지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
There are various stylistic representations found in visual depiction of gi (qi in chinese) in Goguryeo mural paintings. They are the following:
1. Comma-shape
2. S-shape
3. C-shape (The tips of these three basic shapes are forming scrolling vine)
4. Continuous horizontal wave patterns of above shapes
5. Continuous vertical combination of S-shape and reverse S-shape
6. Wave patterns is transformed by a half-palmette pattern
7. Various combination patterns of the c-shape, half-palmette. and the comma -shape
8. Various further elaborate versions of the preceding combination patterns
The above examples provide a rough overview. In general, a pattern as an elementary smallest unit. mat is. comma-shape, is developed into a continuous band of patterns. The depiction of gi amazingly varies from tomb to tomb. However, it is interesting to see that although a diversity pervades the various type of gi patterns me principle of change of form and development of style are quite clear.
Goguryeo tombs are filled with images of gi. which finally become the directional animals symbolizing cosmos: the blue dragon, the scarlet bird. the white tiger. and black turtle. Gi as a wave pattem reaches a stylistic climax with the wiggling movement of the dragon. The white tiger is almost indistinguishable from the dragon, and the dragon-like snake is interwined with the turtle Furthermore the face of turtle also looks like face of dragon-like snake. In the last of level of this development. only the four directional animals are remaining. whereas all other elements including scenes of daily life and heaven. and depiction of qi disappear. It seems as if the four directional anirnals have absorbed me other themes and motifs. In other words, they are me essence of qi and become gi incarnate.
In case of the Susan -ri tomb murals bands of wave patters unfold horizontally and intersect with bands of S-shaped patterns In case of the second Anak tomb murals, bands of S-shaped patterns and bands of comma-shaped patterns are interlinked with one another and unfold horizontally, In the same area. two dragons are also painted interwined and in me same manner. Thus. the former evolves into the latter one. Although they are different in terms of iconography. they are stylistically the same. Such a development proves that the abstract gi patterns were eventually replaced by the four directional animals.
Gi in Goguryeo mural paintings can be summarized as follows: although such terms as C-shape. S-shape, and Comma-shape were used. they eventually become a scrolling vine pattern with the two inward-spiraling tips. Since these tips depict the growth of new life and imply all the patterns mentioned above. the scrolling vine pattern is d1e best way to describe gi.
Large scrolling vines bear smaller scrolling vines. The scroll patterns are connected horizontally to wave patterns, and S-shaped patterns are linked vertically. In later period, the scroll patterns substitutes small scrolling vines. These scroll patterns usually decorate rather long and narrow spaces in tombs, including columns, girders and ceiling molding. Both continuous and independent patterns fill up the empty spaces between creatures in mural paintings, suggesting the circulation of gi in the universe. In general these patterns are composed of comma-. C-. S-shaped patterns or a combination of these three Finally scrolling vine patterns also substitute Comm- and C-shaped patterns.
Buddhist sculptures from the Three Kingdoms period take influence directly from the basic gi patterns described above. Various gi patterns emanate from the Enlightened One, the Buddha, as various gi patterns emanate from the dead. The halo of the standing Buddha of the 7th year of Yonga era contains isolated C-, S-. and comma-shaped patterns. The halo of the 5th year of the Kunheung era is composed of more groups of C-, S-, and comma-shaped patterns Similar designs are found decorating the standing Buddha of the Kyemi era. The two cycling form of two comma-shaped patterns which is the basic unit of taegeuk (taiji in chinese) pattern is found in the halo of the stone Buddha of Yondong-ri, Iksan City in Jeollabuk-do. Particularly this motif was transmitted to Japan and was very stylized patterns present in the halos of the Buddha Triad (dated 623) and in the Bhaisajyaguru Triad (c. 670) in Horyuji The gilt bronze halo from the Kap-in year(C.E.594, Tokyo National Museum) which is supposed to be Goguryeo piece shows the taegeuk pattern.
The taegeuk pattern among these various motifs reflect the principle of Chinese cosmology, where taegeuk or chaos creates yin and yang, and the interaction of the two create everything, In Indian cosmology, the lotus is the source that creates everything However, when China accepted Buddhism from India, Indian cosmology was replaced by chinese own cosmology. The Chinese constructed Buddhism based on the structure of Taoism and Confucianism. Indian styles permeating Buddhist robes and halos became distinctively chinese in form and style. The Chinese tried to depict various Gi representations in the halo, robe of Buddha and shawl of bodhisattva etc.
In India, the lotus bore everything including Buddha, bodhisattva, and apsaras. The Chinese counterpart of the lotus is the taegeuk, The lotus motif decorates lie striking points of temple bell, while the taegeuk decorates lie striking points of temple drums.
In this paper, I have examined how the Chinese concept of gi was applied in Goguryeo murals and Buddhist halos from the Three Kingdoms period, When the influence of Indian plant motifs took place, such an abstraction of gi began to disappear during the sixth century in China, the seventh century in Korea. and the eighth century in japan.
1. Comma-shape
2. S-shape
3. C-shape (The tips of these three basic shapes are forming scrolling vine)
4. Continuous horizontal wave patterns of above shapes
5. Continuous vertical combination of S-shape and reverse S-shape
6. Wave patterns is transformed by a half-palmette pattern
7. Various combination patterns of the c-shape, half-palmette. and the comma -shape
8. Various further elaborate versions of the preceding combination patterns
The above examples provide a rough overview. In general, a pattern as an elementary smallest unit. mat is. comma-shape, is developed into a continuous band of patterns. The depiction of gi amazingly varies from tomb to tomb. However, it is interesting to see that although a diversity pervades the various type of gi patterns me principle of change of form and development of style are quite clear.
Goguryeo tombs are filled with images of gi. which finally become the directional animals symbolizing cosmos: the blue dragon, the scarlet bird. the white tiger. and black turtle. Gi as a wave pattem reaches a stylistic climax with the wiggling movement of the dragon. The white tiger is almost indistinguishable from the dragon, and the dragon-like snake is interwined with the turtle Furthermore the face of turtle also looks like face of dragon-like snake. In the last of level of this development. only the four directional animals are remaining. whereas all other elements including scenes of daily life and heaven. and depiction of qi disappear. It seems as if the four directional anirnals have absorbed me other themes and motifs. In other words, they are me essence of qi and become gi incarnate.
In case of the Susan -ri tomb murals bands of wave patters unfold horizontally and intersect with bands of S-shaped patterns In case of the second Anak tomb murals, bands of S-shaped patterns and bands of comma-shaped patterns are interlinked with one another and unfold horizontally, In the same area. two dragons are also painted interwined and in me same manner. Thus. the former evolves into the latter one. Although they are different in terms of iconography. they are stylistically the same. Such a development proves that the abstract gi patterns were eventually replaced by the four directional animals.
Gi in Goguryeo mural paintings can be summarized as follows: although such terms as C-shape. S-shape, and Comma-shape were used. they eventually become a scrolling vine pattern with the two inward-spiraling tips. Since these tips depict the growth of new life and imply all the patterns mentioned above. the scrolling vine pattern is d1e best way to describe gi.
Large scrolling vines bear smaller scrolling vines. The scroll patterns are connected horizontally to wave patterns, and S-shaped patterns are linked vertically. In later period, the scroll patterns substitutes small scrolling vines. These scroll patterns usually decorate rather long and narrow spaces in tombs, including columns, girders and ceiling molding. Both continuous and independent patterns fill up the empty spaces between creatures in mural paintings, suggesting the circulation of gi in the universe. In general these patterns are composed of comma-. C-. S-shaped patterns or a combination of these three Finally scrolling vine patterns also substitute Comm- and C-shaped patterns.
Buddhist sculptures from the Three Kingdoms period take influence directly from the basic gi patterns described above. Various gi patterns emanate from the Enlightened One, the Buddha, as various gi patterns emanate from the dead. The halo of the standing Buddha of the 7th year of Yonga era contains isolated C-, S-. and comma-shaped patterns. The halo of the 5th year of the Kunheung era is composed of more groups of C-, S-, and comma-shaped patterns Similar designs are found decorating the standing Buddha of the Kyemi era. The two cycling form of two comma-shaped patterns which is the basic unit of taegeuk (taiji in chinese) pattern is found in the halo of the stone Buddha of Yondong-ri, Iksan City in Jeollabuk-do. Particularly this motif was transmitted to Japan and was very stylized patterns present in the halos of the Buddha Triad (dated 623) and in the Bhaisajyaguru Triad (c. 670) in Horyuji The gilt bronze halo from the Kap-in year(C.E.594, Tokyo National Museum) which is supposed to be Goguryeo piece shows the taegeuk pattern.
The taegeuk pattern among these various motifs reflect the principle of Chinese cosmology, where taegeuk or chaos creates yin and yang, and the interaction of the two create everything, In Indian cosmology, the lotus is the source that creates everything However, when China accepted Buddhism from India, Indian cosmology was replaced by chinese own cosmology. The Chinese constructed Buddhism based on the structure of Taoism and Confucianism. Indian styles permeating Buddhist robes and halos became distinctively chinese in form and style. The Chinese tried to depict various Gi representations in the halo, robe of Buddha and shawl of bodhisattva etc.
In India, the lotus bore everything including Buddha, bodhisattva, and apsaras. The Chinese counterpart of the lotus is the taegeuk, The lotus motif decorates lie striking points of temple bell, while the taegeuk decorates lie striking points of temple drums.
In this paper, I have examined how the Chinese concept of gi was applied in Goguryeo murals and Buddhist halos from the Three Kingdoms period, When the influence of Indian plant motifs took place, such an abstraction of gi began to disappear during the sixth century in China, the seventh century in Korea. and the eighth century in japan.
목차
序言
氣의 槪念과 그 形象化
高句麗 古墳壁畵의 氣表現
氣표현무늬의 諸結合樣相과 그 原理
三國時代 佛衣와 光背의 氣表現
結論
後記
ABSTRACT
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