CC BY
3RESEARCH ON THE RELATIONSHIP BETWEEN APRACIAB MURALS AND KOREA - FOCUSING ON THE SOLIDARITY OF THE 7TH CENTURY GOGURYEO ENVOYS AND THE POSSIBILITY OF EXCHANGES BETWEEN SILLA, BAEKJE,
AND BALHAE Chung Jin-won
Prof. Dr., Department of Korean Studies, Turkiye National Erciyes University https://doi.org/10.5281/zenodo.11098087
Abstract. Uzbekistan is one of the countries in the former Soviet Union, along with Kazakhstan, where a large number of Koryopeople live. Since the 1990s, many Uzbeks have been exposed to the Korean Wave or have gone to Korea to work, so the perception of Korea in Uzbekistan is relatively good.
It was revealed through the murals of Goguryeo's Afrasiab Palace that Goguryeo interacted with the Sogdian-Turks in Afrasiab near Samarkand. The most likely theory is that it was an envoy dispatched by Yeon Gaesomun in the mid-7th century to conclude an alliance to keep the Tang Dynasty in check. It is assumed that Goguryeo envoys at that time went to Afrasiab via the northern grassland road.
The Sogdians who stayed in Balhae played an important role in exporting Balhae horses to the Tang Dynasty. Unified Silla was established around the 8th century when Hyecho, a monk from Silla and the author of <Wango Cheonchukguk>, traveled all the way to present-day Iran. His stops included Samarkand and several other cities in present-day Uzbekistan.
We need to devise a win-win strategy by reviving the ancient historical exchanges between Korea and Uzbekistan through the 21st century Korean Wave.
Keywords: Korea, Uzbekistan, Goguryeo, Afrasiab murals, Korean Wave contents, international exchange.
1. Introduction: History and exchange between Korea and Sogd in the 7th century
In the 7th century, Korea had Goguryeo, Baekje, and Silla, and Silla united with China's Tang Dynasty, destroyed Goguryeo and Baekje, and became the unified Silla. In the former Goguryeo region, there was a country called Balhae.
In the 7th century, two people who are presumed to be Goguryeo people appear in Aprasiap murals. Generally speaking, they are seen as Goguryeo people, but many scholars have opinions on exactly when and for what purpose they came.
I would like to summarize the research on the Aprasyap and Sogdians of 7th century Uzbekistan in Korea and suggest future research directions.
2.When did the Goguryeo envoy visit?
<West wall restoration map>
For what purpose did the Goguryeo envoy 'Jowoogwan' go to Afrasiab? When will that time be? China (Tang), which destroyed Baekje in 660, attempted to destroy Goguryeo in order to establish a China-centered world order.
Thus, Tang began a war with Goguryeo in April 661 and besieged Pyeongyang Fortress for seven months from August to March of the following year, 662. In September 661, Gyepilharyeok's army fought and won against the army of Namsaeng, the son of Yeon Gaesomun, in the Yalu River basin.
In response to this crisis, Yeon Gaesomun (jj^^X) requested troops to be dispatched to Japan and attempted to overcome the crisis through an alliance with Cheorleuk who was
rebelling against the Tang at the time.
At this time, the Goguryeo envoy dispatched to Cheolreuk was the 'Jougwan envoy' depicted in the mural at the Afrasiab Palace. It can be assumed that the 'Jowoogwansajeol' departed from Goguryeo and went to Cheolreuk around February 662, when Sujeongbang's navy temporarily lifted the siege of Pyeongyang Castle.
It can be estimated that the envoy Jo Woo-gwan went to Samarkand around June 662 or April 663, approximately three months after leaving Cheolreuk. Accordingly, the period when the 'Envoy Envoy' was painted on the mural at the Afrasiab Palace began around June 662 or April 663, when the Envoy Envoy entered Samarkand, the last year of the reign of King Barhuman of Samarkand. It can be estimated to date to 675.
3. The relationship between the contents of the Afrasiab Palace murals and 7th century Korea
3.1. Is this a mural from the era of King Bahuruman?
There are various views on the main character of the western wall depicting the Goguryeo envoys, including King Baruhuman, the King of Turks, or the Heavenly God of Zoroastrianism. Additionally, the relationship between the southern wall and the northern wall was initially recognized as a wedding mission, but many interpretations took into account the deities and religious rituals of Zoroastrianism that were prevalent in the Sogd region.
In particular, the procession on the south wall was considered a ritual on the 6th day of Norz, a traditional New Year ritual, and correspondingly, the Chinese Dragon Boat Festival event that coincided with Navruz was depicted on the north wall.
Meanwhile, the general opinion was that the composition of the four walls depicted the four countries (or kings) of the surrounding great powers centered on Samarkand.
3.2. Is the Goguryeo envoy a real person?
Next, various opinions were developed about the Goguryeo mission, including the nationality controversy, the reason why the Goguryeo people went to Samarkand, the route the mission took, and whether it was an actual mission or a symbolic image.
Is the Goguryeo delegation depicted in the Afrasiab mural the actual Goguryeo seen by the Sogdians, a copy of a painting brought in from China, or a Sogdian drawing of an image of the Goguryeo people?
However, since the mid-4th century, paintings presumed to be rituals such as Hoseonmu and Somakcha, traditional dances of Sogd, have been discovered in Goguryeo tomb murals. It seems that direct exchanges between the Sogdians and Goguryeo were already active at this time.
Meanwhile, there is also a possibility that glass vessels and Sassanian silver vessels excavated from the Silla tombs around the mid-5th century were introduced through direct exchanges with the Sogdians, who were the main players in East-West trade.
Old Korea and Sogd, Uzbekistan, had a deep relationship with Sogd, as seen in archaeological artifacts. We have called Sogd and its people 'Western elements' or 'Western people.'
4. Conclusion: Exchange cooperation and research direction between Korea and Uzbekistan
In 2019, Korea's Cultural Heritage Administration and Uzbekistan's Ministry of Culture are creating new opportunities for exchange by signing a memorandum of understanding for cultural heritage official development assistance projects. In line with these changes of the times, there is a need to study the culture of old Sogd in depth through the study of the Afrasiab murals, which were old ruins in Uzbekistan.
As a future research task, we will need to deeply examine Zoroastrianism and ritual traditions, which are elements of the interpretation of the Afrasiab murals.
If we reveal how Zoroastrianism, which emerged in Iran, influenced Sogd's culture and art, and what Sogd's unique elements are, the content of the palace murals will become more concrete.
In addition, although much research has been done on the Sogdians as traders, their role as cultural spreaders also needs to be paid attention to. In order to understand the Sogdians as cultural spreaders, it is necessary to study Sogd-related art not only in Sogdiana but also in various regions along the Silk Road connecting East and West.
The Sogdians and their culture have their own unique traditions. So far, Korea has been very interested in Chinese-centered art culture, but does not fully understand the culture of the nomadic peoples of Central Asia. The culture of nomadic peoples in each region actually influenced China and brought about changes in China's art culture. In the future, the influence of Sogdian artistic and cultural elements on Chinese art will need to be revealed one by one.
REFERENCES
1. SM/ifiM/ffl^fc
2.
3. Koo Nan-hee, Sogdians who appeared in the Japanese-Japanese Dynasty, their circumstances and meaning], □ Goguryeo Balhae Studies□ 63, Goguryeo Balhae Society, March 2019.
4. Go Gwang-eui, TDigital restoration of Afrosiab Palace muralsj, 2019 Korea-Uzbekistan International Academic Conference - Afrosiab Palace Murals and Exchanges between Korea and Uzbekistan-□, 2019.
5. Youngpil Kwon, TMid-7th century Afrasiab sectional murals - iconographic interpretation, in relation to Goguryeo envoys!, □ Ancient culture of Uzbekistan at the crossroads of Eastern and Western civilizations □, National Museum of Korea, 2009.
6. Youngpil Kwon, Tstudy on the 'Goguryeo envoys' in the murals of the Afrasiab palace sitej , Footsteps of Goguryeo people in Central Asia , Northeast Asian History Foundation, 2008.
7. Gwangyoung Kim, "Study on <Somakcha - Focusing on the festival characteristics and aspects of accepting foreign culture", Chinese Literature Journal, Vol. 42, No. 0, April 2013,
8. Rina Kim, TFocusing on the murals of the Goguryeo people-^^ of the shown in the Tang Dynasty and the silver case excavated from Seo-anJ, □ Lee Jang-baek's theory of ancient research on Korean historyH(_h) , National History Compilation Committee, 1994.
9. Kim Bok-soon, "Silla Intellectuals' Perception of the West", Gyeongju History, 38, Gyeongju History Society, December 2013.
10. KimBok-sook, I" Study on the Samguk Yusa TGwichuljesaJ article], □ Silla Cultural Festival Academic Papers□ 33, 2012.
11. Kim Yong-moon, TSogdian Costume Centered on Afrasiab MuralsJ, History and Culture of SogdD, National Museum of Korea, 2010.
12. Kim Won-ryong, I" Sam ark and Afrasiab Palace Mural Delegation], Art History Studies 129130, Korean Society of Art History, 1976.
13. Noh Tae-don, Ta Study on the Negotiations between Goguryeo, Balhae People, and Inner Asia Residents (A Study on the Negotiations between Goguryeo, Balhae People, and the Inner Asian People)], Daedong Cultural Research , Daedong Cultural Research Institute, 1989.
14. Noh Tae-don, Goguryeo as seen on Yebindo Island, Seoul National University Press, 2003.
15. Muhammad Kansu (Jeong Su-il), I" Sam ark and ExpeditionJ, New World-Western Transit History □, Korean University College of Education, 1992
16. Munmyeongdae, TA new look at the Silk RoadJ, □ ^ifeMtHiSJa JHA book on Korean history □, National History Compilation Committee, 1990.
17. Park A-rim, "Goguryeo tomb murals and Northern and Eurasian art research results and tasks", Humanities Research Vol. 30, Duksung Women's University Humanities Research Institute, January 2020.
18. Samarkand Afrasiab Mural, and Exchanges between the Korean Peninsula and Sogd 217 Park Jin-wook, TOn the envoy painting in the murals of the Ahrashab Palace site in Samarkand, Soviet UnionJ, □ Joseon Archeology Research , March 1988.
19. Seo Gil-su, TThe status of the chicken feather crown (Gyewoogwan) and Goguryeo in foreign portraits of Goguryeo (The status of the chicken feather crown (H33S) and the status of Goguryeo in foreign portraits of Goguryeo)J, □ Goguryeo Balhae Studies 51, Goguryeo Balhae Society, 2015.
20. Lee Song-ran, TProduction location and reception route of <Golden Buried Sword> from Silla Gyerim-ro Tomb No. 14J, □ Art History Studies , Korean Society of Art History, June 2008.
21. Lee Song-ran, T Import and production of Western gold and silverware during the Northern and Southern Dynasties in ChinaJ, Soongsil History, Vol. 43, Soongsil History Society, 2019. 12.
22. Seunghee Lee, Sogdian Murals at Afrasiab, Samarkand, and Exchanges Between Ancient Korea and Sogd, Soongsil History, 2020, vol., no.44, pp. 189-221 (33 pages)
23. Jae-seong Lee, "A Study on the Cause, Process, and Period of the 'Embassy Embassy' in the Afrasiab Palace Murals going to Samarkand", The "Embassy Officials with Feathers in Their Hats (S33) SU^)" Image on the Wall Painting of the Afrasiab Palace Site in Samarkand: The Visit to Samarkand(00), the Cause, the Process, and the Times, Northeast Asian History Journal 52, Northeast Asian History Foundation, 2016.06.
24. Lim Young-ae, "'Western region people' or 'Western region people' images'? - Awareness of the West in Unified Silla Art", □ Art History Studies 236, Korean Society of Art History, December 2002.
25. Lim Young-ae, ^BKS and Sw in Western Buddhist art - Focusing on exchanges between West Asia, Gandhara, and the West Region], □ Central Asian Studies 11, Central Asian Studies Society, 2006.
26. Yeon Ho-tak, "The influence of the Moon clan on the Sogdiana Society", Myongji University Graduate School, Department of History, doctoral thesis, August 2016.
27. Jang Jun-hee, TCultural Anthropological Interpretation of the Samarkand Afrasiab Muralj,
□ Goguryeo Footsteps in Central AsiaD, Northeast Asian History Foundation, 2008.
28. Jeon Deok-jae, "A Consideration on the Acceptance of Korea's Ancient Western Culture -Baek Hee-
29. Jeon Ho-tae, Exchanges between Goguryeo and Central Asia seen through tomb muralsj,
□ Korean Ancient History Studies 68, Korean Society of Ancient History, 2012. 12.
30. Jeong Seok-bae, "Northern part of Balhae - Study on the western route 'Dambigil'", Goguryeo Balhae Studies 63, March 2019.
31. Jeong Soo-il, TExamination of Goguryeo and the relationship between Goguryeo and the West J, DGoguryeo Balhae StudiesD 14, Goguryeo Balhae Society, 2002.
32. Su-il Jeong, TPoetry on exchanges between Goguryeo and the West as shown in muralsj,
Focusing on cultural exchanges between Goguryeo and East Asia, Korea University Museum, 2005.
33. Jeong Ho-seop, TType and nature of human figures wearing bird-33S: Focusing on the appearance of ancient Koreans in foreign materialsj, Yeongnam Studies Vol. 24, No. 24, Kyungpook National University Yeungnam Culture Research Institute, 2013.
34. Ho-seop Jeong, r Ancient Koreans in the Afrasiab Palace Murals in Samarkand!, 2019 Korea-Uzbekistan International Academic Conference - Afrosiab Palace Murals and Exchanges between Korea and Uzbekistan-□, Northeast Asian History Foundation, 2019.
35. Jo Yoon-jae, T Ancient Korea's Bird Emblem and Silk Road -Focusing on a review of research history related to the Bird Lion Crown-J, □ Silk Road and Korean Buddhist Culture , 2012.
36. Heeseung Cho, r Goguryeo and the West!, DGoguryeo and East Asia-Focusing on Cultural Exchanges □, 2005.
37. Jo Jeong-seon, "On the relationship between Samarkand and Goguryeo - Reasons for the visit of Goguryeo envoys to Goguryeo", Baeksanhakbo No. 89, Baeksanhakjak, April 2011.
38. Choi Gwang-sik, TCultural Exchanges between Goguryeo and the WestJ, Footsteps of Goguryeo People in Central AsiaD, Northeast Asian History Foundation, 2008.
39. R inft, H@I||M-l^T, 1976.
40. L. I. 7 U A, APilAiftif, dS"'iWT;^ > K(D1£»D, Cultural Publishing Bureau, 1980.
41. Boris Marshak, "Remarks on the Murals of the Ambassadors Hall," in: Matteo Compareti, Etienne de la Vaisssiere (eds.), ROYAL NAURUZ IN SAMARKAND, 2005.
42. Etsuko Kageyama, "A Chinese way of defying foreign delegates discerned in the painting of Afrasiab," Sutudia Iranica no.25, Paris, 2002.
43. Franz Grenet, "What was the Afrasiab Painting about?" in: Matteo Compareti, Etienne de la Vaisssiere (eds.), Rivista degli studi orientali Vol. 78, 2006.
44. Gitty Azarpay, "The Afrasiab Murals: A Pictorial Narrative Reconsidered"
45. L. I. Albaum, Zhivopis' Afrasiaba (Afrasiab Painting), Tashkent, 1975.
46. Markus Mode, Sogdien und die Herrscher der Welt. Türken, Sasaniden and Chinesen in
47. Historiengemälden des 7. Jahrhunderts n. Chr. aus Alt-Samarqand (Frankfurt am Main, Peter Lang), 1993.
48. Markus Mode, "Court art of Sogdian Samarqand in the 7th century AD-Some remarks to an old problem."A web publication, 2002.
49. M. Compareti, S. Cristoforetti., "Proposal for a New Interpretation of the Northern Wall of the «Hall of the Ambassadors» at Afrasyab," CENTRAL ASIA FROM THE ACHAEMENIDS TO THE TIMURIDS ARCHAEOLOGY, HISTORY, ETHNOLOGY, CULTURE, St. Petersburg, 2005.
50. Matteo Compareti, "Remarks on the Sogdian Religious Iconography in the 7th Century
