고구려 벽화를 통해서 본 고구려의 정체성 연구

Abstract

Examination on the Historiography from the People’s Republic ofChina on the Koguryo Wall PaintingsPARK Ah-rim In this paper, I first analyzed the past scholarships on the Koguryo Wall Paintings from thePeople’s Republic of China. When we examined Chinese scholarships on the subject matter, wecan 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 Handynasty rather than comparing with the contemporary Northern and Southern Dynasties. It purposes to show the origin of major Koguryo murals, that is, genre scences 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.