• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.20-55
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• 2016

Koguryo's tomb mural paintings in North Korea are our precious cultural heritage which have been designated as UNESCO World Heritage property receiving high praise in the following criterion, i) exceptional creativeness of human being, ii) representative value showing the stage of development in construction history of East-Asia, iii) aesthetic superiority iv) uniqueness of building construction including tombs' ceiling. Mural paintings have been found from almost 100 tombs of the Koguryo dynasty out of 130 which are scattered across Huanren County, Lianoning Province, Ji'an, Jilin Province in China and Pyongyang in North Korea. Especially, most of them are gathered in Pyongyang from 4th and 5th century. Peculiarly, some of them have been constructed before King Jangsu's transfer of the capital to Pyongyang(AD 427). It can be regarded that Pyongyang territory had been under control of Koguryo and to become a new capital in the near future. And dense emergence of such tombs since the capital transfer from Gungnae City to Pyongyang during the reign of Jangsu is linked closely to the construction of tombs for rulers under strengthen royal authority of Jangsu and centralized system of authoritarian rule. Tomb mural paintings describe the owner's figure pictorially based on the truth just as in his living years. General lifestyles of ruling powers and sovereigns can be seen from the wall paintings portraying several buildings with various styles, figures, manners of living, which are considered that the tomb owner had led politically and sociologically in his life. In spite of not enough proofs to approve figure of architectures or "Gong-Po" in wall paintings on the tombs as those of Koguryo, it is persuasive with consideration for painting and decoration inside the tomb like wooden building in real life for the purpose of reenacting and continuing the tomb owner's luxurious life after death. "Du-Gong-Po-Zak" had appeared in company with Koguryo tomb murals and it can be found in most of the murals. And the emergence of substantial "Gong-Po-Do" can be counted more than a century ahead of the figure in murals. It could be a reasonable assumption as regards Koguryo tomb murals time of appearance match up with production period of Gahyungmyunggi(家形明器) and Hwasangseok(畵像石) Hwasangjeon(畵像塼) Design in the Mural Painting of the East-Han(東漢) Ancient Tombs in China. On this study, architectural "Gong-Po"s described in Koguryo tomb murals are categorized largely in "Bi(non)-Po-Zak-kye", "Jun(semi)-Po-Zak-kye", and "Po-Zak-kye" based on presence of "Ju-Du", "Cheom-Cha", and "Cheom-Cha-Sal-Mi" with developmental aspect, and, "Po-zak" is subdivided as "Bi(non)-Cheul-Mok" and "Cheul-Mok" types.

• Journal of the Korean Society of Costume
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• v.55 no.3 s.93
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• pp.94-107
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• 2005

Kokuryo mural tombs are located in Jipan and Pyongyang, where were capital Cities of Kokuryo. Although there are many studies performed about costumes in Kokuryo mural tombs so far, the studies comparing regional differences are rare. In this study, we tried to compare about the costumes in Kokuryo mural tombs between Jipan, where was the capital city in early period (BC37-AD426) and Pyongyang, where was the capital city for 241 years after the King Jang Su moved.(AD427-AD668) The results of this study are as following. There are differences between Jipan and Pyongyang in the shape of Chima(skirt) and the direction of Yeomim (adjusting the necklines). While there was only one type, long and narrow pleated skirt in Jipan area, another type of Chima was existed in Pyongyang area including the one in Jipan. Also, the direction of Yeomim was different. Left was popular in Jipan while it was right in Pyongyang. Moreover there are no man's Po(coat) with straight collar which was considered as a basic shape in Kokuryo mural tombs costumes so far. Also we found that Baji(pants) was an ordinary woman's costume, not only for underwear.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.541-549
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• 2007

Goguryo is the ancient dynasty which established the system of ancient state earlier than Baekje and Sila, and was a strong political and military power. Unlike the rock carving works of prehistoric times, mural paintings composed of line and color tones in tombs are characterized more by its social aspect and symbolism as a serious form of art than other cultural heritage of Goguryo. In response to that, this study analyzed the dress and ornaments of women found in Anak No. 3 ancient tomb, Susan-ri ancient tomb, Ssangyeongchong, which are the ancient tombs in Pyeongyang from 4th century to 5th century, have relatively more ancient tombs than any other places and preserved the mural paintings well, by using the plate, slide, literature and data related to relics in order to figure out the characteristics of women's dress and ornament in Goguryo, and the lifestyle and social aspect of Goguryo.

• 한국문화재보존과학회:학술대회논문집
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• 2005.11a
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• pp.53-54
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• 2005

• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.6-20
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• 2022

The restoration of cultural heritage materials is an important research theme. This study improved the existing cultural heritage restoration method and attempted to establish a restoration system for cultural heritage data based on historical documents and visual materials. Recognizing the limitations of existing studies, this paper attempted to restore cultural heritage data through interdisciplinary research. In addition, 3D restoration was carried out after restoration in 2D form based on literature documents rather than existing visual sources. The object of restoration that was selected was "Jeol," which represents the power of the king of Koguryo. Koguryo's Jeol is a type of flag. Jeol appears in the mural in Anak Tomb No. 3. Rather than using only photographic materials of murals, the restoration was carried out through cross-validation of literature data and materials on archaeological art history. This is important in that the restoration carried out in this study is an accurate restoration with a historical understanding based on the literature of the relevant cultural heritage. In this study, a restoration process based on historical records was established. A 3D restoration process was performed by adding and applying visual materials after the object was first shaped based on the literature data. Restoration based on literature and visual materials was carried out based on interdisciplinary research. Therefore, this study aims to build a digital restoration system for cultural heritages and to contribute to spreading the 3D digital restoration research of cultural heritages that can be applied to various platforms.

• Journal of the Korean Society of Costume
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• v.55 no.5 s.95
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• pp.1-13
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• 2005

The results from the consideration of this are as follows. 1. Kokuryo has been the exchange foreign relationship with the Han dynasty era, from king DaiMuSin 25 years to Bojang 27 years. 2 King of Kokuryo, from The North-Wei-dynasty has been received ceremonial costumes, first-third class of China's official rank. After unification of China, Su, Dang dynasty's envoy and missionary and many commercial men and artist come from China to Kokuryo, therefore, influenced their costume habbits and behabiers from royal families costumes and common peoples costumes, without concern of that one's social position. 3. Kokuryo King's ceremonial costumes are not the same as the China. Kokuryo performed a religious service an emperor's ceremony. And the Kokuryo King's religious mind was the Budism and Daoism. So that mural painting just showing the symbolic of the king's costumes , Myunryukwanbok.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.1-8
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• 2002

This article is to study the ancient Korean make-up based on ancient men's and women's facial decoration. The adornment is mainly about make-up, but I didn't employ make-up in this article on the ground that it isn't an appropriate concept in men's case. The study on the ancient Korean make-up has been conducted on the basis of Goguryeo mural paintings excavated in the tombs. Contrary to the Baekje and the Silla Kingdoms, Goguryeo women's make-up carne to fashion like China. The Goguryeo mural paintings depicted women's make-up which painted their faces white and lined on the eyebrows to make them raise toward their foreheads after removing their own eyebrows. They outlined their mouths smaller than their own and, in some occasions, applied make-up differently on the upper lip and the lower lip. As the time passed by, women applied the blusher, which attests to the fact that make-up of those days was considerably developed. Unlike women, men didn't put on cosmetics but they grew beard as a symbol of adults. The beard had a diversity in shape such as goat-shaped and fan-shaped beards. It can be understood that women's make-up was applied as a manifestation of adults like men's growing beards.

• Journal of the Korean Home Economics Association
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• v.44 no.4 s.218
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• pp.39-47
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• 2006

This study considers the Gagye(Added Hair) style shown in ancient Goguryeo Murals and examines its values and significance through an in-depth study on the relevance to the style of China. In Gagye style, the Korean Hwan-gye(Round-rolled Hair) hair type was different from that of China in letting the hair down and using accessories. The Korean Sseu-gye(Covered Hair) hair type features textile-made and Bokbal (Covered hair) styles. The Korean Go-gye(Highly-rolled up Hair) hair type was different from that of China in style and volume. The Korean Da-gye(Multi-laid Hair) hair type was different from that of China in component pattern in that the Korean Da-gye type was composed of two or three gyes. Eoneun meori (Braided & Coiled Hair) features the unique Goguryeo pattern in which "Che" was placed on the head and the hair was braided down on the sides of the face. Therefore, the Gagye style of Goguryeo Murals was localized and developed through cultural interchange between Goguryeo and China. It also features its own values and significance in Korea's clothing history.

• Journal of Astronomy and Space Sciences
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• v.20 no.1
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• pp.83-94
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• 2003

Chon-Mun-Ryu-Cho (天文類抄), written (edited) by Lee Sun-Ji (李純之) during the period of King Se-Jong, is a representative astronomy book of Cho-Sun (朝鮮: A.D. 1392-1910) Dynasty. We find and study in the first page of the book; the description of 28 oriental constellations as a Sasin (four mythical oriental animals)-animal sky map which is not widely known yet. The map consists of four groups of constellations, each of which represents the Sasin: Chang-Ryong (蒼龍: dragon), Baek-Ho (白虎: tige.s with Ki-Rin [離隣: Oriental giraffe]), Ju-Jak (朱崔: Chinese phoenix), Hyun-Mu (玄武: a tortoise interwined with a snake). Each group (animals) spans 2 ～ 7 of 28 oriental constellations (宿). As we know from the illustration (論說) of the Chon-Sang-Yol-Cha-Bun-Ya-Ji-Do (天象列次分野之圖), a representative sky map of Cho-Sun Dynasty, astronomy in Cho-Sun Dynasty is closely related to that in Go- Gu-Rye. (高句麗: B.C. 37 -A.D. 668) Dynasty. Since these Sasin-animals appear in most mural paintings of Go-Gu-Rye. (高句麗) tombs, visualization of sky with these animal constellations could have been established as early as in Go-Gu-Ryer Dynasty. We also reconstruct this ”A Sasin-animal Korean sky map” based on the shapes of the Sasin and Ki-Rin from Go-Gu-Ryer paintings and 28 oriental constellations in Chon- S an g- Yol- C h a- B un- Ya- J i- Do.

• TTA Journal
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• s.146
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• pp.14-15
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• 2013

서양에 레오나르도 다빈치의 <모나리자>가 있다면 우리에게는 혜원 신윤복의 <미인도>가 있다. <모나리자>가 야릇한 미소로 보는 사람들의 시선을 사로잡는다면, <미인도>는 단아하고 청순하지만 한편으론 에로틱한 모습으로 보는 이의 마음을 끌어당긴다. 또 네덜란드에 브뤼헐의 풍속화가 있다면 조선에는 단원 김홍도의 풍속화가 있다. 이렇게 세계적인 서양 미술작품과 견줘도 결코 뒤지지 않을 우리만의 소중한 그림이 있지만, 우리에겐 혜원과 단원이 전부다. 많은 서양화가와 그들의 작품, 서양화 기법을 알고 있으면서도 정작 소중한 우리 그림에 대해서는 잘 모르고 있기 때문이다. 안타깝게도 고구려 고분벽화 <수렵도>와 안견의 <몽유도원도>가 역사 시험에 나오기 때문에 외웠을 뿐, 이해하고 감상하기 위한 노력은 부족했던 것이다.