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- 저자 : 곽동해(Kwok, Donghai) (검색결과 4 건)
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郭東海(KWOK Dong-hai),趙孝淑(토론자) 고구려발해학회 2003 고구려발해연구 Vol.16 No.-
The purpose of this research is to investigate the symbol meaning with the moulding of a main pattern to be decorated at Koguryo old tomb wall painting Symbol meaning of the main decoration pattern of Koguryo old tomb wall painting to be found out through this research is as follow. Geometric the Silk Pattern(錦文)to be decorated at Koguryo old tomb wall painting is presumed to first stage's moulding mode of the Complex Pattern(?紋) which appears in 『yeongjobubsic營造法式』to be published at the Chinese North-Song Dynasty, has the meaning as the data to presume the existence of the Silk Pattern(錦文) which the today have been in fashion. Also, the Silk Pattern(錦文) to be decorated at the Anag 2th old tomb(安岳2號墳) is thought to the symbol pattern for the immortality with the way of Heaven and eternal life of the soul of the people which is buried in the tomb. The Arabesque Pattern(唐草文) to be decorated can classify as the Energy Arabesque Pattern(氣唐草文), the Clouds Arabesque Pattern(雲唐草木), the Honeysuckle Arabesque Pattern(忍冬唐草文), at Koguryo old tomb wall painting. the Energy Arabesque Pattern(氣唐草文) and Clouds Arabesque Pattern(雲唐草文) appear in the First stage(A. D. 4~5C) so that .it is prominent. The element of the Honeysuckle Arabesque pattern(忍冬唐草文) began to be added at the stem of arabesque in the middle(A .D. 5~6C). This is thought as the result of the inflow of the countries bordering on Western China art. TI1e Clouds Arabesque pattern(雲唐草文) disappears almost and the Honeysuckle Arabesque pattern(忍冬唐草文) appears so that it is prominent in the latter term(A. D. 6~7C). TI1.is the religious of Buddhism and Taoism culture is to reflect we were fixed completely. Divided things with the Clouds Arabesque pattern(雲唐草文) which among initial arabesque is designed so that it was only simple to the cable appears much. TI1e arabesque of such type classified as the Energy Arabesque Pattern(氣唐草文) to symbolize the vitality to be connected without the end not to be severed. The Energy Arabesque Pattern(氣唐草文) is the vigor the creature lives and to move description which means continuous motive power namely. The Sun and Moon Pattern(日ㆍ月象) decorated at the ceiling of the old tomb is to reflect the cosmic dual forces union thought and to desire the eternal life immortality of a tomb owner. As mentioned above, these patterns of Koguryo Old Tomb Wall Painting which are treated in research is to be painted for all pray the happiness in other world of the life of the tomb owner to come.
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곽동해(KWOK, DONGHAI) 아시아민족조형학회 2022 아시아민족조형학보 Vol.23 No.-
Traditional pigments refer to colored pigments that have been used since ancient times. Traditional Korean pigments were used in various fields of color painting from ancient times to modern times. Artificial chemical pigments began to flow into Korea from the late 19th century. Chemical pigments of cheap and high-chromatic properties have begun to replace traditional pigments quiklely. Japanese colonial era Since then, dancheong of all architectural and cultural heritages in Korea has been colored with chemical pigments. The stable color tone of the traditional material pigment disappeared, and instead, the characteristics of the extremely colorful color appeared. This has resulted in undermining the identity of Korean traditional painting that has continued throughout its long history. Today, revealing the characteristics of traditional Korean pigments has emerged as an important task for the preservation of cultural heritage. The reason is to restore the beautiful hue characteristics of Korean traditional colors.
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곽동해(Kwok, Donghai) 아시아민족조형학회 2023 아시아민족조형학보 Vol.24 No.-
Since ancient times, the domestic production of colored materials in Korea has been extremely poor. Most pigments were used depending on imports. Therefore, national management of the supply and demand of color was needed. In the Joseon royal family, a Dogam(都監) was installed to oversee the construction whenever the construction project was implemented. The management of the Dogam in charge of the construction managed and recorded all the contents of the construction. After the construction work was completed, all construction records were organized and described, and UIGWE(儀軌) was compiled. This is Yeonggeon Dogam Uigwe(營建都監儀軌). Dancheong was always painted on the main architecture of the Joseon palace. Therefore, the type, quantity, and source of the colored materials used in the Dancheong were recorded in Uigwe. Through these literature materials, it is possible to identify all traditional coloring materials used in the Joseon royal family. Based on the records of Yeonggeon Dogam Uigwe(營建都監儀軌) compiled during Joseon Dynasty, we can understand the full story of the traditional coloring materials used in the Joseon royal family.
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구미주,곽동해,이호열,Goo, Mi-Ju,Kwok, Dong-Hae,Lee, Ho-Yeol 한국건축역사학회 2016 건축역사연구 Vol.25 No.6
The purpose of this study is to inquire original design and character of dancheong in Yeongnamnu P avilion which features unusual portraits of twisting dragons and four heavenly creatures. Its artistic value and originality can be found in the portraits of four heavenly creatures which are painted on the interior seonjayeon(fan shape rafter) and in the unique design of crossbeam meoricho(flower decorations on each side of pillars). Yeongnamnu's crossbeam meoricho is janggu-meoricho type(meoricho with hourglass figure) with full-shape lotus and half-shape flower decorations. And it can be said that, dragon portrait painted on the border of lotus and flower decorations in green and yellow is a very unique style of dancheong, for the reason that it has scarcely been used before and ever since. The portrait of four heavenly creatures painted on each corner of seonjayeon is also found to be unique in design, for the reason that the design has rarely been used throughout history, with only two exceptions in mural tombs of Goguryeo and folding screen in Injeongjeon Hall of Changdeokgung P alace. With its unique and authentic feature along with its rarity in number, the portrait of four heavenly creatures painted on Yeongnamnu can be considered as quite symbolic and important.
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