• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.228-235
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• 2011

The 卍 shape which is used as an aesthetical feature for traditional architecture can be seen in the stair railings of the house shaped ceramic potteries in the Eastern Han dynasty(A.D. 25-220) but with the introduction of Buddhism, it has been widely used for the decoration of the sarira(small crystals of the cremated monks) case. After the shape was seen in the Yungang and Dunhwang grottoes mural paintings, the use of it has been expanded. In Korea during the excavation of the Gyeongju Anapji which was the Eastern palace of the Shilla dynasty, a 卍 shaped wood which had been used as a handrail was found and this shape was also used in the railings of the Shilsangsa Baekjangarn temple stone pagoda and lantern and in the sarira case excavated in the Songrimsa temple stone pagoda. In Japan, the Nara period(A.D. 710-794) when there were many cultural exchanges with the Korean peninsula, the handrails of the 2ndfloor of the main hall of Hoyu-ji temple has a 卍 shape. This can be confirmed that this shape has been widely used as a design in Asian Buddhist architecture. Gilsangoonhae(吉祥雲海) which is the symbolic meaning of this shape means for long life and luck which had been used generally for the window designs of temples, palaces, and houses. In this study, it is giving the definition the beginning and the symbolic meaning of the 卍 shape which is being used from the ancient times until nowadays and the change of this shape used for window designs.

• Journal of architectural history
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• v.25 no.6
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• pp.81-88
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• 2016

The purpose of this study is to inquire original design and character of dancheong in Yeongnamnu P avilion which features unusual portraits of twisting dragons and four heavenly creatures. Its artistic value and originality can be found in the portraits of four heavenly creatures which are painted on the interior seonjayeon(fan shape rafter) and in the unique design of crossbeam meoricho(flower decorations on each side of pillars). Yeongnamnu's crossbeam meoricho is janggu-meoricho type(meoricho with hourglass figure) with full-shape lotus and half-shape flower decorations. And it can be said that, dragon portrait painted on the border of lotus and flower decorations in green and yellow is a very unique style of dancheong, for the reason that it has scarcely been used before and ever since. The portrait of four heavenly creatures painted on each corner of seonjayeon is also found to be unique in design, for the reason that the design has rarely been used throughout history, with only two exceptions in mural tombs of Goguryeo and folding screen in Injeongjeon Hall of Changdeokgung P alace. With its unique and authentic feature along with its rarity in number, the portrait of four heavenly creatures painted on Yeongnamnu can be considered as quite symbolic and important.

• Archives of design research
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• v.15 no.2
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• pp.47-58
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• 2002

Public environment including urban circumstances has taken on importance in that it could be nation's cultural powers latent these days. Also, today's study on the field of environment design so far has mainly focused on the fields of architecture and urban panning, while its consideration as the complex of various cultural factors is not enough yet. In addition, because study on the urban super graphic which greatly servos as communication between people and environment is not enough, super graphic has not arose enough public response in reality. The purpose of this thesis is to make super graphic revitalize as the meads of communication from the viewpoint of art, information arid aesthetics by looking into relationship between super graphic and contemporary art motivated in developing process. And This thesis is made studied relationship between super graphic and contemporary art divided into modernism art and post-modernism art.

• Acta Via Serica
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• v.7 no.2
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• pp.1-38
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• 2022

Many knotted carpets from western China and Central Asia from 700 BCE to 700 CE demonstrate strong resemblances to the Assyrian-Persian stone reliefs and Hellenistic-Romanmosaics. Egypt reveals the earliest samples in plain linen fiber and carpets with colorful designs in the mural paintings. The Egyptian wall decoration in faience shows the motifs of waterlily in two variations in the design, both of which appear in the Assyrian floor thresholds designs. The same waterlily or four-petal design in the Egyptian and Assyrian stonework also appear in the Pazyryk knotted carpet in the same manner. The Assyrian thresholds show a composition with a central area and borders in a square or rectangular overall design, which again parallels the Pazyryk carpet. The ideas of composition and motifs commonly seen in the Hellenistic and Roman mosaics appear in the carpets of Central Asia and western China. The similarities between the stone mosaic works and carpets demonstrate clearly that the remote places and peoples in ancient times learned from, and exchanged with, each other the ideas and artistic styles, and integrated to create some local artistic traditions, thanks to the roles the easy-to-carry textiles played throughout the Silk Road. The carpets played their roles: as practical material for daily use, and as carrier of cultural information through their designs.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.20-55
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• 2016

Koguryo's tomb mural paintings in North Korea are our precious cultural heritage which have been designated as UNESCO World Heritage property receiving high praise in the following criterion, i) exceptional creativeness of human being, ii) representative value showing the stage of development in construction history of East-Asia, iii) aesthetic superiority iv) uniqueness of building construction including tombs' ceiling. Mural paintings have been found from almost 100 tombs of the Koguryo dynasty out of 130 which are scattered across Huanren County, Lianoning Province, Ji'an, Jilin Province in China and Pyongyang in North Korea. Especially, most of them are gathered in Pyongyang from 4th and 5th century. Peculiarly, some of them have been constructed before King Jangsu's transfer of the capital to Pyongyang(AD 427). It can be regarded that Pyongyang territory had been under control of Koguryo and to become a new capital in the near future. And dense emergence of such tombs since the capital transfer from Gungnae City to Pyongyang during the reign of Jangsu is linked closely to the construction of tombs for rulers under strengthen royal authority of Jangsu and centralized system of authoritarian rule. Tomb mural paintings describe the owner's figure pictorially based on the truth just as in his living years. General lifestyles of ruling powers and sovereigns can be seen from the wall paintings portraying several buildings with various styles, figures, manners of living, which are considered that the tomb owner had led politically and sociologically in his life. In spite of not enough proofs to approve figure of architectures or "Gong-Po" in wall paintings on the tombs as those of Koguryo, it is persuasive with consideration for painting and decoration inside the tomb like wooden building in real life for the purpose of reenacting and continuing the tomb owner's luxurious life after death. "Du-Gong-Po-Zak" had appeared in company with Koguryo tomb murals and it can be found in most of the murals. And the emergence of substantial "Gong-Po-Do" can be counted more than a century ahead of the figure in murals. It could be a reasonable assumption as regards Koguryo tomb murals time of appearance match up with production period of Gahyungmyunggi(家形明器) and Hwasangseok(畵像石) Hwasangjeon(畵像塼) Design in the Mural Painting of the East-Han(東漢) Ancient Tombs in China. On this study, architectural "Gong-Po"s described in Koguryo tomb murals are categorized largely in "Bi(non)-Po-Zak-kye", "Jun(semi)-Po-Zak-kye", and "Po-Zak-kye" based on presence of "Ju-Du", "Cheom-Cha", and "Cheom-Cha-Sal-Mi" with developmental aspect, and, "Po-zak" is subdivided as "Bi(non)-Cheul-Mok" and "Cheul-Mok" types.

• The Research Journal of the Costume Culture
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• v.16 no.1
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• pp.130-144
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• 2008

A recent concern about Goguryeo era reflects the efforts to find out our spiritual roots, which have descended from the ancient times; Goguryeo clothing study leads to analysis of our national spirit in terms of form. This study aims to analyze formal property and intrinsic meaning of Goguryeo clothing for Korean ramie clothing design and draw traditional images to derive design elements applicable to ramie clothing. On the basis of technical books, newspaper article, internet and precedent studies, theoretical study on Goguryeo clothing and ramie property was followed up with positive study to analyze the clothing on the Goguryeo ancient tomb mural. The results are as follows: First, a progressive spirit is to progress and develop anything actively; This spirit represents Goguryeo people's ambition and racial characteristic as horse-riding people; The rigidity of ramie fabric is suitable for expressing straight silhouettes and detail in Goguryeo dress. Second, a fluidity means flowing property in opposition to fixation; in the case of clothing, it has a tendency to change form according to body motions; The extensibility and crease-resistance of ramie fabric is suitable to express pleated skirts and holds high design value for modern people who tend to regard clothing as important individuality expression. Third, a universal property to introduce and receive; as Goguryeo was a prosperous country established by conquering an open plain, the period formed a society that recognized diversity by introducing foreign cultures freely; a universality suggests the direction of modernization of traditional ramie clothing and stimulates us to discovert new design through compromise between various cultures rather than to stick to traditional style. Considering the fact that precedent studies on traditional clothing are concentrated upon the Joseon period and also limited to formal analysis, this study aims to derive design elements for actual clothing making. These results are expected to be used as basic material for study as well as reference for designers who wish to design modern Korean clothing.

• Proceedings of the Korean Society of Computer Information Conference
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• 2016.07a
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• pp.157-159
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• 2016

최근 학교폭력 및 묻지마 범죄가 꾸준히 증가추세에 있다. 2011년 12월 학교폭력에 의한 대구중학생 자살사건, 2010년 2월 김길태 사건과 6월 김수철 사건, 2016년 5월 강남역 노래방 살인사건과 6월 섬마을 여교사 사건 등 사회적 약자인 소년, 여성 대상범죄 및 묻지마 범죄가 사회문제로 대두되고 있다. 이에 따라 범죄예방 도구이자 전략으로써 CPTED가 하나의 대안으로 부각되고 있다. 국토교통부는 건축물, 건축설비 및 대지에 관한 범죄예방 기준인 '범죄예방 건축기준 고시'를 2015년부터 시행하고 있는데 적용대상 건물 등은 이 기준에 따라 설계하고 건축해야 한다. 현대 위험사회에서 강력범죄 및 경범죄의 사전예방을 위해서는 사회 안전시스템 구축이 요구되며 그 대안으로 환경설계를 통해 범행기회를 심리적, 물리적으로 차단하는 정책을 모색함으로써 환경범죄학 입장에서 범죄예방에 접근할 필요가 있다.

• Journal of architectural history
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• v.18 no.1
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• pp.7-29
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• 2009

In understranding the essence of the Korea traditional Architecture, it is important to consider the jointing methods of architectural members, architectural technologies, etc. Especially the purpose of this study is understanding on the Jointing Method of Wooden Members in the period of Unified Silla Architecture. It's conclusion is summarized as follows. 1. A section of column has very close to do with the foundation stone. The structures of foundation stone and column are generally concluded by butt joint, arrow-head joint, housed joint by Grang-e method. Judu is structured by arrow-head joint And, in general, beam is structured by Sagaematchum Chumcha and sagaljudu of Don direction. At the head of Pyungju and the body of Goju, Changbang is structed by Jangbumachum with arrow-head joint or by jumukchang-machum. Also, it is surmised that Gyisoseum and Anssolim methods had been applied to columns from former ages. The example can be found at Bagjae Mireuksaji stone pagoda. Bagjae Mireuksaji stone pagoda taking wooden-pagoda form adopts Gyisoseum and Anssolim methods. We can also find such a sort of methods from other stone constructions like Budo, etc. 2. Injahwaban is structured by short Changbumachum with arrowed-head joint at upper members, and by Anjangmachum at the lower part. This sort of Gongpo style can be seen in the mural painting of tomb of Koguryo and in Buplyungsa, Buplyunsa, Bupkisa-located in Japan, which are influenced by Bakjae or Unified Silla. It is considered that at the end of the late United Silla, Injawhaban had been replaced with Chumcha and Soro on the Pyungbang under influence of Dapo style from China.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.63-78
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• 2015

The purpose of this study is to compare the style of clothing by type of the Goguryeo and Xianbei Tribe based on the examination of the literature centered on the historical relationship between Goguryeo and Xianbei Tribe. The research results are as follows. First, it was found that both the apparels of Goguryeo and Xianbei Tribe had hemp cloth with the V-neckline with the blocked front part and hemp cloth with the open front that is worn by overlapping the straight collars of the upper garment. Both men and women wore the garment of the straight line collar that is worn by folding towards the left or right, or upper garment of the round shaped collar. Women wore an upper garment with short sleeves on top of the upper garment of Korean traditional clothes while men wore pants for the lower garment, and women wore skirt and apron with triangular cloth decoration on top of the skirt. Second, Goguryeo Anak Tomb No. 3 mural painting(year 357) shows that apparel worn by the lady who is the wife of the owner of the tomb is similar to the apparel worn by the lady in the lacquer painting for folding screen of the Sima Jinlong Tomb ancient painting on the woman of chaste reputation in terms of the form and structure.

• 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.