고구려 고분벽화의 摸寫圖 제작 연구

Abstract

In this study, we chose good technical examples of replicas of Goguryeo mural paintings excavated in the tombs, which are considered as cultural heritage of mankind, and conducted research on the examples by technique. Except for replicas which were made by Japanese researchers during the Japanese colonial rule, we conducted research on the replicas of Goguryeo murals containing the same images, colors, and textures of originals by making replicas with different techniques. The first technique is a Japanese method which was used to make a record while Japanese researchers were excavating Goguryeo tomb murals. The second one is a method using mortar and paints which is similar to western Fresco. The third one is called Secco which is painting on a dried plastered wall. The fourth one is restoring damaged parts focusing on subjects rather than backgrounds to study and utilize characters. The last one is making a replica by making dots to copy an original specifically. The second and third method need to make plastered walls to make replicas and the first, fourth, and last one is making replicas on the paper. Comparing the replicas, which were made based on different techniques, to photos of original Goguryeo tomb murals, we found some limitations of every replicating technique to some degree to restore exactly the same formative factors such as forms and colors. First of all, there is a physical limitation that we cannot see original wall paintings firsthand. Second, as we followed the old method of making replicas, it was impossible to describe specifically. On the contrary, to restore original wall paintings, it is needed to use other special methods of replicating. Therefore, a method of making a replica is highly determined by a purpose of the replica, such as to record a course of excavating a tomb mural, to study a method of making a replica, to restore damaged cultural heritage, to use as an educational material on cultural properties, and to make cultural properties into modernized contents. This study can provide a clue to methods of making Goguryeo mural paintings and compare characteristics, significance, and utilization of other methods of replicating Goguryeo mural paintings that are made by other researchers. This study on various methods of making replicas can provide an opportunity not only to restore cultural heritage but also to retrace the origin of Korean paintings, to propose necessity to maintain and develop traditional painting methods, and to find the right direction for Korean modern paintings.