• KOMUNHWA
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• no.65
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• pp.31-55
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• 2005

Ring type Bit(圓環蠻) is a specific bit that an independent Wonhwan(ring, 圓環) plays the role of the bit stopper. In three-kingdom especially 6th century A.D., It was in fashion throughout the southern part of the Korean Peninsula, The form is various accordi

• Journal of architectural history
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• v.2 no.2 s.4
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• pp.77-88
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• 1993

This study has to do with the architectural exchanges between the ancient Korea and China. There are two parts in this paper. The first part is concerned with bibliographical and archeological studies between two regions. The latter part is to compare and syudy the architectural style of china with the architectural style of BAEGJE in those days. At any rate, this paper is related to the first part of them. The most important purpose of this paper is more clearly to inquiry the BAEGJE Architecture. BAEGJE Architecture is the most insufficient in researches of the era of Three Kingdoms' architecture of Korea until now. Because the architectural Matrrials is also the most insufficient condition in Three Kindoms, in order to inquiry the architectural style of BAEGJE clearly, we will be able to get the clue as inquring the relations of the chinese which they exchanged most frequently. The first part of this paper is $appraoc{\sim}ed$ in two methods of the study. One is the biblilographical research and the other is the archeological research. The writer could find that there were many exchage relations in the bibliographocal and archeological fieds, as a result of this study. The writer could confirm that there were nearly coexisting similiar styles of the Architecture.

• Journal of architectural history
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• v.16 no.4
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• pp.95-110
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• 2007

In spite of the increasing significance on a scale of building measurement unit and its system having been used in many areas of architecture, only a few researchers carried out the studies on a specific period. It is even harder to find a research results dealt in view of architecture. This research gives a focus on different types of scales employed in the ancient buildings and their sites, based on the research results of unit scale or scales found in recent excavations. After the review of literature on the scales widely used in the ancient times and of the various types of scales excavated archeologically, a kind of scale unit system that had been widely and extensively employed throughout the period of 'Three Kingdoms' could be revealed. The scale system is possibly able to be applied to estimate the exact scale of buildings and their sites as well in that era. The research results show that the scale and its system employed in the East and West buildings and their sites of 'Kum-dang' in 'Mi-ruk Sa' temple are different from 'Kokuryo' scale that was believed in to be used in the temple. Contrary to the suggestion by excavation report on the type of scale employed in the buildings their sites, a scale of 29 centimeters, similar to that of Tang, was employed. It was also found that one module consists of three 'Chuk's of 88.8 centimeters. Based on this scale system, we could conclude that three modules of the buildings on the front and two and half modules of them on the sides were explained by this scale and its system.

• (The) Research of the performance art and culture
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• no.42
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• pp.77-106
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• 2021

The history of The Korean Buddhist music dates back to as early as the 2nd year of Goguryeo King Sosoorim's reign (372) when Buddhism was introduced to the land for the first time and should cover the entire development to this date, which spans over 1,600 years. The extensive scope of research is overwhelming and research efforts are limited at best. Against this backdrop, this study aims to examine how the historical development of The Korean Buddhist music has unfolded over such a long period of time and to understand how the Buddhist music is supposed to further develop in this land in and after the 21st century. Since the Three Kingdoms period, followed by Goryeo and Joseon Dynasty period, Japanese colonial period, and to this date, the history of the Buddhist music has unfolded in line with the 'ups and downs of the history of Buddhism'. The Buddhist music is characterized by various development paths based on historical peculiarities over different periods, including protection by the royal family during the Three Kingdoms period, aspect of Buddhist music during the Goryeo Dynasty period, policy to worship Confucianism and suppress Buddhism during the Joseon Dynasty period, harsh repression of Buddhism during the Japanese colonial period, and the present Buddhist music seeking new ways of proliferating Buddhism among the public, which requires an effort to understand the different characteristics of different periods by identifying key perspectives and tasks of Buddhist music in different periods. In this vein, this article includes not only the history of 'Beompae(Buddhist Chant)', a collective term for Buddhist music in a narrow sense but also all Buddhist music characterized by with Buddhism that is communicated in this land and extends its coverage even to Chanbulga(Buddhist hymn)讚佛歌 music created in and after the 20th century. It also examines the historical development of Buddhism related music in this land. Another task of this article is to understand the Myeongching-gagok 名稱歌曲 sung by monks in the early Joseon Dynasty period, music created for public mission work during the Joseon Dynasty period, the meaning of the existence of 'Hwacheong' 和請, and the traces of Buddhist music existing in the music of the Joseon Dynasty period.

• Korean Journal of Heritage: History & Science
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• v.48 no.2
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• pp.4-29
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• 2015

This article considered generally gradational change aspect, character of community for the tombs of the Three kingdoms prepared by some certain homogenous groups. It was completed by tracing the transfering process to grasp character of social structure and organizing System in the community. For this reason, it's analyzed that Wooden chamber tomb was formed in some certain Time-Space of the Yaksadong Buk-dong archaeological site in the Three Kingdom Period. Constructed group was distinguished by the five classes. So perhaps scale of Wooden chamber and sort, material of burial relics, the top layer and the upper layer were established two status those are active the ruling class led the Wooden chamber tomb's society, the general public hold a large majority from the middle class to the lowest class. And it depends on age(nonage-adult) that differed in relation of arrangement, character. It's changed with function or roles, property, purpose etc. of social community in accordance with these individual position, age. Received signification, value of social status were considered with social worth, faith. Members in a community had been conducted under premeditated, organised system for common target, relatedness. Also it seems to attempt organization's own maintenance, persistiveness in norms that given at common law. To do that, relation for combination between members who consisted systems had to be organic. The relation for combination was considered to form relation for the much larger community in based on blood relationship that most vital part. One social structure had established family(house, household) community in based on individual blood relationship, family communities gather up to develop into relative(blood relative, same race) community gradually. Furthermore, relative(blood relative, same race) communities, that focus on the public good gather up to develop into social community in based on regionalism. It's considered to go through the Development Process of family(house, household) community - relative(blood relative, same race) community - social community.

• Journal of architectural history
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• v.16 no.1
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• pp.9-28
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• 2007

We investigated the changes in the species of the woods used for Korean ancient and historic architectures, which include prehistoric excavated relics and existing wooden buildings in South Korea. The species data were collected from various sources such as excavation and repair reports, journal papers, and a few unpublished documents. We divided the building Periods as Paleolithic, Neolitic, Bronze Ages, Iron Age/Three Kingdoms, Koryo, Joseon (early, middle, late) and modem periods. In prehistoric periods, hardwoods were major species. Oak (Quercus spp.) woods dominated (94 percent in average); the others (5%) were Juglans mandshurica, Platycarya strobilacea, Castanea crenata, and few softwoods(1%). During Iron Age and Three Kingdom periods, oaks remained as a major species (57%) and others Platycarya strobilacea(21%), Castanea crenata(13%), and Pinus spp. (6%). The oak woods decreased in Koryo period and they occupied only 1.1%. Instead of oaks, pine (Pinus spp., 71%) and Zelkova serrata (22%) dominated in Koryo. In early and middle Joseon periods, pine woods (73%) remain as a major species and the others were oaks (14%) and Zelkova serrata (9%). As late Joseon came, the pine woods occupied more than 88%. In the late 19th and early 20th centuries, a few boreal species such as larch (Larix spp.) and spruce (Picea spp.), which grow in cold area, were found. We believe they were transported from northern Korea. The existing buildings in Korea are mainly from Joseon period and a few from late Koryo periods. During these periods, pine woods were used for most buildings. For such reason, pine woods were known as 'representative materials for historic buildings'. but earlier times, broad-leaved trees, i.e., oak and Zelkova woods were major materials. The changes in building materials resulted from both climate and human impacts. The dry climate and disturbed forests induce more pines in the mountains. We also compared the wood qualities of the species and found that Zelkova woods were superior ones and deserved more planting for future demands in the repair for historic buildings.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.292-307
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• 2019

Buddhists have always tended to adorn and embellish Buddhist statues and their surrounding spaces in order to exhibit the grandeur and sublime nature of the Buddha. The various kinds of splendid instruments and implements used in such ornamentation are collectively called jangeomgu in Korean. Thus, the term jangeomgu encompasses articles used to decorate Buddhist statues, halos, and baldachin, as well as Buddhist banners and wind chimes, which are generally hung outside a building. Wind chimes are still widely used at Buddhist temples. In China, judging from various structures such as the Wooden Stupa of Yongningsi in Luoyang and the Dunhuang Caves, wind chimes began to be used around the sixth century. As for Korea, Buddhism was first introduced from China during the Three Kingdoms Period, and Koreans accordingly began to build Buddhist temples and buildings. It would appear that wind chimes came to be used around the time that the first temples were built. The oldest extant wind chime in Korea is the gilt-bronze wind chime of Baekje, discovered at the Mireuksa Temple Site in Iksan. In general, Korean wind chimes dating from the Three Kingdoms Period are classified into two general types according to their shape and elevation, i.e., those shaped like a Buddhist bell and those shaped like a trapezoid. As these two forms of wind chimes have influenced each other over time, those made during the Goryeo dynasty, having inherited the style, structure, and design of the preceding period, display such features. At the same time, the artisans who produced wind chimes pursued technical development and adopted free, yet not extravagant, designs. In particular, Goryeo wind chimes are characterized by original designs created through exchanges with other Buddhist art forms of the same period, such as the embossed lotus design band of Goryeo bells; the bullmun design, which served to display the grandeur of the royal family; the samhwanmun design, which consisted of decorating the interior of a Goryeo incense burner with three holes; Sanskrit designs; and designs inspired by the windows and doors of stone pagodas. In this way, the production of Goryeo wind chimes developed with a focus on purpose while being free of formal constraints. This study started out from the fact that the largest number of Korean wind chimes were produced during the Goryeo dynasty. Therefore, research on wind chimes should be based on those of the Goryeo dynasty, especially since fewer relevant studies have been conducted compared to studies on other forms of Buddhist art. For the purposes of this study, the reasons for the production of wind chimes will be examined first, followed by an examination of the various styles of Korean wind chimes. Then, based on the findings of this investigation, the development and characteristics of the wind chimes produced during the Goryeo dynasty will be explored for each period.

• Journal of the Korean Society of Costume
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• v.55 no.5 s.95
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• pp.78-86
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• 2005

Marek(말액) is the headgear, which is a form of hempen hoods[Geon(건)] and the origin of it is Pa(파) of band form. A history book of an old Chinese country Post-Han $\ll$ History of HouHan (후한서)$\gg$ had recorded that a soldier wore a red band around his head that was called Pa(파). In the Han dynasty(한대), Pa had been transformed into Chaek(책) or a kind of a hemp rap(건) while e headgear had still remained as the band form and called Marek from e Tang era(당). The literatures of the Tang era had referred the red Marek of soldiers, and other literatures of the later period had recorded that of the previous headgears of the band form were related with Marek. Since the Tang era, white or yellow Marek except red one fer soldiers had been were by soldiers, musicians, dancers and singers in Yuan(원) and Ming(명) of China. The colors was recorded in red on documents mostly, this red implicated soldiers for symbol of terror. This fart was documented in an old history book $\ll$The history of 25 Eras(이십오사)$\gg$, On the other side, a wall painting in Princess Jeonghyo(정효공주)'s tomb of the Parhae(발해) period described the portraits of twelve persons, and among them, two Siwui(시위) put on the red Marek. Quoted from the record of a history book of the Tang era system , a history book of Three Kingdoms(삼국시대) of ancient Korea $\ll$Samguksaki(삼국사기)$\gg$ described that four dancers of Kogryo(고구려) wore Marek on their heads with the costumes of Koguryo, one of those Kingdoms. In consideration that the book of $\ll$Tongjun$\gg$ was the literature of the Tang era so that Marek mentioned in this book was followed by their name, the Marek of Koguryo dancers shown in the history book $\ll$Samguksaki(삼국사기)$\gg$ might be a kind of Koguryo style hemp cap[Geon(건)]. The Marek of Parhae had succeeded to the headgear of Koguryo and the identity was on Koguryo.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.145-154
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• 2002

1. The blended tabby whose warp and weft each employs a different kind of thread had been weaved since the era of the Three Kingdoms in this nation and since the period of Han in China. Especially in the 15th century. very finely weaved fabrics as the specialty of Chosun were exported to China. In the 16th century. blended tabby weaved with silk and cotton were often used for clothes as cotton was produced around the nation. And in the 17th century. blended tabby employing high quality Chinese raw silk other than existing ones were weaved. 2. It has been found in literature review that Honpo, one of Chosun's blended tabby. was manufactured mainly in Hamkyung, Cholla and Kyungsang provinces and mostly distributed through markets of Chungchong and Cholla provinces. 3. Out of the total 19 fabric pieces. 13 employed silk thread as the warp and cotton thread as the weft. Compared with the weft. in general. the warp is given more tension when weaved and more friction by spindles, being more likely to be twisted than the weft. In addition to starching, a stronger thread is requested as the warp. It is natural that in the Chosun period, silk thread more stronger than cotton thread was used as the warp to make more durable fabrics. For the weft requiring lots of threads when weaved. cotton thread was mainly used in the 17th century because the thread could be easily obtained at that time. 4. So far the study has made an empirical review of Chosun's blended tabby. especially those of the 15th∼17th century, in terms of their production and distribution. Findings from the study have some limit because they have been made focusing on the 15th∼17th century not the whole period of Chosun. Therefore it is needed to complement those findings through further studies.

• Journal of the Korean Home Economics Association
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• v.27 no.1
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• pp.19-27
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• 1989

The purpose of this study is to find at the basic data for the appropriate conditions of the pillows for the Koreans. In this study, the origins, materials, the forms and the sizes of Korean pillows have been investigated by means of existing remains and the existing documentary records. The results are as follows : 1) We can infer that ordinary pillows have already been used in a period of the three kingdoms, because the pillows for the dead bodies been unearthed from the tombs of this period. 2) Round pillows which are used nowadays to rest our heads have also been utilized as early as in Koryo Dynasty or even in the previous period. It is because the pillows described in Koryo dakeyung are similar to the present round ones. Most of the existing Koryo pillows have been made fo ceramics. Their average length is 20.0$\pm$5.4cm, the average low height is 9.7$\pm$0.9cm, and their average high height is 11.8$\pm$1.2cm. 3) The material which has been used to make pillows in Choson Dynasty is various : textile, wood, rush, bamboo, ceramics, etc. Most of them have been made in a round form or in a form of lying square. The average low height of lying squares is 8.1$\pm$2.5cm. The average high height is 11.9$\pm$1.9cm, and the average lenght is 19.0$\pm$5.6cm. The average diameter of embroidered pads attached to both sides of round pillows or the average length of one side of regular squares is 12.5$\pm$2.3cm.