• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.1
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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.

• Journal of the Korean Society of Costume
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• v.13
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• pp.51-72
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• 1989

In this thesis, I examined the mental, philosophical aspects and the aesthetic sense of our ancestors through the study of the patterns pictured in the mural paintings of Koguryo dynasty's old tomb. To view the mode of construction in Koguryo dynasty from present angle, the detailed analysis of the patterns was done. As a result, I could fully understand the formative consciousness of our nation. 1. I defined the process of transition of the mural paintings by putting some 70 mural aintings into the form of a diagram. 2. The cultural aspects of the mural paintings in Koguryo dynasty were characterized by the fusion of our primitive religion and Buddhism, Confucianism and Taoism which were introduced from China. From this fact, I could inferred that Koguryo people were giving off the strong desire for the faith by means of the mural paintings. Further more I found that configuration of the patterns such as religious elements. 3. The types of the patterns were classified into four types, this is, geometric type, natural type, cultural type and abstract type, Among these types, geometric type and natural type were nonsymbolic in nature but became cultured and abstracted in course of time. cultural pattern and abstract pattern got the symbolic meaning in the long run. Of all the constitution of the patterns represented in the mural paintings such as repeat constitution, left and right symmetric constitution, top and bottom symmetric constitution and rotary symmetric constitution, the left and right symmetric constitution was mainly used and some monotony of left and right symmetric constitution. The analysis of motif which was got from the mode of the patterns showed that the mixing of symbolic and nonsymbolic patterns made it possible to regard the separate symbol as compound in nonsymbolic patterns and the combination between nonsymbolic patterns ensured the understanding of other patterns in certain cases. Our ancestors made great efforts to transmit certain meaning symbolically. Also to heighten the symbolism, they drew the meangless patterns firstly and then appended meaning to those patterns secondly. Furthermore, they offered the background to the patterns comblined with symbolism, so that meaning transmission was clarified at last. As mentioned above, the patterns shown in the mural paintings of Koguryo dynasty's old tomb were characterized by natural beauty. And natural beauty was found out clearly in the form and constitution of the patterns. Therefore I concluded that our nation's religious, philosophical tradition was acted on the patterns strongly.

• The Research Journal of the Costume Culture
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• v.9 no.2
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• pp.250-258
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• 2001

The objective of this study was to trace and to identify the meaning of jeobli接籬. This word is found as one of the early costume terminologies of China. later the jeobli was introduced to Koguryo. The jeobli of China and Koguryo were included in this study. Sources of information for this research were collected from the written records including visual information from ancient paintings and tumb paintings as well as figurins. The results of important findings and conclusions of this study can be summerized as follows: It was found that the jeobli 接籬 was synonymous with the cheobli 睫離. Also it appeared that it was called baikrosa. It revealed that the word jeobli had different meanings. first, ti was the name of a white hat which was worn by the people of Chin dynasty. It was a white felt hat made of white great plumes and feathers. Second, it was a dialect for maqna, a kind of a veil which was worn by the women of the Northern dynasty. That, it meant the chaikkun, a kind of knot coverings. The jeobli, a kind of a white felt hat, was also used by the people of Koguryo. The jeobli of Koguryo was made of the pig hair from Malgal. It is considered that he shape of this white hat seems to be a kind of conical hat. Also, it was fond that the jeobli as the meaning of chaik kun was worn by the people of Kogure. it was a small white square hat. It was worn by the nobles.

• Journal of the Korean Society of Food Culture
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• v.1 no.1
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• pp.31-43
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• 1986

There is the picture of four gods(四神圖) painted on the wall of old tomb of Koguryo dynasty in $4{\sim}5$ century. Four gods in this picture were Symbolized by four animals, tortoise, tiger, ryong which is imaginative large Snake, and bong hwang which is also imaginative birds. Those animals wese believed at that time as protecting geities against all of the haman disaster and evils. The peoples of Kojosun dynasty carried those animal charms, and painted or graved on some where of living environment such as furniture, utensils, tools, wall, ceiling, etc. They ate those animals as food or medicine to treatment of all disieses and to get rid of evils and to gain well-being. A lot of examples in historical records were cited and interrelated to above super stitions.

• Journal of the Korean Society of Food Culture
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• v.31 no.1
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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.

• 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.53 no.4
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• pp.131-148
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• 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.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.180-201
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• 2009

I scrutinized the idea that Parhae Marek was inherited from Kokuryo which was presented in "The study on the Marek" published in the journal of the Korean Society of Costume 55-5, and concluded the following results: 1. The Marek which Samguk sagi recorded is the red head scarf used for dancers who do Koguryo dance in the Babarian Music System in Tang dynasty. Since its original record Tong dian tells that Kokuryo performers' costumes then had strikingly changed and Quichi and GaoChang dancers also wore Marek, so the idea that Marek was originated from Koguryo should be reconsidered. 2. Considering the Yaksoori mural's indistinguishable condition as well as the same scenes from other Kokuryo mural paintings, I can't evidently tell that the first person who carries shouldering drum puts Marek on. 3. should be pronounced [Mal] for the meaning of a head scarf and its definition can't be limited only for the sash type. 4. Diverse historical data on head scarves deny the assumption that the sash type of hairband would have been succeeded from Kokuryo to the Parhae Marek. 5. The Marek of Princess Junghyo's mural painting can be an example that shows the costume of Tang influenced Parhae's. But the similarity in styles of costume between contemporary countries doesn't mean their reciprocal racial or political identity.

• 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.

• 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.