太平天国壁画概述

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초록

The Taiping Heavenly Kingdom murals came out after the Taiping Heavenly Kingdom for celebrating the new political system of China. The Taiping Heavenly Kingdom murals decorating government offices as the symbol of expression of the rating system, ‘Pan-Jon Bi(判尊卑)’. The Taiping Heavenly Kingdom murals reflect age features and the public arts in the 1850’s as well.
1. The history of the murals of China The murals were prevalent in China since Joo-dynasty in AD 7 until Song-dynasty. After Won-dynasty, murals were painted mainly in the building where the low-socioeconomic class visits. The leaders of the taiping movement were the people of the lower classes and they were familiar with it. In this regard, they valued the mural arts as decorating the office buildings.
2. The start of the Taiping Heavenly Kingdom murals On April, 1852, the Taiping Heavenly Kingdom murals begin with occupying Young-an in Kwang-seo. In March, 1853, Taiping Heavenly Kingdom made Cheon-kyoung as the capital. The mural arts used as the means of the decorating the official buildings from then. The Taiping established ‘Su-kum-a(綉錦衙)’, the department of the national mural arts, made ‘Jeon-su-kum(典綉錦)’, the chief officer of it. During the Taiping-dynasty, the murals were the vogue for the government leading art.
3. The discovering the Taiping Heavenly Kingdom murals The Taiping Heavenly Kingdom turned out of a fail, Chung-dynasty destroyed the murals indiscriminately with other documents related with the Taiping Heavenly Kingdoms. For this reason, public didn’t know about the Taiping Heavenly Kingdom murals for a long time. On January, 1952, Eighteen murals revealed at Nam-kyoung and came out into the open.
4. The theme of the Taiping Heavenly Kingdom murals First, it covered landscape, flowers and birds. This subject is the main theme of the Taiping Heavenly Kingdom murals. It is the transmission of the traditional murals and reflects the public arts of China.
Second theme is the animals especially beast of prey. By tradition, the brutes symbols of physical strength and intrepidity in China. After uprising, the Taiping Heavenly Kingdom were being in the battles and they reflected their situation on the murals.
Third subject is the description of the life of labor. This appeared in the latter part of the Taiping. It was the hope of the realization of the ideal society which pursued by the Taipings.
Fourth theme is the reproduction of the victory of the combats. It is a boost the morale of the troops. Last theme is the folklore and the history of China. This reflects the diversity of creativity of the murals in the late Taiping-dynasty.

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