, which date later than the Muyongchong murals, the reincarnation is depicted as human figures emerging from the lotus blossoms. In the Jangcheon No. 1 Tomb, the same concept is depicted as a man and a woman emerging from the same lotus blossom. In other words, the concept of reincarnation through lotus blossoms that emerge in the Muyongchong murals is refined in a more Koguryo style in the Jangcheon Tomb No. 1. With their casket placed in the space with many bodhisattvas, cosmic wrestlers, and lotus blossom reincarnations, the deceased couple of the Jangcheon Tomb No. 1 likely had a very clear idea of their life in the Pure Land.
In contrast, the only lotus blossoms in the south and the north tombs of the Tonggu Tomb No. 12 are the ones decorating the ceiling corners of the casket room. The remaining spaces are instead adorned with scenes of everyday life. Even if the deceased dreamed of a life in the Pure Land, their new place, rather than being a Buddhist paradise, resembles more of a replication of the current life in accordance of the more traditional view of afterlife in Koguryo. Though the owners of the Tonggu Tomb No. 12 may have believed themselves to be Buddhists, they had little understanding of the Pure Land that was the Buddhist idea of paradise. This shows how in the Guknaeseong region of the mid-5th century Koguryo, murals depicted Buddhist view of afterlife but the depth of understanding reflected differed from tomb to tomb.
목차
Ⅰ. 머리말
Ⅱ. 유적 개요
Ⅲ. 벽화 분석
Ⅳ. 5세기 집안 국내성문화의 동향과 통구12호분
Ⅴ. 맺음말
참고문헌
ABSTRACT
참고문헌 (41)
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