고구려 벽화를 통해서 본 고구려의 정체성 연구

박아림(PARK Ah-rim) 고구려발해학회 2007 고구려발해연구 Vol.29 No.-

In this paper, I first analyzed the past scholarships on the Koguryo Wall Paintings from the People's Republic of China. When we examined Chinese scholarships on the subject matter, we can find there is a clear distinction on the viewpoints and assumptions before and 1990's, probably due to the Northeast Asia project in China, Since 1990s and especially after 2000's, Chinese scholars suddenly strongly emphasized the influences on Koguryo murals from the Han dynasty rather than comparing with the contemporary Northern and Southern Dynasties. It purposes to show that the origin of major Koguryo murals, that is, genre scenes and the Four directional animals, can be traced back to the Han dynasty, and to prove that Koguryo culture including tombs and wall paintings belonged to the Han Chinese culture. However, this argument loses its ground when we look at Koguryo wall paintings as World cultural heritage and when we compare Koguryo murals with paintings in other parts of Asia and with the West. The major subject matters which appear in Koguryo tomb murals are actually universally represented in funerary arts both in the East and in the West. Chinese scholars are trying to ignore a comparative study in art history methodology in order to argue that Koguryo tomb murals are not independent but heavily influenced by and are belonged to Han Chinese culture. However, Koguryo murals also possess many non Han Chinese characteristics such as nomadic cultural elements, Buddhist elements, and Central Asian elements. In addition, the contribution of Koguryo murals is obviously shown if we compare Koguryo murals with funerary paintings from the nomadic dynasties like Northern Wei.

중국 위진 고분벽화의 연원 연구

박아림 ( Ah Rim Park ) 동양미술사학회 2012 동양미술사학 Vol.1 No.-

중국 위진 시기 고분벽화는 한대 고분벽화와 화상석과 더불어 중국 고대 회화의 발전을 볼 수 있는 중요한 회화자료이다. 동북과 하서지역에 집중 분포되어 있는 중국 위진 벽화고분의 연원을 고찰하기 위하여 본문에서는 두 지역에 벽화고분이 나타나기 시작한 신망에서 동한 전기의 벽화고분부터 시작해서 동한 후기-서진의 벽화고분까지 그 출현과 발달 및 전개과정을 같은 시기 다른 지역의 벽화고분들과의 상호관계를 고려하면서 정리하였다. 먼저 동북과 하서지역에 처음으로 벽화고분이 등장하는 신망-동한 전기의 요녕 대련 영성자 한묘와 감숙 무위 한좌 오패산 한묘를 통하여 서한부터 낙양, 장안 등지의 벽화와 화상석에 보이는 鎭墓피邪, 引魂昇天을 반영한 제재와 승선관이 이미 신망-동한 전기에 동북이나 하서지역으로 전파되었음을 알 수 있었다. 동북지역 고분벽화의 출현에는 중원지역에서는 신망-동한 전기부터, 관중지역에서는 서한 후기부터 나타나는 생활풍속적 제재의 전파가 큰 역할을 한 것으로보인다. 동시에 내몽고나 섬서북부와 같은 북방지역의 동한 후기 벽화고분과도 벽화제재와 표현에서 유사한 특징을 공유한다. 동한 후기에 와서 동북, 내몽고, 하서를 잇는 북방지역이 벽화고분 축조의 중심지로 되면서 벽화문화권이 형성되어 가는 것을 볼 수 있다. 하서지역의 동한 후기-서진의 벽화고분은 무위, 주천, 돈황 등에 분포되어, 요양에 집중된 동시기 동북 벽화고분보다 다양한 발전양상을 보여준다. 하서지역 위진벽화 고분은 연원을 해당 지역한대고분에서 찾기도 다. 그러나 그보다는 하남, 관중, 섬북, 산서지역 한대 벽화고분과 화상전고분과의 다양한 교류를 통하여 형성된 것으로 보인다. 녕 조양 원대자묘 벽화는 요양지역 벽화고분에서 보이지 않던 여러 지 새로운 제재들이 출현하는데 1세기 앞선 요양지역의 벽화고분과 다른 벽화 제재들이 외부로부터 유입되어 고분의 벽화 구성에 영향을 미쳤음을 말해준다. 四神, 力士, 狩獵과 같이 요양지역에 등장하지 않은 제재들의 전파경로를 살피면 대체로 하남, 섬서 지역(서한 후기)에서 북방과 서지역(동한)으로 전파된 양상을 관찰할 수 있다. 숙 주천 정가갑 5호묘의 벽화의 제재와 구성 배치는 신망-동한 전기하남지역에서 발달한 궁륭형 천장을 가진 전축분의 특징과 유사하며 고구려 벽화고분과도 친연성이 보인다. 고구려와 하서지역 고분벽화의 친연성은 서한 이후 벽화문화의 전파과정과 동한 후기부터 북방지역을 따라 형성된 벽화문화권의 교류가 그 배경으로 작용한 것으로 여겨진다. 국 위진 벽화고분의 연원에 대한 고찰은 3-4세기에 벽화고분이 조성된 동북과 하서지역만이 아니라 그 이전인 한대부터 각 지역별로 발달한 분벽화 및 화상석의 특징과 지역 간 상호 교류 관계를 보다 깊이 있게 려하면서 폭넓은 시각으로 조망해야 한다는 것을 알게 해준다. 동북·하서 지역의 시기별 벽화고분의 연원은 한 지역에서 다른 지역으로의 단순한 전파과정이 아니며 다양한 지역적, 시기적 편차를 가지고 상호 영향을 주고받으면서 발달한 것을 볼 수 있었다. 중국 위진 벽화고분보다 더 복잡한 양상을 보이는 고구려 벽화고분의 연원은 인접한 동북, 하북, 산동만이 아니라 보다 시야를 넓혀 중원, 관중, 북방, 하서가종축과 횡축으로 연결된 교류 상을 살펴보아야 할 것이다. Mural tombs of the Wei-Jin period in China are important research materials for the origin, evolution, and stylistic analysis of the early Koguryo tomb murals. Especially, those in the Liaoning region have been received scholarly attentions since their excavations for the geographical closeness. However, Liaoning murals could not be the single source for the beginning of Koguryo murals if one considers diverse characteristics of Koguryo murals different from Liaoning murals. On the other hand, mural tombs in the Gansu region were often mentioned for their similarities in tomb structures and mural subjects to those of Koguryo although no concrete evidence has been provided to explain these similarities. In the present paper, I traced the origin of the Wei-Jin mural tombs in the Liaoning and Gansu regions back to the Han dynasty in the attempt to find out the process of the transmission of mural culture. In the Xin Mang to the early Eastern Han, painted tombs first appeared in these two regions and they showed the distribution of the idea of ascending heaven with the aid of auspicious animals and immortals from the Central Plains and the Guanzhong region. In the late Eastern Han, murals in the two regions exhibited wide ranges of interactions with other parts of the Han dynasty. It appears that not only the Central Plains region but also Guanzhong region and Beifang region(northern region) played an interesting role in the transmission of mural culture to the Hexi and Liaoning regions. By the late Eastern Han, tomb mural cultures became flourished along the northern region including Hexi, northern Shaanxi, Shanxi, Inner Mongolia, and Liaoning. It seems that through this kind of cultural band sharing similar funerary painting subjects and styles as well as structures, the distribution of funerary arts to the northwest and northeast regions in the Wei-Jin period must have been facilitated. It eventually contributed to the birth of Koguryo tomb murals which appeared to be an interesting mixture of varied cultures from those of Han to Wei-Jin as well as those of Han Chinese and non Han people.

중국(中國) 녕하회족자치구(寧夏回族自治區)의 고원수당묘(固原隋唐墓)와 염지당묘(鹽池唐墓) 벽화(壁畵)와 석각연구(石刻硏究)

박아림 ( Ah Rim Park ) 동양미술사학회 2019 동양미술사학 Vol.8 No.-

1950년대 이래 발굴하기 시작한 당 벽화묘는 대다수가 陝西關中의 西安市郊와 부근의 禮泉縣, 乾縣, 長安縣, 三原縣, 富平縣과 咸陽市郊에 집중 분포한다. 山西 太原, 寧夏 高原, 新疆 吐魯番 등지에서도 당묘 벽화가 출토되었다. 당대는 중국 고분벽화의 발달에서 가장 전성기에 해당하나 고분 내의 벽화의 주제나 구성은 인물화 중심으로 주로 현실세계를 반영하여 비교적 단순하며 사신을 제외하고 천상세계의 묘사는 드문 편이다. 당묘는 또한 부장용의 수가 많고 종류가 다양하며 북조 도용보다 진전된 세련된 표현과 기법을 보여준다. 한대 곽거병묘에 시초가 보이는 陵墓 神道의 조각상들은 남북조를 거쳐 당에 이르면 대형화ㆍ정형화한다. 본 논문은 영하 고원수당묘와 염지당묘를 사례로 선택하여 소그드의 昭武九姓 가운데 하나인 史氏姓과 何氏姓의 소그드묘장을 고찰하여 두 지역의 묘장의 구조와 벽화 제재, 부장품에 나타난 특징을 통하여 해당 시기의 묘장에 드러난 문화적 변용에 대해서 살펴보았다. Tang mural tombs which have been excavated since 1950s are mostly distributed in the Guanzhong region of the Shaanxi province where the royal family and the nobility as well as the high officials of the Tang capital resided. In addition, Taiyuan in Shanxi, Guyuan in Ningxia, and Turfan in Xinjiang are also the major locations where Tang mural tombs have been discovered. This paper chose the Sui-Tang tombs in Guyuan and Yanchi, Ningxia as the case study of the Sogdian burials during the Sui-Tang periods. The Shi family tombs in Guyuan and the He family tombs in Yanchi will shed a light on the understanding the burial practices, the architectural features, the burial artifacts of the Sogdians in the 7th century showing the cultural acculturation of that region.

고구려(高句麗) 집안(集安) 지역(地域) 중기(中期) 벽화고분(壁畵古墳)의 서역적 (西域的) 요소연구 -중국(中國) 북조(北朝) 고분미술(古墳美術)과의 비교를 중심으로-

박아림 ( Ah Rim Park ) 중국사학회 2007 中國史硏究 Vol.50 No.-

북위 평성시기 고분(古墳) 미술 연구 -고분 출토 회화 유물을 중심으로-

박아림 ( Ah Rim Park ) 역사교육학회 2006 역사교육논집 Vol.36 No.-

18세기 일본 마사노부의 판화에 나타난 에도문화

박아림(Park Ah-rim) 한국대학박물관협회 1998 고문화 Vol.52 No.-

북위 평성시기 고분미술의 변천과 융합

박아림 ( Park Ah-rim ) 중앙아시아학회 2021 中央아시아硏究 Vol.26 No.2

Tombs at Northern Wei capital Pingcheng have been known earlier from the lacquer painting of the Sima Jinlong Tomb and from the lacquer coffin of the Northern Wei Tomb at Guyuan, Ningxia. The study on Northern Wei funerary art has been intensified since 2005 when they discovered the Shaling mural Tomb at Datong, Shanxi. After then, almost each year, Datong region yielded an important Northern Wei painting tomb which give a vibrant insight into the funerary art and afterlife view of the 5^th century Northern China. This paper first looked at the major Northern Wei tombs in the Datong region in terms of a tomb structure and painting subjects including paintings on a chamber wall, a stone sarcophagus, a wooden coffin, and a stone house shaped structure found inside a tomb. Then the evolution of the Northern Wei tombs is divided into three phases and the paper examined the representative cases showing the movement of a pictorial scheme to a surface of a funerary furniture or burial object. Finally as of the appearance of a house shaped stone or wooden structure of a Northern Wei tomb, the paper suggests that the closest precedents can be found in the Gansu, Ningxia, and Inner Mongolia region tombs from the Wei-Jin, and the Sixteen Kingdoms period.

중국 내몽골 자치구 올론 숨의 동방 기독교 미술

박아림 ( Park Ah-rim ) 중앙아시아학회 2023 中央아시아硏究 Vol.28 No.1

This article deals with the Eastern Christianity funerary art in Olon süme, Inner Mongolia. It discusses about the cross and lotus flower decoration of funerary relief sculptures found in Olon süme. It compares them with other Eastern Christianity art including those found in Beijing and Quanzhou. It examines several major tomb complexes in Olon süme and searched Eastern Christian related burial tomb sculptures as well as stone epitaphs. Olon süme tomb stones usually show relief sculptures of a cross motif above a lotus flower on the 2-3 sides of the head part of the stones. The shape and the motifs of those tomb stones can be compared with the similar examples in Quanzhou region in Fujian province, South China which many Eastern Christianity tomb stones have been discovered. The combination of the cross and the lotus flower is the same feature of the tomb stones of the two regions. On the other hand, the appearance of an angel in those Quanzhou tomb stones is not seen in tomb sculptures of Inner Mongolia. The origin of the combined motif of a cross and a lotus flower can be traced back to the Tang dynasty as seen in the stone pillar found in Luoyang, Henan dated to 814.

몽골 볼간 아이막 바양노르 솜 울란 헤렘 벽화묘 연구

박아림 ( Ah Rim Park ) 중앙아시아학회 2014 中央아시아硏究 Vol.19 No.2

From July to September in 2011, the joint research team of Mongolia and Kazakhstan has excavated a wall painted tomb at Ulaan Kherem, Bayannuur sum, Bulgan province, Mongolia. The tomb is the first excavated mural tomb in Mongolia to date. The tomb is approximately dated to the 7th centuries. The structure and mural subjects of the tomb, which are similar to those mural tombs in the subsidiary burials of the Zhaoling, the tomb of Tang Taizong, follow the tradition established by the nomadic people like Xianbei in the late Northern Dynasties from the 6th century. Not only the tomb structure and murals but also the burial objects from the Ulaan Kherem Tomb clearly exhibit the tastes of nomadic people residing along the Silk Road and the Stepp Route. In order to understand the characteristics of the Ulaan Kherem Tomb, I analyzed painting subjects and compare them with Chinese examples. In the stylistic analysis of figure paintings, those in the Ulaan Kherem Tomb resemble the figures in the subsidiary burials of the Zhaoling constructed in the second half of the 7th century. Some of the Zhaoling mural tombs belong to the Turk origin occupants. Next, I examined another recently excavated Turk period tomb(678) at Zaamar sum, Tuv province from which a stone tomb epitaph was excavated. The tomb occupant belonged to Pugu tribe. The Zaamar Tomb helps us date the Ulaan Kherem Tomb to the second half of the 7th century, especially around 650s-670s. The stylistic analysis of wall paintings and burial objects from the Ulaan Kherem Tomb also suggests that the tomb can be dated to around 650s-670s. It was during the Tang occupational period after the collapse of the 1st Turk Empire. It is possible that the Pugu ruler governing Today`s Bayannuur region invited a Chinese artisan to construct his tomb, but he certainly embodied his nomadic tastes and culture into his burial exhibited by the burial practice and rich gold and silver ornaments, which were the result of the broad interactions from Byzantine to China.

몽골 바양노르 벽화묘와 복고을돌묘 출토 용과 비잔틴 금화 연구

박아림 ( Park Ah-rim ),L.에르덴볼드 ( Erdenebold L. ),낸시S.스타인하트 ( Steinhardt Nancy S. ) 중앙아시아학회 2017 中央아시아硏究 Vol.22 No.1

This paper examined the tomb figurines and Byzantine golden coins discovered from the Bayannuur tomb and Pugu Yitu Tomb located in Mongolia. The scientific analysis on the tomb figurines and the lime plasters of the murals shows the Bayannuur Tomb can be dated to 670±70 or 680±100CE. The Byzantine coins cannot be the definite evidence to decide the date of the tomb, but similar Byzantine golden coin imitations discovered from other regions can help us determine the cultural exchanges among those regions where the same kind of Byzantine coins. Tomb figurines from the two tombs resemble to those figurines found in the early Tang tombs located in the Xi`an, Shaanxi which might tell us strong evidence of Tang Chinese influence on the region. However, in terms of materials, techniques, and pigments, there are certainly different features from those in the Central Plain region. Especially, they are more similar to those from the Astana tomb complex in Turfan, Xinjiang which appear to have a close relation with sculptures and murals in Central Asia. Thus, the tomb figurines from the Bayannuur Tomb and Pugu Yitu Tomb should be considered not only in the context of Tang Chinese tombs but also with sculptures and paintings of Central Asia About 40 gold coins from the Bayannuur Tomb are quite different from examples found in China in the number, techniques, and burial practice. Those tombs where Byzantine coins were buried also yielded many interesting burial objects related to Central Asia. It might tell us about the background of the tomb occupant, and the regional transmission process of such Central Asian objects, and the possible location of such workshop. Therefore, the burial objects and the burial practice shown in those tombs can shed a light on the understanding of the cultural background of a tomb occupant of the Bayannuur Tomb as well of the cultural interaction along the Steppe route.