• Conservation Science in Museum
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• v.18
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• pp.19-34
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• 2017

Analysis of the species of wood in the wooden materials and the chemical composition of the fabric of the clothing excavated from the tomb of Yi Jing (1580-1642) has determined that the wooden materials, including the coffin (內棺, naegwan), burial chamber(外棺, oegwan), chilseongpan(七星板, bottom-lining board), and fan-shaped slats were made of pine(Pinus densiflora). The analysis of the fabrics suggested that the cloth attached to the fan-shaped slats, the funeral banner with inscriptions, and the five pouches for the corpse (五囊, onang) were all made of silk. The jacket was made of plain-weave cotton, while the inner and outer cloth of the socks were made of cotton and hemp, respectively. Among the silk items, the pouches for the left and right feet (constituting the five pouches for the corpse) were made from a satin-weave figured silk, while the other silk items were made of ju(紬), or plain-weave silk fabric. Infrared analysis revealed that the fan-shaped slats were decorated with cloud patterns across the entire surface, while the funeral banner and the five pouches for the corpse bore ink inscriptions.

• Conservation Science in Museum
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• v.26
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• pp.119-142
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• 2021

The gilt-bronze-and-silver shoes, excavated from the Tomb of King Muryeong, revealed many defective parts, which constantly raised in-depth re-investigation and reporting. In that point, scientific treatment and analysis were conducted to investigate the manufacturing techniques applied. The conservation treatment was carried out with an emphasis on the restoration of the original form and joining parts. As a result, the upper part of the right shoe and some part of the back heel were joined, confirming the joining method and the number of rivet used for instep bonding. From the component analysis, it is presumed that the outer plate was gilded with mercury amalgam on pure copper, and pure silver was used for the inner plate. The main pattern of the gilt-bronze-and-silver shoes includes designs of phoenix, lotus, and six-petal flower, while the lotus pattern is high in terms of ratio. Thus, youngnaksa(twisted gilt-bronze thread), geumdongsa(gilt-bronze thread), wondujeong (rivet), and samyeonjeong(quadrangular cleats) were used for bonding each plate. Twisted gilt-bronze thread was used to join the inner and outer plates, while the center and rear of the inner plate were combined with only gilt-bronze threads. From the fact, it is presumed that the joining method was different whether the function was decoration or just bonding. Regarding the manufacturing process, traces of burnishing were confirmed on the outer surface of the gilt-bronze and silver shoes, but no burnishing traces were identified on the inner surface of the silver plate, which is likely to prove more importance put on the finishing of the outer plates rather than that of the inner.

• Journal of the Korean Society of Costume
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• v.66 no.8
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• pp.61-77
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• 2016

This study is to understand the meaning, the location, and the construction of Hyeonhun (玄纁) through the records and relics of the Chosun Dynasty. Hyeonhun means farewell gifts for the dead. Hyeonhun was very personal and was considered to be essential ritual supplies. it was newly made for not only first funeral(初葬), but also the second funeral(改葬), was individually made as well as in the couple funeral(夫婦合葬). the Hyeonhun ritual was performed while dressed in a simabok(緦麻服). The ritual started with washing of the hands(盥手) and deep bowing(再拜) twice. The Hyeonhun was placed on the lid of the inner coffin among the 3 coffins in Chosun tomb's way. The Hyeon was placed on the right side and the Hun on the left side of the lid.(玄右纁左). Hyeonhun are comprised of one, two, five of ten pieces. Most of the excavated Hyeonhun were two pieces : Hyeonhunsokbaek(玄纁束帛) consist of ten pieces, of which six were Hyeons and four were Huns. The records indicated that the materials used to make Hyeonhun was silk, but the excavated relics satin and twill, single gauze in the excavated relics advanced than the records.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.57-69
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• 2001

The purpose of this study is to examine the costume represented In human clay figures of ancient Shilla dynasty. The results of this study could be summarized as follows: 1. Horse-riding clay figures of Gumryoung tomb. At first, human-A wears a brimed-triangular hat, a Jacket, a checked pants. The brimed-triangular hat is decorated with bird-feather shape. Besides, a jacket is tied with a waist belt, and the waist belt is connected with a shoulder belt and a squared block of back. Also round bells are decorated 15 in the hat, 4 In connection points of the waist belt and the shoulder belt, and 13 in the squared block of back. Human-B wears a hairband type hempen hood, a Jacket, a pants with vertical stripes. and something is rounded from right shoulder to left side. It is one of the symbols as a shaman. 2. Other clay figures. The hats examined from other clay figures are \circled1 Triangular hat, \circled2Hat decorated with bird-feather shape, \circled3 Brined hat and \circled4 Hairband type hempen hood. Next, six kinds of hair styles examined are \circled1 a topknot, \circled2 a slanted topknots, \circled3 two topknots on both sides, \circled4(round) chignon, \circled5 hair tied at the top and plastered down, and tile last, \circled6 ponytailed style on both sides. The costume examined is a jacket and a pants.

• Journal of the Korea society of information convergence
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• v.5 no.2
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• pp.37-47
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• 2012

I generalized and analyzed the Supreme Court's judgements sentenced form Cho Sun High Court of Jus-tice to the present. Morever I tried to establish the system of a theory for surface rights from the viewpoint of the conventional law and present the direction in law-making political side. 1. The legal surface rights from the viewpoint of the conventional law have not been admited by the usage. Therefore I studied in detail its history, examples of foreign law-making, recognition authority and application object.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2001.10a
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• pp.552-555
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• 2001

From the dissertation which it sees micro it is strong with the technical development which the computer and communication field is quick and efficiency improvement and control LAN (Local Area Network) this utility anger becomes with the pliability regarding a system construction to come to be high, central processing unit (CPU) function it separates especially and the LAN communication railway line (Data way) it uses and the controller royal tomb of process disperses, the information control and watch and operation fabrication function composes an anger making whole system intensively development background and application process and the right season of the dispersion control system which plans a reliability improvement, war potential and environment, possibility control, From industrial site of the petrochemistry back application and it investigated the dispersion control system which is applied to observe in many sidedness and until course of development of report hereafter dispersion control system it tried.

• Journal of the Korean Society of Costume
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• v.4
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• pp.87-114
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• 1981

A costume reveals the social characteristics of the era in which it is worn, thus we can say that the history of change of the costume is the history of change of the living culture of the era. Since the Three States era, the costume structure of this country had been affected by the costume system of the China's historical dynasties in the form of the grant therefrom because of geographical conditions, which affection was conspicuous for the bureaucrat class, particularly including but not limited to the Kings' familities. Such a grant of the costume for the bureaucrat class (i.e., official uniform) was first given by the Dang-dynasty at the age of Queen Jinduck, the 28th of the Shilla-dynasty. Since then, the costume for the bureaucrats had consecutively been affected as the ages had gone from the unified Shilla, to the Koryo and to the Yi-dynasty. As the full costumes officially used by government officials (generally called "Baek Gwan") in the Yidynasty, there existed Jo-bok, Gong-bok and Sang-bok. Of such official costumes, Gong-bok was worn at the time of conducting official affairs of the dynasty, making a respectful visit for the expression of thanks or meeting diplomatic missions of foreign countries. It appears no study was made yet with regard to the Gong-bok while the studies on the Jo-bok and the Sangbok were made. Therefore, this article is, by rendering a study and research on the styles of costumes of civil servants' stone images erected at the Kings' tombs of the Yi-dynasty, to help the persons concerned understand the Gong-bok, one of the official costume for Baek Kwan of that age and further purports to specifically identify the styles and changes of the Gong-bok, worn by Baek Gwan during the Yi-dynasty, consisting of the Bok-doo (a hat, four angled and two storied with flat top), Po (gown), Dae (belt), and Hol (small and thin plate which was officially held by the government officials in hand, showing the courtesy to and writing brief memorandums before the King) and Hwa (shoes). For that purpose, I investigated by actually visiting the tombs of the Kings of the Yi-dynasty including the Geonwon-neung, the tomb of the first King Tae-jo and the You-neung, the tomb of the 27th King Soon-jong as well as the tombs of the lawful wives and concubines of various Kings, totalling 29 tombs and made reference to relevant books and records. Pursuant. to this study, of the 29 Kings' tombs the costume styles of civil servants' stone images erected at the 26 Kings' tombs are those of Gong-bok for Baek-gwan of the Yi-dynasty wearing Bok-doo as a hat and Ban-ryeong or Dan-ryenog Po as a gown with Dae, holding Hol in hand and wearing shoes. Other than those of the 26 tombs, the costume styles of the Ryu-neung, the tomb of the Moon-jo who was the first son of 23rd King Soon-jo and given the King's title after he died and of the You-neung, the tomb of the 27th King Soon-jong are those of Jobok with Yang-gwan (a sort of hat having stripes erected, which is different from the Bok-doo), and that of the Hong-neung, the tomb of the 26th King Go-jong shows an exceptional one wearing Yang-gwan and Ban-ryeong Po ; these costume styles other than Gongbok remain as the subject for further study. Gong-bok which is the costume style of civil servants' stone images of most of the Kings' tombs had not been changed in its basic structure for about 500 years of the Yi-dynasty and Koryo categorized by the class of officials pursuant to the color of Po and materials of Dae and Hol. Summary of this costume style follows: (1) Gwan-mo (hat). The Gwan-mo style of civil servants' stone images of the 26 Kings' tombs, other than Ryu-neung, Hong-neung and You-neung which have Yang-gwan, out of the 29 Kings' tombs of the Yi-dynasty reveals the Bok-doo with four angled top, having fore-part and back-part divided. Back part of the Bok-doo is double the fore-part in height. The expression of the Gak (wings of the Bokdoo) varies: the Gyo-gak Bok-doo in that the Gaks, roundly arisen to the direction of the top, are clossed each other (tombs of the Kings Tae-jong), the downward style Jeon-gak Bok-doo in that soft Gaks are hanged on the shoulders (tombs of the Kings Joong-jong and Seong-jong) and another types of Jeon-gak Bok-doo having Gaks which arearisen steeply or roundly to the direction of top and the end of which are treated in a rounded or straight line form. At the lower edge one protrusive line distinctly reveals. Exceptionally, there reveals 11 Yang-gwan (gwan having 11 stripes erected) at the Ryu-neung of the King Moon-jo, 9 Yang-gwan at the Hong-neung of the King Go-jong and 11 Yang-gwan at the You-neung of the King Soon-jong; noting that the Yang-gwan of Baek Kwan, granted by the Myeong-dynasty of the China during the Yi-dynasty, was in the shape of 5 Yang-gwan for the first Poom (class) based on the principle of "Yideung Chaegang" (gradual degrading for secondary level), the above-mentioned Yang-gwans are very contrary to the principle and I do not touch such issue in this study, leaving for further study. (2) Po (gown). (a) Git (collar). Collar style of Po was the Ban-ryeong (round collar) having small neck-line in the early stage and was changed to the Dan-ryeong (round collar having deep neck-line) in the middle of the: dynasty. In the Dan-ryeong style of the middle era (shown at the tomb of the King Young-jo); a, thin line such as bias is shown around the internal side edge and the width of collar became wide a little. It is particularly noted that the Ryu-neung established in the middle stage and the You-neung in the later stage show civil servants in Jo-bok with the the Jikryeong (straight collar) Po and in case of the Hong-neung, the Hong-neung, the tomb of the King Go-jong, civil servants, although they wear Yang-gwan, are in the Ban-ryeong Po with Hoo-soo (back embroidery) and Dae and wear shoes as used in the Jo-bok style. As I could not make clear the theoretical basis of why the civil servants' costume styles revealed, at these tombs of the Kings are different from those of other tombs, I left this issue for further study. It is also noted that all the civil servants' stone images show the shape of triangled collar which is revealed over the Godae-git of Po. This triangled collar, I believe, would be the collar of the Cheomri which was worn in the middle of the Po and the underwear, (b) Sleeve. The sleeve was in the Gwan-soo (wide sleeve) style. having the width of over 100 centimeter from the early stage to the later stage arid in the Doo-ri sleeve style having the edge slightly rounded and we can recognize that it was the long sleeve in view of block fold shaped protrusive line, expressed on the arms. At the age of the King Young-jo, the sleeve-end became slightly narrow and as a result, the lower line of the sleeve were shaped curved. We can see another shape of narrow sleeve inside the wide sleeve-end, which should be the sleeve of the Cheom-ri worn under the Gong-bok. (c) Moo. The Moo revealed on the Po of civil servants' stone images at the age of the King Sook-jong' coming to the middle era. Initially the top of the Moo was expressed flat but the Moo was gradually changed to the triangled shape with the acute top. In certain cases, top or lower part of the Moo are not reveald because of wear and tear. (d) Yeomim. Yeomim (folding) of the Po was first expressed on civil servants' stone images of the Won-neung, the tomb of the King Young-jo and we can seemore delicate expression of the Yeomim and Goreum (stripe folding and fixing the lapel of the Po) at the tomb of the Jeongseong-wanghoo, the wife of the King Young-jo, At the age of the King Soon-jo, we can see the shape of Goreum similar to a string rather than the Goreum and the upper part of the Goreum which fixes Yeomim was expressed on the right sleeve. (3) Dae. Dae fixed on the Po was placed half of the length of Po from the shoulders in the early stage. Thereafter, at the age of the King Hyeon-jong it was shown on the slightly upper part. placed around one third of the length of Po. With regard to the design of Dae, all the civil servants' stone images of the Kings' tombs other than those of the Geonwon-neung of the King Tae-jo show single or double protrusive line expressed at the edge of Dae and in the middle of such lines, cloud pattern, dangcho (a grass) pattern, chrysanthemum pattern or other various types of flowery patterns were designed. Remaining portion of the waist Dae was hanged up on the back, which was initially expressed as directed from the left to the right but thereafter expressed. without orderly fashion,. to the direction of the left from the right and vice versa, Dae was in the shape of Yaja Dae. In this regard, an issue of when or where such a disorderly fashion of the direction of the remaining portion of waist Dae was originated is also presented to be clarified. In case of the Ryuneung, Hong-neung and You-neung which have civil servants' stone images wearing exceptional costume (Jo-bok), waist Dae of the Ryu-neung and Hong-neung are designed in the mixture of dual cranes pattern, cosecutive beaded pattern and chrvsenthemum pattern and that of You-neung is designed in cloud pattern. (4) Hol. Although materials of the Hol held in hand of civil servants' stone images are not identifiable, those should be the ivory Hol as all the Baek Gwan's erected as stone images should be high class officials. In the styles, no significant changes were found, however the Hol's expressed on civil servants' stone images of the Yi-dynasty were shaped in round top and angled bottom or round top and bottom. Parcicularly, at the age of the King Young-jo the Hol was expressed in the peculiar type with four angles all cut off. (5) Hwa (shoes). As the shoes expressed on civil servants' stone images are covered with the lower edges of the Po, the styles thereof are not exactly identifiable. However, reading the statement "black leather shoes for the first class (1 Poom) to ninth class (9 Poom)," recorded in the Gyeongkook Daejon, we can believe that the shoes were worn. As the age went on, the front tips of the shoes were soared and particularly, at the Hong-neung of the King Go-jong the shoes were obviously expressed with modern sense as the country were civilized.

• Journal of the Korean Society of Costume
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• v.6
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• pp.121-143
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• 1982

Many studies have done on Egyptian Clothing because its unique characteristic culture. However, I was facinated by the exhibitions of Tutankhamen burial treasures which were shown in San Francisco and New York in 1978 and 1979. I found out myself that there are several interesting aspects of clothing to compare 18th dynasty king, Tutankhamun and other dynasties in Egyptian culture. Therefore, I tryed to analized the Egyptian clothing including accessaries with theigr symbols durin 18th dynasty King, Tutankhamun. The most of people were shocked and amazed when they toured the exhibition of Tutankhamun articles which were the most incredible burial treasures in existence today. The body of the King has been embalmed, bandaged and fitted in eight layers of coffins with pure gold mask to represent the god Osiris. Among eight layers of coffins, one is pure solid gold in mummiform, two of mummiforms are made of compact wood covered with sheets of gold and inlaid with multi-colored glass-paste and semi-precious stones. The Egyptian belived that the soul continued to exist throughout eternity if it had passed on examination of its deeds on earth at a "Last Judgement" presided over by Osiris. They also believed that the mummified body could exist in the tomb as a habitation that the soul could revisited. Thus a proper burial was vital for a full existence in the hereafter. They buried dead person in the sealed vault of the tomb with some of the possessions he had used during his life time, such as his furniture, clothing and jewels. In this studies, I've tried to research to various clothings, and accessories with their symbols used during 18th dynasty king, Tutankhamun. The studies are shown as: I) Clothings of Tutankhamun dynasity of Kalasiris, Sheath skirt. Gala skirt, Loin skirt, Hike and Dalmatic. The Dalmatic was first seen in this dynasty. Probably the Roman Christian borrowed the Dalmatica from Egyptian Dalmatic. No where has the same design at the period. II) Egyptian of 18th dynasty Tutankhamun wore big headdress, broad collar necklace passium, pendants, armlets, rings and earrings with very beautiful, exquisite handcraft. They seem the first people who wore earrings in Egyptian history. III) The symbols of decorated items vulture, lotus...Upper Egypt Uraeus, papyrus...Lower Egypt scaravaeus, Nile Riber...rebirth man(Ankh), +...eternal life solar disc, gold...sun ostrich-feather...nobleness God, Horus' eye...protection against enemy IV) Also Egyptian prefered the straight line and a right angle which were the basic principles of architectural arrangement.

• Korean Journal of Heritage: History & Science
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• v.42 no.3
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• pp.66-87
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• 2009

The definition of the structure of wooden chamber tomb(piled stone-type) is as follows. It is a tomb with wooden chamber, and stones were piled on top of the wooden chamber, and then a wooden structure was placed on top of the piled stones, and more stones were piled on top of the wooden structure, and sealed with clay. Of course this definition can vary according to periods, the buried, etc. Gyeongju-style piled stone type wooden chamber tombs have some distinguished characteristics compared to general definition of piled stone type wooden chamber tombs. Outside the wooden chamber, either stone embankments or filled-in stones were layed out, and pilet-in stones are positioned right above the wooden chamber, and almost every class used this type, and finally, it is exclusively found in Gyeongju area. First generations of this Gyeongju-style piled stone type wooden chamber tombs appeared in first half of 5th century. These tombs inherited characteristics like ground plan, wooden chamber, double chamber(inner chamber and outer chamber), piled stones, burial of the living with the dead, piled stones, from precedent wooden chamber tombs. However these tombs have explicit new characteristics which are not found in the precedent wooden chamber tombs such as stone embankments, wooden pillars, piled stones(above ground level), soil tumuluses. stone embankments and wooden pillars are exclusively found on great piled stone type above-ground level wooden chamber tombs such as the Hwangnamdaechong(皇南大塚). Stone embankments, wooden pillars, piled stones(above ground level) are all elements of building process of soil tumuluses. stone embankments support outer wall of above-ground level wooden chambers and disperse the weight of tumuluses. Wooden pillars functioned as auxiliary supports with wooden structures to prevent the collapse of stone embankments. Piled stones are consists of stones of regular size, placed on the wooden structure. And after the piled stones were sealed with clay, tumulus was built with soil. Piled stones are unique characteristics which reflects the environment of Gyeongju area. Piled stone type wooden chamber tombs are located on the vast and plain river basin of Hyeongsan river(兄山江). Which makes vast source of sands and pebbles. Therefore, tumulus of these tombs contains large amount of sands and are prone to collapse if soil tumulus was built directly on the wooden structure. Consequently, to maintain external shape of the tumulus and to prevent collapse of inner structure, piled stones and clay-sealing was made. In this way, they can prevent total collapse of the tombs even if the tumulus was washed away. The soil tumulus is a characteristic which emerges when a nation or political entity reaches certain growing stage. It can be said that after birth of a nation, growing stage follows and social structure will change, and a newly emerged ruling class starts building new tombs, instead of precedent wooden chamber tombs. In this process, soil tumulus was built and the size and structure of the tombs differ according to the ruling class. Ground plan, stone embankments, number of the persons buried alive with the dead, quantity and quality of artifacts reflect social status of the ruling class. In conclusion, Gyeongju-style piled stone type wooden chamber tombs emerged with different characteristics from the precedent wooden chamber tombs when Shilla reached growing stage.

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.196-221
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• 2011

The Royal Private Shrines or the Samyo(私廟), were dedicated to members of Choseon's royal family who could not be enshrined at the (official) Royal Ancestral Shrine, the Jongmyo(宗廟). The Samyo were constructed at the national level and were systematically managed as such. Because these private Shrines were dedicated to those who couldn't belong to the Jongmyo but were still very important, such as the ruling king's biological father or mother. The details of all royal constructions were included in the State Event Manuals, and with them, the two-dimensional layouts of the Samyo also. From the remaining "Hyunsa-gung Private Tomb Construction Layout Record(顯思宮別廟營建都監儀軌)" of 1824, which is the construction record of Gyeongwoo-gung Shrine(景祐宮) dedicated to Subin, the mother of King Sunjo(純祖), it became possible to investigate the so far unknown "The Painting of Gyeongwoo-gung Shrine", in terms of the year produced, materials used and other situational contexts. The investigation revealed that the "The Painting of Gyeongwoo-gung Shrine" is actually the "Hyunsa-gung Private Tomb Layout" produced by the Royal Construction Bureau. The bureau painted this to build Hyunsa-gung Private Shrine in a separately prepared site outside the court in 1824, according to the royal verdict to close down and move the temporary shrine inside the courtyard dedicated to Subin who had passed away in 1822. As the Construction Bureau must have also produced the Gyeongwoo-gung Shrine Layout, the painter(s) of this layout should exist among the official artists listed in the State Event Manual, but sadly, as their paintings have not survived to this day, we cannot compare their painting styles. The biggest stylistic character of the Painting of Gyeongwoo-gung Shrine is its perfect diagonal composition method and detailed and neat portrayalof the many palace buildings, just as seen in Donggwoldo(東闕圖, Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). A well-perceiving architectural painting employs a specific point of view chosen to fit the purpose of the painting, or it can opt to the multi-viewpoint. Korean traditional architectural paintings in early ages utilized the diagonal composition method, the bird-eye viewpoint, or the multi-viewpoint. By the 18th century, detailed but also artistic architectural paintings utilizing the diagonal method are observed. In the early 19th century, the peak of such techniques is exhibited in Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). From the perfect diagonal composition method employed and the details of the palace buildings numbering almost two hundreds, we can determine that the Painting of Gyeongwoo-gung Shrine also belongs to the same category of the highly technical architectural paintings as Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). We can also confirm this hypothesis by comparing the painting techniques employed in these two paintings in detailthe way trees and houses are depicted, and the way ground texture is expressed, etc. The unique characteristic of the Painting of Gyeongwoo-gung Shrine is, however, that the area surrounding the central shrine building(正堂), the most important area of the shrine, is drawn using not the diagonal method but the bird-eye viewpoint with the buildings lying flat on both the left and right sides, just as seen in the "Buildings Below the Central Shrine(正堂以下諸處)" in the State Event Manual's Painting Method section. The same viewpoint method is discovered in some other concurrent paintings of common residential buildings, so it is not certain that this particular viewpoint had been a distinctive feature for shrine paintings in general. On the other hand, when the diagonalmethod pointing to the left direction is chosen, the top-left and bottom-right sections of the painting become inevitably empty. This has been the case for the Painting of Gyeongwoo-gung Shrine, but in contrast, Donggwoldo shows perfect screen composition with these empty margins filled up with different types of trees and other objects. Such difference is consistent with the different situational contexts of these two paintings: the Painting of Gyeongwoo-gung Shrine is a simple single-sheet painting, while Donggwoldo is a perfected work of painting book given an official title. Therefore, if Donggwoldo was produced to fulfill the role of depiction and documentation as well as the aesthetic purpose, contrastingly, the Painting of Gyeongwoo-gung Shrine only served the purpose of copying the circumstances of the architecture and projecting them onto the painting.