• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.15-31
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• 2005

Suhainmyuldo(수하인물도) is a kind of picture which express a person under the tree and is known to be transmitted from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini(=Iygsha), the fairy of tree, in India of from the 'Tree of Life' in W. Asia, and they had in fluenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way. For example, Jookrimchilhundo(죽림칠현도: seven wise men in bamboo forest), during Six Dynasty. The tree of life(arbor vitae, lignum viate), the origin of the Painting of figure under a tree(수하인물도), was spreaded in several regions around the center of Mesopotamia early, and them transmitted to Sasan dynasty of Persia, even to Islam, Byzantine, Romanesque, ancient East Asia. The mural painting found in the 4th Tongu Ogoe tomb, which was created after the 5th Tongu Ogoe tomb, used Obangsaek more than the 5th tomb painting did. (The term Obansaek refers to the five Korean traditional colors consisted of yellow, blue, white, red and black) The mural painting on the 4th Ogoe tomb employed distinct technique to depict an object in a certain color by painting the surroundings with different primary colors, making the painting look more exotic and mysterious.

• Journal of Conservation Science
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• v.32 no.4
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• pp.521-534
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• 2016

Ancient tombs are typically comprised of confined rooms, which have different spatial characteristics than the external environment because they are covered by heavy layers of soil. In this study, we examined the thermal energy flow from the outside to inside of Songsan-ri tomb No. 6. External heat flows slowly to the inside because of heavy soil layer, and the presence of several rooms and entrances. For this reason, it takes about two months for the air temperature to travel from the outside to the inside of the tomb. Interestingly, the gradational inflow of thermal energy from outside the tomb leads to delicate horizontal and vertical variations in the wall temperature. These micro-environmental differences occur in the inner tomb every year, so we can expect them to cause condensation with regularity. In addition, we show that the previously installed forced circulation air conditioning system risks fatal damage to the mural wall painting. The results of this research suggest an optimal air conditioning system and optimized space planning to conserve Songsan-ri tomb No. 6 and its mural painting.

• 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.

• 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.

• Korean Journal of Heritage: History & Science
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• v.48 no.4
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• pp.44-61
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• 2015

Mural tomb in Goa-ri(Goryeong) built in the 6th Century Gaya period investigated precisely by the scientific method. They were used to optical equipments for investigation and made a damage map according to the damaging types. The mortar layer was mostly exfoliated from the rest of the wall except for the burial chamber ceiling and corridor ceiling. Also painting layers rarely not observed. Most of the paintings were damaged except lotus painting in burial chamber ceiling. Various damage types that exfoliation, earthen dirt, film coating were found in murals. Damage factors of mural were the porous characteristics of mortar layer and the movement of moisture in the murals. They were caused physical damage such as crack, exfoliation. It was getting worse and causing to secondary damage like earthen dirt, film coating.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.1
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• pp.159-171
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• 2018

The apron, which corresponds to an important clothing form, changed according to the taste, age, appearance and meaning of the wearer as well as from past to present. Decorative function and practical functions appear in the costumes of the East and West. Anak No. 3 tomb, Korea's 4th century Goguryeo tomb mural, was depicted in the form of a woman wearing a white apron and working in the kitchen, which is similar to that of a current kitchen, and the shape and purpose of the apron is similar to the present one. The characteristics of Korean aprons are summarized as western similarity, traditional reproducibility, and practical functionality. The U-shaped apron with the hem decoration of Goguryeo is similar to the apron of Crete with a rhombus pattern and hem decoration. Despite differences in time, it can be seen as traces of a cultural exchange across the East and the West. In addition, Korean skirts were decorated with wrinkles and a hem decoration based on rectangles. It is a reproduction of a traditional skirt and is different from a Western apron with a chest strap. In the Anak No. 3 tomb mural, women were wearing the first aprons that showed a practical functionality and not a decorative use.

• Journal of Fashion Business
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• v.10 no.3
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• pp.54-68
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• 2006

Suhainmyuldo (樹下人物圖) is a type of picture which expresses a person under the tree and is known to be brought to the Korean Peninsula from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini (or Iygsha), the fairy of tree, in India and the 'Tree of Life' in Western Asia which influenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way; for example, Jookrimchilhundo (竹林七賢圖: seven wise men in bamboo forest) in the Six Dynasty. There are only two items of female dress and its ornament from the 4th to 6th century Suhainmyuldo of the Goguryeo ancient tomb mural: one from the Jangchun Tomb No. 1 in which a female figure is portrayed as a part of living genre painting and the other from the Anahk Tomb No. 1 with seven female figures in a painting which is one of the earliest Suhainmyuldos, presumably from the 4th century. These two paintings must be considered in parallel with the origin of Suhainmyuldo. The mountain wizard's dress and Men's dress and its ornament in Suhainmyuldo from the 4th to the late 6th century Goguryeo ancient tomb is mostly joint adjust in which its collar is connected by a line and almost all the wizards are wearing Sang (upper garment). Most mountain wizards are wearing black feather shaped jackets and upper garments. One noticeable observation is that the mountain wizards of Mooyongchong, Tongu Ohgoibun Nos. 4 and 5 are completely different from one another in terms of ways to dress each wizard's official hats and shoes.

• Journal of Conservation Science
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• v.34 no.4
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• pp.295-303
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• 2018

The application of reinforcing agents with hydraulic property and strength development characteristics was studied under conditions similar to those of mural-painting mortar made with oyster shell powder. Reinforcement mortar made with oyster shell powder showed hydraulic properties and strength to supplement the weaknesses of natural hydraulic lime(NHL); this confirmed its possibility as a wall-reinforcing material with enough strength for preserving mural paintings. Reinforcement mortar 1 showed hydraulic property and general characteristics of lime mortar, such as consistency and viscosity, as well as lower strength and higher whiteness compared to an NHL product. For Reinforcement mortar 2, the original wall sample characteristics were reflected by mixing more shell produced through calcination; and it showed similar strength to that of Reinforcement mortar 1 as well as high whiteness. In measuring the contraction ratio of reinforcement mortar samples, Reinforcement mortar 1 and 2 showed more stability in property change compared to the NHL Group.

• The Bulletin of The Korean Astronomical Society
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• v.44 no.2
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• pp.61.1-61.1
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• 2019

We report about the constellations discovered in Ara-Gaya Malisan tomb 13 of late 5th century. In December 2018, constellation-shaped grooves were newly found on the ceiling of the tomb 13 of the Ara-Gaya (42-532 CE.) polity in Haman(咸安). The tomb 13 is located at the top/center of the Malisan and is one of the largest burial mounds. Grooves were found in one of the slabs of the grave cover-stone (160 ∗ 80~60cm). The total number of grooves are 134 and each groove has a diameter of 1.5~4.0 cm. The grooves were made by pecking or grinding. From the preliminary study, we identified these grooves with traditional constellations such as 房, 心, 尾, 箕, 斗, which correspond to Scorpius and Sagittarius of modern constellations near the Milky Way. It shows that advanced astronomy also existed in Ara-Gaya tomb while star charts were painted in Goguryeo tombs. This carries great importance in studying the development and exchange of astronomy in the Korean Peninsula.

• Journal of the Korean Society of Costume
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• v.66 no.1
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• pp.122-134
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• 2016

The Mural Tomb of Xu Xianxiu(AD 571), a high ranking official in Northern Qi period, is located in Taiyuan, Shanxi province, China. Despite having been raided, it was still discovered to contain over 530 pieces, such as artifacts and murals, in excellent state of preservation. These murals are noteworthy for their high level of detail compared to other murals from the same era, and are important for understanding the historical context of active East-West and Han-Hu cultural exchange in the $6^{th}$ to $7^{th}$ century. The murals of Xu Xianxiu's tomb depict round-collared and narrow-sleeved garments as well as straight collared robes typical of the Xianbei tribe's attire. Notable are the ermine fur overcoat and a headwear with flares on the left and right thought to be unique to the Xianbei. The wife and female servants show female attire of the Xianbei at the time; this attire can be characterized by narrow-sleeved long gowns and asymmetrical flying-bird buns. Despite the anti-Han policy of Northern Qi, influences such as the right sided gathering of the robes and embellished hair styles remain. The procession also depicts the three-cornered headdress and long-tailed hood of the Xianbei men, which have been recorded in documents. The large rounded pearl pattern containing the palmette, the divine animal, and bodhisattva's head motifs show the influence of the Western China [Xi'yu]. Considering that Northern Qi had more active interactions with the three ancient kingdoms of Korea than with the Southern Kingdoms[Nanchao], the findings of this study call for further research on the correlation between the attire of ancient Korea and Northern Qi.