• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.56-70
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• 2022

Tombs No. 39 and No. 63 in Gyo-dong, Changnyeong, are unique in the Changnyeong area in that they do not have additional burials because they are hoenggu-style tombs with an entrance on the north side. This study tried to understand the nature and meaning of the two separate stone walls at the entrance of the tomb along with the burial process of the tomb. These two stone walls mark small tombs built independently within a large tomb, with stone wall No. 39 stone wall No. 3 (No.39-3) and No. 63 stone wall No. 3 (No. 63-3). Both units are located in the middle of the northern wall of the burial body part and share one wall with the burial body part wall stone. All animal fluids inside the stone wall were identified. In particular, it was estimated that at least three dogs were buried as a result of identification of animal fluids No. 63-3. Above all, these animals have their heads facing outward with their backs to the main occupants, and do not overlap in a limited space and are placed side by side. Changnyeong Gyo-dong No. 39-3 and 63-3 were created in the process of building the burial body, and although they are independent relics, they form a subordinate relationship in that they were built along the main burial within one tomb. In addition, it is coercive in that it is placed in an orderly manner according to a certain direction in a state that has not been dismantled after killing an animal. Therefore, It is understood to be the SHUNJANG of dogs. Studies on animal fluids excavated from tombs in the Three Kingdoms period are interpreted as animal stewardship, sacrificial collection, and animal sacrifice depending on their location, and this is known as a series of animal sacrifice rites, namely, animal stewardship and sacrifice. This recognition is based on material objectification of animals, such as food or sacrifices. However, Changnyeong Gyo-dong No. 39-3 and 63-3 are different in that they recognize animals as spiritual beings in the process of funeral rites and are closely related to the ideology that there is life after death. In addition, analysis of the location and directionality of the remains is also required from multiple angles. These two SHUNJANG correspond to the entrance to the tomb, and the location is the most open space at the entrance. The appearance of a dog looking outward, etc., can also be interpreted as the meaning of protecting the tombs and byeoksa. This appearance can be compared with the dog depicted in a mural in a Goguryeo tomb that reflects the ancient world's thought and stone figures excavated from the tomb of King Muryeong of Baekje, and it is also consistent with the meaning of the JINMYOSU protecting the ancient tombs. This suggests that a multifaceted study on animal fluid burial remains is needed in the future.

• Journal of the Speleological Society of Korea
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• no.92
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• pp.1-7
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• 2009

The Altamira Cave painting which Spain which is a world-wide cave painting will know, France Grotte de Lascaux painting, observes the France Chauvet Cave and sees and about Choungryongdo with the Sangyoungchong which are an ancient tomb mural of Korea introduces. This paper provides an overview of the rock art of the Northern Mariana Islands and particularly as the rock art discovered to date predominantly pertains to ancestor worship within the Chamorro cultural group. For centuries, the Western world has categorized the ancient Chamorro inhabitants of the Marianas Archipelago as a "prehistoric" people; a people without a written history. In addition to providing an overview of the rock art of the Northern Mariana Islands, this paper also emphasizes the fact that the ancient Chamorros did indeed have a recorded history and that this chronological record exists in the pictographs and petroglyphs that they painted and carved.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.3_4
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• pp.539-547
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• 2002

Heungdukwang's(興德王) costume ordinance(834A.D.) is a very important written historical record because it reveals Tongil Shilla's(統-新羅) costume. And among the clothing pieces that appeared in Heungdukwang's(興德王) costume ordinance, from Pyosang(表裳), Naesang(內裳), we know they wore one skirt over another. But skirts appearing in visual records are wort in waist line or breast line, and when they wore skirts in breast line, there were shoulder belts or not. Also among the clothing pieces that appeared in Heungdukwang'a (興德王) costume ordinance, Yo( ) and Ban( ) seems to be connected with skirt. but it is not clear. So this study focuses on the history of wearing skirt in breast line and one skirt over another, shoulder belts of skirt, and relation among yo( ), Ban( ) and skirt. The results are as follows. First, wearing skirt in breast line is already appeared in Ancient Shilla's(新羅) clay figure, and wearing one skirt over another is also appeared in Sunhung tomb's mural painting. so it is not completely under the influence of Tang(唐). Second, the shoulder belts of skirt is for convenience of action, But, at that time, there is no shoulder belts of skirt in Tang(唐). Third, between Yo( ) and Ban( ), If Yo( ) is connected with skirt, it is a shoulder belts of skirt or waist of skirt. And Ban( ) is a ire of skirt.

• Conservation Science in Museum
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• v.22
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• pp.41-52
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• 2019

Inner walls of the stone chamber of West Ancient Tomb No. 1 and 2 in Neungsan-ri, Buyeo-gun have been inspected for possible trace of murals. Tomb No.1 has a rough surface finish of the stone wall and no traces of murals was observed in any part of the stone walls except the ceiling part of the main chamber. On the ceiling surface, there is black colored area, which showed same visual characteristics for both the surface and interior upon slight scratch of the surface, suggesting that it may not be a painted layer. In addition, this black material is not artificial stuff like black ink but is confirmed as biotite from X-ray diffraction analysis that is one of the constituents of the stone wall. In case of tomb No. 2, white material, that is confirmed as lime(calcite, CaCO3) by X-ray diffraction analysis, was observed on the wall surface of the east, west and north, suggesting possible existence of murals. The lime layers, however, are located mostly on the entrance of east wall of main chamber and the place of passage whereas they are observed only in lower parts on the other walls. It may have been formed by the inflow of soil and lime from the outside as the form of the lime layer in the east wall corresponds to the traces of soil and lime deposited from the thief pit. Furthermore, the filling material found in the gap between the stone slabs of the four directions and the ceiling was confirmed as clay soil, which is different material from the lime present on the stone wall surface. If the lime layer had been artificially constructed for the purpose of creating murals, it would have been more reasonable to use lime as well in the gap between the stone slabs of the four directions and ceiling. In this regard, we conclude that there are no murals in the Tomb No. 2 in the Neungsan-ri.

• Korean Journal of Heritage: History & Science
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• v.45 no.2
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• pp.4-19
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• 2012

There remain many royal tombs of the Goryeo Dynasty in Gaeseong and Ganghwa. During the Goryeo Dynasty, these royal tombs were taken over tradition of tomb construction style from previous generation, and they completed their own inventive style. Furthermore they handed down those style to the Joseon Dynasty. The area of tomb was divided into 3 or 4 steps, and stone figures and T-shaped houses for sacrifice were arranged on each steps. It was the stone chamber of lateral opening style which had an entrance to southward, and it was formed as a rectangular box-shaped with a pile of stone walls and a flat ceiling. There was a coffin stand in the middle of floor, and traditional bricks were around them. The wall side and ceiling had been whitewashed and painted pictures. These are general characteristics for the tomb construction style of the Goryeo Dynasty. By the way, we can notice a number of features except those general things with inspection in detail. In early days, we confirmed 1step-parallel fulcrum ceiling, coffin stand of all in one stone, bier of burial artifact, and mural of plant material as a set, but they were changed as flat ceiling, Red-stone wall with rectangular stone, coffin stand set as stone pillar through the period of transitional form as of in the late 12th century. In case of several royal tombs, the fragments of king's epitaph which were confirmed from tombs could be defined owners clearly, and there were considerable timing difference between the large numbers of celadons which were excavated with the fragments of king's epitaph and recording chronologically of stone chamber structure. The reason for timing difference is that posterity artifacts were buried through repairing courses by occasion of destruction caused by robbing of the royal tombs. Meanwhile I inferred the existing hypothesis about owners of royal tombs and autonym ones in comparison the burial spot direction of hypothesis ones and outcomes of excavation. Therethrough, some hypothesis about owners of royal tombs such as Myung-neung which was assumed as tomb of the King Choongmok were not correct.

• 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.

• 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 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.

• Journal of Fashion Business
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• v.5 no.2
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• pp.105-115
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• 2001

When restoring a tomb of Songeun, Park Ik that damaged by typhoon in Kobubri, Chungdomyon, Mill Yang, Kyoung Nam in October 2000, a flower designed stone and fresco was discovered. Soneun Park Ik passed the civil service examination in Kongmin dynasty and was consecutively occupied Sajaedogam(司宰少監; regarded as one of second highest official rank). The fresco realistically depicts custom of ordinary people in end of Koryo, beginning of Chosun dynasty that it is considered as an important research material in study of ostumes. Therefore, this research intend to contribute to study of costumes in general public of Koryo that has insufficient study materials through study and analyze of costumes in the fresco with literature research. The number of figures in the fresco is presumed as 26-27 in all but clearly observed figures is only five women and four men and partly damaged figures are two men and two women. Women are worn relatively long yoo that can cover hip as an upper garment and Sang(裳) as trousers. The upper garments are all adjusted to right and has Jikryoung gik (straight collars) but there are strip attached collars or double collars among the Jikryoung gik. The length of Sang reaches to ankle and a waistband is trailed to below the knees. Most of hair are combed in the two sides and made a ring, moreover worn ceremonial coronet, which imply the ceremonial parade. Distinguished from the frescos of Koguryo, there are no women wearing Po(袍) also Yoo with Dae(帶) and without were coexisted. The mens costume is mainly appeared in two types. One(元) is Danryoungpo, Po with round collar and wearing a lozenge shaped crest with a brim, the other is Jikryoung Po, Po with straight collar, and wearing Ballib(拔笠), the latter is a costume of two man presumed as envoys. In the case of Danryoungpo, its length reached to ankle that shows decorum and in Jikryoungpo its length is below the knees that seem to offer practicality for envoys to guide a long journey. Both man and women are in decent cloth with a crest, which simple costume for ordinary people as a Chaksoopo that has comfortable length for movement and narrow sleeves. Songeun Park Ik actively worked under regency of One dynasty that influence of Mongol is seen in mans crest. There are some changes but including womens costume most of cloth are followed Korean traditional costume style.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.359-385
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• 2005

Red ocher, red lead or cinnabar has been as red colorant for ages. Cinnabar of the red pigments has been highly regarded as a valuable ingredient because it represent a symbol of exorcising and a haute image. It was used as a pigment of painting and mural painting, bowl, clothes, rock writing, gravestone, etc. It is powder which dissolves in perilla oil or glue before using. Because it is high-priced, the use of cinnabar may be limited to the privileged class. Therefore, red ocher or red lead was used instead of cinnabar. "Gongsagyunmunrok" demonstrated that government official's gravestonea has been painted red by two colorants in the period of the Goryeo dynasty. However, cinnabar may be used to paint gravestones for the first time in the period of the Three States because it has been transmitted since the times. This study discuss the results obtained from an analysis of the pigments used on the red pigments of the Stone Monuments. The results can be briefly summarized as below; First, the microcrystalline structures seen on the surface section of analyzed pigments, samples of which were taken from various parts of red pigments show that different sizes and shapes of pigment particle. Second, a result of the analysis on the composition and structure of the pigments shows that the main components in their composition are : Red pigments - Red lead($Pb_3O_4$), Cinnabar(HgS) and Hematite($Fe_2O_3$) White pigments - Calcite($CaCO_3$) Especially, we knew that red Stone Monuments were found to be natural mineral pigments, which were used as a singular or a mixture.