• 헤리티지:역사와 과학
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• 제38권
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• pp.285-303
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• 2005

당대(唐代)의 출토유물인 명기와 낙양명원기를 중심으로 당대의 귀족 정원을 고찰한 결과, 산수경관인 가산과 연못이 정원의 중심이 되고, 여기에 누정을 짓고 화목을 심었다. 가산은 치석첩산(置石疊山)하고, 동굴을 만들었고, 명기의 석가산은 산지산세(山地山勢)는 험준, 층만첩장(層巒疊嶂), 녹색이 깔린 자리와 같고, 새들이 혹 산간에서 노래하고, 연못 호반에서 물을 마신다 라고 표현되었다. 연못은 착지인수(鑿池引水)하고 수계가 발달하였으며, 누정 건물로는 청(廳), 당(堂), 관(館), 정(亭), 대(臺), 누(樓), 각(閣), 사(榭) 등이 있다. 조경식물로는 대나무, 연꽃, 모란을 가장 많이 볼 수 있고, 향나무, 소나무, 회, 잣나무, 전나무, 오동, 가래, 복숭아, 오얏, 매화, 살구, 국화, 칡덩쿨 등을 식재했던 것을 알 수 있다. 위와 같이 중국 당대의 원림은 풍부하고 다양하며 뛰어난 원림 양식으로 원림발달의 전성기를 구가하였고, 문화교섭에 의해 동시대의 통일신라의 민간 특히 귀족의 주택 정원도 사절유택(四節遊宅) 등의 기록에 의하면 한국 조경 발달사에서 전성기에 해당될 것으로 유추할 수 있다.

• 고전문학과교육
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• 제15호
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• pp.67-88
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• 2008

In spite of a few numbers of Hyangga that is handed down today, Hyangga has diverse and abundant contents. So it is possible to survey Hyangga as a journey literature of the middle age. On this purpose we can inquire into the Hwarangs' group journey, because the Hwarang was one of the main enjoying group of Hyangga. Hwarangs' group journey shows many aspects. They made a journey for the public purpose like a tour of inspection of people's daily life and the fortresses of the country's peripheral areas. Also, they made a journey for personal purposes like enjoying the attractive view of the mountains and rivers or seeking pretty girls outside of the palace. On these journeys, Hwarang made and enjoyed Hyanggas. Among Hyanggas that remains today, Hyeseongga and Cheoyongga have a direct relation to Hwarang's journey. Hyeseongga was made to eliminate the calamities that occurred at the time of the start of a journey. It is expressed in this poem that Hwarang could take a peaceful trip with the condition that the celestial objects shed light on the earth path. As such, the trip becomes a sacred ceremony. Cheoyongga reflects the fact that the foreigner Cheoyong became Hwarang and toured the streets of Seorabeol, the capital of Shilla. The Cheoyong's bitterness of broken love is expressed in this poem. SongSadahamga and MoJukjirangga come under a broad category of Hwarang's journey literature. SongSadahamga is a farewell poem for Hwarang who leaves to fight on the battlefield. It was universal to make a journey for the fighting of a battle in Shilla period, so many Hyanggas would be made under those situations. MoJukjirangga has the content of Hwarang's trip for saving his follower who was taken by another senior. It expresses the intimate relationship between Hwarang and the follower. Though the words of the song have not been remained, Hyeongeumpogok, Daedogok, and Mungungok were created on the way of Hwarang's journey. These seem to be a series poems which have the proper characteristic features of the Hwarang's journey literature. In these poems, the king's open mind and liberal political views are reflected. In short, Hwarang created and enjoyed Hyanggas on the way of their journey, so Hyangga has the features of journey literature in Korean middle ages.

• 한국실내디자인학회논문집
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• 제20권6호
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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.

• 한국수학교육학회지시리즈E:수학교육논문집
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• 제30권2호
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• pp.179-198
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• 2016

우리 주변에서 쉽게 접할 수 있는 문양과 음악에서 다양한 수학적 요소를 발견할 수 있다. 특히, 대칭 등의 수학적 개념을 활용하면 다양한 예술 작품을 보다 쉽게 만들어 낼 수 있다. 바흐의 음악, 레오나르도 다 빈치의 미술 작품에서부터 우리나라의 도자기, 궁궐, 전통 의상 등에 사용된 문양 중에는 대칭을 활용하여 만들어진 예술 작품이 많다. 이 연구에서는 대칭을 통해 음악과 미술 작품을 분석하고 활용하여 음악과 미술 작품을 만들고 이를 융합 교육 현장에 활용할 수 있는 한 가지 방안으로 제시하고자 한다. 이를 위하여, 수학적 개념을 매개로 디자인이 음악으로 어떻게 표현되는지 구체적으로 살피고 융합 교육에 활용할 수 있는 예를 만들어 QR-코드로 제시한다.

• 건축역사연구
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• 제14권3호
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• pp.77-88
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• 2005

This study is to find out the characteristics of the changes of the site layout in Beopjusa which was built on Maitreya faith in the Shilla.. According to the analysis of it in this study, we make conclusions as follows; 1) The reconstruction of Beopjusa means a start in Dhamalsama(法相宗) and then it was supposed to be Buddhist temple which was formed by intersecting axis of centering around a wooden pagoda(捌相殿) with a main Buddhist hall and a lecture hall. 2) After the middle of Koryo dynasty, Beopjusa was changed to building layout of intersecting with Yongwabojeon(龍華寶殿) and Daeungbojeon(大雄寶殿) because of harmony with Avatamsaka(華嚴宗) and Dhamalsama centering around Avatamsaka. 3) The buildings of Zen Buddhism was built in the early Chosun dynasty owing to a prevalence of Zen Buddhism in the late Koryo dynasty. And since 17th century, Buddhist halls were each built in their a faith system according to interpenetrated Buddhism(通佛敎). 4) The courtyard type of mountainous district was made on interpenetrated Buddhism. On the other hand, the site layout of Beopjusa is being maintained by centripetal spatial organization through the wooden pagoda as object.

• 복식문화연구
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• 제8권6호
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• pp.887-898
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• 2000

Mourning & funeral ritual means a various kinds of ritual procedures which begins at the time of death, buried and created a graveyard, a manner of wearing funeral garment being mourning the death, finally go back to everyday life. Our mourning & funeral custom was burial at first time. After going through the era of the Three kingdoms, The unified Shilla and Korea dynasty, cremation method has been prevailed. However, based on Chu-tzu celebration in Chosun dynasty, the burial custom has been widely spread again. Nowadays, due to effective land utilization issue, excessive cost for burial and the change of thinking for cremation, the cremation is recognized as remedy of righteous funeral system. At this point, a shroud following existing burial custom burdens considerably for quality, price, size and design of it. Accordingly, it needs anew style of shroud corresponding to cremation system. As an alternative, the shroud is required simplification and standardization ; Firstly, in size, a shroud should be larger than plain clothes and differentiated in small, medium and large. Secondly, the material of a shroud would be white cotton, which can keep from pollution during burning time. Thirdly, it unifies the item. In case of man, 바지(把特, those are trousers), 저고리(赤古里, Korean-style jacket) and Durumagi(周衣, Korean topcoat). In case of woman, 치마(赤　, those are skirt), 저고리(赤古里, Koran-style jacket) and Durumagi(周衣, Korean topcoat).

• 복식
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• 제51권3호
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• pp.155-170
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• 2001

This study is about investigation of the historical value of Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖) and examination of the costumes of the Envoys from the Three Kingdoms drawn in the paintings above. Wanghoido(王會圖) is presumed to be painted around early 7th century. This is a colored picture on silk on which twenty-six Envoys from twenty-four Kingdoms are painted. Bungekipjodo(蕃客入朝圖) is presumed to be painted in the early 10th century. This is drawn on paper with only black brush line, no color. There are thirty-five Envoys from thirty-one Kingdoms in the painting. Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖) are the important materials which are useful to understand the original Liangjlkgongdo(梁職貢圖). From the records about interchange of the Envoys in the early 6th century, the characters and costumes painted in Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖), the copy of the original Liangjikgongdo(梁職貢圖), get the reality. The Envoys from Koguryo(高句麗), Paekche(百濟), and Shilla(新羅) painted in the two paintings above are all wearing Jangyu or Yu(장유 or 유; an upper garment), Go(袴:trousers), Kwanmo(冠帽:headdress), Dae(帶뿔:belt), and Hwa(靴:shoes). But they differ in some aspects. For example, the shape of the Kwanmo(冠帽), hair style and patterns on the costumes, etc.

• 대한수의학회지
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• 제42권3호
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• pp.309-320
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• 2002

Animal bones that were excavated with earthenware at the Jongdal-ri shell mound archaeological site IV on Jeju Island were investigated morpholgically and osteometrically. This archaeological site is estimated to date from the late Tamra period to the unified Shilla Dynasty (A.D. 7C) based on the type of earthenware. The number of animal bones was 3,430 pieces(Quarter B : 758, Quarter C : 2,672). The animal species consisted of Cervus spp., Sus spp., Bos spp and Canivore. The animal bone pieces excavated at Quarter B consisted of those of Cervus(53.3%), Bos(2.8%) and Sus(13.7%). The bones of Cervus(53.3%), Bos(2.8%), Sus(13.7%) and Canivore(4.6%) were found at Quarter C. The greatest number of heads was unearthed as a whole, and the classification according to animal species showed that the heads were more visible than other bones. Forelimbs and hindlimbs were distributed evenly on the part of Cervus. The skeletons from Bos were identified in the order of heads, forelimbs and hindlimbs, while nearly all the Sus bones were found to be heads. These data suggests that Cervus, Sus and Bos are major fauna at the estimated period.

• 한국식생활문화학회지
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• 제12권1호
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• pp.11-16
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• 1997

The Nara Dynasty of Japan lasted from 710 to 784 A.D, which corresponds to the period of the Unified Shilla Kingdom of Korea. The Nara Dynasty enacted the 'Daiho Law and Ordinance' by referring to those of Tang Dynasty of China. Under these legal systems, the Ministries were defined, and foods were used for paying taxes or as currency. The characteristics of the dietary culture in Nara Dynasty were as follows. 1) They obtained food from rice and other grain farming, hunting and fishery. Rice was their main staple and was also used for preparing porridge and brewing wine. 2) Under the influence of Buddhism, meat was prohibited, and milks or dairy products were supplemented for improving malnutritional status. 3) They also used seasonings, spices and sweeteners to enhance the taste and produced medicines by extracting plants, animals and minerals. 4) While chopsticks were made of bamboo, willow, silver, shell, tree or bronze, such utensils as pan earthenware steamer, or charcoal pots were used for preparing meals. 5) Highly qualified utensils, made of porcelains painted with lacguetr, metal, glass, horn and stone, were produced as handcraft art wad developed. 6) Chinese style cousines and cooking methods were popular and various types of preserving techniques like drying or salting were used. Processed cookies were also developed. 7) Although flour was used mainly among noble class people, ordinary people also used it. The royal families ate milk products a lot and even fried foods. 8) One can say that Buddism exerted an influence on Vegetarianism from this era.

• 고문화
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• 58호
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• pp.85-117
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• 2001

이 글은 전남지역에서 최근에 발굴조사된 역사고고학 분야 가운데 불교와 성곽유적을 중심으로 중요한 유적에 대하여 살펴 본 것이다. 불교유적의 성과로는 시기적으로 볼 때 먼저 금둔사지의 통일신라시대 건물지 조사를 들 수 있다. 이 조사가 전남지역에서 실시된 최초의 통일신라시대 불교 건물지 조사이기 때문이다. 옥룡사의 부도전 조사는 그동안 잘못 알려져 있었던 승려의 장법을 바로 잡을 수 있었다는 점이 큰 수확이었다. 부도 아래에서 석곽과 그 안에 석관이 안치되어 있어서 승려들의 장법이 화장이었다는 일반적인 상식은 잘못된 것이며, 대부분의 승려들이 고려시대까지 우리나라의 전통적인 장법인 2차장(세골장)을 따라 하였다는 시실이 밝혀졌다. 사자사의 목탑지는 고려시대의 유구가 별로 알려져 있지 않는 현실에서 아주 중요한 자료가 될 것이라. 그리고 최근에 뜻밖에도 백제후기에 축성된 것으로 밝혀진 순천 검단산성과 여수 고락산성 등이 조사되어 백제석성 연구에 아주 좋은 자료들을 제공해 주고 있다. 이 산성들의 특정은 산성의 형식이 테뫼식으로 아주 소형에 속하고, 내외의 벽을 돌로 쌓은 협축식의 석성이며 성벽의 너비가 거의 500cm로 일정하고, 평기와의 내면에 마포흔 대신에 승문(거친 섶문양)이 시문된 기와들이 반드시 출토되고 있다는 것이다.