• 복식
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• 제59권5호
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• pp.135-151
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• 2009

This study aims to estimate the chronical year of 'Euiin'-Park's clothes excavated costumes from the tomb of 'Lady Euiim-Park's which has been stocked in Gyeonggi Provincial Museum. The methods of this study is, observed structure and style of clothes and characterize and compared with other similar clothes excavated from other tombs. The result showed Park's clothes was estimated to be from the mid to late 16th century. The elements that enable us to estimate the period are first of all the wearing of women's Dan-ryung, and the shape of the gore and sleeve. Second the shape of Jegory's collar, and Gyron-ma-gi. Third the form of layered skirt and Somaja[hat]. Fourth tiger hyung-bae which embroidered patches on the breast and back of official uniforms. Last, the style and types of Jinju-Ryu's who's the spouse clothes. It will be useful to estimate the chronical year of clothes excavated from unidentified tombs when refer this styles of clothes.

• 헤리티지:역사와 과학
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• 제47권3호
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• pp.86-107
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• 2014

영성현(寧城縣) 소흑석구(小黑石溝) 8501호 대형 석곽묘는 중국의 시기 구분으로 서주 후기에 조성된 무덤이다. 그런데 이 무덤에는 중국 중원식 청동예기는 물론 토착식 청동예악기와 토착식과 중원식이 혼합되어 있는 혼합식 청동예기가 다량으로 출토되었다. 소흑석구의 청동예기 조합은 같은 시기 중국 중원 지역의 예제와 정궤제(鼎?制)에 대비하여 볼 때 가장 낮은 신분인 사급(士級) 특일정(特一鼎)에 속한다. 그럼에도 불구하고 중국 중원 지역의 사급 고분들과는 달리 정(鼎)과 궤(?)를 제외한 다른 식기와 주기의 조합에서는 천자와 제후국(공국, 후국) 국군의 수준에 필적한다. 이러한 점은 악기가 부장되어 있는 것을 통해서도 드러난다. 소흑석구 8501호 대형 석곽묘의 청동예기 가운데 토착식과 혼합식은 현지의 금속기 제작 기술을 고려할 때 자체 제작한 것으로 판단된다. 그러나 서주식 청동예기는 형태와 문양은 물론 규격까지 중국 중원 지역과 동일하여 서주에서 제작된 것임이 분명하다. 중국 중원 지역의 여러 제후국에서 제작하여 사용되던 해당 제후국의 보기(寶器)가 소흑석구에 부장된 배경은 하가점상층문화와 서주 사이에 양측과 빈번하게 교류하던 별개의 문화권이 형성되어 있었던 점 등을 고려할 때, 소흑석구 집단에 의한 약탈이라기 보다는 소흑석구 집단과 이들 집단 간의 경제적인 교역과 정치문화적인 상호 관계에 따른 것으로 해석된다.

• 보존과학연구
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• 통권7호
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• pp.11-23
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• 1986

Korea has a long history from several thousand years ago. Specially stonecultural properties were used for the long period in Korea. Ancient tombs of prehistoric age, Sukgul-am (stone cave), Chumsung-dae (astronomical observatory)and stone statue of Buddha in the period of three dynasties were made of stone. There after the foundation stone, mortarstone, millstone, and other stone facilities at home have been also used for a long time. For the conservation of the cultural properties, the ecological distribution of lichens was investigated with the stone buildings around tombs and multistory stonepagodas.1. Yoo-nung (The tomb of Emperor Sungjong) : The stone buildings of granitearound tomb about 80 years old are clean and solid in quality, but they were covered in places with three kinds of lichens as the circle forms of pale-green and dark-gray colored thallus in crustose type. They were examined ecological distribution, identification and measurement of lobe size of lichens.2. Yoong-nung (The tomb of son of Emperor Yung-jong) : Granite buildings around tomb about 200 years old are also clean, moreover, they were also covered with the same kinds of crustose lichens in overlap.3. Yung-nung (The tomb of Emperor Sejong) : More than seven species of crustose, foliose and one species of fruticose lichens were growing on thegranite stone buildings built in about 500 years ago.4. Shilluk-sa multistory brick pagoda : It was built at the Koryo dynasty more than about 700 years. More than 5 species of crustose folios and two species of fruticose lichens were growing well on the granite stone at shade area. It was assumed that foliose lichens as dominant species with the respect of ecological aspect.5. Shilluk-sa multistory marble pagoda : This marble pagoda was built at the middle period of the Koryo dynasty as the same age of multistory brick pagoda. It was covered with black colored thallus such as crustose lichens. It is seemed that only crustose lichens on the stone were due to the drymarble stone. From the results described above, distribution of lichens showed that only crustose lichens on the stone from the short history (about 100-200 years) were grown with small size of circle form, stone buildings over 500 years were covered with crustose, folios and fruticose lichens, and the lichens distribution on the stonemore than 500 years appeared more foliose and fruticose than crustose type. Therefore, it is suggested that the succession of lichens on the stone buildings iscrustose$\rightarrow$foliose$\rightarrow$fruticose.Parmelia mexicana, Cladonia floerkeana, Ramalina yasudae identified are described in this paper and other unidentified species of saxicolous lichens will bedescribed later.

• 보존과학회지
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• 제33권5호
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• pp.355-362
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• 2017

순창 농소고분은 적성면 운림리 일대와 내월리 농소마을을 둘러 형성된 구릉지 능선에 위치하고 있다. 고분의 토광은 비교적 깊은 곳에 조성되어 도굴의 피해가 없었으며 전체적으로 다량의 숯으로 채워져 있어 목관이 비교적 좋은 상태로 출토되었다. 고분 구조 및 매장시설, 출토 유물, 방사선탄소연대 측정 결과를 종합하였을 때 농소 고분의 축조시기는 고려시대 후기부터 조선 초기까지로 추정하고 있다. 농소고분에서 출토된 목관은 목곽과 목관의 2중 구조로 목관 외면에 두껍게 옻칠을 하고 금색 문자와 흰색 문양으로 장식되었다. 안료 분석 결과 금색 문자는 금(Au), 흰색 문양은 은(Ag)이 주요 성분으로 확인되었다. 칠 막은 안료 층, 황갈색 층, 검은 층의 3개 층으로 관찰되었다. 검은 층은 그을음과 같은 검은 물질로 목재 바탕의 밑칠로 사용되었다. 황갈색 층은 옻칠로서 정제칠로 추정된다. 목관 칠막 분석을 종합하면 칠 제작방법은 금박을 이용하는 방법과 금분을 이용하는 방법으로 추정된다. 안료 형태 및 내부 구조상으로는 금박이 유력하지만 표현된 글자의 형태를 보면 금분을 이용한 것으로 보인다. 따라서 향후 금박과 금분을 이용한 재현실험을 통하여 제작방법을 확인한다면 고분 축조 당시 칠기 제작기술을 파악하는데 중요한 자료가 될 것이다.

• 자원환경지질
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• 제52권1호
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• pp.91-106
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• 2019

능산리고분군 동하총은 바닥을 포함하여 15면으로 이루어졌으며, 가장 많이 사용한 암석은 복운모화강암으로 7면(46.6%)에 활용하였다. 또한 안구상편마암 3면(20.0%), 화강섬록암, 편마상화강암 및 우백질화강암을 각각 1면(6.7%)으로, 모두 판석으로 구성하였다. 현실과 전실 바닥의 각섬석편암(13.3%)은 모전석으로 사용하였다. 이 암석들은 모두 부여 일대에서 산출되며 주로 금강변에 산지가 분포한다. 당유인원기공비는 뚜렷한 편리와 안구상조직을 갖는 전형적인 안구상편마암이다. 이 암석은 동하총, 산직리 고인돌 및 세탑리 오층석탑의 일부 석재에 활용한 안구상편마암과 같은 종류이다. 이 안구상편마암은 부여 증산리에서 공주 덕지리로 연장되는 대규모 암체로 분포하며, 현재 정원석과 조경석 및 골재용 채석장이 있는 것으로 보아, 부여일대에서는 청동기시대부터 안구상편마암을 활용하기 위한 공급지가 있었을 개연성은 충분하다. 이는 암질이 약해 가공에 수월성은 있으나, 어두운 색을 띠어 벽화의 바탕과 각자에는 단점도 있었을 것이다. 따라서 백제인들이 거리와 지형 및 효율성과 수월성을 두고 어떤 운송체계를 선택했을지 매우 흥미로운 일이다.

• 한국의상디자인학회지
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• 제17권2호
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• pp.63-78
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• 2015

The purpose of this study is to compare the style of clothing by type of the Goguryeo and Xianbei Tribe based on the examination of the literature centered on the historical relationship between Goguryeo and Xianbei Tribe. The research results are as follows. First, it was found that both the apparels of Goguryeo and Xianbei Tribe had hemp cloth with the V-neckline with the blocked front part and hemp cloth with the open front that is worn by overlapping the straight collars of the upper garment. Both men and women wore the garment of the straight line collar that is worn by folding towards the left or right, or upper garment of the round shaped collar. Women wore an upper garment with short sleeves on top of the upper garment of Korean traditional clothes while men wore pants for the lower garment, and women wore skirt and apron with triangular cloth decoration on top of the skirt. Second, Goguryeo Anak Tomb No. 3 mural painting(year 357) shows that apparel worn by the lady who is the wife of the owner of the tomb is similar to the apparel worn by the lady in the lacquer painting for folding screen of the Sima Jinlong Tomb ancient painting on the woman of chaste reputation in terms of the form and structure.

• 한국조경학회지
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• 제35권3호
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• pp.92-104
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• 2007

This paper aims to discussion the characteristics of location and spatial organization on Hongneung and Yureung(royal tomb) in Namyangju through the interpretation of traditional oriental philosophy including Feng-Shui theory. To do this, we studied in two ways; analysis of the present conditions and photographing research materials about the form of physical structure and review of historical document. The result of analysis in sight of the location and spatial structure was good matched. Main finding of this paper are as follows: The location and landscape structure was characterized by the harmony with natural following traditional thinking and the Korean view of nature, while maintaining the dignity of the King. The spatial organization were placed in a straight line following the hierarchy of metaphysics by order of Neungchim(Tombs Vicinity) - Changmyungdeung(Stone Lantern) - Chungjakak(Pavilion) - Hongsalmun(Gate for Heavenly Gods) and was based on the Confucianism value, the natural contour and inner value. Through this study, we find the principles made it possibles to re-evaluate nature in modem society and provided us with new ways to conserve nature with the help of environmental theory.

• 복식
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• 제57권7호
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• pp.153-161
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• 2007

In 2004, Mal-gun(抹裙) was excavated from a plastered tomb in Seok-nam-dong, In-cheon. This tomb is assumed to be from an upper-class woman. The excavated Mal-gun was used to fill in the empty spaces in coffin, and it was seriously damaged and foxed dark. The Mal-gun is made with thin, loose Sook-cho(숙초), and the width of the fabric is 70cm. Both sides of the crotches are overlapped in front, and the back is opened. The waist straps are detached, leaving a little part to show the width of the straps. The hems of the Mal-gun are sewed straight, without any pleats, except some spaces for the feet to go through. This study compared the Mal-gun of Joseon Dynasty from the documentary records and picture records with the excavated Mal-gun from Seok-nam-dong, In-chceon. Also, actual Mal-gun was manufactured according to the excavated Mal-gun to study the process of manufacturing and the formation. As a result, the excavated Mal-gun has the same form of that shown in Ak-hak-gwae-bum, a documentary record from the early period of Joseon Dynasty.

• 박물관보존과학
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• 제6권
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• pp.11-16
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• 2005

김해 양동리 고분군 321호묘에서 출토된 종장판갑을 보존처리하고 그 구조에 대해 조사하였다. 종장판갑의 처리는 우레탄 폼에 포장된 판갑을 해체하여 약화된 유물의 재질을 강화하고 원래의 형태를 복원하는데 중점을 두어 진행하였다.

• 복식
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• 제13권
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• pp.51-72
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• 1989

In this thesis, I examined the mental, philosophical aspects and the aesthetic sense of our ancestors through the study of the patterns pictured in the mural paintings of Koguryo dynasty's old tomb. To view the mode of construction in Koguryo dynasty from present angle, the detailed analysis of the patterns was done. As a result, I could fully understand the formative consciousness of our nation. 1. I defined the process of transition of the mural paintings by putting some 70 mural aintings into the form of a diagram. 2. The cultural aspects of the mural paintings in Koguryo dynasty were characterized by the fusion of our primitive religion and Buddhism, Confucianism and Taoism which were introduced from China. From this fact, I could inferred that Koguryo people were giving off the strong desire for the faith by means of the mural paintings. Further more I found that configuration of the patterns such as religious elements. 3. The types of the patterns were classified into four types, this is, geometric type, natural type, cultural type and abstract type, Among these types, geometric type and natural type were nonsymbolic in nature but became cultured and abstracted in course of time. cultural pattern and abstract pattern got the symbolic meaning in the long run. Of all the constitution of the patterns represented in the mural paintings such as repeat constitution, left and right symmetric constitution, top and bottom symmetric constitution and rotary symmetric constitution, the left and right symmetric constitution was mainly used and some monotony of left and right symmetric constitution. The analysis of motif which was got from the mode of the patterns showed that the mixing of symbolic and nonsymbolic patterns made it possible to regard the separate symbol as compound in nonsymbolic patterns and the combination between nonsymbolic patterns ensured the understanding of other patterns in certain cases. Our ancestors made great efforts to transmit certain meaning symbolically. Also to heighten the symbolism, they drew the meangless patterns firstly and then appended meaning to those patterns secondly. Furthermore, they offered the background to the patterns comblined with symbolism, so that meaning transmission was clarified at last. As mentioned above, the patterns shown in the mural paintings of Koguryo dynasty's old tomb were characterized by natural beauty. And natural beauty was found out clearly in the form and constitution of the patterns. Therefore I concluded that our nation's religious, philosophical tradition was acted on the patterns strongly.