172:. Yeh Pai's conclusions were accepted in the 1958 formal Korean report; however some Korean scholars still maintained that the tomb belongs to King Mi-chon. While K. H. J. Gardiner and Wonyong Kim believe this to be a Chinese tomb of excellent quality, North and other South Korean scholars believe that Dong Shou was an emigre official. Moreover, the quality of these paintings and the size of the tomb indicate that it is a royal tomb of Koguryo—a theory advocated recently by Hwi-joon Ahn and Youngsook Pak. North Korean scholars claim that it is the mausoleum of
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social status of the owner. It is also important to note the seemingly identical, impersonal facial structure of the people included in this scene. This can be attributed to the fact that at the time when this mural was developed, the expression of individuality was not yet a developed technique in
Goguryeo paintings.
164:. Chinese scholar Yeh Pai who deciphered the inscription in 1951 and published his findings in North Korea's Institute of Archeology report and argued that the man was the same Dong Shou, a refugee from Liaodong who fled the Xianbei invasions in 337, as the one who appeared in two Chinese histories, the
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The Anak Tomb No.3 is one of few
Goguryeo tombs that have epitaphs so that their dates can be determined. Its seven-lined epitaph contains the date 357, the personal name Dong Shou (冬壽), his title, his birthplace and his age at death. Accordingly, some scholars generally regard this site as the tomb
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and is staring straight out with an impersonal expression. The painting of the woman resides on the southern wall of the tomb, next to that of the man, and her sitting position is slightly turned in to face him. The woman also wears an impersonal expression, but with a notable face shape; her face,
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The inside of the eastern chamber contains a colorful mural illustrating the typical life of the
Goguryeo people. The scene includes a kitchen, a meat storage room, a barn, a carriage shed, and household staff, along with other commonplace features. This mural allows scholars to analyze the daily
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scene and resides in the corridor. It contains 250 people, including the owner of the tomb who is sitting in a cow-pulled wagon. Other
Goguryeo people displayed in this mural include members of a marching band, flag bearers, maids and civil officials. The large number of people suggests the high
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The Anak Tomb No. 3 is the host to multiple famous mural paintings, each giving a greater insight to the life and hierarchy of the
Goguryeo people. It contains two portraits, one on the front wall of the west side chamber and one on the southern wall, portraying a man and a woman, respectively.
199:." It is not clear whether these titles were given by the Eastern Jin or just self-designation. Scholars associate one of his title "Minister of Lelang" with the title "Duke of Lelang", which was bestowed on King Gogugwon by
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as well as the faces of the women who flank her, is round and full, different from the typical facial structure of the
Goguryeo people, who had long and oval faces. The woman is however wearing Chinese set of attire called
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Scholars have disputed the owner of this tomb and thus the identity of people portrayed in these murals; because of the epitaph, many believe that the images depict Dong Shou, a refugee from
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The epitaph reflects a complex situation in which Dong Shou, and
Goguryeo, were put. He claimed various titles including "Minister of
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http://contents.nahf.or.kr/goguryeo/anak3/an_html_en/int1.html%7Ctitle=contents.nahf.or.kr/goguryeo/anak3/an_html_en/int1.html
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Artistic
Creation, Borrowing, Adaptation, and Assimilation in Koguryǒ Tomb Murals of the Fourth to Seventh Century
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rituals of the
Goguryeo culture, and gain insight on what the house of the tomb's owner may have looked like.
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of Dong Shou. The inscription of Dong Shou relates that he was a general from the
Xianbei state of
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It was discovered in 1949 with valuable treasures stolen, but murals in good condition.
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Silken threads : a history of embroidery in China, Korea, Japan, and Vietnam
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591:(旧領域の支配形態), Kōkuri shi to Higashi Ajia (高句麗史と東アジア), pp. 78–107, 1989.
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584:(安岳三号墳 (冬寿墓) の研究), Shien (史淵), No.93, pp. 37–84, 1964.
368:. Cambridge, UK: Cambridge University Press. p. 300.
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Buildings and structures completed in the 4th century
485:"Kwan | The World of Hat Museum in Riga, Latvia"
517:. San Francisco, CA: China Books & Periodicals.
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Buildings and structures in South Hwanghae Province
364:John Whitney Hall; et al., eds. (1988–1999).
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553:. New York: H.N. Abrams. p. 294.
404:"The Evolution of Koguryo Tomb Murals"
582:Anagaku sangōhun (Tō Ju bo) no kenkyū
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290:The next mural in this tomb is a
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632:38.4491306°N 125.5081306°E
589:Kyūryōiki no shihai keitai
549:Chung, Young Yang (2005).
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346:January 13, 2015, at the
232:Woman (wife of the owner)
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473:. Duke University Press.
138:Complex of Koguryo Tombs
637:38.4491306; 125.5081306
580:Okazaki Takashi (岡崎敬),
319:Three Kingdoms of Korea
220:Man (owner of the tomb)
671:Murals in North Korea
587:Takeda Yukio (武田幸男),
610:at Wikimedia Commons
256:Indoor Life Painting
170:Tzu-chih t'ung-chien
156:in Liaodong (modern
85:Revised Romanization
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187:" and "Governor of
606:Media related to
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118:chamber tomb
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134:North Korea
124:located in
47:Korean name
666:Korean art
650:Categories
499:2017-05-30
418:2011-04-14
341:"冬壽墓蓮花紋研究"
325:References
309:Korean art
292:procession
264:Former Yan
201:Murong Jun
154:Former Yan
53:Chosŏn'gŭl
408:Buddhapia
661:Goguryeo
569:55019211
533:19814728
384:17483588
344:Archived
303:See also
166:Chin shu
158:Liaoning
122:Goguryeo
197:Daifang
189:Changli
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207:Murals
193:Xuantu
185:Lelang
69:Hancha
60:안악삼호무덤
691:Tombs
281:guiyi
116:is a
76:安岳三號墳
565:OCLC
555:ISBN
529:OCLC
519:ISBN
380:OCLC
370:ISBN
276:kwan
272:kwan
195:and
168:and
126:Anak
176:or
120:of
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