@article{oai:rekihaku.repo.nii.ac.jp:00000909,
 author = {東, 潮 and Azuma, Ushio},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Mar},
 note = {application/pdf, 古代東アジア世界において，高句麗・三燕・北朝・隋唐壁画の比較研究を試みる。とくに三燕・北朝・隋唐壁画墳の従来の墓室構造および壁画構成の変遷過程を追究した。
高句麗の三室塚・通溝四神塚・五盔墳４・５号墳，北朝の茹茹公主墓・婁叡墓，隋の李和墓，唐の蘇定方墓など，四神図像・畏獣図像の表現空間，図像の変化に着目して分析する。高句麗壁画に表現された神怪図像を，畏獣像（鬼神・鬼面）・力士像・門衛像に分類し，それらの図像の変遷過程に北朝壁画との影響関係，その背景に国際的な交流関係がみられる。
高句麗の王陵は，６世紀中葉の陽原王いらい，風水の地理的条件に叶う地勢に，四神壁画をとりいれ，造営されたが，その四神思想は高句麗王権の統治思想となった。
４～８世紀の高句麗・北朝・隋・唐壁画に表現された異人・胡人像は国際的な交流関係をものがたるとともに，西域・西方に対する辟邪という観念を象徴するのであるが，それは他界観の表現である。また高句麗壁画に記された図像の榜題のなかで，通溝四神塚の畏獣も辟邪思想を表象したものである。
北朝壁画の四神図像，乗駕龍虎神仙像，牽引青龍・白虎図像，墓主図像，屛風画の変遷過程を解明することによって，東魏の茹茹公主墓壁画は，四神図や宮廷儀礼図など，初唐壁画の原形をなすことなどを明らかにした。
隋唐壁画の四神図像は，７世紀中葉ごろに墓室から墓道に表現されることや，隋唐と高句麗の四神壁画を比較したうえで，キトラ・高松塚古墳壁画の四神図像の系譜関係について言及した。, This paper traces changes in the structure of painted stone burial chambers and the spatial compositions of their mural paintings in ancient East Asia, particularly those of Koguryo, and the three polities of Yan, Northern Dynasty, Sui and Tang of China. Analyses focus on spaces represented by the four directional deities and other monsters as well as changes in pictorial representations of these figures. By classifying the Koguryo pictorial representations of mythical figures into demonic figures, wrestlers, and guards, and by paying attention to their morphological changes, it is possible to point out how the Koguryo mural paintings are related to those of the Northern Dynasty of China, probably as a result of international interactions.
The four directional deities painted in the Koguryo tombs may be a reflection of the ruling, political philosophy in Koguryo. After the middle sixth century, the tombs were constructed under a rigid plan so that they could conform with geographical conditions as defined by Fengsui philosophy.
Figures of foreigners painted in tombs of Koguryo, and Northern Dynasty, Sui, and Tang China between the fourth and eighth centuries clearly indicate that international interactions took place at that time. I argue further that they were a symbolic representation of the quelling of Evil in western Asia. I also suggest that a demonic figure in the Tongjiang Tomb was a symbolic representation of the quelling of Evil.
A comparison of the numerous attributes of mural paintings in different regions suggests that representations of the four directional deities and court rituals depicted in Princess Ruru's tomb of Eastern Wei were a prototype of early Tang mural pictorial representations. Starting in the middle seventh century, the four directional deities in Sui and Tang China came to be depicted in the corridors leading to the main burial chamber, rather than in the chambers themselves. I also make some remarks on possible relationship between the four directional deities of Sui, Tang, and Koguryo and those of the Kitora and Takamatsuzuka tumuli in Nara, Japan.},
 pages = {261--325},
 title = {北朝・隋唐と高句麗壁画 : 四神図像と畏獣図像を中心として},
 volume = {80},
 year = {1999},
 yomi = {アズマ, ウシオ}
}