• 보존과학연구
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• 통권20호
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• pp.175-206
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• 1999

In 1972, the mural painting of Kuknakjon, which is National Treasure No. 15, at Pongjongsa was taken to pieces. From 1999. 9. 8 to 1999. 9. 15,we were precisely investigated with infrared vidicon television, video camera and so forth. The result of investigation shows that contents of the mural painting consisted of paintings of flowers and birds, paintings of Taoist hermits with supernatural powers and old historic figure paintings (In the investigated mural paintings, there were paintings about pheasant or magpie on splendid peony, figures such as Lee tae baek(이태백) and Baek lakchon(백악천) known as old chinese poets, Chang yang(장량) and Hwangsok kong(황석공) known as old historic figures and Paebok(백복), and Choksongja(적송자) known as Taoist hermits.)It is noted that the mural painting was under the influence of the later Choson culture included Taoistic and folk artistic than buddhistic contents such as painting of Bodhisattva, Arhat and apsara. Later, each mural painting will be more investigated in respect of Buddhism art historic value, and we'll make conservative treatment plan based on its result.

• 한국의상디자인학회지
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• 제7권1호
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• pp.15-31
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• 2005

Suhainmyuldo(수하인물도) is a kind of picture which express a person under the tree and is known to be transmitted from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini(=Iygsha), the fairy of tree, in India of from the 'Tree of Life' in W. Asia, and they had in fluenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way. For example, Jookrimchilhundo(죽림칠현도: seven wise men in bamboo forest), during Six Dynasty. The tree of life(arbor vitae, lignum viate), the origin of the Painting of figure under a tree(수하인물도), was spreaded in several regions around the center of Mesopotamia early, and them transmitted to Sasan dynasty of Persia, even to Islam, Byzantine, Romanesque, ancient East Asia. The mural painting found in the 4th Tongu Ogoe tomb, which was created after the 5th Tongu Ogoe tomb, used Obangsaek more than the 5th tomb painting did. (The term Obansaek refers to the five Korean traditional colors consisted of yellow, blue, white, red and black) The mural painting on the 4th Ogoe tomb employed distinct technique to depict an object in a certain color by painting the surroundings with different primary colors, making the painting look more exotic and mysterious.

• 한국식생활문화학회지
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• 제30권5호
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• pp.596-610
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• 2015

This study is on the alcohol beverage utensils represented on the Chinese tomb mural paintings of Song, Liao, Jin, and Yuan those countries had foreign exchange with Koryo Dynasty. These mural paintings are distributed in the areas such as Hebei, Henan, Inner mongolia, Shanxi, Shaanxi, Peijing. etc. The Alcohol beverage vessels were classified mainly into storage vessel, pouring vessel, drinking vessel and ladles according to the purpose. The storage vessels of Song, Liao and Jin were called Jiuping, Jingping, Jiuzun as well as Meiping. Pouring vessels are basically one set of Zhuzi, Wenwan and Jiuzhu, or Zhuhu and Zhuwan. On the mural paintings of Yuan Dynasty, Meiping as storage vessels disappear, and a variety of shapes of pouring vessels such as Mayu and Yuhuchunping appear. This trend indirectly indicates the new arrival of distilled liquor, which seems to have affected transition of the alcohol beverage utensils.

• 복식
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• 제60권7호
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• pp.117-130
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• 2010

The four walls of mural paintings in Afrasiab, Samarkand, have discovered: the indian-concept east wall, the west with the paintings of envoys from a number of countries bringing in King's letters or gifts, the south describing traditional ceremony celebrating the new year, the north with a picture of a Chinese princess on board beside hunting scenes. Overall, Sogdians in Afrasiab mural paintings of 7th century had following costume codes: a very short haircut or the Turkic queue, a rather-narrow-sleeved caftan with round-neck, a belt and boots. The west wall showed various costume style of a set of envoys from countries. First, a Turkic envoy had 3-6 rows of long plaits, wearing a caftan with two lapels and a belt - interestingly, Sogdian and Turkic nobles didn't wear pochettes. Second, a Chaganiyan had a hairband on his short hair, and his colorful round-neck caftan is decorated with animal-patterned medallions and a golden belt. Third, a Chach wore a jewelled hairband, putting gaiters on his pants. Forth, a Chinese was in putou with a round-neck caftan, and with a belt and sword around his waist. Lastly, also appeared a Koguryo envoy in white putou with a double-bird-feathered crown on top, wearing a long-sleeved yellow v-neck top, a belt, narrow-cuffed pants and boots. Identical to the Sogdian statues excavated in various regions of China are the appearance of big eyes and nose -similar to the warrior stone in Korea- a hairband, and a pochette down from the waist line. During this period, white and red were considered as prevailing colors for clothing: red and yellow among Turks. The costumes of characters in Afrasiab mural paintings were preferably made with the animal-patterned, sophiscated samite Zandanachi of Sogdiana.

• 한국식생활문화학회지
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• 제30권6호
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• pp.736-749
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• 2015

The present study addresses the tea utensils and tea drinking methods seen in tomb mural paintings of Song, Liao, Jin, and Yuan, which were Koryo's foreign exchange countries. The paintings illustrate the pointing tea method, which was popular during dynasty times. Tea utensils observed in the paintings include a tea mill, mill stone, and tea pestle necessary for making cake tea into powder. The tea stove and boiling bottle are depicted as being required to boil water. Some mural works vividly depict how a tea drinker pours hot water from a boiling bottle into a cup with a stand, mixes it with a tea spoon, and whisks tea powder for foaming with a tea whisk. The tea drinking method of the Southern race Han is also similarly described in the tomb mural paintings of Liao, Jin, and Yuan from Northern nomads. The distribution of tea culture had an enormous influence on the development of tea utensil manufacturing methods. The significance of this study is that these findings can be used as basic data to provide food culture insights into Koryo celadon tea utensils.

• 한국콘텐츠학회논문지
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• 제18권10호
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• pp.608-617
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• 2018

기존 게임기라고 불리던 Microsoft X-box, SONY Playstation, Nintendo 등에서 PC로 게임 시장이 전환되어지고, 최근에는 모바일 기기의 성능이 고사양화 됨에 따라서 모바일 게임시장의 성장세가 높아지고 있다. 게임시장의 확산은 전 세계적인 추세이고, 게임 소재의 발굴은 게임회사에게 많은 고민을 주고 있다. 애니메이션과 게임의 종주국이라고 불리는 일본은 전통문화 콘텐츠를 이용하여 많은 캐릭터와 게임 스토리 제작에 활용하고 있으며, 후발 주자인 중국 역시 중국의 전통문화를 이용한 게임 콘텐츠 제작 소재 발굴에 노력하고 있다. 연구대상은 중국 온라인 시장에서 롤 플레잉 게임으로 성공을 거둔 대표적인 게임으로 당시대의 복식에서 부터 벽화에 나타난 당 시대의 모습을 게임 속에 가상공간으로 재현함으로서 게임사용자들에게 전통문화를 가상체험하게 하였다. 본 연구에서는 중국 문화유산인 돈황 막고굴의 벽화에 나타난 불교경전의 이야기를 소재로 게임화 한 <천녀유혼2>에 대한 분석을 하고자 한다.

• 한국식생활문화학회지
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• 제31권1호
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• pp.51-63
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• 2016

The aim of this study was to investigate food culture represented by the grain yard, water well, kitchen, and meat storage space which were depicted in the mural painting of An-Ak tomb No. 3. The mural paintings of An-Ak tomb No. 3 were compared with those of ancient Chinese tombs before the 4th century in order to understand their characteristics. Above all, the tomb murals describe the form and function of the stove (buttumak) as well as the cuisine using the cauldron (sot) and steamer (siru) in a very interesting manner. The meat storage space of An-Ak tomb No. 3 shows whole carcasses of animals such as roe deer, dog, and pig. However, Chinese murals show that while small animals such as soft-shelled turtle, fish, chicken, duck, pheasant, rabbit, etc. were stored as whole carcasses without being cut into pieces, large animals such as cows and pigs were slaughtered and each piece of their carcasses such as the head, thigh, meat loaf, and cardiopulmonary part was separately depicted. These tomb murals vividly describe the food culture of Koguryo and China before the 4th century.

• 패션비즈니스
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• 제10권3호
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• pp.54-68
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• 2006

Suhainmyuldo (樹下人物圖) is a type of picture which expresses a person under the tree and is known to be brought to the Korean Peninsula from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini (or Iygsha), the fairy of tree, in India and the 'Tree of Life' in Western Asia which influenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way; for example, Jookrimchilhundo (竹林七賢圖: seven wise men in bamboo forest) in the Six Dynasty. There are only two items of female dress and its ornament from the 4th to 6th century Suhainmyuldo of the Goguryeo ancient tomb mural: one from the Jangchun Tomb No. 1 in which a female figure is portrayed as a part of living genre painting and the other from the Anahk Tomb No. 1 with seven female figures in a painting which is one of the earliest Suhainmyuldos, presumably from the 4th century. These two paintings must be considered in parallel with the origin of Suhainmyuldo. The mountain wizard's dress and Men's dress and its ornament in Suhainmyuldo from the 4th to the late 6th century Goguryeo ancient tomb is mostly joint adjust in which its collar is connected by a line and almost all the wizards are wearing Sang (upper garment). Most mountain wizards are wearing black feather shaped jackets and upper garments. One noticeable observation is that the mountain wizards of Mooyongchong, Tongu Ohgoibun Nos. 4 and 5 are completely different from one another in terms of ways to dress each wizard's official hats and shoes.

• 한국의상디자인학회지
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• 제9권1호
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• pp.51-69
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• 2007

Mu-Guan(武冠) is a headgear of northern nomadic people's costume, Ho-Bok(胡服). It became a part of Chinese(中原) Costume through the adoption of Ho-Bok(胡服) by King Muryong(武寧王) of Kingdom of Cho(趙). Chinese(中原人) did not use it as the formal costume of high class but the Costume military or low-level classes because Chinese(中原人) reguad it as a practical costume only for low-level classes. In this process, Mu-Guan(武冠) and it's clothes had got changed. It became high in shape by an influence Hsien-pi(鮮卑族)'s headgear and became generous in it's going with clothes for Chinese(中原) Costume. It needs to attend that Mu-Guan(武冠) could be found in Koguryo(高句麗)'s mural paintings. Mu-Guan(武冠) of Koguryo(高句麗) had kept the same pattern from middle of 4C to late of 5C. Actually Koguryo(高句麗)'s Mu-Guan(武冠) was similar with Han(漢) dynasty's, but It was quite different from Qin(晉) or Wei(北魏) dynasty's which belong to same period with Koguryo(高句麗)'s. It is possible to guess at Koguryo(高句麗) advanced Mu-Guan(武冠) as their own. Koguryo(高句麗) could be aware of 'Changed Mu-Guan(武冠)'. Because there are frequent diplomatic event between Koguryo(高句麗) and Chiese Dynasties, Barbarian Dynasties. Moreover the guess have persuasion by the existence of 'Changed Mu-Guan(武冠)'in Jee-an(集安) district's mural painting as a Costume of holy person. In brief, It could be noticed that Koguryo(高句麗)'s Mu-Guan(武冠) is distinguished from Chinese and Barbarian dynasties' and Koguryo(高句麗) advanced Mu-Guan(武冠) in their own style.

• 헤리티지:역사와 과학
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• 제53권2호
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• pp.64-87
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• 2020

중국의 돈황 막고굴 벽화 등 서북지방에서 처음 사용된 copper trihydroxychloride(아타카마이트, 파라타카마이트, 보탈라카이트 등)는 고대부터 동록, 녹염, 염록으로 알려져 왔으며, 중국에서는 석록과 함께 중요 녹색 안료로 사용되어 왔다. 처음에는 천연 광물인 녹염동광이 사용되었지만 5대 이후에는 합성 copper trihydroxychloride가 주로 사용되었다. 중국 문헌에는 동록, 녹염, 염록은 구리 분말, 광명염(염화나트륨), 요사(염화암모늄)을 반응시켜 만드는 것으로 기록되어 있으며, 이렇게 제조된 물질은 copper trihydroxychloride로 분석되었다. 한국에서는 고려시대까지의 회화에서는 발견되지 않았지만, 조선시대 회화(초상화, 산수화, 기록화, 장식화, 불화, 무속화 등)와 건축물 단청의 녹색 안료 분석에서 석록과 함께 중요 녹색 안료로써 사용되었음이 밝혀졌다. 특히 불화, 무속화, 단청, 기타 채색 유물에서는 석록보다 사용 빈도가 높았다. 조선시대에서 사용된 copper trihydroxychloride 안료는 일부 회화의 녹색 안료 분석에서 합성 copper trihydroxychloride가 확인되었지만, 나머지 회화 등의 분석에서는 합성 안료인지 천연 안료인지는 불명확하였다. 문헌과 유물 분석을 통해 조선에서 사용된 copper trihydroxychloride의 안료명은 진한 녹색인 하엽으로 판단되며, 옅은 녹색의 삼록과 함께 주로 사용되었다. 하엽은 조선초(15세기) 중국에서 배워와 처음으로 제조되어 19세기 말까지 계속 제조되었으며, 중국으로부터 수입품도 사용된 것으로 보인다. 중국의 채색 유물의 합성 copper trihydroxychloride 안료와 조선의 합성 copper trihydroxychloride의 입자 특성(어두운 코어를 가진 원형 또는 타원형 입자)이 비슷하였다. 따라서 한국과 중국의 합성 copper trihydroxychloride 안료는 유사한 방법으로 제조된 것으로 추정된다.