The Sacred Theater in Goguryeo Tomb Murals: Myth, Belief, and the Pictorial Performance of Political Authority

The 4th and 5th centuries marked a pivotal phase in the development of the Goguryeo regime. Its tomb murals epitomize the visual strategies of state-building, serving to establish a “sacred theater” of power. Taking Tomb No. 4 of the Wukui complex as a case in point, the murals reveal localized adaptations of the Fuxi–Nüwa imagery, blending the Central Plains’ sun-deity worship with Goguryeo’s ancestral mythology through the symbol of the sun-centered Three-Legged Crow, thereby legitimizing the sacred lineage of royal authority. The function of the Four Symbols (Sishen) imagery evolved from mere directional markers into guardians of sovereignty, reflecting deeper cultural transformations. The diachronic evolution of mural themes traces the trajectory of political change: in the 4th century, murals centered on wrestling and banqueting scenes, reinforcing ethnic identity and consolidating tribal alliances through ritualized displays of strength and hierarchical banquet etiquette. By the 5th century, the themes shifted to hunting, processions, and Buddhist rituals, where military metaphors and ceremonial norms underscored the rise of a centralized bureaucratic system and the imperatives of territorial expansion. Through three interlocking mechanisms—symbolic reconfiguration, spatial narrative, and sensory manipulation—Goguryeo tomb murals constructed a closed value system linking worldly authority to posthumous order, serving as material testimony to the enduring “covenant between humans and deities.”