• 복식문화연구
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• 제15권3호
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• pp.541-549
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• 2007

Goguryo is the ancient dynasty which established the system of ancient state earlier than Baekje and Sila, and was a strong political and military power. Unlike the rock carving works of prehistoric times, mural paintings composed of line and color tones in tombs are characterized more by its social aspect and symbolism as a serious form of art than other cultural heritage of Goguryo. In response to that, this study analyzed the dress and ornaments of women found in Anak No. 3 ancient tomb, Susan-ri ancient tomb, Ssangyeongchong, which are the ancient tombs in Pyeongyang from 4th century to 5th century, have relatively more ancient tombs than any other places and preserved the mural paintings well, by using the plate, slide, literature and data related to relics in order to figure out the characteristics of women's dress and ornament in Goguryo, and the lifestyle and social aspect of Goguryo.

• 대한가정학회지
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• 제44권4호
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• pp.39-47
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• 2006

This study considers the Gagye(Added Hair) style shown in ancient Goguryeo Murals and examines its values and significance through an in-depth study on the relevance to the style of China. In Gagye style, the Korean Hwan-gye(Round-rolled Hair) hair type was different from that of China in letting the hair down and using accessories. The Korean Sseu-gye(Covered Hair) hair type features textile-made and Bokbal (Covered hair) styles. The Korean Go-gye(Highly-rolled up Hair) hair type was different from that of China in style and volume. The Korean Da-gye(Multi-laid Hair) hair type was different from that of China in component pattern in that the Korean Da-gye type was composed of two or three gyes. Eoneun meori (Braided & Coiled Hair) features the unique Goguryeo pattern in which "Che" was placed on the head and the hair was braided down on the sides of the face. Therefore, the Gagye style of Goguryeo Murals was localized and developed through cultural interchange between Goguryeo and China. It also features its own values and significance in Korea's clothing history.

• 복식
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• 제55권5호
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• pp.1-13
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• 2005

The results from the consideration of this are as follows. 1. Kokuryo has been the exchange foreign relationship with the Han dynasty era, from king DaiMuSin 25 years to Bojang 27 years. 2 King of Kokuryo, from The North-Wei-dynasty has been received ceremonial costumes, first-third class of China's official rank. After unification of China, Su, Dang dynasty's envoy and missionary and many commercial men and artist come from China to Kokuryo, therefore, influenced their costume habbits and behabiers from royal families costumes and common peoples costumes, without concern of that one's social position. 3. Kokuryo King's ceremonial costumes are not the same as the China. Kokuryo performed a religious service an emperor's ceremony. And the Kokuryo King's religious mind was the Budism and Daoism. So that mural painting just showing the symbolic of the king's costumes , Myunryukwanbok.

• 한국의상디자인학회지
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• 제4권3호
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• pp.1-8
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• 2002

This article is to study the ancient Korean make-up based on ancient men's and women's facial decoration. The adornment is mainly about make-up, but I didn't employ make-up in this article on the ground that it isn't an appropriate concept in men's case. The study on the ancient Korean make-up has been conducted on the basis of Goguryeo mural paintings excavated in the tombs. Contrary to the Baekje and the Silla Kingdoms, Goguryeo women's make-up carne to fashion like China. The Goguryeo mural paintings depicted women's make-up which painted their faces white and lined on the eyebrows to make them raise toward their foreheads after removing their own eyebrows. They outlined their mouths smaller than their own and, in some occasions, applied make-up differently on the upper lip and the lower lip. As the time passed by, women applied the blusher, which attests to the fact that make-up of those days was considerably developed. Unlike women, men didn't put on cosmetics but they grew beard as a symbol of adults. The beard had a diversity in shape such as goat-shaped and fan-shaped beards. It can be understood that women's make-up was applied as a manifestation of adults like men's growing beards.

• TTA 저널
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• 통권146호
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• pp.14-15
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• 2013

서양에 레오나르도 다빈치의 <모나리자>가 있다면 우리에게는 혜원 신윤복의 <미인도>가 있다. <모나리자>가 야릇한 미소로 보는 사람들의 시선을 사로잡는다면, <미인도>는 단아하고 청순하지만 한편으론 에로틱한 모습으로 보는 이의 마음을 끌어당긴다. 또 네덜란드에 브뤼헐의 풍속화가 있다면 조선에는 단원 김홍도의 풍속화가 있다. 이렇게 세계적인 서양 미술작품과 견줘도 결코 뒤지지 않을 우리만의 소중한 그림이 있지만, 우리에겐 혜원과 단원이 전부다. 많은 서양화가와 그들의 작품, 서양화 기법을 알고 있으면서도 정작 소중한 우리 그림에 대해서는 잘 모르고 있기 때문이다. 안타깝게도 고구려 고분벽화 <수렵도>와 안견의 <몽유도원도>가 역사 시험에 나오기 때문에 외웠을 뿐, 이해하고 감상하기 위한 노력은 부족했던 것이다.

• 박물관보존과학
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• 제21권
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• pp.29-40
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• 2019

고분벽화 벽체 보강제로써 천연 수경성 석회의 적용 가능성을 확인하고자 실험연구를 실시하고 그 결과를 제시하였다. 선행된 고구려 고분벽화 관련 연구를 통해 벽체 의사시료와 NHL 제품을 활용한 조건별 보강제 시료를 제작하였다. 시료는 고분 내부 환경을 고려한 고습 조건에서 7일, 28일, 84일간 양생하였으며, 기간별 치수안정성 및 강도 등 물성평가를 수행하였다. 실험 결과, NHL 제품은 경화속도가 빠르고 수축률이 적어 보강제로써의 적합성은 확인되었으나 벽체 물성대비 강도 차이가 크고 백색도가 떨어지는 등의 단점이 확인되었다. 치수안정성 및 압축강도 평가 결과 NHL 제품과 고분벽화 벽체 의사시편을 혼합한 조건이 상대적으로 벽체 보강제로써 적합한 값을 지닌 것으로 나타났다. 따라서 손상된 고분벽화 벽체 보강제로 천연 수경성 석회를 적용하기 위해서는 대상 벽체의 조건에 따라 적합한 경화시간 및 강도를 발현할 수 있는 조건이 고려되어야 할 것으로 판단된다.

• 복식
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• 제54권7호
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• pp.55-62
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• 2004

Research into the ancient dyeing and weaving culture is of critical importance to the fact that they constitute an integral part of the Korean costume. Due to the absence of the originals reflecting ancient costume cultures, it is difficult to figure out what the dyeing and weaving culture was like in ancient times. Because of limited visual materials available from the wall paintings of ancient tombs, studies conducted so far concerning the costume culture for the Goguryeo have focused on visual elements such as shape, structure, and type. As a result, research into ancient Korean dyeing and weaving cultures hasn't been properly made. Thanks to the presence of both some dyeing fabric originals from Goguryeo's neighboring countries and some visual materials like the wall paintings of the Goguryeo, it may be possible to obtain some clues to the dyeing and weaving culture. The dotted Pattern costumes were selected such as Muyongchong, No. 1 Jangcheon Tomb, Gakjeochong, Samsilchong, Ssangyeongchong, Susanri Tomb. According to a book titled ‘Hanwon’, the Goguryeo people manufactured fabrics in such a way that resist-dyed spots produced elaborate patterns over the purple fabric. It can be safely said that such dot patterns were produced by means of dyeing rather than weaving, because identical patterns aren’t well produced by means of painting and embroidery. Considering Goguryeo’s natural features, the dot patterns mentioned in historical literatures are thought to have been produced using animal’s skin. However, there is highest possibility that the dot Patterns were Produced using tie-resist dyeing or wax-resist dyeing techniques. With respect to the dyeing and weaving culture for the Goguryeo, one must refer to neighboring countries’ dyeing and weaving environments, given that the Goguryeo had engaged substantial cultural exchanges with China.

• 복식
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• 제60권3호
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• pp.10-25
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• 2010

The culture of the play of Korean ancient times is well described in the mural painting of Goguryeo. The example is people appearing in the play painting of performance, dance, hunting, and acrobatics out of 20 mural painting of genre. Their costume is broadly classified into performance, dance, hunting, and acrobatic costume and can be subdivided according to the types of costume. First, the head gear of play costume reflected the formality and social conditions of play. In the performance and hunting costume, all performers wore gwanmo(official hats), which seemed to make it a rule to wear gwanmo. Gwanmo was borrowed intactly from Goguryeo without any changes or decorations, which showed that the status symbolism of head gear was applied intactly to play costume. Second, the play costume of Goguryeo enhanced efficiency by blending daily costume with elements and decorations needed for play performance. Specifically the change of length was prominent: the short sleeves of jeogori(traditional blouse), the long sleeves of dance costume, and fastening below the knee or putting into the long shoes to shorten the length of baji(traditional pants). Finally, as it is well known that there was some differences in the expression modes of daily clothes in Goguryeo between Tonggu and Pyeongyang. Similarly, play costume tried to change costume according to the subject of play but maintained the locality and peculiarity of Goguryeo costume. Although performance costume showed many local differences, it also had similarity and peculiarity. In dance costume, long sleeves and patterns which frequently appeared in the Tonggu area reappeared in the Pyeongyang.

• 보존과학회지
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• 제30권4호
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• pp.457-466
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• 2014

고대 대가야시대(6세기) 고분벽화에 사용된 제작기술을 연구하기 위해 벽화 구조와 재질에 대한 정밀분석을 실시하였다. 벽화는 석실을 축조 후 벽면과 천정에 모르타르를 바르고 그 위에 바탕칠층을 조성하여 채색하였다. 천장을 제외한 사면의 벽면에는 모르타르 위로 대부분 진흙이 덧발려져 있다. 모르타르는 모래는 사용되지 않았고, 순수한 칼슘성분의 물질들로 이루어져 있다. 또한 소성(燒成)이 완전히 진행되지 않은 불규칙한 크기의 패각들이 혼합되어 있으며, 모르타르의 석회질은 굴 껍질을 소성하여 얻어진 것으로 추정되었다. 바탕칠층은 백토(kaolinite($Al_2Si_2O_5(OH)_4$) 또는 halloysite($Al_2Si_2O_5(OH)_4{\cdot}2H2_O$))를 사용하였으며, 채색에 사용된 적색안료는 진사(cinnabar(HgS) 또는 vermilion), 녹색은 공작석(malachite($Cu_2CO_3(OH)_2$)) 그리고 백색은 연백(lead white($PbCO_3{\cdot}Pb(OH)_2$))이 쓰인 것으로 나타났다. 모르타르 위로 조성된 토양층은 주로 중립사 이하 크기의 입도가 낮은 점토질을 사용하여 얇고 치밀하게 조성하였으며, 모르타르층이 박락되고 상당기간이 경과 된 후 보수목적으로 마감한 것으로 추정된다. 굴 껍질을 소성하여 많든 석회를 모르타르로 사용한 것은 한국 고대 고분벽화 제작에 있어 유래 없는 사례이며, 내구성이 매우 떨어지는 특성을 지니고 있어 가야인들의 모르타르 제작기술이 동일시기의 고구려인들에 비해 상대적으로 떨어졌던 것으로 추측된다.

• 한국의류학회지
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• 제36권7호
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• pp.778-789
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• 2012

The characteristics of ancient gagye (the cubic hair style which added wigs or other materials to hair) that appeared in mural paintings were compared between Pyongyang and Jian in Goguryeo and the midlands, the northwest region, and the northeast region in China for the same period (Han to Weijin, and Northern and Southern Dynasties). Gagye in Korea and China was classified into circle type, hat type, high-bun type, and multi-bun type; in addition, Han elements, northern race elements, Goguryeo elements, and uniqueness were compared and analyzed according to regional distribution, trend periods, and style characteristics. The Han elements of ancient gagye in Korea and China appeared in the hat type, the high-bun type, and accessories that left the hair down. The northern race elements were found in the circle type and multi-bun type. The uniqueness of Goguryeo elements included a circle from the circle type, a triangle style from the hat type, an up-do style from the high burn type, and simplified hair accessories.