Egypt와 고구려의 분묘벽화에 나타난 시각형식의 비교연구

Abstract

The main purpose of this research is to clarify the origin and the concrete details of the similarities in the style of the revealed expressions between ancient Egyptian and Koguryo Korean tomb-paintings despite the big differences between these two countries in period, location and history. Eventhough there has been active anthropological research on the shape and structure of the tombs. this has not been so of the research on the style of tomb-painting. This peper has the supplementary purpose of grasping and justifying the style of Koguryo tomb-painting through a comparison with the style of Egypt which is similar while never considering the Koguryo style as an immature expression which existed before the development of the naturalistic style of painting. Looking at the historical side of Korean painting, Koguryo tomb-painting offers a very precious glimpse of life which descends from the painting of Chosun. This study doesn't have meaning only in finding the origin of Korean painting style by examining and determining the style of the expressions but also in elevating the quality of our art and in finding its clear position through comparison with those paintings of the Egyptians which is a great art heritage of ancient human beings. Considering circumstantial factors influence greatly the racial consciousness and the establishment of art style of a race, the situations of circumstances are compared. And thus, the circumstances studied are subdivided into climate as a natural circumstance, politics, economy, social class, religion, and thoughts as atmospheric and social circumstances so as to clarify the formation factors of frontal style, style emphasizing scale proportionate to esteem. and legs-straight-and-sideways style. Since the purpose of this research is to compare styles of the revealed expression in tomb-paintings of the two countries, I avoid commenting on shape or structure of Koguryo tombs as archetecture on which active research has already been progressed, and also, external influences on the style of tomb-paintings have not been examined. Therefore. the category is narrowed to the comparison of the style of tomb-paintings only as a result of expression. Historically there has been no art of one people which hasn't influenced other neighboring areas owing to the liquidity of culture which always flows from a higherlevel state down toa lower-level state. Consequently a pure style of art is nothing actually but an expression of what all the influenced factors are melted into the characteristics of one people and passed on through the process of recreation. Lastly, I wish to make it clear that the frontal style, style emphasizing scale proportionate to esteem, and legs-straight-and-sideways style of Koguryo tomb-painting which are not so much different from those of Egypt are originated from simi lar circumstances and ideas which have occured under the circumstances and expressions as the result of necessity.;古代 Egypt와 高句麗는 年代的으로나 地域的으로 또는 文化史的으로 큰 差異가 있음에도 不狗하고 墳墓璧畵의 人物表現 形式에 몇가지 類似한 点이 있음을 發見하고 이와 같은 類似性의 原因이 무엇이며 具體的으로 무엇이 같은 形式인가를 밝히고자 하는데 主目的을 갖는다. 또한 韓國의 繪畵史的 立場에서 볼 때 高句麗의 古墳壁畵는 朝鮮時代의 繪畵血統을 이어주는 貴重한 命脈인 것이다. 이제까지 高句麗 墳墓의 形態나 構造를 把握하는 考古學的 硏究는 활발하였지만 繪畵的 側面에서의 硏究는 未洽한 감이 없지 않았다. 따라서 이를 自然主義的 畵法 發達以前의 未熟한 表現이 결코 아니라고 생각하여 그와 類似한 Egypt 古墳 壁畵의 形式과 比較하여 그 形式을 糾明함으로서 우리의 繪畵史的 根源을 整理해 보는데에 意義를 찾는다. 本 硏究者는 環境의 要因이 民族意識과 그 美術樣式의 成立에 重要한 影響을 끼치는 것으로 看做하여 環境외 狀態를 考察하였다. 즉 自然環境으로서의 氣候, 風土와 社會環境으로서의 政治, 經濟, 階級, 宗敎, 思想 등이 Egypt와 高句麗 美術에 어떻게 影響을 끼치었으며 그것이 人物表現외 形式을 具體的으로 어떻게 形成시켰는가를 밝혔다. 그 結果 두 나라는 自然環境으로서의 緯度, 氣候, 風土는 다르지만 農耕社會 構造에서 오는 祖上崇拜의 思想 宗敎 自體는 다르지만 □世를 믿는 根本的인 觀念은 類似해서 墳墓가 發生하였다. 墳墓는 死者의 居處所로 생각되였고 壁畵는 저승에서의 靈魂의 삶을 위해 奉仕하는 意味에서 그려진 것이다. 이와 같은 意味에서 그려진 人物의 身體的 表現은 自然히 明確할 수 밖에 없었고 發注者나 感想者 쪽을 意識하지 않을 수 없었다. 그 結果 發生것이 正面性과 定石性의 形式이다. 또한 專制的 君主國家라는 共通的 體制와 支配階級과 被支配階級間의 嚴格한 位階秩序的계인 階級觀念이 壁畵양樣式에도 影響을 끼쳐서 尊大卑小의 形式을 낳았다. 결국 高句麗외 古墳壁畵의 正面性의 形式, 尊大卑小의 形式 定石性의 形式은 Egypt의 그것과 大差가 없는 것으로서 이는 環境과 그로 인한 觀念의 發生과 必要에 의한 結果로서의 表現形式임이 이 分明함을 밝혔다.