• (The) Research of the performance art and culture
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• no.32
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• pp.701-738
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• 2016

The Geomungo(거문고) is a instrument of Gogureoy(高句麗). The instrument had covered a lot of Korea, so it have become a important musical instrument in Korea. Hayasi Genjo(林謙三), Japanese scholar, had maintained his opinion that the Geomungo of Gogureoy is the Wagonghu(臥??), and the Geomungo was formed later, the record of Kimbusik, wrighter of the History of Three Kingdom(三國史記), was incredible. Lee-Hyegu refuted his hypothesis because the introduction on the Wagonghu of Japan have been inaccurate. Since then, many scholars of Korea have studed on the Geomungo of Gogureoy. But their study of the Geomungo was inclined to the topic, relation of the Geomungo and the Wagonghu, or the Wagonghu, the origin of the Geomungo. And They have thought that the record of Kimbusik's was truth. Kimbusik had recorded that Wangsanak(王山岳) had made the Geomungo from the Chilheoyn-Geum(七絃琴, Seven stringed Zither. 古琴). But the Geomungo was different from Geum(琴), but similar to Wagonghu. Many ancient tomb have been unearthed in the old land of Gogureoy, and the were many tomb painting of Gogureoy Geomungo. They were many different style, the form, the size, the number of strings and the position of the musician. So I think that many various type of the Geomungo had been exsited in Gogureoy they had become a prestyle of the Geomungo. The Geomungo was originated from the Wagonghu, its form was similar to the Geomungo. The many scholars considered that it is truth, the Wagonghu was handed down from China, and was spreded to Japan. But there were the Wagonghu in the early Joseon(古朝鮮), The song of the early Joseon, Gongmudohaga(公無渡河歌). The song was accompanied by the Wagonghu. We can read off, at the Song, the Wagonghu had exsisted in the early Joseon. So I think cautiously on that point, the Wagonghu of the Early Joseon was old than that of China, and thd Geomungo of Gogureoy was originated from the Wagonghu of the Early Joseon.

• Journal of Fashion Business
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• v.6 no.2
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• pp.29-40
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• 2002

Honor guards‘ dress represented by royal carriage parade. This thesis studies the ceremonial dress worn by the ceremonial troops during the Hwa-sung Hang-hang Ban-cha drawing (華城幸行班次圖) in the Chosun dynasty of King Jung-jo. The purpose of this study is to understand the national level ceremony by closely looking into the traditional ceremonial dress and the various signs that were used at these events thereby enhancing the cultural status of the Jung-jo King period. The Hwa-sung Hang-hang Ban-cha drawing(華城幸行班次圖) has its characteristics and also has commonality between the garments worn at these ceremonies. These garments are a traditional heritage brought down from many ages before and is a reflection of the changes that have occurred within our everyday life. Among these many records the Bancha-do(班次圖) is a representation of records that show what was worn by both nobles down to the ceremonial troops. The uniforms of the ceremonial troops were not only huge in size but also very diverse according to rank and grade. They used strong true colors with colorful flags, ceremonial items and musical instruments. These all added to the grandeur of the ceremony. The ceremonial flag was itself a symbol and was the core of the whole ceremony and parade. These ceremonial flags represented the heaven, sun, moon, hill and animals as well as supernatural gods. All these showed change in shape, color and content by age and time. Also the Yongmun Gichi(Dragon flag: 龍紋旗幟) is a supernatural being representing the power and wish of the ruler. The Chunsang-mun represents the indivisible relationship between man and heaven and also a metaphor for absolute power. A close look at ceremonial instruments show a direct representation towards power such as an axe, spear and sword and integrated with other large ceremonial items not only provided a shade but was also a representation of worship. These all were a more or less representation of authority. The musical instruments expressed the absolute authority of the ruler and maintained the marching order and also added grandeur to the parade. A summary of the ceremonial troops in the As seen above, these national ceremonies were a representation of the present power of authority and the will to rule. These ideas and the philosophy of “ruled by heaven” is represented here in the uniforms and the ceremony itself. The Bicentennial anniversary of the Nung - hang of February 1795 will be an excellent opportunity to show and inherit the tradition and recreation of our heritage. In this view we must look at the color and shape of traditional dress to be able to inherit and learn from our ancestors.