중국 唐代 고분벽화의 花鳥畵 등장과 전개 (Appearance and Evolution of Bird-and-Flowers Motifs in the Tomb Murals of the Tang (唐) Dynasty)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 26호 / 267 ~ 300페이지
· 저자명 : 김진순

초록

In the tomb murals of the Tang Dynasty there began to appear bird-and-flowers motifs as a new phenomenon that those of pervious dynasties had never witnessed. Although flowering plants and birds had often appeared in murals inside tombs even in the previous era of Northern and Southern Dynasties (南北朝時代), all of them were used as decorative symbols that hinted social backgrounds of figures or auspicious spaces rather than independent (stand-alone) materials for mural paintings.
Changes in the concept of the afterlife of the Northern and Southern Dynasties and the development of painting arts during Tang Dynasty became the main causes for the appearance of bird-and-flower paintings during the Tang Dynasty. Buddhism began to be deeply rooted in the mainland China during the Northern and Southern Dynasties and the traditional view of the afterlife based upon the existing belief in immortality came to be converted into a buddhist concept of the afterlife. Therefore, the materials of mural paintings reflecting a belief in immortality came to disappear and only the materials describing lifestyles remained alone. In addition, mural paintings emphasizing the social status and power of tomb owners as the funeral rule became more strict and thus such traditions handed down to the Sui and Tang Dynasties.
Another background for the emergence of bird-and-flower paintings (花鳥畵)in the mural paintings of the Tang Dynasty is the independence and development of bird-and-flower paintings that indicates one of the outstanding outcomes of pictorial arts in the Tang Dynasty. Such materials as peony and crane popular in the bird-andflower paintings of the Tang Dynasty were closely related to the social trend of the contemporary era. Nobles decorated the interior of their rooms with panel-screens on which peonies and cranes were depicted and they had also put up the same decorations in burial chambers in imitation of real houses after their death with a pray for lasting their wealthy lives in this world onto the next.
The artistic trend of bird-and-flower paintings appearing in the tomb mural paintings of the Tang Dynasty can be remarkably distinguished into two different periods as of A.D. 750. The bird-and-flower motifs of the earlier period did not break away from background scenes of figures or decorative motifs adorning spaces. However, sorts of flower and tree gradually became more diverse and revealed more complicated forms of structure by adding such components as moving clouds and winged animals. By contrast, the bird-and-flower motifs of the latter period began to break away from background scenes of figures or decorative motifs adorning spaces and thus to be independently depicted. It is also the main characteristics of the bird-and-flower paintings in the latter period that both aristocratic taste and ordinary people’s taste came into fashion. It is important that the influence of the bird-and-flowers screen of the Tang Dynasty had continuously lasted the next periods and finally became the beginnings of bird-and-flowers screen tomb mural of the Five Dynasties (五代), the Northern Song Dynasty (北宋) and the Liao Dynasty (遼代).

영어초록

In the tomb murals of the Tang Dynasty there began to appear bird-and-flowers motifs as a new phenomenon that those of pervious dynasties had never witnessed. Although flowering plants and birds had often appeared in murals inside tombs even in the previous era of Northern and Southern Dynasties (南北朝時代), all of them were used as decorative symbols that hinted social backgrounds of figures or auspicious spaces rather than independent (stand-alone) materials for mural paintings.
Changes in the concept of the afterlife of the Northern and Southern Dynasties and the development of painting arts during Tang Dynasty became the main causes for the appearance of bird-and-flower paintings during the Tang Dynasty. Buddhism began to be deeply rooted in the mainland China during the Northern and Southern Dynasties and the traditional view of the afterlife based upon the existing belief in immortality came to be converted into a buddhist concept of the afterlife. Therefore, the materials of mural paintings reflecting a belief in immortality came to disappear and only the materials describing lifestyles remained alone. In addition, mural paintings emphasizing the social status and power of tomb owners as the funeral rule became more strict and thus such traditions handed down to the Sui and Tang Dynasties.
Another background for the emergence of bird-and-flower paintings (花鳥畵)in the mural paintings of the Tang Dynasty is the independence and development of bird-and-flower paintings that indicates one of the outstanding outcomes of pictorial arts in the Tang Dynasty. Such materials as peony and crane popular in the bird-andflower paintings of the Tang Dynasty were closely related to the social trend of the contemporary era. Nobles decorated the interior of their rooms with panel-screens on which peonies and cranes were depicted and they had also put up the same decorations in burial chambers in imitation of real houses after their death with a pray for lasting their wealthy lives in this world onto the next.
The artistic trend of bird-and-flower paintings appearing in the tomb mural paintings of the Tang Dynasty can be remarkably distinguished into two different periods as of A.D. 750. The bird-and-flower motifs of the earlier period did not break away from background scenes of figures or decorative motifs adorning spaces. However, sorts of flower and tree gradually became more diverse and revealed more complicated forms of structure by adding such components as moving clouds and winged animals. By contrast, the bird-and-flower motifs of the latter period began to break away from background scenes of figures or decorative motifs adorning spaces and thus to be independently depicted. It is also the main characteristics of the bird-and-flower paintings in the latter period that both aristocratic taste and ordinary people’s taste came into fashion. It is important that the influence of the bird-and-flowers screen of the Tang Dynasty had continuously lasted the next periods and finally became the beginnings of bird-and-flowers screen tomb mural of the Five Dynasties (五代), the Northern Song Dynasty (北宋) and the Liao Dynasty (遼代).

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