• Journal of the Korean Society of Costume
• /
• v.64 no.3
• /
• pp.32-46
• /
• 2014

The purpose of this study is to propose a solution for Goguryeo costume and its materials, colors, patterns, and accessories, which have not been dealt with in precedent studies and were treated as irrelevant subjects. The specific object of reconstruction with identification from the historical viewpoint is noble woman's costume(Yu and Gun) on the mural paintings of Jang-Cheon No.1 tomb in Jip-An province. As above, the reconstruction process of Yu(Jacket) and Gun(Skirt) worn by noble woman as depicted on the mural painting of the Baek-Hee-Gi-Ak-Do(百戱伎樂圖) in Jang-Cheon No.1 ancient tomb is suggested in this study. The most important issue for consideration was how to represent and exhibit it so that it resembles the mural painting as closely as possible. And the problems that arose at the time were the ratio and silhouette, which revealed disparities between the one on the mural painting and the costumes reproduced with identification from a historical viewpoint. The most difficult aspect of this work was due to the fact that the actual mural paintings were not available for verification. Therefore accuracy on details such as structure, materials, colors, patterns and accessory were difficult to obtain. So a further analysis of patterns, silhouettes, materials and colors are required for the precise representation of costume and dress on the mural painting.

• Journal of the Korean Society of Costume
• /
• v.60 no.3
• /
• pp.10-25
• /
• 2010

The culture of the play of Korean ancient times is well described in the mural painting of Goguryeo. The example is people appearing in the play painting of performance, dance, hunting, and acrobatics out of 20 mural painting of genre. Their costume is broadly classified into performance, dance, hunting, and acrobatic costume and can be subdivided according to the types of costume. First, the head gear of play costume reflected the formality and social conditions of play. In the performance and hunting costume, all performers wore gwanmo(official hats), which seemed to make it a rule to wear gwanmo. Gwanmo was borrowed intactly from Goguryeo without any changes or decorations, which showed that the status symbolism of head gear was applied intactly to play costume. Second, the play costume of Goguryeo enhanced efficiency by blending daily costume with elements and decorations needed for play performance. Specifically the change of length was prominent: the short sleeves of jeogori(traditional blouse), the long sleeves of dance costume, and fastening below the knee or putting into the long shoes to shorten the length of baji(traditional pants). Finally, as it is well known that there was some differences in the expression modes of daily clothes in Goguryeo between Tonggu and Pyeongyang. Similarly, play costume tried to change costume according to the subject of play but maintained the locality and peculiarity of Goguryeo costume. Although performance costume showed many local differences, it also had similarity and peculiarity. In dance costume, long sleeves and patterns which frequently appeared in the Tonggu area reappeared in the Pyeongyang.

• Journal of the Korean Society of Costume
• /
• v.59 no.6
• /
• pp.72-81
• /
• 2009

The purpose of this study is to develop geometric patterns which can be reinterpreted in a modern sense and textile designs which can be commercialized in the mural painting of Goguryeo Dynasty's tomb. Of 42 tombs where genres and portraits could be observed, the costume style of Goguryeo dynasty could be mainly observed in the tombs built in the 4th and 5th centuries. Since geometric patterns found in the portrait could be represented in a modern sense, this study was intended to develop the patterns of a necktie which is one of cultural products by applying geometric patterns in the mural painting of Goguryeo Dynasty's tomb in the 5th century with many patterns distributed. The scope of patterns was limited to a square, a triangle, a circle, and a diagonal line which were the basic of geometric patterns found in the mural painting. The methods of study were literature review and empirical study. Adobe Photoshop CS3 was used to edit geometric patterns found in the mural painting of Goguryeo Dynasty's tomb in the 5th century. By extracting a square(${\square}$), a triangle(${\vartriangle}$), a circle(${\bigcirc}$), and a diagonal line(${\diagdown}$) from edited images, predicted images were proposed before products were made. Finally textile designs were made through the simulation of edited design patterns in the necktie and handkerchief. This study will contribute to the positive effects on the development of cultural product designs applying the characteristic of geometric patterns and the construction of Korean image.

• Human Ecology Research
• /
• v.53 no.1
• /
• pp.81-92
• /
• 2015

Daily dance Ganggangsullae is recommended for youth to help their diet, improve their team life and know Korean culture. Its performance costumes were fusion hanbok and casual wear shown at the Second Daily Dance Ganggangsullae Contest Conference of Myeongryang Battle Festival in 2013. A fusion hanbok shows the Korean traditional spirit, but it is not practical. Casual wear is practical, but it does not show any Korean identity. Therefore, their combination is needed to reflect the Korean identity and practicality. For this, a literature review and an online search were conducted for the history, purpose and dance motion of daily dance Ganggangsullae. And photographs of participating teams were gathered from Jeonnam Information & Culture Industry Promotion Agency. Goguryeo costumes were used for design motifs. Four designs were sets of T-shirts and pants for the summer. Style 1 is designed using sam, jikryeong, go, round and triangle pattern with rippled cotton. Colors were from Wang Huiji's mural painting. Style 2 is designed using dansuui, beonryeong, go, round and quadrangle patterns with rippled cotton. Colors were from a Deokheungri mural painting. Style 3 is designed using sam, round ryeong, go, quadrangle patterns, prints with cotton jersey and denim. Colors were from a Gamsinchong mural painting. Style 4 is designed using dansuui, jikryeong, go, a flame pattern, a bow and arrow shape with cotton, knit and jersey. Colors were from a Muyongchong mural painting. This study is helpful to anyone who wants to develop Korean-style performance costumes.

• Journal of the Korean Society of Costume
• /
• v.42
• /
• pp.187-205
• /
• 1999

The purpose of this study is to research into a meaning of Mexican Mural and to clarify on the internal significance of Muralism in the modern fashion. Nuralism is an example of the brith of the great people's art. The mural Fine art in mexico was the peculiar fine art campaign which observed the social function. And the mural of Mexican that the ideology and fine art combined came to occupy the unprecedented important position as a part of popular education which is the product of Mexico revolution. Thus in this study considered that the background of Mexican Mural in 1930's resembled the social and cultural background of the latter half of 20th century. The internal significance of Muralism expressed in the modern fashion was categorized as attaching importance to human the pursuit of the utopia the tendency to nationalism Satriric and moral painting. First Attaching importance to human in the modern fashion expressed the recovery of humanity by meaning in opposition to moral crisis of the human in the pluralistic society. Second The pursuit of the utopia in terms of interest the ideal way in the modern fashion expressed mysterious or hopeful through using religious colors motivies etc. Third The tendency to nationalism in the modern fashion expressed the painting of the masses in forms of mixing aboriginal culture elements and memorial elements. Fourth Satiric and moral painting in the modern fashion expressed wits or humorous style through using geometrical motives and light colors etc, indirectly expressed distress of modern men.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.7 no.1
• /
• pp.15-31
• /
• 2005

Suhainmyuldo(수하인물도) is a kind of picture which express a person under the tree and is known to be transmitted from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini(=Iygsha), the fairy of tree, in India of from the 'Tree of Life' in W. Asia, and they had in fluenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way. For example, Jookrimchilhundo(죽림칠현도: seven wise men in bamboo forest), during Six Dynasty. The tree of life(arbor vitae, lignum viate), the origin of the Painting of figure under a tree(수하인물도), was spreaded in several regions around the center of Mesopotamia early, and them transmitted to Sasan dynasty of Persia, even to Islam, Byzantine, Romanesque, ancient East Asia. The mural painting found in the 4th Tongu Ogoe tomb, which was created after the 5th Tongu Ogoe tomb, used Obangsaek more than the 5th tomb painting did. (The term Obansaek refers to the five Korean traditional colors consisted of yellow, blue, white, red and black) The mural painting on the 4th Ogoe tomb employed distinct technique to depict an object in a certain color by painting the surroundings with different primary colors, making the painting look more exotic and mysterious.

• Journal of the Korean Society of Costume
• /
• v.60 no.7
• /
• pp.117-130
• /
• 2010

The four walls of mural paintings in Afrasiab, Samarkand, have discovered: the indian-concept east wall, the west with the paintings of envoys from a number of countries bringing in King's letters or gifts, the south describing traditional ceremony celebrating the new year, the north with a picture of a Chinese princess on board beside hunting scenes. Overall, Sogdians in Afrasiab mural paintings of 7th century had following costume codes: a very short haircut or the Turkic queue, a rather-narrow-sleeved caftan with round-neck, a belt and boots. The west wall showed various costume style of a set of envoys from countries. First, a Turkic envoy had 3-6 rows of long plaits, wearing a caftan with two lapels and a belt - interestingly, Sogdian and Turkic nobles didn't wear pochettes. Second, a Chaganiyan had a hairband on his short hair, and his colorful round-neck caftan is decorated with animal-patterned medallions and a golden belt. Third, a Chach wore a jewelled hairband, putting gaiters on his pants. Forth, a Chinese was in putou with a round-neck caftan, and with a belt and sword around his waist. Lastly, also appeared a Koguryo envoy in white putou with a double-bird-feathered crown on top, wearing a long-sleeved yellow v-neck top, a belt, narrow-cuffed pants and boots. Identical to the Sogdian statues excavated in various regions of China are the appearance of big eyes and nose -similar to the warrior stone in Korea- a hairband, and a pochette down from the waist line. During this period, white and red were considered as prevailing colors for clothing: red and yellow among Turks. The costumes of characters in Afrasiab mural paintings were preferably made with the animal-patterned, sophiscated samite Zandanachi of Sogdiana.

• Journal of the Korean Society of Costume
• /
• v.66 no.1
• /
• pp.122-134
• /
• 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.

• Journal of the Korean Society of Costume
• /
• v.59 no.5
• /
• pp.180-201
• /
• 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 Fashion and Costume Design Association
• /
• v.7 no.3
• /
• pp.95-112
• /
• 2005

Hair styles, dresses and their ornaments are basic measures that show the trend of the times, the people and their life in both Eastern and Western societies. The history of a country could start or be extinguished at any time, but life goes on. Koguryo was founded around Anno Domini and fell at 668 A. D. What was Koguryo people like? How was their hair style and costume? This study aims to respond those questions. The Koguryo ancient mural paintings can be broadly divided into the Jip-An region and the Pyon-Yang region. Among the paintings found, that in the An-Ak 3rd ancient tomb at the Pyon-Yang region is the biggest and the most splendid. It is a figure genre painting, which contains a kitchen, a rice mill, a stable, a barn, a garage, etc. Those places illustrate the way of life at the time. The painting also comprises a man with a crown, who is seen as the king and owner of this tomb. The woman with a vertically designed hair style is perceived as the queen. A highly guarded and decorated royal parade is also presented in detail. The hair styles and costume evidence in the An-Ak 3rd ancient tomb are not seen in the paintings of the Jip-An region. This study inquires into the differences between the Pyon-Yang and lip-An regions through the history and the culture of those areas. Nevertheless, it could prove tentative to confirm the owner of the An-Ak 3rd ancient tomb with the only evidence of the words found in the wall of the tomb. It is the author's intention to study and analyse further.