• Journal of the Korean Society of Costume
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• v.5
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.3
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• pp.1-11
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• 2019

The purpose of this study is to propose a sustainable village-unit urban regeneration plan for the Ewha Mural Village, where mural artists recovered concrete fences to be followed by some residents damaging the mural paintings. Through a review of the existing literature and a preliminary survey, we derived the urban regeneration factors (environmental sustainability, economic sustainability, and social sustainability) applicable at the village level. After an empirical survey on the residents, we tried to identify various problems of the Ewha Mural Village. Residents selected the factors of accessibility, parking management, diversity of industries, creation of new jobs, community participation of residents for the mural village's activation, and stable living spaces. In the case of Ewha Mural Village, physical environment factors for the residents at the time of construction were not considered and the village was mainly planned using budget-based murals. Since then, the inequality of economic benefits intensified the conflicts among the residents. In addition, public benefits, such as establishing new industries and employing outsiders, were not provided, and these facts appear to have led to an unsustainable murals village, in which the murals that are the protagonists of the village revitalization are being destroyed. Therefore, the urban regeneration of Ewha Mural Village should be designed considering a region where some residential areas can be transformed into tourist areas. In addition, it is essential to employ a win-win method to improve the living environment, such as road maintenance, not only partial economic benefits, such as increased land-value, and to increase resident's value as a common asset within the village itself.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.180-201
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• 2009

I scrutinized the idea that Parhae Marek was inherited from Kokuryo which was presented in "The study on the Marek" published in the journal of the Korean Society of Costume 55-5, and concluded the following results: 1. The Marek which Samguk sagi recorded is the red head scarf used for dancers who do Koguryo dance in the Babarian Music System in Tang dynasty. Since its original record Tong dian tells that Kokuryo performers' costumes then had strikingly changed and Quichi and GaoChang dancers also wore Marek, so the idea that Marek was originated from Koguryo should be reconsidered. 2. Considering the Yaksoori mural's indistinguishable condition as well as the same scenes from other Kokuryo mural paintings, I can't evidently tell that the first person who carries shouldering drum puts Marek on. 3. should be pronounced [Mal] for the meaning of a head scarf and its definition can't be limited only for the sash type. 4. Diverse historical data on head scarves deny the assumption that the sash type of hairband would have been succeeded from Kokuryo to the Parhae Marek. 5. The Marek of Princess Junghyo's mural painting can be an example that shows the costume of Tang influenced Parhae's. But the similarity in styles of costume between contemporary countries doesn't mean their reciprocal racial or political identity.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.10 no.8
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• pp.1359-1365
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• 2006

Digital Koguryo is a virtual reality reconstruction of the Koguryo mural tumulus, Anak No. 3, designed for an interactive educational gaming and learning environment. Digital Koguryo aims at not only developing a digital reconstruction of cultural heritage but also helping young students learn the living style and the custom of Koguryo Kingdom while playing the game environment. This paper describes the digital restoration process of Koguryo mural paintings and 3D structure, as well as the construction of educational virtual environment designed to get more user's interests. It then discusses a few design issues learned from the development and the public demonstration. Finally, it will present the future research directions to improve the users' immersion.

• Proceedings of the KIEE Conference
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• 2003.11b
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• pp.191-194
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• 2003

In this paper, we propose a new accurate and robust image mosaic technique of the mural underdrawing taken from the infra-red camera, which is based on multiple image registration and adaptive blending technique. The image mosaicing methods which have been developed so far have the following deficits. It is hard to generate a high resolution image when there are regions that do not have features or intensity gradients, and there is a trade-off in overlapping region site in view of registration and blending. We consider these issues as follows. First, in order to mosaic Images with neither noticeable features nor intensity gradients, we use a Projected supplementary pattern and pseudo color image for features in the image Pieces which are registered. Second, we search the overlapping region size with minimum blending error between two adjacent images and then apply blending technique to minimum error overlapping region. Finally, we could find our proposed method is more effective and efficient for image mosaicing than conventional mosaic techniques and also is more adequate for the application of infra-red mural underdrawing mosaicing. Experimental results show the accuracy and robustness of the algorithm.

• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.80-88
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• 2005

The ondol is a uniquely Korean system of providing warmth to room. The ondol rooms never use daily life furniture because the ondol warms the floor surface where people sit. Finally, the ondol floor changed the traditional housings inner space. Before use ondol where daily life furnitures[sang(상) and Tap(탑)] are installed in the room. The origin of daily life furnitures are the ancient tomb mural of Koguryo Period. The daily life furniture can be classified as three large groups in the ancient tomb mural of Koguryo. First, a single seat[Jowa-sang(좌상)] of set up a screen[병풍]. The second, It make possible Many peoples take a seat with no decoration seat[Tap(탑)]. The third, uptodately table and chairs. A radical difference between sang(상) and Tap(탑) whether set up a screen[병풍]. The meaning of sang(상) and Tap(탑) in Koguryo ancient tomb provided Oksa-jo[옥사조] in Samkuk-sagi[삼국사기] with several valuable leads to help solve the sang(상)'s meaning. Furthermore, It will be start ponit of study on constructive shape of inner space in those days.

• Journal of Conservation Science
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• v.34 no.4
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• pp.295-303
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• 2018

The application of reinforcing agents with hydraulic property and strength development characteristics was studied under conditions similar to those of mural-painting mortar made with oyster shell powder. Reinforcement mortar made with oyster shell powder showed hydraulic properties and strength to supplement the weaknesses of natural hydraulic lime(NHL); this confirmed its possibility as a wall-reinforcing material with enough strength for preserving mural paintings. Reinforcement mortar 1 showed hydraulic property and general characteristics of lime mortar, such as consistency and viscosity, as well as lower strength and higher whiteness compared to an NHL product. For Reinforcement mortar 2, the original wall sample characteristics were reflected by mixing more shell produced through calcination; and it showed similar strength to that of Reinforcement mortar 1 as well as high whiteness. In measuring the contraction ratio of reinforcement mortar samples, Reinforcement mortar 1 and 2 showed more stability in property change compared to the NHL Group.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.7
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• pp.778-789
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• 2012

The characteristics of ancient gagye (the cubic hair style which added wigs or other materials to hair) that appeared in mural paintings were compared between Pyongyang and Jian in Goguryeo and the midlands, the northwest region, and the northeast region in China for the same period (Han to Weijin, and Northern and Southern Dynasties). Gagye in Korea and China was classified into circle type, hat type, high-bun type, and multi-bun type; in addition, Han elements, northern race elements, Goguryeo elements, and uniqueness were compared and analyzed according to regional distribution, trend periods, and style characteristics. The Han elements of ancient gagye in Korea and China appeared in the hat type, the high-bun type, and accessories that left the hair down. The northern race elements were found in the circle type and multi-bun type. The uniqueness of Goguryeo elements included a circle from the circle type, a triangle style from the hat type, an up-do style from the high burn type, and simplified hair accessories.

• Journal of Conservation Science
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• v.38 no.4
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• pp.254-264
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• 2022

Built in the 6th and 7th centuries during the Baekje period, the Buyeo Royal Tombs consist of seven tombs, including Tomb No. 1, which contains murals. To preserve Tomb No. 1 from damage caused by microorganisms, periodic microbial-distribution investigations are conducted. Following such investigations in August 2016, June 2018, and November 2019, the microbes were classified according to the investigation period, location of collection, and space. This study compares and analyzes the results. The concentration of airborne microorganisms in Tomb No. 1 and the number of microbial genera identified in each space of the tomb decreased as proximity to the main room with murals diminished. During the investigation period, the genera Bacillus, Cladosporium, Penicillium, and Streptomyces were commonly identified on Tomb No. 1. The microorganisms collected from the main room walls were mostly isolated from the east and west walls where the genera Bacillus, Cupriavidus, Paenibacillus, Pseudomonas, and Streptomyces were commonly identified in three or more walls. In particular, the genus Streptomyces is a dangerous strain capable of damaging murals by penetrating into and discoloring the pigments on them. The data generated from this study may be useful for future research on microbial distribution in other domestic mural tombs and those located in North Korea and abroad.

• Journal of Conservation Science
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• v.31 no.3
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• pp.227-241
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• 2015

Fungi were isolated from mural painting in tomb no.6 at songsan-ri, Gong-ju. Antifungal susceptibility of essential oils extracted from natural medicine was tested and it confirmed applicability for mural painting in tombs. 26 species of fungi collected from air-borne and wall surfaces were identified to 15 species of Ascomycetes, 2 species of Zygomycetes, 1 of Basidiomycetes. Wheat starch and gelatin degradability were evaluated as isolated fungi. SY-18, SY-23, SY-25 showed high degradability of wheat starch. SY-18, SY-21, SY-23 were decomposed into gelatin. Biochemical characteristics of decomposing fungi to wheat starch glue and cowhide glue were analyzed by using ${\alpha}-amylase$ and gelatinase activity. An Antifungal test was conducted in Anethole and Eugenol. Anethole and Eugenol mixture(1:2) showed high antifungal susceptibility. Natural adhesives help microbial growth and can cause structural damage in mural painting. The expectation of this study is the possibility to control microbial growth in wall painting using natural essential oils. It can be used as a data for conservation method to control microbial damages.