기존 연구에 따르면 고구려인의 기본복식은 남녀 모두 상의로는 긴 저고리를, 하의로는 바지를 입은 차림으로 이것을 襦袴制라고 한다. 이러한 차림새는 고구려 고분벽화에서도 확인되는 것으로 이는 고대부터 남녀 모두 치마[裳, 裙]를 하의로 착용하고, 전신을 감싸는 枹가 발달한 중국과는 다른 형식이다. 안악3호분에는 허리에 金銅帶를 두른 바지저고리 차림의 帳下督과 儀章旗手가 확인되어 고유복식이 일상복뿐만 아니라 官服으로도 사용되었음을 알 수 있었다. 특히 포를 입은 무리와 바지저고리를 입은 두 종류의 무리가 나란히 배치된 의장기수의 경우, 바지저고리 차림에만 金銅帶가 확인되어, 금동대는 고유형식의 관복과 관련된 장신구임을 알 수 있다. 경우에 따라 여자들은 바지 위에 치마를 덧입기도 하였다. 고구려 부녀자들이 입은 치마는 좁은 간격으로 치마 끝까지 주름을 빽빽하게 잡아준 형태로, 이는 치마의 윗부분에만 주름을 잡는 위진남북조의 치마와는 다른 형식이다. 고구려 고분벽화에서는 우리의 고유양식과 다른 복식형태도 확인되며, 그 중에서 대표적인 것이 墓主 및 신하들이 착용한 붉은 포이다. 묘주와 신하들이 착용한 붉은 포의 제도는, 漢代에서 비롯되어 위진남북조에 수용․발전된 예복제도에서 기원을 찾기도 한다. 그러나 이러한 유형의 예복들이 문화와 풍습이 다른 여러 이민족 왕조들 사이에서 꽤 오랜 기간 동안 나타난다는 점과 이민족의 영향력이 컸던 당시의 시대적 상황을 생각하면, 과연 漢代의 제도를 유지한 채 고구려에 수용될 수 있었는가는 의심해 볼 문제이다. 이는 고구려 고분벽화와 위진남북조의 미술품에 나타난 붉은 포의 제도와 형태를 비교하면 그 차이는 더욱 분명해진다. 일반적으로 위진남북조의 포는 소매부리가 허리선을 넘을 정도로 넓고 배래가 처진 大袖 형태인 것에 비해, 고구려의 붉은 포는 비교적 소매통이 넓으면서도 배래가 직선인 형태로 大袖와 筒袖의 특징이 동시에 나타난다. 또한 중국에서는 上衣下裳제의 禮服에서 사용되었던 蔽膝이 고구려에서는 袍와 함께 사용된 점도 위진남북조와는 다른 고구려만의 특징이라 하겠다. 또한 중국문헌에는 중국 冠帽 대신에 羅冠이 고구려왕과 大臣의 冠帽로 나타났는데, 이는 중국 관모제도에서는 확인되지 않는 관모이다. 이는 고구려가 복식문화에 있어 고유함을 유지했을 뿐만 아니라, 외래복식의 수용에 있어서도 자주적 자세를 유지하였음을 시사한다.

Existing studies have found that Goguryeo people, both men and women, wore long-sleeved jeogori (inner jacket) and pants and that women wore skirts over the pants depending on the occasion. This basic style of costume was also used as an official uniform. For example, flag-bearers of Anak Tomb No.3 were categorized into two groups by costume; one in po(袍, coats worn over the jackets and skirts), the other in pants and jeogori; and those in pants and jeogori also wore gilt-bronze belts. The gilt bronze belt seemed to indicate the rank of the government official. Depending on the occasion, women wore long skirts over the pants; and generally these skirts had pencil pleats from the waist to the hem. This style of creating pleats is different from that of Chinese skirts, which had gathers only at the waist. Foreign costumes described in mural paintings in Goguryeo are po 袍 that came from China. Particularly, the red po 袍 worn by tomb hosts and government officials can be found in paintings or artworks created in China from the Later Han dynasty until the Wei, Chin and the South and North dynasties. This kind of ceremonial robe is one of the official uniforms of the Wei, Chin and the South and North dynasties, often regarded as originating from the red ceremonial robes for military officers of the Han dynasty. It was sometimes considered as having to do with the red po found in Goguryeo mural paintings as well. When we consider that headgear was the most important element of the official outfit in the Chinese ceremonial costumes tradition, it seems that bangna-gwan 白羅冠, cheongna-gwan 靑羅冠 and ora-gwan 烏羅冠 were recorded in the literature possibly because all three were not part of the Chinese ceremonial costumes system. However, it is doubtful whether an original costume system could be maintained intact regardless of time and space when we consider the conditions of the times; costumes were used in a variety of cultural and ethnic backgrounds of different dynasties over the course of time; and costumes and cultural exchanges and fusion between the Han Chinese and other peoples were the most notable characteristics of the time. Therefore, although the physical features of the costumes might look similar, it is possible that costumes actually changed in accordance with the recipient peoples’costumes, culture and the customs of the time.

Existing studies have found that Goguryeo people, both men and women, wore long-sleeved jeogori (inner jacket) and pants and that women wore skirts over the pants depending on the occasion. This basic style of costume was also used as an official uniform. For example, flag-bearers of Anak Tomb No.3 were categorized into two groups by costume; one in po(袍, coats worn over the jackets and skirts), the other in pants and jeogori; and those in pants and jeogori also wore gilt-bronze belts. The gilt bronze belt seemed to indicate the rank of the government official. Depending on the occasion, women wore long skirts over the pants; and generally these skirts had pencil pleats from the waist to the hem. This style of creating pleats is different from that of Chinese skirts, which had gathers only at the waist. Foreign costumes described in mural paintings in Goguryeo are po 袍 that came from China. Particularly, the red po 袍 worn by tomb hosts and government officials can be found in paintings or artworks created in China from the Later Han dynasty until the Wei, Chin and the South and North dynasties. This kind of ceremonial robe is one of the official uniforms of the Wei, Chin and the South and North dynasties, often regarded as originating from the red ceremonial robes for military officers of the Han dynasty. It was sometimes considered as having to do with the red po found in Goguryeo mural paintings as well. When we consider that headgear was the most important element of the official outfit in the Chinese ceremonial costumes tradition, it seems that bangna-gwan 白羅冠, cheongna-gwan 靑羅冠 and ora-gwan 烏羅冠 were recorded in the literature possibly because all three were not part of the Chinese ceremonial costumes system. However, it is doubtful whether an original costume system could be maintained intact regardless of time and space when we consider the conditions of the times; costumes were used in a variety of cultural and ethnic backgrounds of different dynasties over the course of time; and costumes and cultural exchanges and fusion between the Han Chinese and other peoples were the most notable characteristics of the time. Therefore, although the physical features of the costumes might look similar, it is possible that costumes actually changed in accordance with the recipient peoples’costumes, culture and the customs of the time.

, , , , , , , , ,

Goguryeo Costumes, Goguryeo Tomb's Murals, Wei‧Jin Northern and Southern Dynasties Period, original style, foreign cultural elements, independence, pencil pleated long skirt, red po, you-go style, pasul.