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The relationship between stone engraved art of the Northern Wei Luoyang period and Goguryeo tomb murals

  • The Review of Korean History
  • 2017, (127), pp.215-260
  • Publisher : The Historical Society Of Korea
  • Research Area : Humanities > History

Song, Jun-hyuk 1

1한국학중앙연구원

Accredited

ABSTRACT

The Northern Wei was established in A.D. 398 in Pingcheng and the culture of the Xianbei race was prevalent. The majority of the tomb art of this period are composed of tomb murals and such an atmosphere is well reflected here. However, in A.D. 494, Emperor Xiaowendi moves the capital to Luoyang and the culture of the Han nationality becomes prevalent. Emperor Xiaowendi abandons the language and dress etc. of the Xianbei race and implements a Sinification policy. The majority of the tomb art of this period are composed of stone engravings and tomb murals are few and the culture of the Han nationality is strongly reflected here. In Northern Wei Luoyang period tombs only five tomb murals like those found in Goguryeo have been found. Even these have been severely damaged and therefore it is difficult to understand the whole aspect of the art of this period through tomb murals. However, the stone engraved art of the Northern Wei period found until the present time number over thirty and compose an overwhelming majority. In this paper I will examine the cultural-artistic exchanges between Northern Wei and Goguryeo not contained in textual records through the stone engraved art of this period. In consequence, firstly, I will examine the stone engraved art of the Northern Wei Luoyang period especially the present state and characteristics of the engraved stone coffins and benches with stone screens. Next, I will examine that Confucianism, Buddhism and Daoism were prevalent during the Northern Wei Luoyang period and that this is reflected in the art of the period. Also, I found that stone art was a peculiar characteristic of the 40 year Northern Wei Luoyang period. Then I examined the relationship between the stone engraved art of the Northern Wei Luoyang period and Goguryeo tomb murals. This can be separated into the influence Northern Wei had on Goguryeo and reversely the influence Goguryeo had on Northern Wei. These exchanges occurred as a result of not only the official dispatch of envoys but through economic exchanges and the movement of refugees as well. Through the above examination, I could confirm that the cultural and artistic exchanges between Northern Wei and Goguryeo not contained in textual records was intimate and active.

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