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동북아시아

阿弗拉西阿卜大使廳壁畫本事辨析
A study on the figures and historical facts of the Afrasiab Paintings
아프라시압 벽화의 인물과 역사적 사실에 대한 연구

첫 페이지 보기
  • 발행기관
    동북아시아문화학회 바로가기
  • 간행물
    동북아 문화연구 KCI 등재 바로가기
  • 통권
    제59집 (2019.06)바로가기
  • 페이지
    pp.387-405
  • 저자
    신동성
  • 언어
    중국어(CHI)
  • URL
    https://www.earticle.net/Article/A356213

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원문정보

초록

영어
There have been many theories about the Afrasiab Paintings since modern times. In general, the painting is regarded as a reflection of a Samarkand painter’s worldview which is based on his imagination, and the contents of the painting is not necessarily true. Also, it is difficult to provide accurate information about the painting because it have been damaged so much, and it is difficult to present a theory nearly everyone agrees because there are so few historical records left by the Sodgians. However, in this paper, the interpretation of the painting will be suggested. First, what principles had been applied to construct the painting? The painting accepted and reflected the Four Emperor worldview. Second, different scholars present many theories about what the west-side of the painting described. Although the painting have seriously damaged, the contents of this west-side of the painting are a picture of Western Turk(西突厥) Illig Beg Shekuei Qaghan(乙毗射匱可汗) and Fuhuman(拂呼縵)-King of Samarkand being paid tribute together. Of course, the painting necessarily correspond to historical facts, but we can see from the painting that the Samarkand people were quite confident. Thirdly, there is a theory about the period and purpose of the Goguryeo(高句麗/高麗) ambassadors in the painting, but the envoy in the painting were sent to Samarkand and Xue-Yantuo(薛延陀) from Yeon Gaesomun(淵蓋蘇文) when Emperor Tai-zong(唐太宗) of Tang dynasty attacked Goguryeo. Based on the several contexts, in my opinion, that the giant man on the horse in the north-side painting is not the Emperor Gaozong(唐高宗), but the Emperor Taizong. Emperor Taizong promoted his warrior charisma by making songs like Qinwangpozenyue(秦王破陣樂), which was accepted by Indians at the time. Therefore, based on all these information, re-identifying the age of painting is necessary.

목차

序論
一、壁畫的系統性及其世界觀問題
二、颯秣建王拂呼縵與西突厥之關係
三、『萬國入朝突厥圖』中的高麗人與壁畫創作年代問題
四、『唐人遊玩行樂圖』中的大號武士原型問題
参考文献
논문초록

키워드

아프라시압 벽화 사마르칸드 당태종 서돌궐 고구려 Afrasiab Paintings Samarkand Emperor Tai-zong Western Turkic Khaganate Goguryeo 阿弗拉西阿卜大使廳壁畫,颯秣建,唐太宗,西突厥,高句麗

저자

  • 신동성 [ Shin, Dong-Sung | 北京大學中文系中國古代文學博士研究生。 ]

참고문헌

자료제공 : 네이버학술정보

간행물 정보

발행기관

  • 발행기관명
    동북아시아문화학회 [The Association of North-east Asian Cultures]
  • 설립연도
    2000
  • 분야
    복합학>학제간연구
  • 소개
    동북아시아 문화의 다양성과 정체성을 연구 토론하고, 지역내 문화 교류의 다양한 모습을 연구하고 문화변동의 큰 틀을 집적함으로써 우리 민족 문화 및 상대 민족의 문화적 터전을 이해하여 문화공동체적 특성을 계발하고 상호 관련성의 강화를 유도하는 학술활동을 통해 동북아시아의 문화발전에 이바지함.

간행물

  • 간행물명
    동북아 문화연구 [Journal of North-east Asian Cultures]
  • 간기
    계간
  • pISSN
    1598-3692
  • 수록기간
    2001~2026
  • 등재여부
    KCI 등재
  • 십진분류
    KDC 910 DDC 950

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