高句麗와 新羅 미술이 공존하는 榮州 順興의 邑內里壁畵古墳과 台庄里 於宿墓 (Eumnae-ri (邑內里) Mural Tomb and Taejang-ri (台庄里) Tomb of Eosuk (於宿墓) in Sunheung, Yeongju Where Goguryeo and Silla Fine Arts Co-exist)

서지정보

· 발행기관 : 국립중앙박물관
· 수록지 정보 : 미술자료 / 79호 / 19 ~ 42페이지
· 저자명 : 이태호

초록

In Sunheung (順興), Yeongju (榮州) exist two mural tombs. In the 1970s to the 1980s, two mural tombs discovered among the tumulus in Taejang-ri and Eumnae-ri, which are located on the skirt of Mt. Bibong (飛鳳山), a small mountain in the spacious bosom of Mt. Sobaek. The two tombs are one-roomed stone chamber tomb whose entrance leans toward one side of the wall, and there remain mural paintings finished with lime on the stone wall. The two mural tomb are now closed because they were covered with earth after the excavation. Fortunately, the author had an opportunity to enter the inside of the Eubnae-ri mural tomb, take pictures and see the mural painting in December 1985. It is already twenty years ago.
The mural paintings in the Three Kingdoms period are the heritage of Goguryeo as they are distributed mostly in the Pyeongyang (平壤), Tonggu (通溝) and Anak (安岳) area. The two mural paintings in the Sunheung area instantly remind one of the Goguryeo mural paintings. The mural paintings may be classified as the Goguryeo culture which existed in the Sunheung area since their manufacturing technique and contents resemble the Goguryeo mural paintings. The very fact that Sunheung was the boundary of the Goguryeo and Silla and that the two kingdoms competed for Sunheung makes the classification more plausible.
The two mural tombs in Sunheung differ from each other in the contents, technique and the level of description of the mural paintings related to Goguryeo. The Eumnae-ri Mural Tomb is a tomb with the figure and genre painting which followed the tradition of the Goguryeo mural painting from the 4th century to the 5th century. Besides the expression is obviously antique and simple, the Eumnae-ri Tomb was made in the 5th century rather than the 6th century when we compare it with the trend which was in vogue in Goguryeo. If so, the record ‘Eulminyeon (己未年)’may be judged as the year 479 rather than 539. In particular, the cloud pattern, the lotus pattern, the fish-shaped vessel, the flying birds (飛鳥) and the image of a guardian figure are close to the mural paintings in the reign of the King Gwanggaeto the Great and the King Jangsu in the 5th century, that is, the Deokheung-ri Mural Tomb, Samsilchong (The three-chamber tomb), Muyongchong and the Susan-ri Mural Tomb. The lively willow, the flying birds (飛鳥) and the icons in the Sun and the Moon image on the relief tiles in the Later Han Dynasty (後漢代) also suggest that the tomb was made in the earlier period than that has been ever thought.
In the Tomb of Eosuk, the mural painting was entirely gone, but the brilliant color of the lotus pattern and the image of a woman and the line drawing give an expression that is close to the form of Goguryeo or Baekje mural tombs from the 6th to the 7th century. The record ‘Eulmyonyeon (乙卯年)’in the tomb of Eosuk may correspond to the year 535 or 595. When we intentionally divide the two mural tombs into the kingdom that they belong to, the Eumnaeri mural tomb belongs to Goguryeo and the tomb of Eosuk belongs to Silla.
The mural tombs in the Sunheung area have special meaning in the cultural history of the Three Kingdoms period. Although Sunheung was far and isolated from all the capitals of Goguryeo, Silla, Baekje and Gaya, the mural tombs, the vanguard culture of that time were made in the early period which was next only to Tonggu and Pyeongyang. Moreover, the Sunheung area maintained the cultural level that did not get behind other regions in Silla by accepting not only the Goguryeo-type mural painting but also high-class metal craft like Gyeongju-type gold earring from the 5th to the 6th century. Such facts might be the evidences that Sunheung was an important place that both Goguryeo and Silla desired.
Such cultural complex is understood as a phase of the political control of the center to the boundary of Silla and Goguryeo. In addition, the power that made the stone-chamber mural tomb might be the bureaucrat of Goguryeo who went down and settled in Sunheung, but it is more plausible that it was the native ruling class in Sunheung. The art of tomb including the mural painting in the Sunheung area reveals the active acceptance of the Goguryeo culture under the rule of Goguryeo and the unique cultural topography which were also related to the power in Gyeongju, Silla.

영어초록

In Sunheung (順興), Yeongju (榮州) exist two mural tombs. In the 1970s to the 1980s, two mural tombs discovered among the tumulus in Taejang-ri and Eumnae-ri, which are located on the skirt of Mt. Bibong (飛鳳山), a small mountain in the spacious bosom of Mt. Sobaek. The two tombs are one-roomed stone chamber tomb whose entrance leans toward one side of the wall, and there remain mural paintings finished with lime on the stone wall. The two mural tomb are now closed because they were covered with earth after the excavation. Fortunately, the author had an opportunity to enter the inside of the Eubnae-ri mural tomb, take pictures and see the mural painting in December 1985. It is already twenty years ago.
The mural paintings in the Three Kingdoms period are the heritage of Goguryeo as they are distributed mostly in the Pyeongyang (平壤), Tonggu (通溝) and Anak (安岳) area. The two mural paintings in the Sunheung area instantly remind one of the Goguryeo mural paintings. The mural paintings may be classified as the Goguryeo culture which existed in the Sunheung area since their manufacturing technique and contents resemble the Goguryeo mural paintings. The very fact that Sunheung was the boundary of the Goguryeo and Silla and that the two kingdoms competed for Sunheung makes the classification more plausible.
The two mural tombs in Sunheung differ from each other in the contents, technique and the level of description of the mural paintings related to Goguryeo. The Eumnae-ri Mural Tomb is a tomb with the figure and genre painting which followed the tradition of the Goguryeo mural painting from the 4th century to the 5th century. Besides the expression is obviously antique and simple, the Eumnae-ri Tomb was made in the 5th century rather than the 6th century when we compare it with the trend which was in vogue in Goguryeo. If so, the record ‘Eulminyeon (己未年)’may be judged as the year 479 rather than 539. In particular, the cloud pattern, the lotus pattern, the fish-shaped vessel, the flying birds (飛鳥) and the image of a guardian figure are close to the mural paintings in the reign of the King Gwanggaeto the Great and the King Jangsu in the 5th century, that is, the Deokheung-ri Mural Tomb, Samsilchong (The three-chamber tomb), Muyongchong and the Susan-ri Mural Tomb. The lively willow, the flying birds (飛鳥) and the icons in the Sun and the Moon image on the relief tiles in the Later Han Dynasty (後漢代) also suggest that the tomb was made in the earlier period than that has been ever thought.
In the Tomb of Eosuk, the mural painting was entirely gone, but the brilliant color of the lotus pattern and the image of a woman and the line drawing give an expression that is close to the form of Goguryeo or Baekje mural tombs from the 6th to the 7th century. The record ‘Eulmyonyeon (乙卯年)’in the tomb of Eosuk may correspond to the year 535 or 595. When we intentionally divide the two mural tombs into the kingdom that they belong to, the Eumnaeri mural tomb belongs to Goguryeo and the tomb of Eosuk belongs to Silla.
The mural tombs in the Sunheung area have special meaning in the cultural history of the Three Kingdoms period. Although Sunheung was far and isolated from all the capitals of Goguryeo, Silla, Baekje and Gaya, the mural tombs, the vanguard culture of that time were made in the early period which was next only to Tonggu and Pyeongyang. Moreover, the Sunheung area maintained the cultural level that did not get behind other regions in Silla by accepting not only the Goguryeo-type mural painting but also high-class metal craft like Gyeongju-type gold earring from the 5th to the 6th century. Such facts might be the evidences that Sunheung was an important place that both Goguryeo and Silla desired.
Such cultural complex is understood as a phase of the political control of the center to the boundary of Silla and Goguryeo. In addition, the power that made the stone-chamber mural tomb might be the bureaucrat of Goguryeo who went down and settled in Sunheung, but it is more plausible that it was the native ruling class in Sunheung. The art of tomb including the mural painting in the Sunheung area reveals the active acceptance of the Goguryeo culture under the rule of Goguryeo and the unique cultural topography which were also related to the power in Gyeongju, Silla.

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