• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.164-172
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• 2008

Soochonri tombs are assumed to be of the Baekje Kingdom in the early 5th century. We have examined 12 artifacts and 24 textiles in the four tombs. Along with hemp textiles, silk and embroidery threads were found In the Soochonri tombs. Within the hemp textiles both hemp and ramie were made using s-twist threads and the thread count distribution is calculated to be $8.5{\sim}15.5/cm^2$. Taffeta, one of the silk, can be categorized in to four types. First, the plain woven silk was made with warp and weft of the same thickness. The rates of thread count are also similar. Secondly the warp and weft are of the same thickness but has more spaces between threads. Third, the type of warp and weft is different in thickness, the thicker thread woven in the same direction. Lastly, a textile was woven with spaces the same as the width of the reed mark in every two warps. There were five compound weave found. Among them one was made with non-twisted thread for warp and s-twist thread for weft. One plain braiding with apparent spaces between threads were found. All three of the twining were made with wefts thicker than warps, barely showing the warps as a result. Textiles of the Soochonri tombs are the oldest of the Baekje Kingdom studied by far and therefore important artifacts of the Baekje Kingdom. These textiles are similar to those found in the King Muryeong's Tomb and tombs of Gaya and Shilla.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.4
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• pp.105-116
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• 2021

Pillows are tools that humans have used for a long time to sleep or lie down and rest. It is bedding, and the oldest literature dealing with it is Volume 29 of 'GoryeoDogyeong', which describes embroidered pillows. The oldest relic is the queen's pillow (National Treasure No. 164) excavated from the tomb of King Muryeong, and is in the Gongju National Museum. This study attempts to investigate and reproduce the materials used in traditional pillows Yukgol pillows and pine nut pillows designs are based on literature and artifacts from the Joseon period to modern times. Regarding the research method, after reviewing literature and the relics of traditional pillows, the process of reproducing the traditional Yukgol pillow and the pine nut pillow production method were explained step by step. This study found the plain attitudes in the lives of people who used materials that could be easily gained from their daily lives in rural communities oriented to rice farming never recklessly threw out any piece of cloth or cotton and use it for pillow stuffing or pillow ends. Also, the sophisticated sense of aesthetics that you can see from the pine nut pillows, whose ends were made of remnants from making clothing are exquisitely similar to what was shown in patchwork previously. The biggest meaning of restoring traditional pillows was looking into traditional culture, particularly the ordinary people's living culture. It was very difficult because the researcher had to find materials that were difficult to obtain in this age, the making process was complex, and it took much time; however, it is significant in that the restoration of traditional pillows allows for the succession of tradition.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.56-70
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• 2022

Tombs No. 39 and No. 63 in Gyo-dong, Changnyeong, are unique in the Changnyeong area in that they do not have additional burials because they are hoenggu-style tombs with an entrance on the north side. This study tried to understand the nature and meaning of the two separate stone walls at the entrance of the tomb along with the burial process of the tomb. These two stone walls mark small tombs built independently within a large tomb, with stone wall No. 39 stone wall No. 3 (No.39-3) and No. 63 stone wall No. 3 (No. 63-3). Both units are located in the middle of the northern wall of the burial body part and share one wall with the burial body part wall stone. All animal fluids inside the stone wall were identified. In particular, it was estimated that at least three dogs were buried as a result of identification of animal fluids No. 63-3. Above all, these animals have their heads facing outward with their backs to the main occupants, and do not overlap in a limited space and are placed side by side. Changnyeong Gyo-dong No. 39-3 and 63-3 were created in the process of building the burial body, and although they are independent relics, they form a subordinate relationship in that they were built along the main burial within one tomb. In addition, it is coercive in that it is placed in an orderly manner according to a certain direction in a state that has not been dismantled after killing an animal. Therefore, It is understood to be the SHUNJANG of dogs. Studies on animal fluids excavated from tombs in the Three Kingdoms period are interpreted as animal stewardship, sacrificial collection, and animal sacrifice depending on their location, and this is known as a series of animal sacrifice rites, namely, animal stewardship and sacrifice. This recognition is based on material objectification of animals, such as food or sacrifices. However, Changnyeong Gyo-dong No. 39-3 and 63-3 are different in that they recognize animals as spiritual beings in the process of funeral rites and are closely related to the ideology that there is life after death. In addition, analysis of the location and directionality of the remains is also required from multiple angles. These two SHUNJANG correspond to the entrance to the tomb, and the location is the most open space at the entrance. The appearance of a dog looking outward, etc., can also be interpreted as the meaning of protecting the tombs and byeoksa. This appearance can be compared with the dog depicted in a mural in a Goguryeo tomb that reflects the ancient world's thought and stone figures excavated from the tomb of King Muryeong of Baekje, and it is also consistent with the meaning of the JINMYOSU protecting the ancient tombs. This suggests that a multifaceted study on animal fluid burial remains is needed in the future.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.254-269
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• 2020

The purpose of this study is to propose guidance for wall renewal that is appropriate for an ancient city wall through application of advanced research and theories in wall design. It is a streetscape improvement project which forms part of the "Ancient City Image Finding Project". Study methods consist of advanced research classification, wall design theory contemplation, and analysis of the significance of designated ancient city areas and the "Ancient City Image Finding Project" status. Based on these methods, case study candidates were selected, case status and problems were identified, and improvement proposals were analyzed by comparing various features. Advanced wall research was classified into six categories including analysis of wall characteristics; wall design principle applications; wall structure, color, shape, and application; modern reinterpretation; palace walls; and house, temple, and village walls. The wall is an element of the streetscape improvement component of the "Ancient City Image Finding Project", with the characteristic of providing preceding experience in visual and cognitive awareness than interior structure. Case candidates for ancient city wall improvement are based on the composition distribution of the special conservation district in each ancient city as well as the conservation promotion district. Ultimately, the surrounding village of Gongju-si Geumseong-Dong Songsanri-gil, adjacent to the Royal Tomb of King Muryeong, was selected as the candidate. The "Ancient City Image Finding Project" of the surrounding village of Gongju-si Geumseong-Dong Songsanri-gil began with new Hanok construction. However, wall maintenance did not begin concurrently with that new Hanok construction. Support and maintenance took place afterwards as an exterior maintenance project for roadside structures. If the Hanok and wall were evaluated and constructed at the same time, the wall would have been built in unison with the size and design of the Hanok. The layout of the main building and wall of the Hanok is deemed to be a structure that is closed tightly because of its spatial proximity and tall height. Songsan-ri-gil's wall design should create a calm, subtle, and peaceful atmosphere with shapes, colors, and materials that express ancient city characteristics, but it is in an awkward position due to its sharpness and narrowness. The cause of the problem at Gongju-si Geumseong-dong Songsanri-gil, the case candidate, is that it is lacking significantly in terms of the aesthetic factors that traditional walls should possess. First, aesthetic consciousness seems to have disappeared during the selection and application process of the wall's natural materials. Second, the level of completion in design and harmony is absent. Maintenance guidance after analyzing the cause of problems in ancient city wall maintenance at Gongju-si Geumseong-dong Songsanri-gil, the subject area of research, is as follows: First, the Hanok design and layout of the wall and main gate should be reviewed simultaneously. Second, the one-sided use of natural stone wall in the Hanok wall design should be reexamined. Third, a permanent system to coordinate the opinions of citizens and experts during the planning and design phases should be employed. Fourth and finally, the Hanok's individuality shall be collectivized and its value as a cultural asset representing the identity of the community shall be increased.