• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.74-95
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• 2024

A vast body of inscribed bricks has been found connected to the mid-fourth-century Tomb of Jang Mui in Bongsan-gun, Hwanghae-do Province. After several inspections of the bricks conducted at the National Museum of Korea in 2023, these inscribed bricks were grouped into ten types. This paper interprets in detail the phrases written on these bricks from the Tomb of Jang Mui in an attempt to understand their characteristics and intentions. This detailed interpretation facilitates a rough understanding of how each phrase relates to the others and in what order the phrases would make full sentences. In terms of their contents, these inscribed bricks are presumed to have been produced to convey information about the construction of the tomb to viewers on the outside. In particular, they relate that a narrator referred to as a Jubu official named Jo was involved in the construction of the Tomb of Jang Mui. They can be compared to the inscribed bricks created in China during the Western Jin and Eastern Jin Dynasties that were produced not by family members of the tomb occupants, but by figures who participated in the construction of the tombs based on political and social connections to their occupants. During the mid-fourth century, funeral practices in the former lands of the Nangnang and Daebang Commanderies followed Chinese traditions with the permission of Goguryeo Kingdom. Many of the artifacts found inside these Chinese-style tombs and introduced to the public, including the murals, ink inscriptions, and inscribed bricks, are related to the desire of the family members of the tomb occupants to strengthen their bonds and to share emotions and goals with settler groups. The contents of the inscribed bricks discovered from the Tomb of Jang Mui can be observed in this context.

• Journal of the Korean Institute of Landscape Architecture
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• v.19 no.3
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• pp.41-54
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• 1991

This study was executed to analyze the vegetational landscape structure and administration planning of Younguan Royal Tomb forest by the classification and DCA ordination were applied to the study are in order to classify them into several groups based on environmental variables. Also Younguan Royal Tomb forest comparison of a pair of photographs taken in 1920s and 1990. Sixteen sites were sampled with clumped sampling method in september 1990 and five quadrats were examined in each site. By classification and DCA, the plant community were divided into two groups(A. japonica community, P. densiflora, Quercus acutissima community) by the humus. Pinus densiflora community of actual vegetion covered 15.9%, Alnus japonica 6.5% and Quercus community 65.6% of the total area. And the afforested vegetation of P. koraiensis. P. rigida and Juglans mandshurica covered 13.2%. DCA ordination showed that successional trends of tree species seem to be from P. densiflora, Q. aliena to Q. acutissima in P. densiflora community and from A. japonica community of the upper layer. By the comparison of couple photographs between 1920s and 1990 we can recognize the change of historical landscape composed of P. densiflora community, A. japonaca and those community shall be conserved by the disclimax method, i.e. the broadleaf vegetation in the underlayer in the P. densiflora community should be cleared out. Otherwise the vegetational landscape sructure in Younguan Royal Tomb is successed to progress succession to Q. acutissima landscape.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.15-31
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• 2005

Suhainmyuldo(수하인물도) is a kind of picture which express a person under the tree and is known to be transmitted from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini(=Iygsha), the fairy of tree, in India of from the 'Tree of Life' in W. Asia, and they had in fluenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way. For example, Jookrimchilhundo(죽림칠현도: seven wise men in bamboo forest), during Six Dynasty. The tree of life(arbor vitae, lignum viate), the origin of the Painting of figure under a tree(수하인물도), was spreaded in several regions around the center of Mesopotamia early, and them transmitted to Sasan dynasty of Persia, even to Islam, Byzantine, Romanesque, ancient East Asia. The mural painting found in the 4th Tongu Ogoe tomb, which was created after the 5th Tongu Ogoe tomb, used Obangsaek more than the 5th tomb painting did. (The term Obansaek refers to the five Korean traditional colors consisted of yellow, blue, white, red and black) The mural painting on the 4th Ogoe tomb employed distinct technique to depict an object in a certain color by painting the surroundings with different primary colors, making the painting look more exotic and mysterious.

• Journal of architectural history
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• v.21 no.5
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• pp.7-18
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• 2012

On behalf of the royal women, SangGung(尙宮:The head of female servants in the palace) and NaIns(內人: Female servants caring for royal families in the palace) were dispatched in order to attend a funeral at the royal tomb. The NaInGaGa(內人假家) is the temporary building for SangGung and NaIns in the royal tomb. It is comprised of lodgings for them and also workrooms and warehouses to prepare ritual offering for the dead King or Queen. In the early Joseon dynasty, the NaInGaGa was utilized until a funeral at the royal tomb. Since 1674, NaInGaGa for the 3 years-period lamentation was started constructing separately. At these processes, the plan and placement of NaInGaGa was changed. This study based on the SanReungDoGam-EuiGwae (山陵都監-儀軌: The report on constructing royal tomb). The SanReungDoGam-EuiGwae written since 1800 have illustration about NaInGaGa. The illustration and explanation about NaInGaGa become a important clue that make suppose detailed space of NaInGaGa.

• Proceedings of the SAREK Conference
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• 2006.06a
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• pp.29-34
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• 2006

Although the importance of good conservation of historic sites including ancient royal tombs is well aware, still not much attention has been paid for the facilities and systems to preserve those historic sites, which includes precious artifacts as wall paints and carved works, etc. Even the level of general understanding about the environment of the underground space of tombs is not satisfactory. In Korea, researchers have recently begun addressing the importance of maintaining proper environment for underground space as of ancient tombs and are making efforts to develop suitable HVAC(heating, ventilating and air-conditioning) systems for them. In this study, an HVAC system for a tomb ($D{\times}W{\times}H=1.3m{\times}3.0m{\times}1.2m$) was installed to maintain suitable indoor conditions for conservation of tomb. The temperature and humidity inside the tomb were measured to represent the performance of the installed duct-type HVAC system. Vibration levels due to the installed an HVAC system are alive investigated experimentally. According to the measured data, the level of vibration inside the present model tomb with the duct-type unit showed significantly lower values than the case with the indoor unit inside.

• Journal of the Korean Society of Costume
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• v.49
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• pp.85-94
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• 1999

The fabrics attached to the remains of the Okjeon old tomb in the Kaya period were examined. Most of fabrics examined were composed of hemp and silk. Considering that silk was found in the old tomb of the Kaya period in the late 5th century and that various kinds of silk were used in the other area silk was assumed to be used before 5th century in the Kaya period. Only the structure of the densely plain weaved fabrics were analysed as silk and the other physical properties of the fabrics could not be the examined fabrics were plain weaved and altered structure with twill and plain weaving were found indicating that diverse weaving structures were used in the Kaya period. This indicate a certain level of cultural exchange between Kaya and Silla PaikJae, Kokuryo and weaving technique were almost similar in the Korean peninsula in the 5th century.

• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.95-111
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• 2001

The purpose of this study is to analyze the costumes of the master in Yuantaizi(원대자) tumulus murals and to examine the relation to the costumes of Koguryo(고구려). The Master appeared in Yuantaizi Tumulus Murals wear Wuguan(무관), Pingshangze(평상장) and Pao(포) These costumes were used as chaofu(조복) by Han race(한족) at that time. It is believed that Yuantaizi tumulus belongs to a tomb of Qian Yan(전연). So we can conclude that Qian Yan accepted costume systems of Han race. And similar costumes appear in Tumulus Murals of Koguryo built around Pyungyang(평양) and Anak(안악) in 4∼5 century. Especially the master's costumes of Anak Tomb No.3(안악3호분) are nearly the same as Yuantaizi's. Maybe it is closely related to the fact that the master of Anak Tomb No.3 is Dongsu (동수) who defected from Qian Yan.

• 보존과학연구
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• s.20
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• pp.65-80
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• 1999

The conservation treatment process of sword is below. First, examples written inlay with tortoise-shell design is a big sword with round head excavated Namwon Wolsanri in Korea, big swordsexcavated the Sungchong Ⅱ tomb of Naranghyun, the Moksun Ⅰ tomb of Ejihyun, the Jangjonsan Ⅰ tomb of Dogunhyung in Japan. The period of inlay artifacts are known to about 6c. Therefore, sword is infer to beexcavated to 6c.Second, inlay artifacts excavated the domestic at present were known to 19-pieces. But sword is a big sword inlaid with silver to projecting hilt. This artifact is very important to scholarship data because of be first excavated to the domestic

• The Research Journal of the Costume Culture
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• v.21 no.3
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• pp.376-393
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• 2013

In modern society, culture is an important factor to form a country's image and identity and a representative content to generate revenue. Culture is a keyword to design life in the 21st century and has become competitiveness between countries. As a cultural content with international competitiveness, this study performed textile design development with the use of relics from the Tomb of King Muryeong, which is the tumulus of King Muryeong who was the 25th king of Baekje among Korean history. The developed design could be applied to the production of various fashion cultural products such as clothes, scarf, neck-tie, and bag. The process for the design development was carried out as follows: As a first step, this study found basis as a cultural content with a global sense that could form the historical value of the Tomb of King Muryeong and gain global sympathy of people all over the world through literature reviews. As a second step, this study examined the current state that traditional Korean elements were used as a fashion cultural products. As a third step, this study analyzed the current state and problems of fashion cultural products using relics from the Tomb of King Muryeong through field survey. As a final step, this study planned the concept of design with the use of diadem ornaments, earring, sword, stone guardian animal, and bricks with lotus-flower design from the tomb of King Muryeong. And these developed 6 textile designs could be applied to the production of various fashion cultural products.

• Journal of Fashion Business
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• v.10 no.3
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• pp.54-68
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• 2006

Suhainmyuldo (樹下人物圖) is a type of picture which expresses a person under the tree and is known to be brought to the Korean Peninsula from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini (or Iygsha), the fairy of tree, in India and the 'Tree of Life' in Western Asia which influenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way; for example, Jookrimchilhundo (竹林七賢圖: seven wise men in bamboo forest) in the Six Dynasty. There are only two items of female dress and its ornament from the 4th to 6th century Suhainmyuldo of the Goguryeo ancient tomb mural: one from the Jangchun Tomb No. 1 in which a female figure is portrayed as a part of living genre painting and the other from the Anahk Tomb No. 1 with seven female figures in a painting which is one of the earliest Suhainmyuldos, presumably from the 4th century. These two paintings must be considered in parallel with the origin of Suhainmyuldo. The mountain wizard's dress and Men's dress and its ornament in Suhainmyuldo from the 4th to the late 6th century Goguryeo ancient tomb is mostly joint adjust in which its collar is connected by a line and almost all the wizards are wearing Sang (upper garment). Most mountain wizards are wearing black feather shaped jackets and upper garments. One noticeable observation is that the mountain wizards of Mooyongchong, Tongu Ohgoibun Nos. 4 and 5 are completely different from one another in terms of ways to dress each wizard's official hats and shoes.