• Journal of the Korean Society of Costume
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• v.5
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• Journal of Korean Society of Coastal and Ocean Engineers
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• v.33 no.6
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• pp.298-307
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• 2021

Typhoons occur intensively between July and October, and the sea level is the highest during this time. In particular, the mean sea level in summer in Korea is higher than the annual mean sea level about 14.5cm in the west coast, 9.0 to 14.5cm in the south coast, and about 9.0 cm in the east coast. When the rising the sea level and a large typhoon overlap in summer, it can cause surges and flooding in low-lying coastal areas. Therefore, accurate calculation of the surge height is essential when designing coastal structures and assessing stability in order to reduce coastal hazards on the lowlands. In this study, the typhoon surge heights considering the summer mean sea level rise (SH_m) was calculated, and the validity of the analysis of abnormal phenomena was reviewed by comparing it with the existing surge height considering the annual mean sea level (SH_a). As a result of the re-analyzed study of typhoon surge heights for BOLAVEN (SANBA), which influenced in August and September during the summer sea level rise periods, yielded the differences of surge heights (cm) between SH_a and SH_m 7.8~24.5 (23.6~34.5) for the directly affected zone of south-west (south-east) coasts, while for the indirect southeast (south-west) coasts showed -1.0~0.0 (8.3~12.2), respectively. Whilst the differences between SH_a and SH_m of typhoons CHABA (KONG-REY) occurred in October showed remarkably lessened values as 5.2~ 14.2 (19.8~21.6) for the directly affected south-east coasts and 3.2~6.3 (-3.2~3.7) for the indirectly influenced west coast, respectively. The results show the SH_a does not take into account the increased summer mean sea level, so it is evaluated that it is overestimated compared to the surge height that occurs during an actual typhoon. Therefore, it is judged that it is necessary to re-discuss the feasibility of the surge height standard design based on the existing annual mean sea level, along with the accurate establishment of the concept of surge height.

• (The) Research of the performance art and culture
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• no.39
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• pp.279-323
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• 2019

The musical characteristics of Fishing songs in North Korean which recorded on Anthology of North Korean Folk Songs were examined in this paper. The results are as follows. Among Fishing songs in North Korea, there are "Rowing Song," the "Song for Hauling Nets," and the "Song for Picking Up Fish" in songs related to walleye pollack fishing and in songs related to croaker fishing, the "Song for Dropping Anchor" and the "Full-Load-of-Fish Song" in songs related to croaker fishing, the "Song for Weighing Anchor," the "Song for Shaking Fish," the "Full-Load-of-Fish Rowing Song," and the "Song for Hanging Walleye Pollack" in songs related to walleye pollack fishing. There are the "Song for Setting a sail" and the "Song for catching shells" in Fishing songs in North Korea, too. In the rhythmic elements of Fishing songs in North Korea, the tempo of the "Songs for Setting a sail" is moderato, and that of the "Songs for Picking Up Fish" of songs related to anchovy or herring fishing is quite slow. "Rowing Songs"(croaker fishing) have various tempos but faster than moderato, and usually get faster and faster as time goes by. Most songs have 4/♩. time and there are some of 2, 3 or 5 time. Some songs use irregular time or 6 time overlapping 2 beats. The mode Menari is the most common tonal system used in fishing songs of North Korea. And the mode Susimga, the mode Changbutaryeong, the mode Nanbongga, and the mode Odolttogi are also used in the tonal system of Fishing songs in North Korea. There are shoutting intonations that have indefinite pitch, too. Modulation or interaction by the mode Changbutaryeong appeared in songs of the mode Menari. There is a tendency to favor a certain tonal system by category. Responsorial form is mostly used, but in the most cases, they were sung in solo. In responsorial songs, several calling songs overlap with the responding songs. Durchkomponiert form is sung by antiphon or in solo, but the case sung in solo originally seems to have been sung by antiphon or unison, if we consider the procedure of the work. The "Song for Picking Up Fish" of Seonbong-gun of North Hamgyeong Province and Yangyang-gun of Gangwon Province, the "Full-Load-of-Fish Song-Bongjuktaryeong" of Jeungsan-gun of South Pyeongan Province and "Full-Load-of-Fish Song-Baechigisory" of Taean-gun of South Chungcheong Province, "Rowing Song" of Nampo City and Ganghwa-gun of Gyeonggi Province are resembled. In neighboring areas, even if the songs of different categorys, sometimes share a same melody. In a certain category, sometimes a same melody is shared to a considerable distance. It was first identified that in anchovy or herring fishing or dybowskii' sand eel fishing, the "Song for Picking Up Fish" is widely shared in the East Sea Coast area.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.78-97
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• 2016

The objectives of this study are to examine the context of the establishment of Suhoe Gugok, Byeokgye Gugok Vally, and Nosan Palkyung, which have been established in Seojong-myeon of Yangpyeong-gun, by literature review and site investigations, and to determine the sceneries of Byeokgye scenic site as enjoyed and managed during the period of Hwaseo Lee, Hang-ro(華西 李恒老). The results of the study are as follows. First, Byeokgye Gugok Vally(黃蘗九曲) and Nosan Palkyung(蘆山八景), which have been established after the period of Hwaseo and theorized to have been established around key scenic areas associated with Hwaseo's activities, the analysis results showed that they were collecting sceneries of modern times. The extensive overlap between Byeokgye Gugok Vally and concentrated scenic elements of Suhoe Gugok(水回九曲), and the artificial configuration from the end point of Suhoe Gugok to the beginning point of Nosan Palkyung, reveal the pattern of space conflict and hegemony between Byeokgyes of Suip-ri and Nomun-ri. This is likely to be caused by the conflict between the historicity of the group that enjoyed Byeokgye prior to Hwaso's period and the strong territoriality of the space filled with the image of Hwaseo. Second, Byeokgye Gugok Vally was the secondary spatial system created by selecting the most scenic sites in Suip-ri while expanding the area of Nosan Palkyung. After establishment of Byeokgye Gugok Vally, the spatial identity of the entire Byeokgyecheon area was effectively established. This was a "Hwaseo-oriented" move, including the complete exclusion of the scenic sites from the pre-Hwaseo period such as Cheongseo Gujang and Suhoe Gugok's Letters Carved on the Rock. Consequently, the entire Byeokgyecheon area was reorganized into a cultural scenic site with Heoseo's influence. Third, Fifth, creations of Gugok(九曲) to determine the lineage of the Hwaseo School from Juja(朱子) to Yulgok(栗谷) to Uam(尤庵) to Hwaseo is likely to be an opportunity of birth and external motivation of the establishment of new Gugok Palkyung. In other words, Nosan Palkyung and Byeokgye Gugok Vally are likely to have been created as a reaction to the change of the center of the Hwaseo School to Okgyedong, and with strategic orientation based on the motivation and needs such as creation of the connecting space between Mui Gugok, Gosan Gugok, and Okgye Gugok, and the elevation of Hwaseo's status. Fourth, from the Hwaseo's Li-centric point of view, all revered sites in Beokwon(蘗園) that he managed existed as the spatial creative work to experience the existence of "li" through the objects in the landscape and the boundary of the spirit of emptiness of the aesthetic self. This clearly shows how Byeokgye Gugok Vally or Nosan Palkyung must be defined, and furthermore, appreciated and approached, prior to discussing it as the space associated with Hwaseo. Fifth, Nosan Palkyung was composed of cultural scenic landscapes of Gokjungkyung(曲中景) with eight scenic sites where Hwaseo gave his teachings and spend time around, in the Byeokgye of Nomun-ri area of Byeokgye Gugok Vally. The sceneries is, however, collected by depending on Hwaseo's Letters Carved on the Rock and poetry. Consequently, an inner exuberance of Nosan Palkyung is satisfied beside Byeokgye Gugok Vally, but its conceptual adequacy leaves room for questions.