• Title/Summary/Keyword: Goguryeo Murals

Search Result 8, Processing Time 0.022 seconds

Gagye style of Goguryeo Murals (고구려 고분벽화에 나타난 가계양식 연구)

  • Yim, Lynn;Kim, Eun-Jung
    • Journal of the Korean Home Economics Association
    • /
    • v.44 no.4 s.218
    • /
    • pp.39-47
    • /
    • 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.

Development of Multimedia Contents System for Gogurye Ancient Tomb Mural (고구려 고분벽화를 소재로 한 멀티미디어 콘텐츠 개발)

  • Lee, Yong-Hwan;Lee, YuKyong;Cho, Han-Jin;Lee, June-Hwan
    • Journal of the Korea Convergence Society
    • /
    • v.4 no.4
    • /
    • pp.13-19
    • /
    • 2013
  • In this paper, we design and develop an educational virtual system which can experience Goguryeo tomb murals in the virtual world. Goguryeo tomb murals are well known in the world, and they are registered as a UNESCO World Heritage site by the value Acknowledged worldwide. We design an user-friendly interface for Goguryeo tome murals by Flash, and make a modelling and rendering with 3D Max. In addition, we create an educational animation with Adobe Premiere. We choose some of items such as Goguryeo tomb murals, historical sites, high-level description of periodization, Goguryeo's clothes, home, play as sub-themes, and we develop a system with detailed views and informations for the daily life of the people of Goguryeo.

A Study on the Development of Jeogori's Structure and Changes of its Form -Focused on the Era of the Three Kingdoms to United Shilla Era (저고리 세부 구조의 발생과 그 형태 변화에 대한 연구)

  • Chae Keum-Seok
    • Journal of the Korean Society of Costume
    • /
    • v.55 no.1 s.91
    • /
    • pp.113-128
    • /
    • 2005
  • To find our own individuality, there must be an active study on jeogori which is an unexplored field. Therefore, the purpose of this study is to consider artistic beauty and predominance of jeogori and recognize it as a precious culture, and also encourage interest about traditions. The range of this study is ancient times to Chosun dynasty, and in this study which will be the first part, the range is till the era of the Three Kingdoms. The study about jeogori is based on mural paintings of Goguryeo burial mounds, clay dolls and remains during Shilla, Beakjae, and United-shilla era. The contents of this study is 1. research the origin of jeogori's detail structures and changes of the form, 2. analyze the form and structure of the jeogori in each era, and therefore 3. find the predominance of Goguryeo costume by considering functional and design aspects. Therefore the conclusion of this study about the era of the Three Kingdoms are First, jeogori of the three kingdom era were developed from ancient times caftan style which Korea, China and Japan wore all together. Second, the structure of the jeogori during the Three Kingdom are ryeongeum, gil, somae and seon. Third, there is a special line that starts from the neckline and ends at the hem line which should be called ryeongeum in my opinion. Forth, while researching Goguryeo murals there were both left and right sided open jeogori. therefore, I would like to set up a new theory that during the ancient times to Three Kingdom era, not did China's clothing effected the Korean costume but the costume in east asia shared their forms all together.

The Connection between the Cheonsuguk Mandala -Embroidery Insignia and Ancient Korean Embroidery- (천수국만다라수장(天壽國曼茶羅繡帳) 자수 연구 -한국 고대 자수와의 연관성을 중심으로-)

  • Lim Soon Lee;Sohee Kim
    • Journal of the Korean Society of Clothing and Textiles
    • /
    • v.47 no.6
    • /
    • pp.977-995
    • /
    • 2023
  • This study was aimed at determining the connection between ancient Korean embroidery and the Cheonsuguk mandala-embroidery insignia. Literature and empirical studies were conducted simultaneously, with the scope of these analyses spanning up to 7C in ancient Korea and Japan. The present study confirmed that the structure of Goguryeo tomb murals influenced by Buddhist art is represented in the Cheonsuguk mandala-embroidery insignia, and changes in the image resulted in modifications to the embroidery technique. Embroidery and color composition via complementary color contrast were implemented through Variant 1 outline stitching, which exhibited the development of Baekje embroidery. The embroidery technique confirmed that the form of embroidery developed in to chain stitching, needle looping stitching, outline stitching, satin stitching and Variant 1·2 outline stitching. These findings indicate that Cheonsuguk mandala-embroidery insignia is the result of the integration of the Goguryeo and Baekje cultures.

The Origin and Emotion of Saekdong in Our Surroundings (주변에서 찾은 우리 색동의 기원과 감성에 대한 고찰)

  • Kim, Jisu;Na, Youngjoo
    • Science of Emotion and Sensibility
    • /
    • v.21 no.1
    • /
    • pp.99-114
    • /
    • 2018
  • Saekdong is a unique Korean fabric that has been used since ancient times, and it is woven with the plain or satin weave so that vertical stripes appear by various colored warp threads of equal spacing. Saekdong means pleasure, joy, serenity, heavenly blessing, spirituality, wind, and abundance, expressing the optimistic and positive sentiment of Korea's forefathers. This study investigated how ancient Saekdong occurred with meanings. As a research method, this study used literature review and surfing newspapers and photographs, museum and internet search, even from other fields such as earthenware, bronze, and traditional dance. We collected Saekdong and the lifestyles of ethnic Koreans living in China, investigated the Asuka culture of Japan, and the tomb murals of Takamatsu-Chong, which are Baekje and Goguryeo settlement areas. The results are as follows: First, it expresses happy occasion, pleasure, and joy, and expresses a desire for good things to be repeated and lasting. Second, it symbolizes simple beauty, order, equality and harmony of many tribes. Third, Saekdong is life and power which represent a sacred, heavenly, mysterious bird. Fourth, it symbolizes abundance and wealth, rain, wind or fields. Finally, this study showed the brilliance and pride of Korean hanbok through Saekdong. The significance of this study is to examine the symbolism and inherent aesthetic characteristics of Saekdong and to show the unique value and spiritual heritage of the Korean people.

A study on the Upper Risen Architecture of Japan (일본(日本)의 고상식(高床式) 건축(建築)에 관(關)한 연구(硏究))

  • Lee, Byeong-Gun
    • Journal of architectural history
    • /
    • v.12 no.3
    • /
    • pp.19-38
    • /
    • 2003
  • The purpose of this study is to analyze the architectural character of the upper risen architecture(高床式 建築) in Japan. There are few upper risen architecture and architectural remains in Korea. Until now most of Korean researcher recognized that the upper risen architecture is southern regions' form. But there are a few numbers of upper risen buildings in northern regions of Korea and China. Therefore we need to compare northern and southern regions' upper risen architecture. The scope of this study is architectural remains, sites and present buildings about upper risen architecture in Japan. The period of this study is from third to eighth century. The method of this study is the analyses of site plan(the ratio of front and side length) and construction about Japanese Architecture. And then this study compare Japanese with other countries in Korean and Chinese upper risen architecture. Results of the study are below. 1. In Japan, upper risen architecture was introduced into southern regions(southern China and southeast Asia) with rice farming culture. 2. After introduced upper risen architecture, they were influenced many architectural technique of Korean and Chinese. 3. There were many technical improvement(such as foundation stone standing method, high technical wooden frame structure and adaptable triangle frame wall at moisture) the Japanese upper risen architecture in Nara Period(奈良時代). 4. As the results, I found out that there were many similarity Korea and Japan in upper risen architecture. I think that we will try continuous to study another regions' upper risen architecture in order to define conclusion.

  • PDF

A Study of People's Lives and Traditional Costumes in Goryeo Dynasty (고려시대 사람들의 삶과 전통의상에 대한 고찰)

  • Choi Kyu-Seong
    • The Research Journal of the Costume Culture
    • /
    • v.12 no.6 s.53
    • /
    • pp.1060-1069
    • /
    • 2004
  • We can study and judge the costumes of the Three Kingdom period through an ancient tomb murals and various burial mound(clay) figures, however, it is quite difficult to search for costumes of the Goryeo period ($960{\sim}1392$), because dresses from this era were rarely found, related antiquities are limited and hard to survive. This is the reason why people say that the Goryeo Dynasty is the period of undiscovered era for its history of costumes in Korea. Fortunately, these days, there are various kinds of buddhist statues discovered with its burial accessories such as costumes and dyed fabrics of the Goryeo era. Through these, we can glimpse through the Goryeo cloths and develop our researches on this field. In addition, a man called Seo Geung(서긍, the Chinese scholar Xu Jing) wrote a book in the 12th century about peoples lives in Goryeo and in this book, there are few documents about the people's costumes which help us to understand the period's traditional dresses. In this paper, we will look for the traditional costumes which were formed and developed through people's lives in Goryeo, using remains from various burial accessories in buddhist statues as well as the documents related to the costumes written in ${\ll}$Goryeosa 고려사${\gg}$. Moreover, costumes of a period usually developed and influenced by the atmosphere of people's lives both economically and mentally, therefore, in this study, we will especially focus on the dresses of the bureaucratic officials and their wives, who led comfortable lives and latitude of mind. Through the records, like Silla, Goryeo exported Sehjeo(세저) and Sehjoongmapo(세중마포) to China. And we found out that Silla's skillful weaving techniques of hemp and ramie cloths were succeeded to Goryeo. According to above facts, Goryeo people made clothes with various kinds of fabrics such as, different sorts of silks, ramie, hemp cloths and cottons. They also have very skillful manufacturing techniques for certain textiles. Their official robes were generally influenced by Tang and Song Dynasty, but, like ordinary people, we found out that the government officials also wore baji(pants) and a jeogor(jacket), which were traditional costumes since the Unified Silla Kingdom with various coats. Especially, women's costumes such as jeoksam(unlined summer jacket) and hansam(한삼), which are sort of jeogori(jacket), baji(pants) and chima(skirts) were made of various kinds of silks and ramie cloths, that were generated from the Goguryeo Kingdom, with jikryeongpo(a long jacket and striped skirt).

  • PDF

A Study on the Change of the Cheomcha-chogak of the Neungwon-Jeongjagak (능원(陵園) 정자각(丁字閣)의 첨차초각(檐遮草刻) 변화에 대하여)

  • Jeon, Jongwoo
    • Korean Journal of Heritage: History & Science
    • /
    • v.54 no.1
    • /
    • pp.280-301
    • /
    • 2021
  • Chogak has been regarded as originating from the paintings decorating building elements. Various curved shape drawings that were first seen in the paintings of Goguryeo tomb murals evolved into the vine patterned Dancheong of Geuklakjeon in Bongjeongsa. Cheomcha of Geuklakjeon was chiseled with Yeonhwadusik relievo at the bottom on top of Dancheong, and this was the beginning of Cheomcha-Chogak. Also, Cheomcha, which was carved with a preliminary vine patterned Chogak in Daeungjeon in Bongjeongsa, opened the era of engraving Chogak directly on the surface of structural elements. Since then, vine patterned Chogak was a significant decoration technique for the Cheomcha of traditional wooden construction for a long time. Because Jeongjagak is a structure that was continuously built between the end of the Japanese invasion of Korea in 1592 and the late Joseon Dynasty, the transition of Cheomcha-Chogak over time can be seen through Jeongjagak architecture. The early Cheomcha-Chogak presents stems that climb up (Upbound-type) towards the headpiece on a column, while stems of Chogak later reversed direction to descend (Downbound-type) from the headpiece. This study examined the transition process and reasons for the change, with a focus on the findings above, and identified a new type of Chogak that is unrelated to the direction type and was adopted during the transition from Upbound-type to Downbound-type. The new type appeared when the Jeongjagaks for the Royal Tomb of Kyeongjo and those of the Injo were built, and it matches with the transitional period wherein lotus vanishes from Hwaban-Chogak. The study also inferred that the direction change of Cheomcha-Chogak stems was caused by the separation of vine patterned Chogak, carved with a two-stepped inner Ikgon, into both upward and downward from the headpiece, and this led to the changes that manifested as the inside of Choikgong being the Downbound-type Chogak and the variegated vine patterned Chogak of Choikgong affecting the direction of Cheomcha-Chogak. This is the follow-up study of "A Study on the Hwaban-Chogak of the Neungwon-Jeongjagak," a paper published in 2018, and is limited in n that Cheomcha, the focus of the research, is just one of the construction elements of Jeongjagak. The entirety ofChogak cannot be understood only by observing Cheomcha.