고구려 안악1호분 연구

전호태(Jeon, Ho-Tae) 부산경남사학회 2020 역사와 경계 Vol.117 No.-

4세기 말로 편년 되는 안악1호분은 357년 묵서명이 있는 안악3호분과 5세기 후반으로 편년 되는 안악2호분을 잇는 유적이다. 대방지역에서 전축분 축조가 중단된 뒤 등장하는 외방의 돌방무덤이라는 점에서 요양 위·진 고분처럼 회랑 있는 여러방의 돌방무덤인 안악3호분과 다르며, 생활풍속에 불교의 상징적 표현이 더해진 점에서 불교적 내세관에 바탕을 두고 벽화가 그려진 안악2호분과도 구별된다. 안악1호분 벽화의 제재 구성 방식은 대방 고지인 안악 지역이 고구려의 영역이 된 뒤 4세기 후반 북방의 원(原)고구려문화를 받아들이면서도 한계 문화의 색채는 어느 정도 유지하는 방식으로 꾸려졌음을 알게 한다. 안악1호분 벽화는 후한대까지 흘러들어 뿌리 내린 한계 문화 위에 동아시아에 전해진 새로운 관념 세계인 불교 신앙이 더해져 한때는 안악 일대가 서로 다른 종교 관념이 겹쳐진 문화적 혼합 상태였음도 내비친다. 안악1호분 널방 천장에 그려진 연꽃에서는 천제 및 하늘 세계 인식과 불교 여래와 정토 관념을 동시에 읽어낼 수 있다. 외래문화 요소의 구성 비율이 높은 안악3호분과 달리 안악1호분 무덤구조와 벽화 구성의 뿌리는 대방 사회에 뿌리를 둔 재래의 문화적 전통이다. 안악1호분은 대방 고지이던 안악이 겪을 수밖에 없던 정치 질서의 변화 속에 고유의 문화전통에 새로운 문화요소를 덧붙여 특유의 새로운 문화를 성립시켜 나가는 노정을 잘 보여주는 유적이다. Anak Tomb No.1 which dates to the late 4th century serves as a temporal bridge between Anak Tomb No.3 that has an inscription from 357 A.C.E. and Anak Tomb No.2 that dates to the late 5th century. Its characteristic as a single-chamber stone tomb that appears after the end of brick tombs in Daebang region makes it distinct from Anak Tomb No.3 which like Wei and Jin tombs is a multi-chamber stone tomb with a corridor. It also differs from Anak Tomb No.2 which focuses on Buddhist view of afterlife in that it mixes Buddhist motifs with everyday life motifs in the murals. The subjects of Anak Tomb No.1 murals show that after the Daebang highland Anak region became Koguryo’s territory its inhabitants accepted the northern Koguryo culture but maintained some elements of the original Chinese Han culture. The murals also show that at one time, the Buddhist faith coexisted with the Han culture that established itself by the late Han Dynasty. The lotus blossoms on the ceilings of the Anak Tomb No. 1’s chamber show both the concept of the celestial realm and the heavenly lord as well as the Buddhist Pure Land. Unlike Anak Tomb No.3 which contains many foreign elements, the structure and mural motifs of Anak Tomb No.1 come from the cultural tradition that is rooted in Daebang society. Anak Tomb No.1 shows how people of Anak accepted the inevitable political structural change and established the new culture by adding new elements to the unique cultural tradition of the region.

고구려 안악2호분 벽화 연구

전호태(Jeon Ho-Tae) 한국고대사학회 2009 韓國古代史硏究 Vol.0 No.54

4세기 초 대방군을 영역화한 고구려는 이 지역을 곧바로 고구려식 행정체제에 편입시키기보다는 전연 출신 동수와 같은 망명객을 지역 관리로 임명하여 주민들로 하여금 과도기적 지배체제를 거치며 고구려사회에 적응할 수 있도록 하였다. 안악3호분은 동수와 같은 망명객이 지니고 있던 문화와 의식의 반영물이라는 성격을 강하게 지닌다. 동수와 같은 인물들이 지역행정을 담당하던 시기가 지나자 옛 대방군 지역은 고구려식 행정체제 아래 들어간다. 이후 안악지역은 변방으로서의 성격을 일부 간직한 상태에서 서서히 고구려 중앙문화의 영향권 아래 들어간다. 안악1호분은 그 과도기적 단계에 안악 지역문화의 상황을 알게 하는 유적이다. 안악1호분에서는 대방군시대의 문화전통과 망명객 관리시기의 문화변동이 모두 읽혀진다. 안악1호분 벽화에는 계세적 내세관과 승선관, 불교적 내세관과 관련된 요소가 모두 나타난다. 5세기 중엽경 고구려에서는 새로운 수도 평양을 중심으로 국내성 중심의 북방문화와 평양 중심의 남방문화가 본격적으로 통합되기 시작한다. 지역 단위 소문화권이 평양문화권에 편입되는 것도 이 시기이다. 안악지역 문화도 이 시기에 평양문화권의 일부로 편입된다. 안악2호분은 이런 지역 단위 문화변동 과정과 내용을 읽어낼 수 있게 한다. 안악2호분 벽화는 5세기 중엽을 전후하여 안악지역에도 불교의 전생적 내 세관과 관련된 인식이 장의미술에까지 영향을 미쳤음을 보여준다. 국내성과 평양일대 고분벽화에 풍미하였던 천계전생, 정토왕생을 꿈꾸는 직접적인 표현들이 안악지역 고분벽화 제재구성에도 영향을 끼쳤음을 알 수 있다. 안악2호분은 안악을 중심으로 성립한 지역문화의 마지막 단계를 알게 한다는 점에서도 고구려 문화사 연구에서 주요한 의미를 지닌 유적이다. Koguryo did not annex Daebang-gun(帶方郡) to its administrational boundaries after it conquered the region in the early fourth century. Instead, it appointed exiled persons such as Dongsu(?壽) from Early Y?n(前燕) as governor. This was to help the inhabitants get used to Koguryo society through such transitional period. Anak Tomb No.3 reflects culture and philosophy of the exiled like Dongsu. When the transitional period was over, the old Daebanggun region was no longer governed by people like Dongsu but went under direct Koguryo administration. The Anak region, while maintaining part of its regional characteristics, was influenced directly by central Koguryo culture. Anak Tomb No.1 shows the Anak culture of the transitional period, reflecting the tradition from Daebang-gun period and cultural change of the transitional period. The elements of the traditional concept of afterlife as the successive life, the concept of the ascension to Immortals' world, and Buddhist concept of afterlife are all present in Anak Tomb No.1 mural. From mid-fifth century, the northern culture centered around Gungnaeseong(國內城) and the southern culture centered around Pyeongyang(平壤) began to be combined. Such cultural change occurred with Pyeongyang, the new capital as its center. It is during this period that regional cultures were absorbed to Pyeongyang culture. Anak culture too was assimilated as part of Pyeongyang culture, and Anak Tomb No.2 reflects the change around regional culture and the details. Anak Tomb No.3 murals show that around mid-fifth century, the Buddhist idea of cycle of reincarnation had influenced funerary art of the region. We can infer that the desire of rebirth in Heaven or rebirth in Nirvana expressed clearly in tomb murals of Gungnaeseong and Pyeongyang had affected the choice of topics in Anak tomb murals. Anak Tomb No.2 let us know the last stage of the regional culture centered around Anak. Thus, it is meaningful to the study of Koguryo culture.

안악3호 무덤 음악도상音樂圖像에 대하여

김성명 국립중앙박물관·(社)동원고고미술연구소 2023 동원학술논문집 Vol.24 No.-

This paper aims to explore the musical culture of the Goguryeo Kingdom in the mid-fourth century by examining the music-related iconography in the mural paintings in the Goguryeo-era tomb Anak Tomb No. 3. Anak Tomb No. 3 is a stone chamber tomb equipped with an entrance passage, front chamber, middle chamber, main chamber, and corridor. On its walls are mural paintings on diverse themes that reflect the funeral customs of the Goguryeo Kingdom. This paper has drawn the following conclusions from the music-related iconography found in these murals. 1. The music-related iconography in Anak Tomb No. 3 is comprised of an image of a hwangmungochwi (wind and percussion band of the palace gate) in the middle chamber, an image of a gogyeon (a small royal banquet) in the main chamber, and a funeral procession image in the northeast corridor. 2. A comparison with the iconography related to music found in the tomb of Chinese General Zhu Ran of the Eastern Wu Dynasty suggests that the musicians depicted in the middle chamber of Anak Tomb No. 3 would be a four-person hwangmungochwi band playing a drum on a stand, an ancient Chinese bamboo panpipe, a reed flute, and a gong. The inclusion of a wind and percussion ensemble of the palace gate is presumed to have been a result of the diplomatic ties between the Goguryeo Kingdom and Eastern Wu Dynasty. 3. The iconography of a small royal banquet presents a combination of Han Dynasty-style orchestral music with dancing with feet crossed in an X-shape in the style of India and what is now the western regions of China. The red dot designs on the hat of a dancer are a cultural element from northwestern China, but they seem to have been incorporated into characteristic clothing patterns of the Goguryeo Kingdom. 4. The music-related iconography in the funeral procession consists of a marching band with drums (shaking drums and hand drums) in front and horns at the end that leads the procession, another band carrying drums and bells, and a band on horseback of a type that originated in Han Dynasty China that is playing a drum, an ancient Chinese bamboo panpipe, a reed flute, and a gong. Among all the musical instruments depicted in the mural paintings, only the carried drums are distinctive to the Goguryeo Kingdom. 5. The music iconography in Anak Tomb No. 3 features a combination of musical traditions from Han Dynasty China (the wind and percussion band of the palace gate, small court banquet, and dansoyoga (songs for short panpipe and standing bell)), processional music and dance from the northwestern regions of China, and musical elements (carried drums) distinctive to the Goguryeo Kingdom. This combination demonstrates that the Goguryeo Kingdom developed its music culture by accepting and localizing foreign music from the Han Dynasty through the period of Wei, Jin, and the Northern and Southern Dynasties. 6. This iconography of shaking drums in front and horns behind became a feature of processions of drums and horns in Goguryeo tombs constructed after Anak Tomb No. 3. It appears to have been closely related to the iconography of a horse-riding procession in the mural paintings in the Western Jin Dynasty tomb M3 in Jiayuguan, Gansu Province. This connection is presumed to have been forged through Goguryeo’s absorption of popular cultural elements of the Western Jin Dynasty that were transmitted through the Lelang and Daifang regions. 7. The music-related iconography found in Anak Tomb No. 3 from the mid-fourth century reflects longstanding musical practices from diverse regions. A comparative analysis of other music-related iconographical elements from Goguryeo tombs built after Anak Tomb No. 3 would deepen our understanding of the formation of and changes in Goguryeo music. 8. This paper is confined to explanations based on limited comparative materials and fails to scrutinize the intentions and ideological backgrounds underlying the music related iconography by connecting them to funeral and memorial rites. As a product of funeral art, the iconography in tomb mural paintings needs to be studied while taking into account funeral and memorial rites and their procedures.

안악 3호분, 정가갑 5호분 그리고 봉태자분의 주악도 비교 고찰

전인평 이화여자대학교 음악연구소 2019 이화음악논집 Vol.23 No.2

The purpose of this paper is to compare the mural tombs paintings of ancient Anak No. 3 Tombs, Dingziazha No. 5 Tomb and fèngtaizi (奉台子墳, third century) to find of the characteristics of Seorayangak (西凉樂). Anak No. 3 (357) has many similarities with China's fèngtaizi and Dingziazha No. 5 (丁家閘, 317-430). I compared two tombs with Anak No. 3 (安岳). Dingziazha No. 5 is located sinzang china, which was an import channel for central Asian culture (西域, western area). In seventh century, music of Goryeogi and Seoryanggi had many common instruments, and Seoryanggi is deeply related to central asian music. The X-shaped dance are similar to swastika of Indian dance, one of the 108 Indian dance movements. Geomungo is also closely related to India’s Veena and Thailand’s Jake and Cambodia’s Migyaun. In many countries, when the ruling class changes and the dynasty changes, the groups and music personalities of playing music is changed slowly. Therefore, the music of Anak No. 3 (安岳) is believed that it is Goguryeo music influenced by central Asian music. It is also considered that the string instrument on the knee of Anak 3 tomb is more likely to be a geomungo mentioned samguksagi (三國史記) rather than Chinese zither (琴). 본 논문은 안악 3호분 주악도와 유사한 여러 고분 벽화를 상호 비교하여 고구려 고분 안악 3호분 주악도의 성격을 규명해 보기 위한 것이다. 안악 3호분(357)은 중국 봉태자분(奉台子墳, 3세기)과 주천(酒泉) 정가갑(丁家閘) 5호분(317-430)과 비슷한 점이 많이 있다. 필자는 이 세 묘를 비교 고찰하여 안악 3호분 4인 주악도의 성격을 규명해 보고자 한다. 이 중에 아직 국내 음악계에 소개되지 않은 정가갑 5호분의 주악도를 자세히 소개하고자 한다. 정가갑 5호분 지역은 옛 서량으로 이 지역은 서역 문화의 수입 통로였다. 수대의 7부기에 고려기와 서량기가 공통악기가 많고, 서량기는 서역 음악과 관련이 깊다. 또한 X자 발모양의 춤사위는 인도 춤 108 춤사위 중 하나인 스와스티카(swastica)와 비슷하다. 또한 거문고는 인도의 비나(veena), 태국의 자케(jhake), 캄보디아의 미관(migyaun)과 관련이 깊다. 어느 나라든지 왕조가 바뀔 때, 지배층이 바뀐다 하더라고 음악을 연주하는 집단과 성격은 금방 변하는 것이 아니고 천천히 변화한다. 따라서 연주하는 음악은 서역음악의 영향을 받은 고구려 음악으로 사료된다. 또한 무릎 위 현악기가 금 또는 쟁이라고 보기 보다는 『삼국사기』에 나오는 거문고일 가능성이 더 높다고 사료된다.

安岳3號墳의 淵源과 ‘무덤 내 文字’

김근식(Kim, Keun-sik) 중앙대학교 중앙사학연구소 2021 중앙사론 Vol.- No.54

이 논문은 안악3호분의 ‘무덤 내 文字’와 구조적 특징 등을 통해 그 연원을 검토하는 것을 목적으로 한다. 안악3호분이 축조되던 당시(357) 樂浪·帶方故地의 墓葬制는 塼築墳이었다. 즉, 안악3호분과 같은 거대 石室封土墳을 만들 만한 기술력은 갖추지 못하였다. 이는 안악3호분 자체가 해당 지역에 새롭게 등장한 墓葬文化였다는 사실을 알려준다. 그렇다면 안악3호분은 누가 어떻게 축조한 것일까. 이 의문을 해결하기 위해 여기에서는 안악3호분의 全貌를 밝히는 것을 주력하였다. 冬壽가 남긴 여러 흔적을 바탕으로 그의 망명 과정을 따라가면서, 이와 동반된 제 현상을 함께 살펴보았다. 또한 분석의 기준을 잡기 위해 漢代畫像石, 漢魏晉壁畵古墳, 樂浪·帶方故地 등에 확인되는 문자서술방식을 간략하게나마 정리하였다. 이후 이를 바탕으로 안악3호분의 연원과 ‘무덤 내 문자’에 대해 검토하였다. 그 결과 요양지역 벽화고분의 흔적이 그대로 남아있는 구조와 달리, 墓誌와 朱書의 연원은 중국 山東·浙江의 동해안가의 문자문화에서 찾을 수 있었다. 이 문화는 낙랑·대방고지의 漢人들에 의해 수용·유지되었고, 그들의 방식이 동수나 그 후계자에 의해 축조된 안악3호분에 반영된 것으로 파악하였다. This article is a study that analyzes the character data of the Chinese tomb related to the ink writing of the Goguryeo mural tomb and examines the relevance of the tomb to Goguryeo. Through this research, I tried to confirm the process of the propagation-acceptance-fixation-extinguishment of the Chinese character culture from the tomb to Goguryeo. In addition, it became clear that ink writing functions separately from the viewpoints of the ordering, producer and viewer of the mural tomb. I analyzed the literal material of the Chinese tomb. It is thought that the ink painting of the Goguryeo mural mound was born in the Goguryeo culture, where the mound is the original graveyard system. Therefore, this article tried to find out the contact point of the ink painting of the Goguryeo mural tomb, assuming the relationship between the Chinese burial culture and the letters found there. In the study, I looked at the genealogy of the cemetery culture that influenced Anak Tomb No. 3. By tracing the track of Anak Tomb No.3 s buried man Dongsu s track and analyzing the structural features of the mural tomb in China s Liaoning region, I could confirm that Anak Tomb No.3 was a landmark tomb different from the existing one in Nakrang-Daebang region. Anak Tomb No.3 was structurally heavily influenced by tombs in the Liaoning area, at that time there was no technical basis yet to build a full-fledged mural tomb like that in the Liaoning region. In other words, Anak Tomb No.3 was a landmark tomb in Goguryeo s tomb culture. Of course, Anak Tomb No.3 has greatly influenced the construction of Goguryeo tombs.

圖像學的 시각에서 본 高句麗 安岳3號墳과 中國 沂南漢墓 무덤 壁畵

유강하 동북아역사재단 2012 東北亞歷史論叢 Vol.- No.36

A tomb is a historical and cultural fruit which reflects the age as well as being a personal space that represents thoughts of death, taste, and faith. Yinan Tomb(沂南漢墓) is a place which realizes all popular ideas,such as Xiwangmu(西王母), Buddhist thought, the world after death,and the Yin Yang and the Five Elements theories evenly. Through the contents of iconography, we can see that Yinan Tomb was organized from the reality for the unrealistic world. The first room, which was germane to the reality, was placed with advice from descendants, relatives, and friends, as well as with a strong charm against evil influences and countermeasures. The middle room represented safe arrival to the world after death and an easy life in the new world. The personal life which would be continued after death was placed in the second room. Dongsu(冬壽), who was a general in Qianyan(前燕), created a huge tomb that was as large as a royal tomb in Koguryo. The tomb’s construction style was influenced by China. However, the result of the influence was not one-sided, but rather a recreation through choice and acceptance in a new culture. Anak Tomb No.3 was quite different from other tombs in China, for example, in the choice of material, the arrangement of space, and the motif arrangement. In general, as Anak Tomb No.3(安岳三號墳) is thought to describe the luxurious life and ways of the royal family of Koguryo, it could be understood as a reflection and the extension of the present life. While Yinan Tomb was filled with mysterious beasts and a mysterious plant,there were few paintings that are unrealistic in Anak Tomb No 3. This also shows that people believed in the existence of the world after death. However, the paintings that they drew about the life after death differed. The description of life after death from Kunlun Mountain(崑崙山), Xiwangmu, and Shanhaijing (山海經) was not from the culture route. While it is essential to find frequent uses of good omens, such as mysterious plants, from the paintings in the Wei, Jin, and Nanbei dynasties(魏晉南北朝), it is difficult to see those in Anak Tomb No. 3. This is because of the cultural influence from the Han Dynasty that Dongsu had brought. Although the Anak area was not free from the influence of Chinese dynasties, Anak Tomb No. 3, which was built in the space and the time of Koguryo, differed from those in China. It originated from the selective acceptance and recreation of Sinicism in the cultural space of Koguryo.

안악 3호분 벽화의 중원 색채와 그 의의

김일규(Ilkyu Kim) 한국고고학회 2024 한국고고학보 Vol.- No.130

고구려 벽화무덤의 출현 단계인 안악 3호분 벽화의 주요 내용은 무덤 주인이 살아생전에 영위한 생활상이다. 이는 중국에서 東漢 이래 무덤 벽화의 주요 특징과 같다. 안악 3호분은 무덤의 구조는 물론 벽화의 구도와 내용이 중국 中原과 遼陽의 벽화무덤과 상당히 유사하다. 안악 3호분 벽화에 묘사한 묘주의 위계를 나타내는 通幰車, 帷帳, 有屛榻, 節, 麈尾扇 등의 위세품은 墨書에 명기된 職官의 품계와 동급 수준의 위진남북조시대 중원의 무덤 벽화와 비교한 결과 거의 일치하였다. 안악 3호분과 덕흥리 벽화무덤에서 확인되는 중원 색채는 평양 일대의 대동강하구 유역이 427년 집안에서 평양으로 천도하기 전까지 도성인 집안 지역과는 차별된 사회문화상을 견지하였음을 시사한다. 동수는 묘주가 아니라 서쪽 측실의 입구 벽면에는 “帳下督”으로 표기한 門吏라는 견해가 있다. 장하독은 위진대 1~3품 관직에 예속된 屬官이다. 벽화의 묵서에 명기된 冬壽의 관직명은 魏晉代의 품계를 따르면 2~3품에 해당한다. 그러므로 동수는 1~3품 관직의 속관에 불과한 장하독으로 볼 수 없다. 그리고 벽화의 節은 묵서의 “使持節”의 직관을 그대로 반영한 것이다. 아울러 묘주가 탄 우차 또한 2~3품 관직이 사용하는 통헌거이다. 따라서 안악 3호분의 주인은 묵서에 명기된 冬壽로 보는 것이 가장 합당하다. The main content of the mural painting of Anak Tomb No. 3, a tomb which belongs to the emergent stage of Goguryeo mural tombs, is the life of the tomb owner in his life. It is the same with the mural tombs of China from the Eastern-Han Dynasty. Anak Tomb No. 3 is quite similar to the mural tombs of central China and Liaoyang in terms of the structure of the tomb, as well as the composition and content of the mural painting. Various prestige goods such as a type of cart (通幰車), drapes and a tent (帷帳), a folding screen and flat bench (屛榻), a type of pole (節), a type of folding fan (麈尾扇) depicted on the mural painting of Anak Tomb No.3 represent the official rank, written in black ink on the mural painting of this tomb’s owner, and these contents are the same as those of the mural tombs of central China which are of the same level. This presence of objects originating from central China found on the mural painting of Anak Tomb No.3 and Deokheungri tomb indicates that the Daedong River Estuary basin (which includes the Pyongyang area) maintained a different social and cultural aspect from the Jian area, until the Goguryeo capital was relocated from Jian to Pyongyang in 427. There is a view that Dong Su was not the owner of the tomb, but a gate guard (門吏) written as “Jang Ha Dok” (帳下督) on the wall of the entrance of the western chamber. “Jang Ha Dok” is a subordinate official belonging to the first to third rank of the Wei-Jin Period. According to an ink handwriting record, Dong Su’s rank corresponds to the second to third official rank of the Wei-Jin Period. Therefore, Dong Su cannot be regarded as “Jang Ha Dok”. A type of pole called “jul” (節) on the mural painting reflects the office of “Sa Ji Jul” (使持節) written in black ink. In addition, the oxcart with the tomb owner is a type of cart called Tong Hun Gu (通幰車), which the second to third official rank rode. Therefore, it is most reasonable to regard the owner of Anak Tomb No. 3 as Dong Su, as is written in black ink.

안악군 당장경 유적과 단군 전승

김남중 동북아역사재단 2019 東北亞歷史論叢 Vol.- No.65

The location of Dangjanggyeong remains excavated in Ryongsan-ri, Anak-gun County, Hwanghaenam-do Province has been known through the records from late Goryeo period and the Joseon Dynasty. The Dangun tradition has been passed down in the area of Guwolsan Mountain in Anak, which was known in earnest in Jewang-ungi written by Yi Seunghyu. The intimate relationship between Yi Seunghyu and Yi Yugyeong made it possible. The Dangun faith is understood in relation with the rituals performed on Guwolsan Mountain. Through the ruins of the Dangun Temple and the Giuyongdan Ceremony, it can be considered that the rituals have been around for a long time Dolmens, ruins where slender bronze dagger was excavated, tombs with bricks, mural tombs and chamber tombs that were built from the Bronze Age to the Koguryo period have been found in the Anak, Samcheon and Sincheon areas around the Dangjanggyeong ruins. In general, tombs with bricks carved with the production date of around the third century were surveyed in Sincheon and the southern and eastern part of Anak, while mural tombs and chamber tombs of Koguryo were surveyed in the Anak region. With that in mind, it can be understood that the migration of the people who were living in Pyongyang, where the Zhaoxian Prefecture was located, to Daifang County in the third century had a great influence on the formation of the Dangun tradition in Guwolsan Mountain. Of course, it is possible that the rule of Koguryo had some influence on it as well. Finally, this paper attempts to deduce its history through etymology of Dangjanggyeong. First, it identifies the change of the name in the Unified Silla period through the character “tang.” In the case of letter “zhang,” this paper observes that it was more likely to be related to Buddhism. As the letter “kyung,” which means city, was used in the name, this study analyzes the Koguryo period through the Anak Tomb No. 3 built in the middle of the fourth century. The author observes the possibility that there was a facility associated with the king in the area at that time. As there was a change of name in the Unified Silla period, it can be understood that the reign of Silla over this region actually took place, and that Dangjanggyeong related to the Dangun religion had been used as an informal ruling base to enhance the bond of people living in the area of Hwanghae-do Province and Silla. 황해남도 안악군 룡산리에서 조사된 당장경 유적은 고려 말과 조선 시대 문헌을통해 구체적인 위치가 전해져왔다. 안악군 구월산 일대에는 단군 전승이 전해졌는데, 이승휴의 『제왕운기』에서 본격적으로 알려졌다. 이는 이승휴와 류경의 관계가 컸다. 단군 신앙은 구월산에서의 의례와 관련해서 이해되는데, 기우용단 제사나 단군사터 유적을 통해 구월산 의례가 오래전부터 있었음을 알 수있다. 당장경 유적 주변의 안악·삼천·신천군 일대에는 청동기 시대 고인들 유적에서부터 세형동검 유적, 벽돌무덤, 벽화고분, 석실봉토분 등 고구려 시기 유적까지 확인된다. 대체로 3세기 이전의 기년명전이 출토된 벽돌무덤은 신천군과안악군 동·남 일대에서, 고구려의 벽화고분·석실봉토분은 안악군 일대에서 조사되었다. 이를 통해 3세기에 조선현이 있었던 평양 일대 주민의 대방군 지역으로의 이주가 구월산 단군 전승에 큰 영향을 주었음을 파악할 수 있었다. 물론 고구려의 통치도 어느 정도 영향을 끼쳤을 가능성은 있다. 마지막으로 당장경 명칭의 어원을 통해 그 역사를 유추해보았다. 먼저 ‘당’ 을 통해 통일 신라 시대에 명칭의 변화가 있음을 파악하였다. ‘장’은 불교와 관련해서 붙여졌을 가능성이 높음을 살폈다. 도읍을 의미하는 ‘경’이 붙여진 시기로는 먼저 고구려 시기를 살폈는데, 4세기 중엽에 축조된 안악 3호분을 통해당시 이 일대에 왕과 관련된 시설이 있었을 가능성을 살펴보았다. 또한 통일 신라 시대에 명칭 변화가 있었다는 점에서 당시 이 지역에 대한 신라의 통치 행위가 있었음을 파악할 수 있는데, 단군 신앙과 관련된 당장경은 신라와 황해도 일대 주민의 유대감을 고양시켜주는 비공식적 통치 거점으로 활용되었을 가능성이 있다.

안악 3호분 벽화에 나타난 원구형 향로 연구

최국희 덕성여자대학교 인문과학연구소 2020 인문과학연구 Vol.0 No.31

The images of people’s lives expressed in Koguryo’s ancient tomb murals and the various objects featured in them are important materials for an in- depth understanding of Koguryo culture. Among them, It is noteworthy that incense burner was shown in the portrait of owner’s wife in Anak No. 3. In this paper, an analysis of the incense burner of Anak Tomb No. 3, which is a round-shaped(圓球形). Its source was found in the ruins of the Eastern Han in Henan(河南) and Shandong(山東) regions of China through comparative analysis of the original incense burner of the Hanjin(漢晉) era. In addition, it seems that it was one of the types of incense burners used mainly by women during the Hanjin era in China, as they were mainly excavated along with women’s graves and women’s goods, it is also found in tombs of influential political officials at the time, indicating their affection for incense in the upper classes. Therefore, Dongsu(冬壽), who was a general in Qianyan(前燕) and his wife, the tomb of Anak No. 3 were already familiar with and enjoyed the incense culture, which was naturally reflected in the murals. 고구려 고분벽화에 표현된 당시 사람들의 삶의 모습과 그 속에 등장하는 다양한 기물은 고구려 문화를 심층적으로 이해하는데 매우 중요한 자료이다. 그중에서 안악 3호분의 <묘주부인도>에 향을 담아 태우는 용도로 사용된 향로가 묘사되어 있어 주목된다. 향은 일찍이 중국에서 춘추전국시대(春秋戰國時代)부터 벌레나 악취를 제거하고 실내의 공기를 정화하며 의복에 좋은 냄새를 더하려는 목적으로 사용되기 시작하였다. 한대(漢代)와 위진남북조(魏晉南北朝)에는 일상생활에서뿐만 아니라 종교활동에서도 광범위하게 사용되었다. 한사군(漢四郡)의 하나였던 낙랑(樂浪)의 석암리(石巖里) 고분군에서 박산향로가 출토된 바 있어 한반도에서도 향이 이미 전해지고 사용되었을 것이나 고구려 향로는 일본 동경국립박물관 소장의 장병향로 이외에 거의 전하지 않고 다만 안악 3호분과 장천 1호분 벽화에 표현되어 있을 뿐이다. 본고에서 고찰한 안악 3호분의 향로는 반구형의 노신과 뚜껑이 결합하여 동그란 공모양을 이루는 원구형 향로이고 중국 한진(漢晉)시기의 원구형 향로와의 비교 분석을 통해서 그 연원을 중국 하남(河南)과 산동(山東)지역의 동한(東漢)대 유적에서 찾을 수 있었다. 한편 중국 한진시기의 원구형 향로가 주로 여성묘에서 출토되거나 여성기물과 함께 부장되는 양상을 보여 여성들이 주로 사용했던 향로였던 것으로 추정된다. 게다가 당시 유력 정치관료들의 무덤에서도 발견되고 있어서 상류층의 향에 대한 애호를 짐작할 수 있다. 따라서 전연(前燕)에서 사마를 역임하고 고구려로 망명한 안악 3호분 묘주인 동수(冬壽)와 그 부인도 이미 향문화에 익숙하고 즐겨 사용했을 것으로 그 모습이 <묘주부인도>에서 원구형 향로와 함께 나타난 것이다.

고구려 고분 안악 3호분 힐자계 두발의 조형적 양식 분석 및 재현

박민하 ( Min-ha Park ),소영진 ( Young-jin So ) 한국미용학회 2020 한국미용학회지 Vol.26 No.5

The purpose of this study is to analyze and reproduce the style of the hil-ja-gye from the Goguryeo woman's hair style that appeared on the wall of the Goguryeo tomb in the 4th and 7th centuries. The research method analyzed the style of Goguryeo tomb Anak No.3 Hilja- gye through literature review.Statistical data on the human body dimensions of modern Koreans were used to derive an analysis result of an average head circumference of 55 cm and a width of 15 cm for adult women., Based on this, a hil-ja-gye drawing was completed based on the data analyzed using 3D CAD program SOLID WORKS. As a result of the analysis, the hil-ja-gye hair style was restructured by shaping the values of the frame of 20 cm in base diameter, 15 cm in upper diameter, 38 cm in height, 30° in column angle, 57 cm in width, and 50 cm in length.This figure was normalized to recreate the hil-ja-gye for Anak No. 3. It is expected that the results of this study can be used for cultural performance contents such as historical dramas, dramas, and musicals based on Goguryeo.