• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.202-223
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• 2020

This purpose of this article is to identify the original form of the gilt-bronze ornamental pieces unearthed from the east part of the third wooden coffin in the Naju Bogam-ri Jeongchon (NBJ) tombs. The gilt-bronze ornamental pieces were all small, measuring less than 3cm in size and about 0.2cm in thickness, and only 19 or more small pieces were identified. In each piece of gilt decoration, a circular perforation, convex pattern, leaf-shaped spangle (瓔珞), 2 small holes for attaching spangles and gilt-bronze thread, 2 small holes for unknown purposes, and a continuous dot pattern of about 0.05 cm can be observed. As a result, it was judged that the gilt-bronze pieces excavated from the NBJ No. 1 chamber were part of the Headband Crown. Therefore, type 1 and type 3 of the gilt-bronze pieces were determined to be part of the Headband, and type 2 to be part of the Vertical Ornaments. Based on previous results, two types of restoration were proposed for NBJ No. 1 tomb gilt-bronze ornaments. In the first restoration proposal, there are wave-shaped dot patterns on the top and bottom of the crown, and the middle decoration is a spangle, circular perforation and spangle and a convex-pattern. In the second restoration plan, one row of convex patterns was added among the decorations in the middle of the first. The same type of vertical ornament was found in the Sochang (小倉) collection crown, but the overall structure and shape of the crown were completely different. On the other hand, the use of small holes of unknown use, as seen in the crown, was presumed to represent holes for fixing to a cap of organic matter. The restored NBJ No. 1 tomb gilt-bronze crown is characterized by circular punching, which makes it difficult to find an analogy in the other Three Kingdoms-period crowns. Unlike the existing halls in Gaya, Mahan, and Baekje, each district has a unique shape and decoration. The gilt-bronze crown excavated from NBJ No. 1 tomb is thought to reflect these characteristics.

• The Research Journal of the Costume Culture
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• v.28 no.3
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• pp.356-375
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• 2020

The purpose of this study is to understand the characteristics and cultural values of the headdress among Chinese minorities with diverse ethnic cultures, and to provide various data on the design of clothing accessories. Theoretical considerations about ethnic minorities were addressed through literature and prior research, with data being collected using literature and websites. The results are as follows. First, the most common type of headdress is the horizontal type, which includes the head style, headband, and head scarf. The second most common is the cylinder type, which is a headdress with variations in the shape of a round hat, and has is evident among various minorities. Third, the pagoda type is decorated with ornaments mounted on top of a round shape. Fourth, the square crown type is a piece of wood as a material for a form of the material and for a variety of jewelry and the production of up to meet the women's head of the jewelry. Fifth, head belt-type ornaments consist of a headband and fancy bead ornaments from the bottom of the head. Mongol women usually wear an exaggerated form of this type. Sixth, the head cover type is a head decoration influenced by the dress code of Muslim women. Seventh is the disc type of crown shape worn by the Dai. Next, the ogival type is a cone-shaped headdress hat most commonly seen as head ornament hat among the Dai. Lastly, the sailboat type is the most exaggerated form of hair ornaments found among ethnic minorities.

• Conservation Science in Museum
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• v.26
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• pp.83-182
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• 2021

This study summarized the results of the conservation treatment and investigation on the production method of the golden crown (Treasure No. 339) excavated from Tomb No. 129 (also known as Seobongchong Tomb) in Noseo-dong, Gyeongju-si, Gyeongsangbuk-do Province. The golden crown from Seobongchong Tomb was discovered during the excavations conducted by the Museum of the Government-General of Korea in 1926 during the Japanese colonial era. It is currently in the collection of the National Museum of Korea. A total of six Silla golden crowns have survived in Korea, among which the crown from Seobongchong Tomb is the only example with a dome-shaped hemispherical decoration attached with a bird ornament while otherwise showing the typical features of Silla crowns. The crown had been repaired following its excavation using metallic materials and adhesives, but due to the partial deformation and damage brought about by the repair materials, it required further conservation treatment. This article describes in detail the overall process of the conservation treatment and the restoration of the original form of the golden crown from Seobongchong Tomb, particularly the method of reinforcing the joints to secure the stability of the crown. It presents the characteristics of the crown's production as revealed in the investigation during the conservation treatment, and further analyzes the relationship of this crown from Seobongchong Tomb with other Silla crowns through a comparison of their production techniques. The investigation revealed that the crown was primarily decorated with golden sequins at the time of its production. At a later point some of the sequins in the upright ornament were replaced with comma-shaped jade beads and additional comma-shaped jade beads were added to the headband. In order to determine if such modifications to the decoration had occurred with other Silla crowns, the decoration of the six extant Silla golden crowns were investigated. The crown from Cheonmachong Tomb features traces of this same modification to the decoration and possesses other similarities with the crown from Seobongchong Tomb.

• Korean Journal of Heritage: History & Science
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• v.47 no.3
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• pp.160-171
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• 2014

The provision of support for the art of making these items needs to be considered with the focus on the following factors: the local situation of the areas where such traditional handicrafts are still made, the craftspeople involved in their production, and their communities. So far, discussion about how to reinvigorate traditional handicrafts, including those mentioned above, has been concentrated on the measures taken to promote them as part of the handicrafts industry and the allocation of the government's budget for important intangible cultural heritages. The government runs a traditional handicrafts management system and provides financial support for the craftspeople and spaces for exhibiting their work. This form of support has led to systematic management of traditional handicrafts and heightened public interest in cultural heritage, as well as publicizing the country's traditional crafts, but has made little progress in the following areas: the fostering of young people willing to learn traditional skills, diversification of the types of skills to be maintained, or establishment of the networks of collaboration among the craftspeople. The most important aspect among the efforts mentioned above is to maintain cultural traditions that are unique to each region by encouraging local craftspeople to engage in their work with a solid sense of pride backed up by financial support. This study was carried out in connection with the need to reinvigorate the art of making tanggeon (horsehair crown), manggeon (horsehair headband), and gat (black horsehair hat), which few people wear as they are used only for ornamental purposes nowadays. This study examined the circumstances surrounding the artisans engaged in the production of horsehair handicrafts prior to their designation as a cultural heritage, and the changes that occurred in the local communities associated with their production after the designation, in order to assess the status of inheritance of this tradition.

• Korean Journal of Heritage: History & Science
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• v.51 no.2
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• pp.4-21
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• 2018

This paper reviewed the legitimacy of the name of those sixteen pieces of hat artifacts known in Korean as pyeongjeongmo and currently housed by the National Palace Museum. This was undertaken in order to rectify the error of calling them pyeongjeongmo. Also, the paper suggested pyeongjeongmo's production method to apply representation of the artifacts or production of Joseon officials' hats as representation of ritual costumes in the royal court. The name pyeongjeongmo originated from pyeongjeonggeon. Gyeongguk Daejeon recorded that noksas wore yugak-pyeongjeonggeon and seoris wore mugak-pyeongjeonggeon, but the pyeongjeongmo artifacts housed in the National Palace Museum have been found irrelevant to those pyeongjeonggeons put on by both noksas and seoris. Rather, they has been confirmed as corresponding to dugeon or jogeon worn by byeolgams or suboks who served at the palace of the crown prince or princess. Through the investigation of the artifacts, the researchers could find out the tailoring and sewing methods, the finished look, and the folding manner of pyeongjeonggeon. Although the structure of pyeongjeonggeon was generally consistent, the frontal look was slightly different depending on the folding manner, resulting in three distinguished types of pyeongjeonggeon. Regardless, the pyeongjeongmo was made with one piece of fabric by a flat tailoring and folding method to create a three-dimensional hat. The finished shape appeared low in the front and high in the back side structure. The head girth was 55~59 cm, and the height was 19.4~21.5 cm. To make it with one piece of fabric, the head girth part was tailored in the same direction as the strands. Based on the artifact Changdeok 23820, this paper has also suggested a finished reproduction through the processes of preparing the materials, mounting, making the center ornaments, sewing and folding. The tailoring was completed with black silk fabric which was cut in a unique shape designed in advance, and hemp fabric which was mounted to the former. The top part of the head was finished with black threads, and the center line at the back was fixed with decolored cotton threads by blanket stitches with 3.5~4 cm intervals. Bamboo strands were inserted in the inside of the front-folded part, which then was fixed by patterned stitches with white cotton thread. At the back, a small bamboo clasp was attached so that one can lock it to the headband and prevent it from falling off.