• Journal of architectural history
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• v.14 no.2 s.42
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• pp.57-69
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• 2005

A stylobate, part of the foundation for hardening soil below the floor, has been built with a variety of materials, such as stone, tile and brick, in several kinds of combined constructions of soil, stone, and brick. In particular, Baekje used a tile-piled stylobate that could not be found in Goguryeo and Silla counterparts, thus showing outstanding performance in the construction culture. Archeological excavations up to now evidence the stylobate played a role in building the magnificent structures or enhancing the decorative effects. It can be enough inferred that such features are reflected on dual footing stylobate, framed stylobate and tile-piled stylobate. Baekje had delivered its techniques for constructing stylobate to Silla from about the middle of 6th century. They can be traced down back from the dual stylobate that has been identified in Hwangryong-sa temple lastly built in the old site of Silla, those constructed with broken stones at Najeong, tile-piled stylobate of the mode of vertical-horizontal rows which had been established in Inwang-dong, Gyeongju, the capital of the kingdom, and a framed stylobate at Hall enshrining Buddha (Golden Hall) site of Gameun-sa temple site. Recently, relics of structures, including temple sites, are intermittently being unearthed in the old sites of Baekje and Silla. However, studies linking archeology with architecture can be rarely found up to now. It is, therefore, necessary that the relics should be correctly construed in archeological as well as architectural aspects. We expect that further studies can graft architectural insight into archeological analysis.

• Journal of architectural history
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• v.23 no.6
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• pp.47-54
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• 2014

Hwangrong Temple was the center of the Buddhist culture of Silla dynasty. It was built in the 14th year of King Jinheung in Silla dynasty, and completely burnt out when the Mongol Army invaded the Korean peninsula during the reign of King Gojong of Koryeo dynasty. 8-year excavation of the site from 1976 as part of the Gyeongju Tourism Comprehensive Plan revealed many things about the Hwangrongsaji. Recently, a book introduced 'Geumdongnanganpyeon' among relics found in the site, but omitted in the Excavation Report published at that time. Though 'Palgak Geumdongnanganpyeon' has numerical signs 六, 七(six, seven), there was no clear explanation of the signs. Thus, this paper examines it. We can guess, through the remaining iron fragment, that the side of Geumdongnanganpyeon is octagonal, and the width of the side S13 fragment belongs to is about 400mm. The overall form of the face is similar to the Geumdong Palgaktop stored in the Museum of Dongguk University, but, in detail, it is similar to the Zhuanlunzang Pavilion of Longxing Temple and the Sakyamuni Pagoda of Fogong Temple in China. And, numerical signs can be understand to designate the numbers of story and face. The reason why the number might indicate the number of story is that fragments which are presumed to be used for the same purpose contain different measurement values, and the basis of the concept of face can be found in efficiency of manufacturing and manufacturing techniques of artifacts of the time. The two aspects mentioned above cannot be confirmed because of not sufficient relics and related researches. But, the overall form may have been multi-story tower of at least two stories. If more studies in various fields are done in the future, it is expected that the original form will be recovered more accurately.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.36-67
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• 2000

Square-shaped moated burial precincts(方形周溝墓) can be classified into type I that has bridges only at the comers, type II that has bridges at the comers and sides, type III that has bridges only at the sides, type IV that is surrounded by the moat without bridges, type V that has its sides less than those of type I ~ V by 1 or 2, and type VI that has the round-shaped ground. But the time differences among the types are not known yet. For the burial appliances of square-shaped moated burial precincts, there are stone coffins, pit burials and jar burials. The major burial appliances situated in the mound are stone coffins and pit burials, and jar burials are subsidiary appliances that were buried at the shoulder part of the mound or at precincts. According to the case of Gwanchang-ri KM423, grave mounds, which arc closely related with the burial appliances, were built by heaping up the earth in and around the precinct as low as only enough to protect the burial appliances. Considering the relics unearthed in the burial compartment of KM437, the time when square-shaped moated burial precincts were formed is estimated to be the age when Songguk-ri type earthenware and clay stripes earthenware co-existed. It was the early Iron Age when ironware began to sp read in this country. Emerging first in that age, square-shaped moated burial precincts were presumably formed until around the end of BC or the beginning of AD, when KM404 and KM423, which were unearthed with plain earthenware, grey earthenware and ironware, were formed. When analyzing the form of small-sized graveyards in precincts, the unearthed relics and the locations, the people who formed square-shaped moated burial precincts were considered as those who had a culture comprising clay stripes earthenware, which appears newly in the Songguk-ri type earthenware of native, and ironware, and a settled agricultural society based on paddy fields and labor forces of family units.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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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.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.16-32
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• 2006

Perceived meaning of color uniquely forms and is being highlighted as an element of creative design in the modern design industry as well as traditional culture. It is necessary to compare the perceived meanings of color and clothing color of Korea and Japan in order to find out the model of Korea's original color. The purpose of this study Is to draw the results of examining the perceived meanings of color revealed in the culture, arts and clothing color of the both countries and comparing them depending on contemporary times. The scope of study is limited from the ancient times to modern times (about BC.IC-early20C). In the methodologies, the literature and the empirical study focus on both counturies' literature, including art history, ethnology, and the history of clothing; and their paintings and relics, which are all related to clothes. The perceived meaning of color of Korea was prominent with the beauty of nature and gorgeousness throughout the history. The colors were mostly white colors, light colors, and single colors such as obangsaek, which are high pure degree colors by which color is changed depending on darkness and lightness, while that of Japan featured clothing colors combining various colors and middle colors.

• Journal of Fashion Business
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• v.27 no.2
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• pp.1-25
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• 2023

Taq-i Bustan rock reliefs are relatively well preserved among Sassanid relics. They are considered concrete and empirically important materials for studying Sassanian culture. In these rock reliefs, inauguration of various kings and hunting scenes are depicted. Thus, kings' attire and life of the court could be discerned according to eras. The purpose of this study was to investigate Sassanian clothing styles of various social positions by analyzing their clothing depicted in rock reliefs and to improve comprehension of the culture of the Sassanian Dynasty. Methodically, literature studies and artifacts were analyzed in parallel. Data of these two insources were consolidated for comparison. Results of this study are as follows. Since the Sassanian Dynasty succeeded the Parthian Dynasty, the Parthian style of clothing pieces such as tunic and trousers appeared in their attire. Basic types of tunics and trousers did not vary according to social status or age. However, details showed differences in those aspects. In the early Sassanian Dynasty, the dressing style of Rome was adopted. Styles of tunic and trousers featured draperies with many wrinkles and shoes were worn instead of boots. Trousers were tied with laces at ankles and laces were decorated with round clasps, imitating the style used by Kushan kings to the east of Sasanians. External cultural elements were also present in costumes of the Sassanian Dynasty, which played a bridging role for cultural exchanges between Eastern and Western civilizations at the gateway of the Silk Road.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.24-41
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• 2020

The engraved line expression in metal crafts is a detailed technique of carving or decorating metal surfaces. This technique engraves a line using a tool on the surface of a metal craft. This technique was used extensively in articles made of various metal materials during the Goryeo Dynasty, and the range of patterns that could be expressed and the width of users was wide. In this paper, based on relics and literature, the concept of line representation of this engraving technique used in the metal crafts of the Goryeo Dynasty and the perceptions and terms of the Goryeo Dynasty were examined. In addition, the users engaged in this craft and the specific patterns and patterns of decoration were reviewed. Through these means, it was possible to confirm various aspects of a technique that was thought previously to involve just simple expression of lines using tools. In addition, through the literature, Geumseokmun Gate, and relics currently being transmitted, it was possible to confirm the utilization patterns of techniques used in various types of objects. Various uses have led to the combination with other metal craft techniques that were popular at the time, and while utilizing unique characteristics of the techniques, this maximized the molding of various patterns. In the meantime, it is true that the intaglio technique in metal crafts has not received much attention compared to the decoration techniques of other metal crafts, such as inlay, embossing, and openwork techniques in which decorative effects are maximized due to the recognition that the technique was used so widely in relics. However, the universality of the technique is premised on its wide use across all eras. As such, it was used in metal craft relics that reflect the various cultural characteristics of Korea and various cultural aspects that are currently passed down. On the one hand, technology has been passed down as a form of intangible heritage that embodies a longstanding craft culture which continues to the present in the fields of sculpture and intangible cultural properties. As such, the universality of Seongak contains many cultural meanings. In addition, the uniqueness of the technique is distinct, and it is deeply related to Goryeo, who was in charge of the use of technology and craftsmanship of the Joseon Dynasty and the metal craft technology that is currently handed down. I think research on future techniques should be continued in depth.

• Journal of Conservation Science
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• v.37 no.2
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• pp.120-134
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• 2021

A Woolen carpet from the late Joseon Dynasty was unearthed in the process of repairing Seongjeonggak in Changdeokgung. Since relics are rarer than documentary records, the woolen carpet is highly valued as a relics. It is presumed to have been woven in the late 19th or early 20th century because there is a record of repairing Seongjeonggak in 1907. In the carpet, a pattern is made by inserting colored yarn dyed yellow and red onto a reddish-purple ground weave. The selvage of the woolen carpet used cotton thread, and jute is used for the warp and weft of the ground weave. The colored patterns is made of wool in the form of loop pile. Cut piles may appear occasionally when the colored yarn changes, but are almost invisible from the surface because they are pressed tightly with a shuttered weft. Making carpets with jute and wool is thought to be influenced by the Brussels carpets of the mid-18th century. Furthermore, the woolen carpet is torn and the pattern is completely unclear; however, it is understandable that the pattern is partially repeated. Microscopic and Fourier transform-Infrared spectrometer(FT-IR) analyses were performed for the above investigation. To identify the dyes used in relics, we compared them with natural dyed fabric samples based on chromaticity measurements and Ultraviolet/Visible spectrophotometer(UV-Vis) analysis. These analyses revealed that the woolen carpet's dyed green yarn did not use indigo, and reddish-purple ground weave is estimated to have used Caesalpinia sappan.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.2
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• pp.165-178
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• 2012

This study researches the form of the Korean jacket point through relics from the Three Kingdoms period that have the traditional Korean style and grace of the Goryeo period as well as the form of the modern Korean jacket starting point. Several conclusions can be drawn from the Korean Image of the Korean jacket that can be classified into types expressed in the jacket style of modern fashion. Therefore, we will analyze traditional elements of Korean beauty through the "Korean image" on how to express it in modern fashion. The purpose of this study is to understand modern design creation and Korean culture. It is important to begin the world through the application of traditional elements to recognize Korean beauty as well as to utilize historical dress based on function and popularity to continue the effort.

• Journal of Fashion Business
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• v.12 no.6
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• pp.73-80
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• 2008

Since costume comprises organic substances, it hardly sustain to remain long, compared with other historic relics, and it requires some professionalism to preserve and maintain costume remains. Anyway, the fact that there is no professional costume curator working for museums in Korea, except for a few museums, suggests that importance of costume remains as cultural assets has yet to be fully recognized. In such circumstances, this study was aimed at analyzing the problems of costume remains collected at university museums in Seoul and thereupon, providing for some basic data conducive to the researches into costume remains to promote a better understanding and recognition of our own unique costume culture.