??? ????? ???? ?? ????? ????? ?? -??3??? ???? ????- (The Formative Consciousness and Expressivity of Ancient East Asia in Kokuryo Murals in the Tomb -Focusing on Anak Tomb No. 3-)

The purpose of this study is to investigate the formative consciousness and expressivity of Ancient East Asia focusing on Anak Tomb No. 3 which is a early mural among Kokuryo murals in the tomb. In this paper, expecially the portrait in Anak Tomb No. 3 is concentrated. The portrait in traditional painting of East Asia occupies a very large portion compared to other pictures. This is because the painting is produced with a purpose of giving people a lesson and representing the Confucian ideal society in the society was overflowing with the Confucian ideology to emphasize human relationship traditionally. In other words, it¡¯s important to make people know good and evil by representing the look of the right people and the wrong people. The pictures at the Han time(206 B.C- 220 A.D), the period of Wei, Jin Kingdoms and Northern & Southern Dynasties(220-589), mountains and trees is expressed simply and briefly and the story between figures is centered, the expression shows a pictorial representation focusing on the portrait.
Therefore, it¡¯s to learn the art or pictorial ideology presented in Confucianism and how they implemented formatively, and pictorial situations in the period of Wei, Jin Kingdoms and Northern & Southern Dynasties including the middle of the 4th century when Anak Tomb No. 3 production was estimated. This time is when the rapid development of the overall literature as well as painting was done. Especially, in the portrait, one basis to regulate the nature in East Asia painting will be able to achieved since the advent of Gu kaizhi(345-406) in the Dongjin era(371-420). In this regard, it¡¯s to investigate how much murals in Anak Tomb No. 3 made pictorial changes in Nakrang area the impact of the Han culture remains.
In all the formative expression as well as the paining related to the portrait, the expressivity associated with the size that is a phenomenon appeared in the ancient East and West universally, and the expressivity about figure¡¯s direction can be seen. As shown in sculpture and painting in ancient Egypt, the size of figures may represent the power of the people and the position of the people may appear as whether the figures face the front or the side. These parts will be specifically examined regarding portrait¡¯s formativeness. Meanwhile, this paper is to discuss the pictorial formativeness in murals in the tomb seen from the perspective of modern except the way of tracing religious, cultural interference and acceptance, propagation changes through historical sources, in understanding the iconography in mural paintings. Especially, it¡¯s to cover whether how ¡®Subjective reality¡¯ appeared in contemporary art represents in the ancient painting in various expression of Anak Tomb No. 3.

The purpose of this study is to investigate the formative consciousness and expressivity of Ancient East Asia focusing on Anak Tomb No. 3 which is a early mural among Kokuryo murals in the tomb. In this paper, expecially the portrait in Anak Tomb No. 3 is concentrated. The portrait in traditional painting of East Asia occupies a very large portion compared to other pictures. This is because the painting is produced with a purpose of giving people a lesson and representing the Confucian ideal society in the society was overflowing with the Confucian ideology to emphasize human relationship traditionally. In other words, it¡¯s important to make people know good and evil by representing the look of the right people and the wrong people. The pictures at the Han time(206 B.C- 220 A.D), the period of Wei, Jin Kingdoms and Northern & Southern Dynasties(220-589), mountains and trees is expressed simply and briefly and the story between figures is centered, the expression shows a pictorial representation focusing on the portrait.
Therefore, it¡¯s to learn the art or pictorial ideology presented in Confucianism and how they implemented formatively, and pictorial situations in the period of Wei, Jin Kingdoms and Northern & Southern Dynasties including the middle of the 4th century when Anak Tomb No. 3 production was estimated. This time is when the rapid development of the overall literature as well as painting was done. Especially, in the portrait, one basis to regulate the nature in East Asia painting will be able to achieved since the advent of Gu kaizhi(345-406) in the Dongjin era(371-420). In this regard, it¡¯s to investigate how much murals in Anak Tomb No. 3 made pictorial changes in Nakrang area the impact of the Han culture remains.
In all the formative expression as well as the paining related to the portrait, the expressivity associated with the size that is a phenomenon appeared in the ancient East and West universally, and the expressivity about figure¡¯s direction can be seen. As shown in sculpture and painting in ancient Egypt, the size of figures may represent the power of the people and the position of the people may appear as whether the figures face the front or the side. These parts will be specifically examined regarding portrait¡¯s formativeness. Meanwhile, this paper is to discuss the pictorial formativeness in murals in the tomb seen from the perspective of modern except the way of tracing religious, cultural interference and acceptance, propagation changes through historical sources, in understanding the iconography in mural paintings. Especially, it¡¯s to cover whether how ¡®Subjective reality¡¯ appeared in contemporary art represents in the ancient painting in various expression of Anak Tomb No. 3.