How did ancient Goguryeo mural copies appear in Hungary? What was their role in the
1950s, and how much has the attitude towards mural copies from the Goguryeo kingdom
changed regarding the earlier developments and in comparison, with present and future
attitudes? In my paper, I focus on the changes in the role, the circumstances, the
personality and background of the copying artists and the commissioning bodies, the
style in executing these copies and the methods of presenting them in exhibitions
in Korea and abroad, especially in Central and Eastern Europe. Relying on documents
from the Ferenc Hopp Museum Budapest, where nine life size copies and two models of
the Anak tomb no. 3 commissioned by a Hungarian diplomat in North Korea in the 1950s
from contemporary North Korean painters are preserved, and the latest research by
Korean specialists, and art historians in the field of mural copies, in my paper I
wish to draw attention to the changes from the Past to the Future which affected the
heritage of the Goguryeo murals through their copies, and how it continues to evolve
now, highlighting through this phenomenon the intellectual history of this issue
