• Science of Emotion and Sensibility
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• v.25 no.4
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• pp.3-20
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• 2022

The origins of the world-recognized Korean gat can be traced back to Gojoseon, and the jades for the sangtu and gwanja come from Hongshan culture. This study examines the etymology of the hat, the symbolism of the gat and the jade comb, and the history of the development of the accessories for the hat. The research methods of literature review, investigation of relics and murals, and analysis of cases of pronunciation changes were used. Most of the relics excavated from the Hongshan are identical to those excavated from Korea. The Byun-Khan people wore a triangle-shaped conical hat (the byun), which was shaped to fit the protruding sangtu hairstyle, with a foldable brim that, if pulled downward, changed the hat to a gat. The Chu sangtu, a pointed top-knot hairstyle, is uniquely found among Northeast Asian peoples, and it is an ethnic symbol for Koreans. Until the modern period, many Koreans wore their hair in the sangtu style, indicating their descent from the sky. Jade combs shaped like birds and clouds from the Hongshan period emphasized the religious nature and ceremony of hair styling at that period. The word hat is widely used to refer to gat all over the world. The pronunciation of ㄱg, ㅎh. and ㅋq/kh are closely related to each other, and the ancient pronunciation ㄱg gradually evolved to ㅎh or ㅋq/kh. The English 'Hat' and Korean 'Gat' were transformed from the middle-ancient sound 'gasa > gosa > got' of the crown 'gwan, gokkal'. This creative hair style culture that started from the Hongshan culture continued to be fashionable during the Gojoseon Dangun period, and the decoration techniques for hats and accessories were inherited over time and continuously developed. Along with the method of making gat, creative hair-related parts, such as manggeons, donggot pins, gwanja buttons, and fine combs were developed over the course of a thousand years.

• Science of Emotion and Sensibility
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• v.22 no.2
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• pp.83-100
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• 2019

The purposes of this study are to identify the meaning of the geometrical patterns preferred by ancient Korean peoples and to classify them into some groups by their similarity. We investigated various patterns found on clothing and relics from GoJoseon to Goguryeo period, and utilized secondary sources such as history articles, Internet materials and photo and analyzed the associations of the varied patterns found in pottery, handicrafts, and clothing with the ancient cultures. We found the letters (ㅇ, ㅁ, and ㅅ of Korean alphabet, Hangul) preferred by ancestors who worshipped nature to identify the significations attached by them to particular patterns. The results confirm the following: first, the circle pattern indicated the sun, moon, stars in the sky, a bronze mirror, and a man's face. Circles and ovals were also observed to represent the individual souls of the clan or community. Second, square patterns symbolized the land and the patterns that signified the wellbeing of family and the country. Oblique rectangles were more frequently used as they represented a double use of the triangle, a shape that implied mystic power. Third, triangle symbolized regeneration, power, and humanity. While the Neolithic Age jade remnants of hair combs appear not to be irrelevant to the process of comb-shaped pottery production of the time, many fine comb-like lines may be found on bronze mirrors. Through its review of the glorious designs inherited from and established by ancient ancestors, the present research endeavor may help in identifying the spirits and traditions of Korean history.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.