• Proceedings of the Korea Society of Costume Conference
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• 2003.05a
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• pp.19-19
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• 2003

服飾文化의 일부분으로 染色과 織造에 대한 연구의 중요성은 크지만 染織 실물이 없는 현 상황에서 고대 한국의 染織文化를 이해하는 것은 어려운 일이다. 지금까지 고구려 복식문화에 대한 연구는 주로 古墳壁畵에 표현된 극히 한정된 시각자료를 통해 형태적 측면에 관한 것이 주를 이루고 있으며, 염색이나 직물에 관한 것은 그림 자료의 한계로 인해 충분한 연구가 이루어지지 않고 있다. 더욱이 고대 복식에 대한 공백을 메워주는 중요한 자료로서의 역할을 해온 고분벽화 복식은 해석 여하에 따라 오히려 왜곡된 사실을 강화해 온 듯하다.

• Proceedings of the Korea Society of Costume Conference
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• 2004.05a
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• pp.30-30
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• 2004

본 연구는 침선소품의 디자인 개발에 관한 연구로서 집안지역의 고구려 고분벽화속에 나타난 다양한 문양들을 침선소품에 응용함으로서 우리나라 전통의 이미지와 현대적 감각을 살린 독창적인 소품을 개발하고자 하는데 연구의 목적이 있다. (중략)

• Proceedings of the Korea Society of Costume Conference
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• 2004.05a
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• pp.28-28
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• 2004

본 연구는 문헌사료와 고분벽화를 토대로 고구려 관복 제도의 변천과정과 특징을 고찰한 것이다. 문헌에 나타난 고구려의 관복 제도를 살펴보면 의복은 유고제를 유지했으며 관등 고하에 따른 유고의 색채나 소재상의 규제는 보이지 않는다. 신분표시의 기능은 주로 관모가 담당했던 것으로 보이는데, 문헌에 나타난 3세기-7세기까지의 고구려 관모 제도를 고분벽화를 참조하며 고찰한 결과는 다음과 같다. (중략)

• Journal of the Korean Society of Costume
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• v.15
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• pp.87-94
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• 1990

• 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.

• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.1-10
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• 2003

The results from the consideration of this are as follows. A Study on the Dancer and Musician Costumes by the Murals in Tombs decorate with mural, which is of Liao Dynasty. The tombs belong to two families: eight of them located to the northeast of Xiabali Village belong to the Zhang Family. Another was located to the north of Xiabali Village belong to the Han Family. The bands of the "Sanyue" consist of five to twelve players wearing luxurious dresses(Jamhwasik hwagakBokdu, Danryung, Belt, Boots) and playing miscellaneous musical instruments: sometimes the female ones in the bands are disguised as male. Usually, each band is accompanied with one or a couple of dancers. which one wearing is luxurious dresses (Goge.1amhwasik. Yoo : Jaket : joegori, Sang: skirts: chima, and shoes).

• 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.

• 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.

• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.16-31
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• 2007

This study is about the costume depicted upon the fraction of fresco which was excavated from Kumseong-li, Hwadae-Gun, Hamkyungbuk-Do, North Korea in 2004. According to the characteristics of its relics, this tomb was reported to belong to Parhae Dynasty(698-926). The fraction of fresco only shows below part of the knees of a man. A light red colored robe reaches down to his ankles on the back, whereas front part of it looks tucked up, which is likely to have slits on both side seams. Although tightly wrapped shins were reported as a pair of gaiters, there is no decisive evidence on the fresco. I suggest another possibility that this man wore slim pants. Also in order to figure out if these shins are considered as gaiters, I proceed comparative research on the historical sources about gaiters of countries and eras adjacent to Parhae. Consequently the idea that people of Parhae might have used gaiters turned out to be acceptable. The black boots show rather basic style: the toe tips are not pointed up, boot leg doesn't look either wide or long. These boots can not be identified with Ammohwa(暗摸靴) which the envoy Yang(楊) gave the protocol Miyakoyoshika(都良香) at his official visit to Japan, because Ammohwa has not yet been properly defined.

• Journal of the Korean Society of Costume
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• v.66 no.1
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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.