Earticle

초록

영어

In this study, Goguryeo tomb murals and murals of the Wei and Jin Dynasties in Hexi , were compared by surveying and statistical methods, and their correlation, succession, and differences were explored. Based on this, the historical value and meaning of the mural were confirmed. The records of Goguryeo and the social life and communication of people in the Hexi area are relatively brief. At the same time, the discovery of tomb murals makes up for the lack of historical records. From the perspective of cultural origin, the tomb culture of the Goguryeo and Hexi areas are influenced by the Central Plains' culture, with many similarities. Still, there are apparent differences in the shape and system of the tombs. Currently, the academic circle discussing the two places is relatively weak. The murals of ancient Goguryeo tombs are known as the "treasure house of Northeast Asian art," which truly reflects the real life and spiritual world of Goguryeo people in the 4th and 7th centuries. They have a history of more than 100 years since their discovery and have attracted much attention from the academic circle because of their gorgeous content and exquisite techniques. The mural's content is highly reproduced in the Goguryeo royal and noble home, banquet, singing and dancing, drama, travel, and other social life. The murals of the Wei and Jin Dynasties are distributed in the Hexi Corridor in the northwest Gansu Province, China. They are known as the "underground gallery." They have gradually accumulated rich materials since their discovery in 1944. The mural tombs of the Wei and Jin dynasties in the Hexi area not only inherited the custom of thick burial in the Qin and Han dynasties, but also opened the revival of the thick burial culture in the Sui and Tang Dynasties, which is an important part of the ancient Chinese tomb art. It can be seen that both the Goguryeo mural tombs and the Wei ＆ Jin mural tombs in Hexi were influenced by the tomb culture of the Han Dynasty, thus forming solid local characteristics, which is an essential embodiment of the spread of the Han culture in the border areas. The famous mural themes in the late Goguryeo mural tombs and the murals in which the Buddha fairy coexist are similar to the early Mogao Grottoes, which were directly influenced by the "Liangzhou mode" of Hexi Grottoes.

중국어

本文将高句丽古墓壁画与河西魏晋墓壁画作为材料，运用统计学分析法对两地壁 画墓的形制、壁画的数量、壁画的题材、壁画构图的手法等内容进行比较，探析它们 之间的相关性、继承性与差异性。在分析比较之后，进一步了解壁画本身的历史价值 与意义。 传世文献中关于高句丽与河西地区人们社会生活和交流的记载较为简略，而墓葬 壁画的发现弥补了传世文献记载的不足。从文化渊源上看，高句丽与河西地区的墓葬 文化均受到了中原文化的影响，有着许多相似之处，但在墓葬形制等方面又存在明显 的差异。目前学界尚对两地墓葬艺术的交流的讨论还相对薄弱。 高句丽古墓壁画被誉为“东北亚艺术宝库”，真实的反映了4-7世纪高句丽人的现实 生活和精神世界，从发现之初至今已有一百余年的历史，因其内容绚丽、技法细腻而 备受学界关注。壁画的内容更是高度再现了高句丽王公贵族家居、宴饮、歌舞、百 戏、出行等社会生活。河西魏晋墓壁画分布于中国甘肃省西北的河西走廊，被誉为 “地下画廊”，自1944年发现以来逐渐积累了比较丰富的材料。河西魏晋壁画墓不仅继 承了秦汉时期的厚葬习俗，而且还开启了隋唐时代厚葬文化的再度复兴，是中国古代 墓葬艺术的重要组成部分。 可以看出，高句丽壁画墓与河西魏晋壁画墓都受到汉代墓葬文化的影响，从而形 成了强烈的地方特色，是汉文化在边陲地区传播的重要体现。高句丽晚期壁画墓中流 行的抹角叠涩式藻井、佛仙并存的壁画题材与莫高窟早期洞窟壁画风格相似，应是受 到河西石窟“凉州模式”的直接影响。

목차

국문초록
Ⅰ. 绪论
1. 研究目的
2. 高句丽与河西壁画墓保存现状
Ⅱ. 高句丽壁画墓的形制及分期
1. 高句丽壁画墓的形制
2. 高句丽壁画墓的分期
Ⅲ. 河西魏晋壁画墓的形制及分期
1. 河西魏晋壁画墓的形制
2. 河西魏晋壁画墓的分期
Ⅳ. 高句丽古墓壁画与河西魏晋墓壁画的内容
1. 高句丽墓室壁画的题材
2. 河西魏晋墓壁画的题材
Ⅴ. 高句丽壁画墓与河西魏晋壁画墓的比较
1. 差异性
2. 相似性
Ⅵ. 高句丽壁画墓与河西文化交流的探讨
1. 高句丽与河西壁画墓的渊源
2. 佛教艺术交流
3. 多宗教信仰交流
Ⅶ. 结论
参考文献
Abstract

키워드

저자

• 왕석 [ Xi Wang | 전북대학교 고고문화인류학과 박사과정 ] 주저자

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  지역과 문화 [Journal of Region & Culture]

• 간기

  계간

• pISSN

  2508-6464

• 수록기간

  2014~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 911 DDC 951