• The Journal of Natural Sciences
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• v.9 no.1
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• pp.153-168
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• 1997

The purpose of this study was to investigate the formative aesthetic of head accessory design in korean women. Coming to Chosen, women from the court ir the nobility were Jukui, Wonsam, Whalot, Dangui and so on and as for the hair-form in this era, there were a long trees of hair for single and Unzonmeri(By making a tree with hair and raised up roundly) and Jjokmeri(Doing one's hair up in a chignon on the back of one's head) for married, as for a wig for ceremony they used Daeshu(As a same with today's wig added various head accessory design), Kunmeri(Putting a big hair made with a tree of Dukuji on Ayemeri) and Ayemeri(A big hair made with Darae on the head) and as for an head accessory design, there were Biye, Ddelgam and Chupji, which hadn't regularly developed untill the era Chosun. As is known, coming to the era of Chosun, the widely and generally used Biye and Duykokii fitted well to the most usual Jjokmeri.

• Bulletin of the Korean Space Science Society
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• 2009.10a
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• pp.31.3-31.3
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• 2009

견우와 직녀의 사랑 이야기가 얽혀 있는 두 별은 여름철을 대표하는 별들로서 중국 문화권에서는 지난 수 천 년 동안 매우 인기가 높은 별이었다. 두 별은 중국의 춘추전국시대의 노래를 모아 놓은 시경(詩經)에 이미 등장하고 있고, 서기 408년에 조성된 고구려의 덕흥리 고분 속에 있는 벽화에도 그려져 있다. 고려시대에는 이 별들에 대한 국가적인 제사를 지냈으며, 조선 시대에는 칠월칠석에 국왕이 신하들과 어울려 잔치를 베풀고 칠석시(七夕詩)를 지어서 책으로 편찬하는 일도 있었다. 한편 견우성은 주로 농사와 관계된 별점을 가지고 있었고, 시각제도와 긴밀한 관계가 있는 28宿(수)의 하나였으므로 천문학자들이 지속적으로 관심을 갖고 관측한 별이다. 그러한 관측의 결과는 고려사, 조선왕조실록, 승정원일기 등에 다수가 남아 있다. 그런데 동양 천문학에서 이미 널리 다루어졌던 문제 가운데 하나는, 바로 이 문학적 견우성과 천문학적 견우성이 일치하지 않는다는 것이다. 지금 일반 시민들에게 견우성은 독수리자리의 알테어(Altair)로 알려져 있다. 그러나 모든 사서와 고대 천문서 및 천문도가 지칭하는 견우성은 염소자리의 다비(Dabih)라는 별이다. 견우성이 28宿(수)의 하나라는 사실은 그 별(별자리)이 황도와 백도 근처에 있어야 함을 의미한다. 따라서 알테어는 적위가 높아서 도저히 28宿(수)에 속할 수가 없다. 게다가 알테어는 은하수 속에 들어가 있으므로, 견우와 직녀가 은하수를 사이에 두고 마주보고 있다는 일반적인 설화와도 어긋난다. 그럼에도 불구하고, 현재 대다수의 서적과 매체, 그리고 일반인을 대상으로 한 행사와 천문관에서 상영되는 프로그램들에는 모두 알테어를 견우성으로 하여 설명하고 있다. 이러한 불일치는 상당한 혼란을 초래하고 있는 상황이다. 이 연구에서는 이러한 불일치가 천문학적인 견우성과 인문학적인 견우성의 불일치로 보고, 이 문제를 실증적으로 접근해 본다. 즉, 고려사, 조선왕조실록, 승정원일기에 실려 있는 견우성 엄폐 관측 기록을 조사하여 한국사에서 전문 천문학자들은 어느 별을 견우성이라고 보아왔는지 알아보고, 또한 일반인들이 지은 시문에는 어떤 별을 견우성으로 여겼는지 고찰한다. 아울러 역사적으로 이 문제에 대한 선인들의 생각을 짚어보고, 중국과 일본의 학자들은 이 문제를 어떻게 바라보고 있는지를 살핀 다음, 마지막으로 현실적으로 이 문제를 어떻게 해결할 수 있는지 고찰해 본다.

• Journal of the Korean Society of Costume
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• v.13
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• pp.51-72
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• 1989

In this thesis, I examined the mental, philosophical aspects and the aesthetic sense of our ancestors through the study of the patterns pictured in the mural paintings of Koguryo dynasty's old tomb. To view the mode of construction in Koguryo dynasty from present angle, the detailed analysis of the patterns was done. As a result, I could fully understand the formative consciousness of our nation. 1. I defined the process of transition of the mural paintings by putting some 70 mural aintings into the form of a diagram. 2. The cultural aspects of the mural paintings in Koguryo dynasty were characterized by the fusion of our primitive religion and Buddhism, Confucianism and Taoism which were introduced from China. From this fact, I could inferred that Koguryo people were giving off the strong desire for the faith by means of the mural paintings. Further more I found that configuration of the patterns such as religious elements. 3. The types of the patterns were classified into four types, this is, geometric type, natural type, cultural type and abstract type, Among these types, geometric type and natural type were nonsymbolic in nature but became cultured and abstracted in course of time. cultural pattern and abstract pattern got the symbolic meaning in the long run. Of all the constitution of the patterns represented in the mural paintings such as repeat constitution, left and right symmetric constitution, top and bottom symmetric constitution and rotary symmetric constitution, the left and right symmetric constitution was mainly used and some monotony of left and right symmetric constitution. The analysis of motif which was got from the mode of the patterns showed that the mixing of symbolic and nonsymbolic patterns made it possible to regard the separate symbol as compound in nonsymbolic patterns and the combination between nonsymbolic patterns ensured the understanding of other patterns in certain cases. Our ancestors made great efforts to transmit certain meaning symbolically. Also to heighten the symbolism, they drew the meangless patterns firstly and then appended meaning to those patterns secondly. Furthermore, they offered the background to the patterns comblined with symbolism, so that meaning transmission was clarified at last. As mentioned above, the patterns shown in the mural paintings of Koguryo dynasty's old tomb were characterized by natural beauty. And natural beauty was found out clearly in the form and constitution of the patterns. Therefore I concluded that our nation's religious, philosophical tradition was acted on the patterns strongly.

• Journal of Fashion Business
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• v.5 no.2
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• pp.105-115
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• 2001

When restoring a tomb of Songeun, Park Ik that damaged by typhoon in Kobubri, Chungdomyon, Mill Yang, Kyoung Nam in October 2000, a flower designed stone and fresco was discovered. Soneun Park Ik passed the civil service examination in Kongmin dynasty and was consecutively occupied Sajaedogam(司宰少監; regarded as one of second highest official rank). The fresco realistically depicts custom of ordinary people in end of Koryo, beginning of Chosun dynasty that it is considered as an important research material in study of ostumes. Therefore, this research intend to contribute to study of costumes in general public of Koryo that has insufficient study materials through study and analyze of costumes in the fresco with literature research. The number of figures in the fresco is presumed as 26-27 in all but clearly observed figures is only five women and four men and partly damaged figures are two men and two women. Women are worn relatively long yoo that can cover hip as an upper garment and Sang(裳) as trousers. The upper garments are all adjusted to right and has Jikryoung gik (straight collars) but there are strip attached collars or double collars among the Jikryoung gik. The length of Sang reaches to ankle and a waistband is trailed to below the knees. Most of hair are combed in the two sides and made a ring, moreover worn ceremonial coronet, which imply the ceremonial parade. Distinguished from the frescos of Koguryo, there are no women wearing Po(袍) also Yoo with Dae(帶) and without were coexisted. The mens costume is mainly appeared in two types. One(元) is Danryoungpo, Po with round collar and wearing a lozenge shaped crest with a brim, the other is Jikryoung Po, Po with straight collar, and wearing Ballib(拔笠), the latter is a costume of two man presumed as envoys. In the case of Danryoungpo, its length reached to ankle that shows decorum and in Jikryoungpo its length is below the knees that seem to offer practicality for envoys to guide a long journey. Both man and women are in decent cloth with a crest, which simple costume for ordinary people as a Chaksoopo that has comfortable length for movement and narrow sleeves. Songeun Park Ik actively worked under regency of One dynasty that influence of Mongol is seen in mans crest. There are some changes but including womens costume most of cloth are followed Korean traditional costume style.

• Economic and Environmental Geology
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• v.52 no.1
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• pp.91-106
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• 2019

The Donghachong tomb from Royal Tombs at Neungsanri is composed of 15 sides including the floor, and the most highly proportion of rock, two-mica granite, are used on the 7 sides (46.6%). Also, augen gneiss consist with another 3 sides (20.0%), and each of the remaining 3 sides (6.7%) are made up of granodiorite, gneissous granite and leucocratic granite, all of which were used to comprise the tabural stone. Meanwhile, the two floors of the burial chamber and the front chamber, are made up of brick-shaped amphibole schist (13.3%). These rocks are occurred in the Buyeo area and their provenance sites are located at the side of Guemgang river. The Memorial Stone for Liu Renyuen in Tang China is a typical augen gneiss showing distinct schistosity and augen texture. This rock has the same petrographic characteristics with the rocks used to build the Donghachong tomb, Sanjikri dolmens and Setapri pagoda in Buyeo. This augen gneiss is distributed from the Jeungsanri in Buyeo to Dukjiri in Gongju as a large scaled rock body, and where currently are the quarries to produce stone aggregates, garden and landscape rocks. Thus, it is highly probable that the site around Buyeo was the source area of augen gneisses since the Bronze Age. However, while augen gneiss is easier to form into shapes it should have disadvantages when it comes to painting on the tomb wall because of their petrographic characteristics of low strength and dark color. Therefore, it is very intriguing to investigate which transportation method the people of Baekje chose with consideration of the distance and terrain, efficiency and convenience.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.74-95
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• 2024

A vast body of inscribed bricks has been found connected to the mid-fourth-century Tomb of Jang Mui in Bongsan-gun, Hwanghae-do Province. After several inspections of the bricks conducted at the National Museum of Korea in 2023, these inscribed bricks were grouped into ten types. This paper interprets in detail the phrases written on these bricks from the Tomb of Jang Mui in an attempt to understand their characteristics and intentions. This detailed interpretation facilitates a rough understanding of how each phrase relates to the others and in what order the phrases would make full sentences. In terms of their contents, these inscribed bricks are presumed to have been produced to convey information about the construction of the tomb to viewers on the outside. In particular, they relate that a narrator referred to as a Jubu official named Jo was involved in the construction of the Tomb of Jang Mui. They can be compared to the inscribed bricks created in China during the Western Jin and Eastern Jin Dynasties that were produced not by family members of the tomb occupants, but by figures who participated in the construction of the tombs based on political and social connections to their occupants. During the mid-fourth century, funeral practices in the former lands of the Nangnang and Daebang Commanderies followed Chinese traditions with the permission of Goguryeo Kingdom. Many of the artifacts found inside these Chinese-style tombs and introduced to the public, including the murals, ink inscriptions, and inscribed bricks, are related to the desire of the family members of the tomb occupants to strengthen their bonds and to share emotions and goals with settler groups. The contents of the inscribed bricks discovered from the Tomb of Jang Mui can be observed in this context.

• Journal of the Korean Society of Costume
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• v.5
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• (The)Study of the Eastern Classic
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• no.34
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• pp.225-255
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• 2009

Few data on the epigraph from the Bal-Hae Dynasty have been reported so far. The present paper, based on an examination of the style of the epitaphic tombstones of Princess Jeong-Hye and Princess Jeong-Hyo, investigates the historical formation and characteristics of Balhae's epitaphic style and its influences on the posterior periods. The epitaphs from the Bal-Hae Dynasty have the following epigraphic characteristics and historical significances. First, Bal-Hae's epitaphs are similar to those from the Goguryeo Dynasty in the sense that they are angular in their form. Tombstones with angular head first appeared during the East Han period. During the Wi-Jin period, however, as tombstones were not allowed to be erected in front of the tomb, small-sized epitaphic tombstones were set up inside tombs. Typical tombstones from the Dang Dynasty had stone pole and square cover. Unlike those from the Dang and the Tong-Il Silla Dynasties, however, the epitaphs from Bal-Hae had angular head in their tombstone body. The Bal-Hae's angular headed tombstones are very likely to testify that Goguryeo's epitaphs, which features an influence from the Wi-Jin Nambuk-Jo period, in turn exerted an effect on those from the Bal-Hae Dynasty. Second, Bal-Hae's epitaphic tombstones are characterized by their hexagonal head,which were modified from the then typical pentagonal head by cutting out the sharp point. The hexagonal head, which has not been found in its neighboring countries during the same historical period, is peculiar to the epitaphic tombstones from the Bal-Hae Dynasty. Third, the edge lines and ornamental figures first appeared in Bal-Hae's epitaphic tombstones, as seen in those of Princess Jeong-Hye. In the fa?ade of the epitaphic tombstone, a carved line demarcates its rectangular body and trapezoidal head. Four faces of the body stonehave two parallel lines in their edges within which vignette was inscribed, and the trapezoidal head part was ornamented with flower figures. Fourth, Bal-Hae's epitaphic tombstone had an extensive influence on the posterior countries in its neighborhood. The epitaphic tombstones in the Bal-Hae style are very often found in those of the Goryeo Dynasty and the Yo Dynasty which were greatly influenced from Bal-Hae. The vestiges of Bal-Hae's epitaphic style are also found in those from the Song, the Geum, and the Won Dynasties.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.280-301
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• 2021

Chogak has been regarded as originating from the paintings decorating building elements. Various curved shape drawings that were first seen in the paintings of Goguryeo tomb murals evolved into the vine patterned Dancheong of Geuklakjeon in Bongjeongsa. Cheomcha of Geuklakjeon was chiseled with Yeonhwadusik relievo at the bottom on top of Dancheong, and this was the beginning of Cheomcha-Chogak. Also, Cheomcha, which was carved with a preliminary vine patterned Chogak in Daeungjeon in Bongjeongsa, opened the era of engraving Chogak directly on the surface of structural elements. Since then, vine patterned Chogak was a significant decoration technique for the Cheomcha of traditional wooden construction for a long time. Because Jeongjagak is a structure that was continuously built between the end of the Japanese invasion of Korea in 1592 and the late Joseon Dynasty, the transition of Cheomcha-Chogak over time can be seen through Jeongjagak architecture. The early Cheomcha-Chogak presents stems that climb up (Upbound-type) towards the headpiece on a column, while stems of Chogak later reversed direction to descend (Downbound-type) from the headpiece. This study examined the transition process and reasons for the change, with a focus on the findings above, and identified a new type of Chogak that is unrelated to the direction type and was adopted during the transition from Upbound-type to Downbound-type. The new type appeared when the Jeongjagaks for the Royal Tomb of Kyeongjo and those of the Injo were built, and it matches with the transitional period wherein lotus vanishes from Hwaban-Chogak. The study also inferred that the direction change of Cheomcha-Chogak stems was caused by the separation of vine patterned Chogak, carved with a two-stepped inner Ikgon, into both upward and downward from the headpiece, and this led to the changes that manifested as the inside of Choikgong being the Downbound-type Chogak and the variegated vine patterned Chogak of Choikgong affecting the direction of Cheomcha-Chogak. This is the follow-up study of "A Study on the Hwaban-Chogak of the Neungwon-Jeongjagak," a paper published in 2018, and is limited in n that Cheomcha, the focus of the research, is just one of the construction elements of Jeongjagak. The entirety ofChogak cannot be understood only by observing Cheomcha.