• 건축역사연구
• /
• 제11권3호
• /
• pp.69-86
• /
• 2002

Under the assumption that techniques of interior decoration often frequently used by people of the antique Greece and Rome became basis for scientific perspective in the period of Renaissance, this study analyzed characteristics of wall paintings excavated as relics of the antique Greece and Rome. The result of the study can be summarized as follows ; (1) Decorative wall paintings which were and have been excavated from relics of the antique Roman cities are characterized by single and multiple point techniques as their perspective. The two techniques were later adapted by people of the Baroque in the 16th century who recognized and expressed space through putting it into a certain framework. (2) Such antique wall paintings drawn using the technique of single point clearly indicate that the technique was not fully created in the period of Renaissance but developed by people of the antique Greece and Rome. Unlike its present form, the technique was unsophisticated and poor in many respects when first created. Since then, it has become manipulated as spatial recognition has been developed in various ways. (3) Illustrations on vase surfaces or wall-decorative painting panels of the antique Greece were painted mainly through the technique of multiple points which helped changes in the sense of space. The technique were later complied with by the theory of cubism which was emerged in the late 19th century. In other words, the technique was developed over times into a basis of the theory. (4) Some of the antique Roman and Greek wall paintings were drawn by using the method of single point perspective. When the height of the wall foundation, 90cm, as specified in [Ten Books of Architecture] by Vitrubius, the viewpoint for the method almost complied with the height of spectators' view, or 150cm. This height is almost same as the height of the view point employed by wall paintings in the Renaissance period.

• 건축역사연구
• /
• 제22권6호
• /
• pp.35-46
• /
• 2013

This study aims to examine the early use of Da-bo tap and their transformation by analyzing the various meanings of the term pagoda in Chinese translations, the Sanskrit version of the Lotus Sutra, as well as Dabotap in the Mogao Caves of Dunhuang. In addition, we aim to highlight changes in Dabotap usage, which started out as residential spaces, but transformed into burial spaces over time. The details can be summarized as follows. First, early Buddhist monuments were usually either pagodas serving as burial places for the dead or shrines that were not. A Dabotap is a type of pagoda enshrining the body of Prabhutaratna, and was initially used as a residential space, rather than a burial place for the dead. Second, the terms stupa and caitya are clearly distinguished from each other in the Sanskrit scriptures, and stupa is also further classified into dhatu, sarisa, and atmabhava based on the object being enshrined. In Gyeon-bo-tab-pum, the preconditions for caitya to transform into stupa is presented by explaining that worshipping the space enshrining the body of Prabhutaratna is worthy of the same status as the space enshrining sarira. Third, the Mogao Caves of Dunhuang had been depicted from the Western Wei of the Northern Dynasties until the time of the Yuan Dynasty. It was used as a residential space until the early Sui Dynasty, but was used as both residence and burial places until the Tang Dynasty when pagodas were first being constructed with wheel or circles forms on top, which then gradually changed into stupa (grave towers).

• 복식
• /
• 제53권4호
• /
• pp.131-148
• /
• 2003

Mural Painting of Koguryo Dynasty. root of Korean traditional pattern. has 5 types of pattern in its 24tombs: Fire pattern. Sun . Moon pattern, Flying angel pattern. Hill.Tree pattern, Holy animal bird Pattern. These patterns had developed specially in 3 regions that are Hwanghae-region, Pyongan-region, Jipan-region. from 4th-7th Century. A lot of fire pattern has found at Pyongan-region in 5th century. The ceiling right above 'Dori' frequently had the pattern. The pattern is organized in 'Kyoho' method. The sun.moon pattern was shown in Pyongan-region in 5th century. '3-leg bird'. representative of sun, and frog, representative of moon. were drawn in the pattern in 6th century, rabbit was added with frog in the pattern. Flying angel pattern had found most in Jipan region in 5th century. The pattern was not found in 4th century. Two types of the pattern are angels playing $$\mu$ical instruments and angels preying. The hill tree pattern was simple, antique, and immature in the beginning. the pattern had developed with real description as a landscape picture after the beginning. this pattern has been categorized as a landscape painting. Holy animal and bird patternn had placed in supporting rock between ceiling and floor with the mean of protection in after life These pattern, which were previously influenced by Chines culture, were developed with a base of Koguryo own tradition and supported establishment of a characterized Koguryo Cloture. This study will be a basic document for modern fashion industry of 21 century.

• 복식
• /
• 제25권
• /
• pp.183-199
• /
• 1995

Among many different approaches of study of history of Kokuryo clothing culture, this study attempted to understand the costume by including political , militarial , economical , cultural , and religious aspects of Kokuryo society. It also included pictures in mural tumbs and old studies in Kokuryo costume. Clothing culture related to political life clearly differenciated social status by restricting styles and colors of clothes according to peoples social status. Generally people in high social status wore clothes with detailed decorations invariety of colors, and also used more fabrics than people in low social status. Costume was also affected by military life style that needed to meet the vigorous physical activities. High rank worriors wore iron scaled shielded clothes with red decoration on it which identified different ranks of the worriors. Economy also contributed it role to affect the clothing styles in Kokuryo. Based on old studies of costume, this study focused on people's life styles that included hunting and weaving . Hunting clothes were differentiated by decorating wit feathers . Jowoguan(조우관) is one of the examples. Since weaving was a major economic power or factor, silk and flax were very popular. People even used those fabrics to pay tax. Regarding cultural aspect , this study emphasized on song and dance wear along with active wear. Song and dance wear specially decorated with poka dots, however men and women wear were claryly distinguished. Unlike other clothes that were restricted in colors and styles, song and dance wear were decorated in variety of colors. Lastly this study presents religious aspects of Kokuryo costume . Monks wore black clothing (내의) that was influenced from China and the Western Regions(서역). To emphasize their religious power, Gods in the pictures of mural tumbs wore clothes with wings and feathers. God of fire and agriculture wore simple dresses without much decorations which represented simple life style of working class.

• 자연과학논문집
• /
• 제9권1호
• /
• pp.153-168
• /
• 1997

본 연구는 우리 나라 여성 머리 장신구의 시대적 흐름에 따른 그 변천 과정을 고찰하고 머리 장신구가 각 개인의 외모에 뚜렷한 분위기를 갖게 하고 개성을 표현케 하는 이상적 매체, 즉 조형예술의 한 형태로 인식하여 머리 장신구의 조형미를 탐구하는데 그 목적을 두고자 한다. 연구 방법으로는 문헌 자료를 통하여 고찰하였고, 고분 벽화, 정기 간행물, 그리고 학위논문 등을 참조하였다. 연구 내용으로는 우리 나라 고대 여성의 머리 장신구의 기원 및 변천 과정을 살펴보았고, 근대 여성의 머리 형태에 따른 머리 장신구의 조형미를 종류와 형태, 재료, 문양으로 분류하여 각기 그 특성을 파악하였다. 여성의 머리 장신구에 대한 관심은 현대에 와서도 여전하며, 고대에서 근대에 이르기까지의 머리 장신구 디자인의 조형미를 살펴봄으로써 우리 나라의 전통적인 형태와 문양을 반영할 수 있는 머리 장신구 디자인의 개발과 우리 나라의 독특한 재료를 사용하여 기능성과 미적인 측면을 공유한 현대적인 디자인을 고안하는데 기여하고자 한다.

• 디자인학연구
• /
• 제13권2호
• /
• pp.45-53
• /
• 2000

일반적으로 모든 조형예술에 있어서 어떤 조형예술가든지 그의 작품에서 어떤 요소의 색채에 대해서 보다 높은 확률을 줄기 위해서 색상이나 채도의 대비를 주어서 상대적인 확률의 안배를 주관적으로 설정한 후에 기계적으로 안배한다고 볼 수 있다. 또한 이제까지의 모든 디자인영역에 있어서 조형구조에 대한 분석 역시 그 디자인조형물에 대한 해석자의 감성과 직관, 경험을 바탕으로 한 주관적이고 정성적인 방법에 의해서 행해지고 있다고 볼 수 있는데, 색체구조에 대한 분석 역시 마찬가지였다고 할 수 있다. 따라서 본 연국에서는 형태와 색채지각 그리고 정보일론(information/communication theory)을 기본 배경으로 한 정량적인 정보분석을 위해서 연구 개발된 '색채구조 분석모형'을 모던디자인의 분석제품으로 선정된 차쉬니크의 도자접시와 포스트모던 디자인의 멜처트의 벽화를 선정하고, 적용해서 색채구조에 대한 객관적인 정량분석을 하여서 모던과 포스트모던 다자인에 대한 양식적인 특성을 비교 및 제시하고, 색채구조분석의 또 다른 방법인 정량분석모형을 중심으로 해서 그 분석절차와 방법을 시도했다는데 본 연구의 의의가 있다 하겠다.

• 건축역사연구
• /
• 제6권3호
• /
• pp.129-143
• /
• 1997

The perspective representation and its effect that appeared in the tombs and mural paintings of koguryo are summarized as follows: First, The inside structure of the tombs is likely to show the deepness effect, placing each function in the front and both sides centering around the mane pillars and creating the boundaries and the spaces that have various visibility between the inside and outside spaces of the structure just like a traditional Korean house shows. In addition, The deepness effect is emphasized by suggesting that the spaces are countinued with a storage attached behind the main house or by forming the level and deployment in a narrow space like the scene that a large array is looked out from the main house. Second, The deepness effect is expressed by making the form of ceiling turn to a vertical space of an ascending image, constructing it just as the lotus lamp ceiling of a wooden architecture or drawing it just like the imaginary heavenly world with the sun the moon and mythical fairies and animals spread in it. Thried, The perspective effect is disclosed by drawing the mural pictures in an equally set bird's-eye view without regard to the disfance proportion according to the conceptual visualization which is not a visual penetration, adopting the multiple view points and moving view points that are moving around as an important manner of seeing. Fourth, The deepness effect is emphasized through the scene of changing spaces when they are looked out far or looked into depending on a viewpoint of the daily life by forming the fromes of paintings that we made up with actual pillars, Du Gong, crossbeams or that are painted in most tombs. Fifth, The rich spatial senses are reflected by originating the characters of the three directions, level, deployment and ascending. An example which can support the conclusion of this study can be given here. that is, the construction ground plan of a dwelling house of a nobleman at the end of Koguryo as a remain which was excavated at Dongdae Ja in Jip An.

• 한국의상디자인학회지
• /
• 제7권3호
• /
• pp.95-112
• /
• 2005

Hair styles, dresses and their ornaments are basic measures that show the trend of the times, the people and their life in both Eastern and Western societies. The history of a country could start or be extinguished at any time, but life goes on. Koguryo was founded around Anno Domini and fell at 668 A. D. What was Koguryo people like? How was their hair style and costume? This study aims to respond those questions. The Koguryo ancient mural paintings can be broadly divided into the Jip-An region and the Pyon-Yang region. Among the paintings found, that in the An-Ak 3rd ancient tomb at the Pyon-Yang region is the biggest and the most splendid. It is a figure genre painting, which contains a kitchen, a rice mill, a stable, a barn, a garage, etc. Those places illustrate the way of life at the time. The painting also comprises a man with a crown, who is seen as the king and owner of this tomb. The woman with a vertically designed hair style is perceived as the queen. A highly guarded and decorated royal parade is also presented in detail. The hair styles and costume evidence in the An-Ak 3rd ancient tomb are not seen in the paintings of the Jip-An region. This study inquires into the differences between the Pyon-Yang and lip-An regions through the history and the culture of those areas. Nevertheless, it could prove tentative to confirm the owner of the An-Ak 3rd ancient tomb with the only evidence of the words found in the wall of the tomb. It is the author's intention to study and analyse further.

• 한국우주과학회:학술대회논문집(한국우주과학회보)
• /
• 한국우주과학회 2009년도 한국우주과학회보 제18권2호
• /
• pp.31.3-31.3
• /
• 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.

• 복식
• /
• 제55권1호
• /
• pp.113-128
• /
• 2005

To find our own individuality, there must be an active study on jeogori which is an unexplored field. Therefore, the purpose of this study is to consider artistic beauty and predominance of jeogori and recognize it as a precious culture, and also encourage interest about traditions. The range of this study is ancient times to Chosun dynasty, and in this study which will be the first part, the range is till the era of the Three Kingdoms. The study about jeogori is based on mural paintings of Goguryeo burial mounds, clay dolls and remains during Shilla, Beakjae, and United-shilla era. The contents of this study is 1. research the origin of jeogori's detail structures and changes of the form, 2. analyze the form and structure of the jeogori in each era, and therefore 3. find the predominance of Goguryeo costume by considering functional and design aspects. Therefore the conclusion of this study about the era of the Three Kingdoms are First, jeogori of the three kingdom era were developed from ancient times caftan style which Korea, China and Japan wore all together. Second, the structure of the jeogori during the Three Kingdom are ryeongeum, gil, somae and seon. Third, there is a special line that starts from the neckline and ends at the hem line which should be called ryeongeum in my opinion. Forth, while researching Goguryeo murals there were both left and right sided open jeogori. therefore, I would like to set up a new theory that during the ancient times to Three Kingdom era, not did China's clothing effected the Korean costume but the costume in east asia shared their forms all together.