• 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.

• The Research Journal of the Costume Culture
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• v.3 no.1
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• pp.1-15
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• 1995

This study is concerned with the julpoong of Koguryo. The meaning, form, structure, user, the origin of the word the julpoong were examined. The pien of he ancient China and the julpoong of Koguryo were examined. The result of the analysis of this study is as follows. The Chinese and the people of Koguryo used the meanings of the julpoong differently : the Chinese referred the julpoong to the conical hat with the seams including one seam on it, while the people of Koguryo called the julpoong as the conical hat with seams excluding one seam on it. the people of Koguryo called the julpoong with one seam as the chack . The julpoong was used by all people of Koguryo : the government officials, envoys, and the commoners wore it. The word julpoong of Koguryo was derived from dulband, dulband, dubend, dolband of Persians. the word julpoong is correspondent with the above the persian words. The julpoong of Koguryo word was transliteration of dulband(dulband, dulbend, dolband) meaning turban or sash. The hat called chack by the people of 고구려 was the conical hat with one sea and their meaning of he chack was different from the meaning of the chack of the Chinese. The julpoong a kind of conical hat, was called by the pine by the ancient Chinese.

• The Research Journal of the Costume Culture
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• v.7 no.2
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• pp.205-210
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• 1999

This study is concerned with the costumes of musicians and dancers of the Three Kingdoms recorded in Sam Kuk Sa Ki(三國史記). Costume names of musicians and dancers of Silla, Koguryo and Backje were traced and examined for this research. Results of this study can be summerized as follows : 1. head gears of entertainers of the Three Kingdoms were different from one another. 2. Wide sleeved robes were worn by the entertainers of the Three Kingdoms ; however, entertainers of Silla and dancers of Backje wore purple robes whereas entertainers of Koguryo wore yellow robes. 3. Belts of the entertainers of Silla wore belts, made of red leather and decorated with gilt ornaments while the entertainers of Koguryo wore belts made of purple ra. 4. Entertainers of both silla and Koguryo wore black leather boots where as dancers of Backje wore leather shoes.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.95-112
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• 2005

Hair styles, dresses and their ornaments are basic measures that show the trend of the times, the people and their life in both Eastern and Western societies. The history of a country could start or be extinguished at any time, but life goes on. Koguryo was founded around Anno Domini and fell at 668 A. D. What was Koguryo people like? How was their hair style and costume? This study aims to respond those questions. The Koguryo ancient mural paintings can be broadly divided into the Jip-An region and the Pyon-Yang region. Among the paintings found, that in the An-Ak 3rd ancient tomb at the Pyon-Yang region is the biggest and the most splendid. It is a figure genre painting, which contains a kitchen, a rice mill, a stable, a barn, a garage, etc. Those places illustrate the way of life at the time. The painting also comprises a man with a crown, who is seen as the king and owner of this tomb. The woman with a vertically designed hair style is perceived as the queen. A highly guarded and decorated royal parade is also presented in detail. The hair styles and costume evidence in the An-Ak 3rd ancient tomb are not seen in the paintings of the Jip-An region. This study inquires into the differences between the Pyon-Yang and lip-An regions through the history and the culture of those areas. Nevertheless, it could prove tentative to confirm the owner of the An-Ak 3rd ancient tomb with the only evidence of the words found in the wall of the tomb. It is the author's intention to study and analyse further.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.42-56
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• 2006

The purpose of this study is to review the literatures and the wall paintings of the ancient tombs of Koguryo in an effort to try to understand the characteristics of the culture of dyeing in Koguryo. The research findings follow: 1. The colors that were in vogue in Koguryo are five cardinal colors (red, blue, white, black, and yellow) and compound colors, like purple and green. Those colors were used in some or all parts of the clothing and even on some parts of the body. 2. Some clothing of Koguryo as shown in the wall paintings were made with a single and solid color by dip dyeing method. But the majority of the clothing had a variety of patterns. Among the patterns, the geometrical dot pattern took the majority. 3. The dyeing techniques used in Koguryo were printing, yarn dyeing, embroidery, wax resist dyeing, drawing and painting. The development of yarn dyeing method, weaving with silk-threads dyed in various colors, enabled to produce Geum fabrics, which were used for the upper classes' clothing. 4. The esthetic features represented in the colors of Koguryo include the beauty of contrast coloring, preference for red, preference for geometrical patterns, and the harmony of yin and yang.

• Journal of the Korean Society of Costume
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• v.55 no.2 s.92
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• pp.82-91
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• 2005

The purpose of this study is to analyze the style of trousers of Koguryo(高句麗). Trousers of Koguryo were called Go(袴: trousers) and those had various forms according to the shape of gusset(dang, 糖), width and length of the trousers. Commonly the trousers that had worn by Koguryo people had gausset in those bottom not to be shown hip. The gausset was cut triangle or square so if a person wear the trouser with the triangular gausset, the trouser has a pointed hip. Sometimes the trousers had non pointed hips were dicovered in the wall-paintings of the Koguryo tombs, they are thought the trousers that had no gaussets or square one. And also there were another trousers that had wide/narrow legs and long/short legs. Trousers of wide legs were called Gwango(寬袴) and narrow legs Sego(細袴). Gwango(寬袴) grew wider over time and in the late age, the trousers were called Daegugo(大口袴) with wide ends were worn. Trousers were also decorated elaborately with patches on the edges, leg ties, vents, etc.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.87-95
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• 2006

This is a study regarding the development of Cultural Products with Applied Koguryo Wadang Patterns. The objective of this study is in developing unique Cultural Products which combine traditional Korean images with modern feel by utilizing Koguryo Wadang patterns. The among Korean traditional patterns which implicit the sense of beauty and modeling, chose and investigated the Wadang patterns of the Koguryo. And from it, studied about the originality and characteristics of the Koguryo Wadang patterns. In this characteristics of the Wadang pattern, the representative lotus design pattern was based and reorganized to fine the probability of the modern expression using traditional patterns. After design plans were made for each works, natural dyes were used to dye(dip dyeing, printing) the fabrics(cotton:Kwang-mok) by theme. Approximately 16 pieces of Cultural Products that can be used in daily life were created using Koguryo Wadang patterns, including Traffic or credit card cases, Name card cases, Pouches, CD cases, Cushions, Bags, Purses, Vest, Muffler. In addition, the increased quality of the products will be a competitive edge in the world market where products compete with no national bounds.

• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.95-111
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• 2001

The purpose of this study is to analyze the costumes of the master in Yuantaizi(원대자) tumulus murals and to examine the relation to the costumes of Koguryo(고구려). The Master appeared in Yuantaizi Tumulus Murals wear Wuguan(무관), Pingshangze(평상장) and Pao(포) These costumes were used as chaofu(조복) by Han race(한족) at that time. It is believed that Yuantaizi tumulus belongs to a tomb of Qian Yan(전연). So we can conclude that Qian Yan accepted costume systems of Han race. And similar costumes appear in Tumulus Murals of Koguryo built around Pyungyang(평양) and Anak(안악) in 4∼5 century. Especially the master's costumes of Anak Tomb No.3(안악3호분) are nearly the same as Yuantaizi's. Maybe it is closely related to the fact that the master of Anak Tomb No.3 is Dongsu (동수) who defected from Qian Yan.

• 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 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.