• 한국정보컨버전스학회논문지
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• 제7권1호
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• pp.71-81
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• 2014

분묘기지권에 대하여는 분묘의 이전에 관한 내용만 토지보상법 시행규칙 제42조에 규정하고 있고, 분묘기지권이라는 본연의 권리는 별도의 규정이 없다. 따라서 분묘기지권의 보상근거 우리 토지보상법의 전체에서 찾아 보면 이장보조비로써 100만원 이내에서 분묘기지권의 가치를 인정한다고 보여지고 이는 분묘기지권 제도의 존손 여부는 별론으로 하고 현재의 법체계하에서 당연한 조치로 생각된다. 다만 관습법상 오랜 세월동안 인정되어 온 분묘기지권에 대한 보상규정은 토지보상법에 명문화 하여 이론을 없애는 입법자의 노력이 필요하다고 생각된다.

• 건축역사연구
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• 제17권5호
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• pp.23-37
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• 2008

Hyeunryungwon is a tomb for Crown Prince Sado, who was the father of King Jeongjo, the twenty second king of Joseon dynasty. The tomb had been originally in the Eastern part of Seoul, but was relocated in 1789 to the downtown Suwon, which was renowned as a good tomb site among the Royal family at that time. King Jeongjo looked through the records from the previous generations for the ideal location and direction for the tomb. He personally studied Feng Shui theory and designated its location and direction. He ordered for lavish decorations for the stone adornments of the surroundings of the grave mound, which was against the regulations of the royal family. He found his reasons in the precedent that allowed sumptuous decoration. However, for the arrangements of Jeongjagahk(T shaped building) and other attached facilities, he made unusual choice that other precedent royal tombs did not have. Instead of following the conventions that Jeongjagak should be facing south of a grave mound, he put it on the right side of grave mound. Also conventionally, Subokbang(a place where guards can stay) and Suragan(a kitchen that prepares food for sacrificial rites) should be facing symmetrically, but they too, were on the same side with Jeongjagak. It was a measurement that the grave mound of Hyeunryungwon can have a full view without being obstructed by other facilities and it was also personally ordered by King Jeongjo. The distinguishing features of Hyeunryuwon was motivated by King Jeongjo's filial affection, and his academic pursuit of precedent royal tombs initiated the unconventional and innovative challenges.

• 한국의류학회지
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• 제17권1호
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• pp.49-62
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• 1993

This study intends to find out the correspondence of the costumes of the terracotta warriors at the tomb of Qin Shi Huang to the dress of nomadic people. The Chinese took the dress of nomadic people into their costumes so that they might practise shooting arrows from horse back in the Age Of Wars. The terracotta warriors at the tomb of Qin Sin Huang provide us with substantial evidence that Qin Dynasty inherited the system of wearing the dress of nomadic people from Zhao. Figures of calvarys wear the jackets of nomadic people, but figures of other warriors wear Han jackets. This means that the aim of taking the dress of nomadic people is to be convenient in practising shooting arrows from horse back. Nomadic people adjusted their jackets to left, because they road on a horse from left for being the tunga only on the left. But calvarys adjusted their jackets to right. In those days, China didn't have a tunga. So there was no necessity for riding from left. And Chinese were accustomed to adjusted their jackets to right. This is the reason why calvarys adjusted their jackets to right, though they wear the dress of nomadic people. Soldiers wear trousers. Some have puttee, some have their leg bounds. All the soldiers tightened their coats or jackets with belts which were inhereted from nomadic people. They wear either shoes or short boots. The figures are classified according to rank, espicially in their hats and armours. General wears a cap adorned with pheasant' feathers, officer wears an unadorned cap, and men are hatless or in turbans. Calvary's headgear looks like a p'ing-chin-tse which was correspondence to the headgear of nomadic people. Soldiers wear armours according to duty, and armours are differentiated by rank. From the state of terracotta warriors, I think that the warriors were made from BC 246 to BC 210 which is equal to the date of making the tomb of Qin Shi Huang. Then the date of making the terracotta warriors was between 60 and 100 years since the king Wu Ling of the state of Zhao took the dress of nomadic people.

• 복식
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• 제66권1호
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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.

• 복식
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• 제13권
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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.

• 한국조경학회:학술대회논문집
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• 한국조경학회 2007년도 Journal of Landscape Architecture in Asia Vol.3
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• pp.118-126
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• 2007

Seoul has been the former capital from Joseon founded in 1932 by this time for 600 years. Seoul populated by some 10,290,000 people is the largest city in Korea. There are lots of cultural inheritance such as the castle town and 5 palaces including Gyeongbokgung in Seoul. Especially neungs(royal tombs) from 27 generations of king and queen in the Joseon dynasty during 518 years are very important cultural inheritance. The royal tombs were built from the castle town to the radius outside 4km within 40km pivoting on Seoul. Joseon royal tombs might have significant cultural value, which are representative Korean people's spirits for ancestor worship. After the 1945 Liberation of Korea those are having been managed by Office of Cultural Properties after Ministry of Education. This paper tried to find the changing process of the conservation and maintenance, the location of royal tomb area, the changing process of royal tomb, the area changing clue of modernization process, and in the historical city, Seoul. The royal tombs in the Joseon dynasty of the radius outside 4km within 40km pivoting on Seoul have been contributed to providing the metropolitan, Seoul population with the cultural and green spaces for 600 years. In the Joseon dynasty the royal tombs had been taken charge of thoroughly by the Royal Household with Neungchamboing system from Confucian background for ancestor worship. There after they had been damaged somewhat by the Japanese Imperialism period, the Korean War, and the pressure of urbanization. But the original state has been preserved well by state management. The royal tombs in the Joseon dynasty has been kept the culture of royal tomb's and memorial services with stone sculptures for 518 years. Also there are lots of documentary records of royal tombs. The memorial services of the tombs are held by Jongyakwon of Jeonju Lee family every year. The royal tombs somewhat damaged are needed to the original state of the transferred right of managing agency by the related national bodies.

• 한국의상디자인학회지
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• 제17권2호
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• pp.63-78
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• 2015

The purpose of this study is to compare the style of clothing by type of the Goguryeo and Xianbei Tribe based on the examination of the literature centered on the historical relationship between Goguryeo and Xianbei Tribe. The research results are as follows. First, it was found that both the apparels of Goguryeo and Xianbei Tribe had hemp cloth with the V-neckline with the blocked front part and hemp cloth with the open front that is worn by overlapping the straight collars of the upper garment. Both men and women wore the garment of the straight line collar that is worn by folding towards the left or right, or upper garment of the round shaped collar. Women wore an upper garment with short sleeves on top of the upper garment of Korean traditional clothes while men wore pants for the lower garment, and women wore skirt and apron with triangular cloth decoration on top of the skirt. Second, Goguryeo Anak Tomb No. 3 mural painting(year 357) shows that apparel worn by the lady who is the wife of the owner of the tomb is similar to the apparel worn by the lady in the lacquer painting for folding screen of the Sima Jinlong Tomb ancient painting on the woman of chaste reputation in terms of the form and structure.

• 복식문화연구
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• 제6권2호
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• pp.127-140
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• 1998

A study on the construction of Dan-Ryung in the early 16th century based on the shrouds from excavated tomb of Kim, Heum-Jo(1461-1528) is reported in this paper. This study is aimed at establishing database for a traditional Korean costume construction and emphasizing the necessity for development of methodology in writing report from excavated costume including measuring, construction methods and materials. This paper includes examples of measured length for each part of 'Dan-Ryung', reconstructured drawings, pictures, and construction methods. The followings on the construction of Dan-Ryung in the early 16th century are found in this study: 1) Dan-Ryung robes were made of less expensive hemp, cotton, silk & cotton, and ramie & silk. 2) As a whole, Dan-Ryung was lengthy and spacious and it had straighter and narrower sleeves when compared to the ones from the late Chosun. 3) There existed Moo which was large rectangular guest with double pleats at Dan-Ryung's side seam. Its round collar was constructed with a 3 cm width bias. Ball buttons on the outer collar and loops on the right shoulder are attached. 4) There existed a pair of indirectly attached slim and short strings. Inside string is directly attached. 5) Inside of the shoulder, a U-shaped shoulder pad made of the same cloth as the inner cloth was attached. hand sewing methods used include delicate flat-felled seam stitch, back-stitch and sew-up stitch.

• 한국조경학회지
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• 제43권2호
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• pp.56-72
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• 2015

본 연구는 2009년 세계문화유산으로 등재된 조선왕릉 중 태릉을 대상으로 능침공간, 제향공간, 전이공간, 진입공간으로 공간을 구분하고, 과거 문헌고증을 통해 능 조영 당시 능의 좌우 및 후면에 식재된 원식생을 파악하였다. 태릉의 공간별 원식생 경관 중 능침공간의 능선 주변, 제향공간, 전이공간은 소나무로 추정하였고, 진입공간은 오리나무로 추정하였다. 태릉의 현존식생은 소나무림이 50.3%로 가장 넓게 분포하였고, 낙엽활엽수림은 33.7%로 갈참나무, 상수리나무, 신갈나무가 주요 출현종이었다. 식재지는 7.9%로 주요 수종은 소나무와 잔디 등이었다. 태릉 식물군집구조는 총 108개 조사구를 설정하여 총 4개의 공간으로 구분하였다. 공간별로 조사구의 상대우점치를 분석한 결과, 능침공간 현재 우점종은 소나무이었지만, 소나무는 도태되고, 상수리나무의 세력이 확대되고 있었으며, 소나무림이 갈참나무로 천이가 진행되고 있었다. 제향공간, 전이공간은 소나무가 도태되고 있었으며, 참나무류의 세력이 확대되고 있었다. 진입공간 우점종은 소나무, 갈참나무이었으며, 원식생인 오리나무가 사라지고, 소나무와 갈참나무로 변화되었는데, 이 지역은 점토질 토양으로 장기적으로 소나무는 도태될 것으로 판단되었다. 태릉의 과거식생(추론)과 현존식생을 비교 분석하여 식생경관관리 목표와 방안을 제시하였다. 식생경관관리 목표는 생태적 특성 및 식생변화를 분석하여 공간별 역사경관림에 부합하는 경관유지 및 복원을 목표로 하였다. 능침공간은 소나무림과 소나무식재지로 유지 관리하고, 기타 참나무류림을 소나무림으로 복원, 제향공간은소나무림과 소나무식재지로 유지관리하고, 참나무류림을 소나무림으로순차적 복원, 전이공간의 소나무림은 유지 관리하고, 참나무류림은 소나무림으로 복원, 진입공간은 순차적으로 오리나무림으로 복원하는 것으로 제시하였다.

• 헤리티지:역사와 과학
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• 제42권3호
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• pp.106-130
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• 2009

본고는 경주지역에서 발굴된 기원전 2세기에서 기원후 3세기대까지의 목관묘와 목곽묘에 대한 구조분석과 그 변화양상을 추적하여 사로국의 정치, 사회적인 동향과 성장과정을 살펴본 것이다. 한반도 서남부지역의 적석목관묘(積石木棺墓)가 기원전 2세기 후반 무렵 영남지방으로 파급되면서 경주지역에서도 철기가 부장된 군집묘(群集墓)가 조성되기 시작하며 이후 기원전 1세기 후반에는 한군현(漢郡縣)의 설치에 따라 대동강유역의 유이민이 진한(辰韓)으로 남하, 정착하면서 전한경(前漢鏡)과 와질토기(瓦質土器)가 부장된 중소형의 단순목관묘(單純木棺墓)가 경주지역에 등장하게 된다. 청동유물을 다량 부장한 독립묘(獨立墓)의 주인공은 군집묘보다는 상대적으로 높은 최상위 계층의 것으로 사제왕(司祭王)일 가능성이 높으며 경주의 각 곡간지역을 범위로 하는 지역집단의 수장묘(首長墓)로 추정된다. 기원후 2세기에 접어들면서 단순목관묘는 규모가 확대되고 부장유물의 종류와 양이 풍부해지는 경향을 보이는데 이를 잘 보여주는 것이 사라리 130호묘이다. 이것은 피장자의 주관 옆에 부장품을 넣은 목갑(木匣)을 설치하여 칠기(漆器)나 동경(銅鏡) 등의 위신재(威信財)를 부장한 것으로, 이와같은 구조는 평양을 중심으로 한 낙랑지역의 목곽묘에서 보이고 있다. 기존의 목관묘와 구조상에서 차이가 보이는 이러한 목관계목곽묘(木棺系木槨墓)의 출현은 변 진한의 철(鐵)을 매개로 한 낙랑과 이 지역과의 활발한 교섭관계를 대변해 주는 것이며 지리적으로 물류의 집산지 역할을 한 사라리 집단은 외부와의 유통과 교역을 장악하여 경주지역의 정치와 사회문화적인 거점으로서 위치한 것으로 보인다. 2세기 후반대 이후 정치체의 규모가 크게 성장한 경주지역의 분묘시설에는 부장유물의 안정적인 공간을 위한 곽(槨)이라는 개념이 정착하게 되었고, 소형묘와 입지상에 있어 차별성을 가진 대형의 장방형목곽묘가 3세기 전엽에 보편적으로 나타나게 된다. 이는 지배집단 내 계층분화의 양상을 반영하는 것으로 해석되며 대형묘가 소재하는 지역이 소국의 중심지로써 자리를 잡게 되었다. 이후 이 지역 목곽묘의 평면구조가 점차 길어지는 경향은 묘곽 내에 보다 넓은 공간을 확보하기 위한 것으로 결국, 3세기 후반대 부곽이라는 시설을 갖춘 경주식목곽묘(慶州式木槨墓: 동혈주부곽식목곽묘)의 등장을 가져온다. 소형의 부곽은 점차 길이가 길어져 4세기대에는 주곽의 크기에 이르는데, 이는 집단 내 계급의 분화가 급속도로 진전되면서 권력의 집중화가 표면화된 것으로 경주와 주변지역 대소집단간의 통합이 진전되는 분위기 속에서 집단 내의 질서를 일원화해가는 과정을 보여주는 것으로 이해 할 수 있다.