안악3호 무덤 음악도상音樂圖像에 대하여

김성명 국립중앙박물관·(社)동원고고미술연구소 2023 동원학술논문집 Vol.24 No.-

This paper aims to explore the musical culture of the Goguryeo Kingdom in the mid-fourth century by examining the music-related iconography in the mural paintings in the Goguryeo-era tomb Anak Tomb No. 3. Anak Tomb No. 3 is a stone chamber tomb equipped with an entrance passage, front chamber, middle chamber, main chamber, and corridor. On its walls are mural paintings on diverse themes that reflect the funeral customs of the Goguryeo Kingdom. This paper has drawn the following conclusions from the music-related iconography found in these murals. 1. The music-related iconography in Anak Tomb No. 3 is comprised of an image of a hwangmungochwi (wind and percussion band of the palace gate) in the middle chamber, an image of a gogyeon (a small royal banquet) in the main chamber, and a funeral procession image in the northeast corridor. 2. A comparison with the iconography related to music found in the tomb of Chinese General Zhu Ran of the Eastern Wu Dynasty suggests that the musicians depicted in the middle chamber of Anak Tomb No. 3 would be a four-person hwangmungochwi band playing a drum on a stand, an ancient Chinese bamboo panpipe, a reed flute, and a gong. The inclusion of a wind and percussion ensemble of the palace gate is presumed to have been a result of the diplomatic ties between the Goguryeo Kingdom and Eastern Wu Dynasty. 3. The iconography of a small royal banquet presents a combination of Han Dynasty-style orchestral music with dancing with feet crossed in an X-shape in the style of India and what is now the western regions of China. The red dot designs on the hat of a dancer are a cultural element from northwestern China, but they seem to have been incorporated into characteristic clothing patterns of the Goguryeo Kingdom. 4. The music-related iconography in the funeral procession consists of a marching band with drums (shaking drums and hand drums) in front and horns at the end that leads the procession, another band carrying drums and bells, and a band on horseback of a type that originated in Han Dynasty China that is playing a drum, an ancient Chinese bamboo panpipe, a reed flute, and a gong. Among all the musical instruments depicted in the mural paintings, only the carried drums are distinctive to the Goguryeo Kingdom. 5. The music iconography in Anak Tomb No. 3 features a combination of musical traditions from Han Dynasty China (the wind and percussion band of the palace gate, small court banquet, and dansoyoga (songs for short panpipe and standing bell)), processional music and dance from the northwestern regions of China, and musical elements (carried drums) distinctive to the Goguryeo Kingdom. This combination demonstrates that the Goguryeo Kingdom developed its music culture by accepting and localizing foreign music from the Han Dynasty through the period of Wei, Jin, and the Northern and Southern Dynasties. 6. This iconography of shaking drums in front and horns behind became a feature of processions of drums and horns in Goguryeo tombs constructed after Anak Tomb No. 3. It appears to have been closely related to the iconography of a horse-riding procession in the mural paintings in the Western Jin Dynasty tomb M3 in Jiayuguan, Gansu Province. This connection is presumed to have been forged through Goguryeo’s absorption of popular cultural elements of the Western Jin Dynasty that were transmitted through the Lelang and Daifang regions. 7. The music-related iconography found in Anak Tomb No. 3 from the mid-fourth century reflects longstanding musical practices from diverse regions. A comparative analysis of other music-related iconographical elements from Goguryeo tombs built after Anak Tomb No. 3 would deepen our understanding of the formation of and changes in Goguryeo music. 8. This paper is confined to explanations based on limited comparative materials and fails to scrutinize the intentions and ideological backgrounds underlying the music related iconography by connecting them to funeral and memorial rites. As a product of funeral art, the iconography in tomb mural paintings needs to be studied while taking into account funeral and memorial rites and their procedures.

충북지역 박물관의 활성화와 발전 방안

김성명 충북연구원 2006 충북학 Vol.8 No.-

대호 이융조교수 정년기념 특집호 : 미호천 유역의 구석기유적 연구

김성명 충북대학교 사학회 2007 忠北史學 Vol.18 No.-

충북지역 박물관 운영 현황과 협력체계에 대하여

김성명 한국대학박물관협회 2011 한국대학박물관협회 학술대회 Vol.64 No.-

청주 신봉동 B지구 2차 발굴조사보고

김성명,신종환,이재열 한국고고미술연구소 1993 고고학지 Vol.5 No.-

본고는 국립청주박물관에서 1990년 10월 16일부터 11월 5일까지 조사한 청주 신봉동 2지구 백제묘군(墓群)에 대한 2차 발굴조사 결과 보고이다. 1차 조사에서는 B지구 구릉에 있는 100여 기의 백제묘 가운데 17기를 조사하였다. 1차 발굴조사 결과, 타 지역에 비해 상대적으로 빈약했던 백제시대의 고고자료를 다수 확보하게 되었으며, 이 유적의 중요성을 인식시키는 새로운 계기를 마련하였다. 그러나 이후 이 유적의 도굴이 지속적으로 자행되어, 청주박물관은 1기의 유구라도 더 구제하여 자료를 확보하고자 2차 발굴조사에 임하게 되었다. 그 결과 백제묘 7기와 조선시대 민묘(民墓) 1기를 확인하고, 토기·철기 등 약간의 유물을 수습하였다.

화학적 방법에 의한 CdSe 나노입자의 제조 및 특성

성명석(Sung, MyoungSeok),이윤복(Lee, YoonBok),김형국(Kim, HyongKuk),김양도(Kim, Yangdo) 한국신재생에너지학회 2005 한국신재생에너지학회 학술대회논문집 Vol.2005 No.06

Diethnao lamine(DEA)을 함유한 수용액을 ultrasonic irradiation에 의하여 CdSe 반도체 양자점을 제조하였고 제조된 양자점의 광학적 성질을 조사하였다. CdSe 양자점 제조시 카드뮴을 제공하는 물질로는 CdCl₂{cdot}2.5H₂O를, 셀레늄을 제공하는 물질로는 Se powders를 Na₂SO₃ 수용액에서 90?C, 1시간 reflux 한 Na₂SeSO₃를 사용하였다. 상온에서 고출력의 초음파 조사 (20kHz, 60Wcm^{-2})에 의한 CdSe반도체 양자점을 얻기 위하여 초음파 시간을 각각 변화시켰고 XRD, UV-Vis, PL, TEM, XPS론 사용하여 CdSe 나노 입자의 특성을 분석하였다. CdSe흡수스펙트럼을 분석한 결과 450-640nm범위에서 양자점 형성에 의한 엑시톤 흡수 봉우리가 관찰되었음을 확인할 수 있었다. 또한 초음파 조사시간을 5분, 15분, 30분으로 증가시킴에 따라 505nm, 525nm, 545nm로서 엑시톤의 흡수 파장이 장파장 쪽으로 이동함을 확인함으로써 초음파 조사시간에 따라 CdSe 양자점의 크기를 변화시킬 수 있음을 알 수 있었다.

정문경(精文鏡)의 문양 구성과 변천

김성명 ( Kim¸ Seongmyeong ) 국립중앙박물관 2014 동원학술논문집 Vol.15 No.-

Under the presupposition that clarifying the difference in pattern composition of Jeongmungyeong(fine-patterned mirror) and its significance is the key to understand the system of Jeongmungyeong, its chronology and contemporary cultural situation, this paper has focused on the combination of patterns and compositional states. The results are as follows: First, according to the precedent studies, the titles of pattern units were newly arranged. Based on the shape of Ilgwangmun, the types of 46 pieces were classified into 4: A, B, C, and D type. Ilgwangmun A was re-affirmed to have formed under the influence of Jomungyeong. In case of B, C and D types, their formative procedure and background were not clear but seemed to be obtained through Cheongdong(bronze) Yumundonggi, Jibseon Samgagmun and Samgagmun found at Cheongdong utensils and Paljuryeong etc. In case of Junggu(middle area), Gyeobseon(double-lined) Mundae among Wongwon Daemun began to be used in the early Jeongmungyeong and continued till late period. Nungeum Daemun and Sagyeogja Mundae appeared at the early stage. X-Mun(pattern) was used widely, and N-Mun seemed to have appeared lately. Then, 2-Gu type came in and Junggu disappeared. The sectioning of Naegu(inner area) was largely made in 4 types of Complex, Cross, Lattice and others. The chronology of Naegu Chungjeon(filling) Mun seems to be in order of X › V › N patterns. When surmised on the basis of pattern combination and co-excavated artifacts, the generation order of Jeongmungyeong patterns seems to be A › C › D › B types. Their generation, change and extinction processes must have been very diverse. Since Type A appeared, it was developed into two directions: Dansun(simple) Wongwon Daegyeong of small size and Bogsu(multi) Wongwon Daegyeong of mid/large size with complex Oegu(outer area) and Junggu. Type C is closely related with Type A in its pattern composition. Probably, it was generated along with the introduction of iron utensils. In case of Type D, it is highly probable that its early version Chopori c-gyeong(mirror) was influenced by Yumun(patterned) bronze wares excavated in Igsan. After Type B appeared, several types existed together for a while. Then, Types A, C and B disappeared and finally Type D became extinct. Ilgwang Munyang D was succeeded as a typical pattern for bronze and earth wares of Far-ancient 3 Kingdom Age.

賃金管理에 對한 小考

金星明 成均館大學校 商學會 1963 成均商學 Vol.4 No.-

해외첨단기업유치에 따른 경제사회적 파급효과분석

김군수,성명기,박억두,한영숙 경기연구원 2006 정책연구 Vol.2006 No.7

京畿道 經濟動向과 展望

김군수,이상훈,김흥식,신기동,문미성,성명기,김은경,김경희,한영숙 경기연구원 2006 경기도경제동향 Vol.2006 No.1