• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.96-119
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• 2024

Some inscribed bricks excavated from the western region of North Korea have been found bearing an era name used after 314 when the Nangnang and Daebang Commanderies had been completely ousted from the region. Others have been found with an era name used in the early fifth century. This indicates that the tradition of constructing brick chamber tombs was sustained for a century after the disappearance of the two commanderies. However, brick chamber tombs were never adopted as a burial system for the ruling class of the Goguryeo Kingdom. The Tomb of Jang Mui built in 348 and the Tomb of Dongni built in 353 both departed from the typical brick chamber tomb style of the region, and elements associated with stone chamber tombs were added to them. The Tomb of Dongsu (Anak Tomb No. 3), which is similar to the other two tombs in that its occupant is of Chinese descent, was constructed in 357 not as a brick chamber tomb, but as an earthen mound tomb with a stone chamber. Still, the continuation of brick chamber tomb tradition in the next half century has been somewhat puzzling. Although dated inscribed bricks have served as important evidence for understanding the continuation of the brick chamber tomb tradition, there has been a problem of continually repeating previous studies. It has also been pointed out that there was an error in the interpretation of era names in some of the dated inscribed bricks that had been believed to have been produced in or after 357. For example, "second year of Taean" (Taian in Chinese), which had been understood to correspond to 386 (during the Former Qin Dynasty), in fact refers to 303 (during the reign of Emperor Hui of the Western Jin Dynasty). In the case of "first year of Geonsi" (Jianshi in Chinese), which had been believed to indicate 407 (during the Later Yan Dynasty), it actually refers to 301. "Geonsi" is the era name used during the period when Sima Yun ousted Emperor Hui of the Western Jin Dynasty and briefly occupied imperial throne. Outside these two cases, the remaining dated inscribed bricks thought to have been produced in or after 357 are those dated to the "third year of Wonheung" (Yuanxing in Chinese). However, a reexamination of these bricks reveals that what is really "Yeongheung" (Yongxing in Chinese) has been misread as "Wonheung." The third year of Yeongheung corresponds to either 306 during the Western Jin Dynasty or 352 during the Later Zhao Dynasty, but it is highly probable that it refers to 306. This means that there is no conclusive evidence to support the hypothesis that brick chamber tombs were built in the area until the late fourth century and even into the early fifth. Accordingly, the Tombs of Jang Mui and Dongni should be viewed as the latest known brick chamber tombs to be constructed in the western region of North Korea. Moreover, brick chamber tombs appear to have been no longer built in the area around the time when the Tomb of Dongsu was constructed. These speculations accord with the historical circumstances of the time.

• 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.

• (The) Research of the performance art and culture
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• no.18
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• pp.513-557
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• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.