• Journal of Fashion Business
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• v.2 no.3
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• Proceedings of the Korea Contents Association Conference
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• 2011.05a
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• pp.235-236
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• 2011

아동에게 적합한 고구려 장기 게임 개발을 위해 Bruner의 EIS 이론을 근거로, 역사상 가장 강력한 힘의 나라였던 고구려 문화를 담은 캐릭터 8종을 개발하였다. 장기 게임은 아동의 집중력과 사고 발달에 유용하며 두뇌발달과 학습향상에 효과적이지만, 본격적인 장기 게임을 하기까지 장기말 종류, 장기말 움직이는 방법, 장기말 배치, 기본 전술 등 익혀야 할 요소가 많고 이것을 배우는 과정이 지루하며 어렵다. 따라서 말의 종류와 이동 방법을 흥미롭게 익힐 수 있도록 3D카드와 플래시 게임을 개발하였고, 캐릭터를 적용한 보드게임을 제작해 보았다.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.11-12
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• 2017

고구려 고분벽화는 유네스코 세계문화유산이지만 남북한의 정치적 이데올로기로 말미암아 지금은 현장 접근이 불가능하다. 이에 가상현실 기술을 이용, 실제와 같은 체험 콘텐츠로 제작하였다. 이것은 인터렉티브한 가상현실을 체험할 수 있도록 사용자가 자유자재로 공간을 걸어다닐 수 있는 워킹형 가상현실(Walking VR) 기술을 적용한 것이다. 이는 관람자가 HTC-Vive의 컨트롤러를 이용하여 가고자하는 고구려 고분속 여러 벽화를 자유자재로 선택 가능한 인터렉티브 체험도 가능한 디지털 헤리티지형 VR콘텐츠다.

• Journal of the Korean Home Economics Association
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• v.41 no.5
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• pp.193-203
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• 2003

Magoja is a jacket for men and women. Magoja was worn between the jacket, jogori and the coat durumagi; that is over the jacket and under the coat. In the 19th century, Daewon-kun, who was wearing maqua, was in China and he came back to Korea. So, it was believed that the origin of magoja was from maqua from Qing. But, there were differences between magoja and maqua in their design. Therefore, I researched the origin of magoja and tried to know the design and the method of wearing magoja in the Chosun dynasty. The results are as follows. The design of magoja, especially its collar, was different from Chinese maqua. As analyzed above, it is difficult to regard the origin of magoja as deriving from Daewon-kun's maqua, which he wore when he went to Qing. Magoja-style jacket can be found from many old pictures. The collar of those jacket, whose style was waonsam-git unlike the present-day magoja, is consistent with the collar of sagyusam or baeja. And this kind of git style had existed for a long period of time as already studied in bangryungbangbi. Furthermore, the origin of this kind of jacket dated back to the maeksu of the Sung Dynasty; maek meaning Koguryo, maeksu was understood to indicate the style of the Koguryo jacket of short sleeves for the convenience of horseback riding. Maeksu, which varied in its kind and style, had been used as the equestrian clothes in China and was assumed to be particularly put on widely during the Yuan and Sung Dynasties. Maeksu continued to exist as daegeumeui during the Ming Dynasty but, later called magua, it was worn more widely ding the Qing Dynasty of the Manchus. This kind of maeksu or magua was the jacket which could be put on the coat and this style of wearing it during the Chosun Dynasty could be confirmed by the pictures. Therefore, magoja is not the jacket which was all of sudden derived from Qing's magua but one of traditional Korean clothes of the northern provinces which had existed for a long period of time. And magoja seemed to be put on more widely during the latter part of the Chosun Dynasty because of the influence of Qing's magua.

• Journal of the Korean Society of Costume
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• v.60 no.7
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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.

• Journal of the Korean Society of Food Culture
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• v.2 no.2
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• pp.169-179
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• 1987

In the life style of the neolithic age, cooking and sleeping space was in one room dugout without differentiation of spaces, so to say one room system. Ro(a kind of primitive fire place) was used for both cooking and heating. However, in the early part of the Iron Age, the uses of Ro were separated into two major uses of cooking and heating. Especially, L-shaped Kudle(an unique under floor heating structure of Korea) was invented for the new system of heating, extending to Koguryo Period. The life style of Koguryo Dynasty could be seen through the mural paintings of tombs. For these mural paintings contain of cooking space(Kitchen), meat storage, and mill house drawing, we can recognize that houses were specialized many quaters according to their function. Also a kitchen fuel hole for preparing food was built without relation to L-shaped Kudle. But during Koryo Period, Kudle could be set up all over the room, the so-called Ondol(the unique Korean panel heating system) settled down. From this development of heating system, room could be adjacent to kitchen, and kitchen fuel hole and heating fuel hole be onething. This system was developed with variety, extending to Chosun Dynasty. In the period of Chosun Dynasty, a kitchen was made close to an Anbang(Woman's living room), and Anbangs Ondol was heated by the warmth of a cooking fireplace. Therefore Handae Puok, outer kitchen was used in summer. As for its storage space, it was seen that there were a pantry near the kitchen and a store house constructed as an independant building. In the latter, it was devided into a firewood storage, a Kimchi storage, and a rice storage, etc. Especially it is a unique feature that 'Handae-Duyju', an outer rice chest which keeps rice, was constructed as an isolated small building.

• Journal of Conservation Science
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• v.22
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• pp.99-108
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• 2008

This research aimed to provide a scientific methodology for removing white and black/brown coloured stains on the wall paintings of tombs of Jinpari No 1 and No 4. in the Democratic People's Republic of Korea. For the analysis of chemical composition of stains of the samples from the wall paintings, a microscope and SEM/EDX were used. The analysis confirmed that the fomula of white coloured stains should be $CaSO_4$ or $CaCO_3$ and the black/brown coloured stains should be $CaSO_4$ or $CaCO_3$ with soil deposition. Because of the difficulties of testing several cleaning solutions on sample patches of large area of the painting, the author considered a risk-free cleaning solution as being the most appropriate one, with Ammonium bicarbonate and Anion exchange resin showing satisfactory cleaning effect without visible side effects. For the removal of dense layer of stains, the research suggested that physical cleaning should be followed by applying a cleaning solution.

• Proceedings of the Korea Contents Association Conference
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• 2005.05a
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• pp.285-288
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• 2005

If the motion is universal over the differences between the ancient age and the modern age, and between primitiveness and civilization, It is required to be studied, which make it possible to discover the universally valid interpreting elements of various societies and cultural phenomena. The study on the motion, as a base of universal motion study on animation and character modelling is considered as a very important part. The sampled motion prototype was classified by the continuity and the synchronicity that is a basis of modular analysis and of motion flow. Koguryo's mural paintings in old tombs has been the heritage and the symbol of the nation's historical identity and pride in Korean history. Koguryo is obviously a part of Korean history, which are of Korean elements. Accordingly, the mural paintings that this study has explicated is the origin as well as the history of Korean visual animation history, while the analysed and restored motion prototype is a module of Korean motion with golden section proportion.

• Journal of the Korean Society of Clothing and Textiles
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• v.4 no.1_2
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• pp.49-56
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• 1980

Because of the scarcity of data, a study of costume during the Baikje period can be made imaginarily only with historical records as data. According to records, Baikje costume was almost the same as that of the Koguryo period. Consequently, we may well imagine Baikje costume by means of studying such materials as the mural paintings found in Koguryo tombs and the remains found in the royal tomb of Munyung. The basic form of costume of the Baikje period, therefore, might have been like this: Both male and female wore a kind of jacket(유: JEOGORI) and trousers(고: BAJI) with female-wearing skirt (상: CHIMA) thereon. Both men and women wore overcoat(포: DURUMAGI). They used to wear headdress(관모) and used leather shoes(화) Such a form of costume can be found in the costume of HANIWA(식륜) of Japan, which belonged to the costume of HOBOK (호복) of the northern area. Under the SHIMNEUK-PUM-KWAN-KE(십육품관계) system, that is, 16 grades of official ranks, officials of the Baikje dynasty wore clothes, coronets and belts, all of which differed from one another in colors, according to ranks. Such a system of Baikje might have influenced the KANI-JUNI-KAI (the 12-grade color discrimination of the coronet, 관위십이계) for the government officials of ancient Japan the Suiko period. For the study of such matters, I have tried to review the flow of the Korean culture into ancient Japan in the field of costume.

• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.486-492
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• 2000

This study is concerned with the jang il (　日). The purpose of this study was to trace the origin of jang il and to identify forms and the meaning of it. Significant findings and results of this research can be summerized as follows : It was found that jang il was a kind of brimmed hat with a round crown. People of Han Dynasty period wore jang il. It was favored by the people of Wei Chin (魏晉) Dynasty period of China and was a very popular hat in these periods. It was used by farmers and merchants. It was found that jang il was worn by a tribe of Kang(羌) in prehistorical period. It is considered that jang il of the Chinese, was derived from the people of Kang(羌). In the Tang and Five Dynasty periods women also wore jang il. Women from the upper class appeared used jang il. It appeared that Koguryoreans also used jang il : it was a kind of black wide brimmed hat with a round crown. which can be found in the tomb paintings of Yong Kang(龍崗). A horse rider wears jang il.