• 복식
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• 제59권6호
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• pp.72-81
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• 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.

• 한국식생활문화학회지
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• 제31권1호
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• pp.51-63
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• 2016

The aim of this study was to investigate food culture represented by the grain yard, water well, kitchen, and meat storage space which were depicted in the mural painting of An-Ak tomb No. 3. The mural paintings of An-Ak tomb No. 3 were compared with those of ancient Chinese tombs before the 4th century in order to understand their characteristics. Above all, the tomb murals describe the form and function of the stove (buttumak) as well as the cuisine using the cauldron (sot) and steamer (siru) in a very interesting manner. The meat storage space of An-Ak tomb No. 3 shows whole carcasses of animals such as roe deer, dog, and pig. However, Chinese murals show that while small animals such as soft-shelled turtle, fish, chicken, duck, pheasant, rabbit, etc. were stored as whole carcasses without being cut into pieces, large animals such as cows and pigs were slaughtered and each piece of their carcasses such as the head, thigh, meat loaf, and cardiopulmonary part was separately depicted. These tomb murals vividly describe the food culture of Koguryo and China before the 4th century.

• 복식
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• 제54권7호
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• pp.55-62
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• 2004

Research into the ancient dyeing and weaving culture is of critical importance to the fact that they constitute an integral part of the Korean costume. Due to the absence of the originals reflecting ancient costume cultures, it is difficult to figure out what the dyeing and weaving culture was like in ancient times. Because of limited visual materials available from the wall paintings of ancient tombs, studies conducted so far concerning the costume culture for the Goguryeo have focused on visual elements such as shape, structure, and type. As a result, research into ancient Korean dyeing and weaving cultures hasn't been properly made. Thanks to the presence of both some dyeing fabric originals from Goguryeo's neighboring countries and some visual materials like the wall paintings of the Goguryeo, it may be possible to obtain some clues to the dyeing and weaving culture. The dotted Pattern costumes were selected such as Muyongchong, No. 1 Jangcheon Tomb, Gakjeochong, Samsilchong, Ssangyeongchong, Susanri Tomb. According to a book titled ‘Hanwon’, the Goguryeo people manufactured fabrics in such a way that resist-dyed spots produced elaborate patterns over the purple fabric. It can be safely said that such dot patterns were produced by means of dyeing rather than weaving, because identical patterns aren’t well produced by means of painting and embroidery. Considering Goguryeo’s natural features, the dot patterns mentioned in historical literatures are thought to have been produced using animal’s skin. However, there is highest possibility that the dot Patterns were Produced using tie-resist dyeing or wax-resist dyeing techniques. With respect to the dyeing and weaving culture for the Goguryeo, one must refer to neighboring countries’ dyeing and weaving environments, given that the Goguryeo had engaged substantial cultural exchanges with China.

• 보존과학회지
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• 제27권4호
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• pp.451-458
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• 2011

이 연구에서는 문헌조사와 광학적 및 과학적 분석조사를 토대로 송산리 6호분 벽화의 제작기법에 대해 고찰하였다. 연구결과, 송산리 6호분의 전축방식은 공적법이 아닌 모르타르를 이용하여 전(塼)을 축조하였고 줄눈(masonry joint) 재료로 석회, 모래 및 석고를 이용하였다. 전돌 표면에는 전체적으로 흑색을 칠한 다음 백색 회(灰)칠을 하였다. 그 위에 벽화제작을 위한 점토 바탕 층을 조성하였는데 수비가 잘된 점토를 흙손 등의 도구를 이용하지 않고 붓으로 바르듯이 완성하였다. 바탕층에 사용된 점토의 재료적 특성은 $30{\mu}m$ 실트질 크기 이하의 광물입자들로 구성되어 있다. 현재까지 고대의 고분벽화에서 사신도의 채색 부위에만 점토 바탕층을 조성하여 제작된 고분벽화는 송산리 6호분이 유일하다. 이 송산리 6호분은 동양을 비롯한 한국의 다른 벽화에서 볼 수 없는 제작기술이라 할 수 있으며 1933년 발굴 당시에 벽화는 이미 심각하게 훼손된 상태였다고 가정하더라도 종합적으로 볼 때 미완의 벽화라고 추정할 수 있다.

• 헤리티지:역사와 과학
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• 제48권4호
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• pp.44-61
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• 2015

6C 대가야시기에 축조된 고령 고아리 벽화 고분의 보존 상태를 과학적 방법을 적용하여 정밀하게 조사하였다. 광학적 장비를 활용하여 보존 상태를 조사하고 손상 유형에 따라 손상 지도를 작성하였다. 현실 및 연도 천장을 제외한 나머지 벽면은 백색 모르타르층이 대부분 박락되어 유실된 상태이며, 채색층의 흔적도 거의 관찰할 수 없다. 현실과 연도 천장에 남아있는 벽화의 경우는 연화문만 일부 확인되며 대부분은 도상의 형태가 파악이 불가능 할 정도로 손상되었다. 벽화에서 관찰되는 손상 유형 중 박락, 갈색 오염물, 피막의 손상 정도가 높게 관찰되었다. 연구 결과, 벽화의 손상요인은 벽화의 구성 물질인 모르타르의 다공질 특성과 외부 환경의 영향으로 인한 고분 내부의 수분 이동이 결부되면서 박리, 균열 등의 물리적 손상이 발생되며, 박락, 유실 등의 손상으로 심화되면서 토양 및 수분 유입에 의한 피막, 갈색 오염과 같은 2차 손상을 야기하는 것으로 판단된다.

• 패션비즈니스
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• 제10권3호
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• pp.54-68
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• 2006

Suhainmyuldo (樹下人物圖) is a type of picture which expresses a person under the tree and is known to be brought to the Korean Peninsula from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini (or Iygsha), the fairy of tree, in India and the 'Tree of Life' in Western Asia which influenced 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 (竹林七賢圖: seven wise men in bamboo forest) in the Six Dynasty. There are only two items of female dress and its ornament from the 4th to 6th century Suhainmyuldo of the Goguryeo ancient tomb mural: one from the Jangchun Tomb No. 1 in which a female figure is portrayed as a part of living genre painting and the other from the Anahk Tomb No. 1 with seven female figures in a painting which is one of the earliest Suhainmyuldos, presumably from the 4th century. These two paintings must be considered in parallel with the origin of Suhainmyuldo. The mountain wizard's dress and Men's dress and its ornament in Suhainmyuldo from the 4th to the late 6th century Goguryeo ancient tomb is mostly joint adjust in which its collar is connected by a line and almost all the wizards are wearing Sang (upper garment). Most mountain wizards are wearing black feather shaped jackets and upper garments. One noticeable observation is that the mountain wizards of Mooyongchong, Tongu Ohgoibun Nos. 4 and 5 are completely different from one another in terms of ways to dress each wizard's official hats and shoes.

• 보존과학회지
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• 제34권5호
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• pp.333-343
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• 2018

부여 능산리고분군 동하총 벽화의 보존상태를 진단하고자 2년간 온 습도 모니터링을 실시하여 고분 내부 보존환경 평가 및 벽화의 잔존안료 지도화(Mapping)를 실시하였다. 고분 내부의 온 습도 모니터링 결과로 결로 발생의 특성을 평가하고, 2008년 조사결과와 비교하여 벽화의 상태변화를 진단하였다. 고분 현실의 온도는 국내 지하 5 m 깊이의 연간 평균 지중온도 분포인 $13{\sim}18^{\circ}C$와 근사한 온도분포를 유지하고 있다. 현실 공기의 일교차 범위는 $0.1^{\circ}C$미만, 최대 $0.5^{\circ}C$의 범위로 나타나고 여름철(6월~9월)과 겨울철(12월~1월)의 일교차가 가장 크다. 현실보다 온도가 높은 외기가 유입되는 여름철에는 일교차의 변화로 결로가 집중적으로 발생하는 것으로 판단된다. 동하총 벽화의 잔존안료 성분과 안료입자 분포를 지도화한 결과, 벽체 면적의 36.72~39.53% 범위로 존재하였다. 자외선 형광반응 및 적외선 촬영을 통하여 채색안료 범위가 2008년과 동일하게 나타남을 확인하였다. 따라서 동하총은 여름철에 결로가 발생하는 지하환경이지만 선행조사 이후 벽화가 안정한 상태로 유지되고 있음을 알 수 있다. 그러나 발굴 이후 개방된 환경으로 인해 벽화의 열화가 진행되어 잔존하는 채색안료가 미량이기 때문에 지속적인 모니터링이 필요하다.

• 한국의류산업학회지
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• 제8권2호
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• pp.161-167
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• 2006

The purpose of this research are to identify the nature of artistic beauty of Kokuryeo dresses and to apply the artistic beauty, formative uniqueness, and esthetic value of Kokuryeo in the modern Korean dress design for creation of new designs. Significance of this research lies in the fact that beauty of traditional dresses possesses highly valuable importance for application to modern fashion design processes. Kokuryeo dresses basically comprised of Yu, Sang, Go and Po, and contains within abstract beauty along with emphasis on geometric elements like dots, lines, and surfaces. Red, Black, Violet, Verdant and scarlet colors were moderately used against the mainly white canvas, and different colors were often used for the top and the bottom. Silk, Hemp cloth and Wool were used for different social levels or ranks, and from the wide variety of colors and patterns of the dresses, such as Round-patterns, Cloud-patterns and Vine-patterns, worn by the people illustrated on the wall paintings, it appears that various materials were used. Vertical hems, Yu (shirts), Sang (skirts), noblemen's dresses, kings' dresses, etc. from Kokuryeo tomb wall paintings were applied, and various dying methods, natural materials and sewing methods were used to recreate the unique features of Kokuryeo dresses in modern designs in an attempt to recreate the esthetic value of Kokuryeo dresses.

• 복식
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• 제5권
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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.

• 보존과학회지
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• 제22권
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• pp.99-108
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• 2008

본 연구는 고구려 벽화고분인 진파리 1, 4호분 벽화의 표면에서 관찰되는 백색과 흑갈색 오염물제거 방안수립을 위해 진행되었으며, 현장 적용실험을 실시하였다. 사전조사에서 금속현미경과 SEM/EDX를 이용하여 백색과 흑갈색 오염물질 시료의 관찰과 성분분석이 실시되었다. 시료에 대한 연구 결과 백색 오염물질은 $CaSO_4$ 혹은 $CaCO_3$로 흑갈색 오염물질은 황산칼슘화합물 혹은 $CaCO_3$와 토양침적물로 추정되며, 백색과 흑갈색 오염물질 제거를 위해 음이온교환수지와 Ammonium bicarbonate를 처리제로 선정하였다. 두 가지 모두 각각의 처리 대상에 대해 양호한 효과를 나타냈으며, 일부 피각형태로 고착화된 오염물질에 대해서는 물리적인 처리법의 병행이 필요한 것으로 확인되었다.