안악3호 무덤 음악도상音樂圖像에 대하여 = Music-related Iconography in Anak Tomb No. 3
저자
발행기관
학술지명
권호사항
발행연도
2023
작성언어
-주제어
KDC
900
자료형태
학술저널
수록면
35-70(36쪽)
제공처
This paper aims to explore the musical culture of the Goguryeo Kingdom in the mid-fourth century by examining the music-related iconography in the mural paintings in the Goguryeo-era tomb Anak Tomb No. 3.
Anak Tomb No. 3 is a stone chamber tomb equipped with an entrance passage, front chamber, middle chamber, main chamber, and corridor. On its walls are mural paintings on diverse themes that reflect the funeral customs of the Goguryeo Kingdom. This paper has drawn the following conclusions from the music-related iconography found in these murals.
1. The music-related iconography in Anak Tomb No. 3 is comprised of an image of a hwangmungochwi (wind and percussion band of the palace gate) in the middle chamber, an image of a gogyeon (a small royal banquet) in the main chamber, and a funeral procession image in the northeast corridor.
2. A comparison with the iconography related to music found in the tomb of Chinese General Zhu Ran of the Eastern Wu Dynasty suggests that the musicians depicted in the middle chamber of Anak Tomb No. 3 would be a four-person hwangmungochwi band playing a drum on a stand, an ancient Chinese bamboo panpipe, a reed flute, and a gong. The inclusion of a wind and percussion ensemble of the palace gate is presumed to have been a result of the diplomatic ties between the Goguryeo Kingdom and Eastern Wu Dynasty.
3. The iconography of a small royal banquet presents a combination of Han Dynasty-style orchestral music with dancing with feet crossed in an X-shape in the style of India and what is now the western regions of China. The red dot designs on the hat of a dancer are a cultural element from northwestern China, but they seem to have been incorporated into characteristic clothing patterns of the Goguryeo Kingdom.
4. The music-related iconography in the funeral procession consists of a marching band with drums (shaking drums and hand drums) in front and horns at the end that leads the procession, another band carrying drums and bells, and a band on horseback of a type that originated in Han Dynasty China that is playing a drum, an ancient Chinese bamboo panpipe, a reed flute, and a gong. Among all the musical instruments depicted in the mural paintings, only the carried drums are distinctive to the Goguryeo Kingdom.
5. The music iconography in Anak Tomb No. 3 features a combination of musical traditions from Han Dynasty China (the wind and percussion band of the palace gate, small court banquet, and dansoyoga (songs for short panpipe and standing bell)), processional music and dance from the northwestern regions of China, and musical elements (carried drums) distinctive to the Goguryeo Kingdom. This combination demonstrates that the Goguryeo Kingdom developed its music culture by accepting and localizing foreign music from the Han Dynasty through the period of Wei, Jin, and the Northern and Southern Dynasties.
6. This iconography of shaking drums in front and horns behind became a feature of processions of drums and horns in Goguryeo tombs constructed after Anak Tomb No. 3. It appears to have been closely related to the iconography of a horse-riding procession in the mural paintings in the Western Jin Dynasty tomb M3 in Jiayuguan, Gansu Province. This connection is presumed to have been forged through Goguryeo’s absorption of popular cultural elements of the Western Jin Dynasty that were transmitted through the Lelang and Daifang regions.
7. The music-related iconography found in Anak Tomb No. 3 from the mid-fourth century reflects longstanding musical practices from diverse regions. A comparative analysis of other music-related iconographical elements from Goguryeo tombs built after Anak Tomb No. 3 would deepen our understanding of the formation of and changes in Goguryeo music.
8. This paper is confined to explanations based on limited comparative materials and fails to scrutinize the intentions and ideological backgrounds underlying the music related iconography by connecting them to funeral and memorial rites. As a product of funeral art, the iconography in tomb mural paintings needs to be studied while taking into account funeral and memorial rites and their procedures.
서지정보 내보내기(Export)
닫기소장기관 정보
닫기권호소장정보
닫기오류접수
닫기오류 접수 확인
닫기음성서비스 신청
닫기음성서비스 신청 확인
닫기이용약관
닫기학술연구정보서비스 이용약관 (2017년 1월 1일 ~ 현재 적용)
학술연구정보서비스(이하 RISS)는 정보주체의 자유와 권리 보호를 위해 「개인정보 보호법」 및 관계 법령이 정한 바를 준수하여, 적법하게 개인정보를 처리하고 안전하게 관리하고 있습니다. 이에 「개인정보 보호법」 제30조에 따라 정보주체에게 개인정보 처리에 관한 절차 및 기준을 안내하고, 이와 관련한 고충을 신속하고 원활하게 처리할 수 있도록 하기 위하여 다음과 같이 개인정보 처리방침을 수립·공개합니다.
주요 개인정보 처리 표시(라벨링)
목 차
3년
또는 회원탈퇴시까지5년
(「전자상거래 등에서의 소비자보호에 관한3년
(「전자상거래 등에서의 소비자보호에 관한2년
이상(개인정보보호위원회 : 개인정보의 안전성 확보조치 기준)개인정보파일의 명칭 | 운영근거 / 처리목적 | 개인정보파일에 기록되는 개인정보의 항목 | 보유기간 | |
---|---|---|---|---|
학술연구정보서비스 이용자 가입정보 파일 | 한국교육학술정보원법 | 필수 | ID, 비밀번호, 성명, 생년월일, 신분(직업구분), 이메일, 소속분야, 웹진메일 수신동의 여부 | 3년 또는 탈퇴시 |
선택 | 소속기관명, 소속도서관명, 학과/부서명, 학번/직원번호, 휴대전화, 주소 |
구분 | 담당자 | 연락처 |
---|---|---|
KERIS 개인정보 보호책임자 | 정보보호본부 김태우 | - 이메일 : lsy@keris.or.kr - 전화번호 : 053-714-0439 - 팩스번호 : 053-714-0195 |
KERIS 개인정보 보호담당자 | 개인정보보호부 이상엽 | |
RISS 개인정보 보호책임자 | 대학학술본부 장금연 | - 이메일 : giltizen@keris.or.kr - 전화번호 : 053-714-0149 - 팩스번호 : 053-714-0194 |
RISS 개인정보 보호담당자 | 학술진흥부 길원진 |
자동로그아웃 안내
닫기인증오류 안내
닫기귀하께서는 휴면계정 전환 후 1년동안 회원정보 수집 및 이용에 대한
재동의를 하지 않으신 관계로 개인정보가 삭제되었습니다.
(참조 : RISS 이용약관 및 개인정보처리방침)
신규회원으로 가입하여 이용 부탁 드리며, 추가 문의는 고객센터로 연락 바랍니다.
- 기존 아이디 재사용 불가
휴면계정 안내
RISS는 [표준개인정보 보호지침]에 따라 2년을 주기로 개인정보 수집·이용에 관하여 (재)동의를 받고 있으며, (재)동의를 하지 않을 경우, 휴면계정으로 전환됩니다.
(※ 휴면계정은 원문이용 및 복사/대출 서비스를 이용할 수 없습니다.)
휴면계정으로 전환된 후 1년간 회원정보 수집·이용에 대한 재동의를 하지 않을 경우, RISS에서 자동탈퇴 및 개인정보가 삭제처리 됩니다.
고객센터 1599-3122
ARS번호+1번(회원가입 및 정보수정)