• Title/Summary/Keyword: gold earring

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A Study on Image perception According to Accessories - Materials and Forms of Earring - (액세서리에 따른 이미지 지각의 차이 - 귀걸이의 재료와 형태를 중심으로 -)

  • Yoon, Young-Ahe
    • Journal of the Korean Society of Fashion and Beauty
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    • v.3 no.3 s.3
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    • pp.1-10
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    • 2005
  • The objectives of this research were to find out factor of image perception about women's accessories, to test differences in image evaluation according to materials and forms, and to investigate differences in image evaluation according to total stimuli. The results of this study were as follows. First, the accessory image factor derived four categories: attractiveness, prettiness, gorgeousness, and soft. Second, in two dependent variables, material and form had no significant interaction effects on attractiveness, prettiness, gorgeousness, and soft. In main effect, there was a significant difference of attractiveness, prettiness, and gorgeousness according to form. That is, the lined types had better prettiness and gorgeousness than the attachable ones. There was a significant difference of attractiveness, prettiness, gorgeousness, and soft according to materials. That is, pearl was considered to be the most attractive and soft. Plastic was evaluated image of least fashionable and soft, gold did image of the least gorgeous. Third, the attractiveness of attachable diamond earring was evaluated the highest, and the lined plastic ones did the lowest. It was evaluated and concluded that the lined plastic ones is considered the prettiness and most gorgeous where as any earring with attachable gold earring were considered the least prettiness and gorgeous. The attachable silver or pearl earrings were considered to be projecting the softest image whereas the lined gold and attachable plastic ones the opposite.

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Type Classification and Material Properties by the Composition of Components in Gold Earrings Excavated from the Yeongnam Region (영남지역 출토 금제 귀걸이의 성분 조성에 따른 유형 분류와 금속 재료 특성)

  • Jeon, Ikhwan;Kang, Jungmoo;Lee, Jaesung
    • Korean Journal of Heritage: History & Science
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    • v.52 no.1
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    • pp.4-21
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    • 2019
  • In this paper, 23 Silla gold earrings from the sixth and seventhand centuries, excavated from the Yeongnam region, were analyzed. Based on the silver content of the gold plate, they were classified into three types. The classifications included type I(20-50wt%), type II(10-20wt%) and type III (less than 10wt%). In the analysis process, the composition and morphological differences were identified on the surface of the gold plate. In the case of type I and II earrings, it was observed that the fine holes were concentrated in a relatively higher part of the gold content. The causes of the difference in the surface composition of the gold plate were divided into four categories: 1) surface treatment, 2) thermal diffusivity in the manufacturing process, 3) differences in composition of alluvial gold, and 4) the refining method of gold. It is possible that depletion gilding was attempted to increase the gold content while intentionally removing the other metals from the surface of the gold alloy in the portion where the gold deposit is relatively concentrated on the surface of the gold plating. The highest copper content was detected in the earring with the highest gold content of the analyzed earrings, and it was assumed that thermal diffusion had occurred between the gold plate and the metal rod during the manufacturing process rather than intentional addition. Copper was detected only in the thin ring earring type, and copper was not detected in the thick ring earring type or pendant type. It also proves that this earring has a high degree of tightness at higher temperatures, as there was an invisible edge finish on other earrings and horizontal wrinkles on the gold plate surface. In terms of the material of the gold plate, we examined whether the silver content of the gold plate was natural gold or added by alloy through analyzing the alluvial gold collected in the region. As a result of the analysis, it was found that on average about 13wt% of silver is included. This suggests that type II is natural gold, type III is refined gold, and type I seems to have been alloyed with natural gold. Here, we investigated the refining method introduced in the ancient literature, both at home and abroad, about the possibility of alloying silver after the refining process of type III earrings and then making pure gold. It was found that from ancient refining methods, silver which had been present in the natural gold was removed by reacting and combining with silver chloride or silver sulfide, and long-term efforts and techniques were required to obtain pure gold through this method. Therefore, it was concluded that the possibility of adding a small amount of silver in order to increase strength after making pure gold through a refining process is low.

Scientific Analysis of Baekje Earrings from Habjung-ri Site in Buyeo (부여 합정리 유적 출토 백제이식의 과학적 분석)

  • Cho, Hyunkyung;Jeon, Yuree;Eo, Jieun;Cho, Namchul
    • Conservation Science in Museum
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    • v.13
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    • pp.71-80
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    • 2012
  • So-hwan earring(small hoop earing) is orbicular earring that have only main hoop. In this study, So-hwan earring from Baekje tombs are analyzed scientifically and those is attempted to find the correlation between scientific results and historical constituent. Six earrings were excavated from Habjung-ri sites in Buyeo and formative features and material characteristics of them were analyzed by microscope and XRF. As a results, various toreutics about producing gold silver alloy, pressure welding and amalgam plating that existed in Baekje from Ungjin period to Sabi period.

A Study of Court Dresses Shown in Scene of the Royal Banquet Given by the King at Gyeong-hyeon-dang of Gisagyecheop ("기사계첩(耆社契帖)"의 "경현당석연도(景賢堂錫宴圖)"에 보이는 인물들의 복식 고찰)

  • Lee, Eun-Joo
    • Journal of the Korean Society of Costume
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    • v.58 no.1
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    • pp.45-60
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    • 2008
  • This study reports a court dress culture in 1719 shown in the Scene of a Royal Banquet given by the King at Gyeong-hyeon-dang(景賢堂) of Gisagyecheop(耆社契帖). It can be summarized as follows: First, King Suk-jong(肅宗) attending a Royal Banquet for members of the Hall of Elder Statement wore the Ikseonkwan decorated with flowers, red Gollyongpo, Okdae, and Heukpiwha. The Crown Prince(王世子) also wore the Ikseonkwan decorated with flowers, black Goliyongpo, Okdae, and Heukpiwha. Second, senior statesmen(耆老臣) over the age 70 wore Sarno, Heukdallyeong with a crane rank tablet, belt, and black boots. Royal family members and officers also wore Samo, Heukdallyeong with a crane or silver pheasant rank tablet, belt, and black boots. Third, Sakum(司禁) of King's body guards wore Yungbok and Muyaebyulgam(武藝別監) wore Ja-geon and the green Jikryeong. Ui-jang-gun(儀仗軍) wore Pirip and Hongui, Haengjeon, and Unhae. Saboksikwan(司僕侍官) wore Samo, Heukdallyeong, belt, black boots, and a sword. Fourth, boy dancers(舞童) wore Buyongkwan, Kwanbok, skirt, belt, and black boots. Cheoyong-dancers(處容舞童) wore outfits in fine colors, wide pants, skirt, mask with an earring, gold colored belt, and white colored sandal. Hyeopryulrang(協律郞) wore Sarno and Heukdallyeong. Jipbak(執拍) wore Morabokdu and Noksaui, and Ak-kong(樂工) wore Whawhabokdu, Hongju-ui, Ojungdae, and Heukpiwha. Singer(歌童) wore Jajeok-dugeon, nokju-ui, and jajeokdae.

A Study of the Personal Ornaments and Make-up of Maroccan (모로코인(人)의 장신구(裝身具)와 화장(化粧)에 관(關)한 연구(硏究))

  • Lee, Soon-Hong
    • Journal of Fashion Business
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    • v.5 no.2
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    • pp.15-34
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    • 2001
  • Ornaments are accessories for the decoration of the body or dress. They aren't unavoidably required one, but serve to make one's dress perfect as decorative industrial art objects. In Morocco, ornaments were initially used as a sign of social position or the class or an incantatory symbol. In effect, they were originally employed to adjust one's dress, not just for decoration, and they were of use for household economy. Gold, silver and handcraft available for exchange were a means of increasing one's property and an indication of social standing and wealth. In particular, the dress and jewelry of a bride was a measure of her family's wealth, regarded as a symbol of her chastity and value. The ornaments symbolically back up people's faith in supernatural power, and their real value is based on implicit form or way of decoration, not the external shape. Specifically, there is a tendency to use the form of animal as a protector, not one to frighten people. In the artistic tradition of Morocco, fish pattern stands for water and rain, and eagle and bird are considered to be related to fate. Scorpion and lizard are depicted as an inquirer of sun, and snake is a symbol of abundance and sexual instinct, being viewed to have an ability to cure disease. Turtle pattern is a symbol of saint because it protects one from the evil. The ornaments are made of gold, silver, amber, clam, garnet, glass, nielle, enamel, glaze, coral or tree, and symbolic patterns are used, including hand(a symbol of five numerals), turtle, lizard, scorpion, eye, triangle, bird and eggs. They are very big and diverse, being categorized into ornaments for the head or the chest, neckless, fibula, earring, bracelet and ring. For Moroccans, make-up is a sort of instinctive behavior to meet aesthetic and sexual desire. They also wear make-up for practical purpose of protection, intentionally inflict a wound on the skin for ceremonial or religious purpose, paint the skin with pigment, or have the part of the body tattooed for incantatory purpose. All this actions are regarded as make-up. The raw material of cosmetics is aker, a vegetable dye. They get the lips or cheeks turn red and paint eyebrows with yellow saffran powder to have a bad devil lose its strength. Tattooing is mainly done by women and viewed as a sign of their value or social organization they belong to. Sometimes that is used to represent a woman's being old enough to marry or getting married already or the frequency of marriage. Besides, tattoo is believed to prevent or remedy loose bowels or cough, depending on its location or pattern, and they often change tattoo according to the change of beauty art.

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A Study on Luxury Prohibition of Korean Personal Ornaments (한국장신구의 사치 금제 고찰)

  • 추원교
    • Archives of design research
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    • v.2 no.1
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    • pp.43-62
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    • 1989
  • The luxury is the expression of human being's ornament instinct. In this study, in order to grasp the moulding system of the Korean's personal ornaments, the process of luxury prohibition was reviewed to search for to which direction the ornaments developed in the frame of the prohibited style connected closely to the character of the personal ornaments. The proiod was fixed from the old society to the late Chosun dynasty era. The beginning of the luxury in Korea seems to be the start of the luxury burial at the time of funeral in the age of Koguryo., In the era of Koguryo, 10th year of King Dongmyung (B. C. 28), in the era of Baekje, 27th year of King Koi(260), the prohibition of dress regulation and the style of dress were conducted. The prohibition of personal ornaments in Silla was started from King Bup:Heung, and in the 9th year of King Heung-Duk, the prohibition was conducted in order to correct the luxury of the nobles and set up the social discipline. In the 11 th of King Il-Sung-Ni-Sa-Kum, the use of gold, silver and jade was prohibited in the civilian circles. The prohibition of Silla was succeeded to Koryo era, and in the 7th year of King Kwangjong(956), the system of Baekgwan Gongbok(uniform for government officials) was set up, and the system of Sasek Gongbok(four color official uniform) was set up in the 11 th year of the same King, and the prohibition of the personal ornaments such as crown and band is considred to have been conducted. The prohibition of gold and silver was conducted in the first year of King Sungjong(982), and in the 4th year of King Chungryul(l260), the order of wearing the dress and hat in accordance with the Yusan dynasty and the Mongolian customs were widely circulated in the royal court and vivilian circles. The strong influence of Mongolia made the taste of the traditional personal ornaments laste. The personal ornaments were used for the nobles until the age of the Unified Sillar but even the common people could use them in case they were rich, and such a circumstances made the use of foreign goods inflated. The prohibition of Koryo era was aimed at the prohibition of the foreign goods of luxury, and the classification of the social status.In the age of Chosun Dynasty, the production of gold and silver was feeble indeed but the oute reason of the prohibition was to eradicate the luxurious tendency, elevate the custom of eradicate the luxurious tendency, elevate the custom of thrift, and moreover, the gold, silver and jade were no the products of Korea and the prohibition was conducted but the true reason was afor the tribute tt China and the classification of status. The prohibition of Chosun dynasty was conducted first in the June of the 3rd year of King Taejo The major contents of prohibition was no use of gold, silver and jade, coral, agate, amber, etc. of th, wives of the Dang-Sang-Kwan (Court Nobleman) or their sons and daughters, and the same pheno menon was common even at the time of marriage. The people engaged in the secret trade there of wert beheaded. The personal ornaments in the prohibition were the pendent trinket, Binyo (crossbar) ceremonial ornamental hat, ring, earring, ornamental knife, hat string, hat ornament, belt, etc. Thl luxurious marriage expenses out of the luxury was severe, and lose of the marriageable age because 0 non-preparing the marriage goods was the national evil. The prohibition oC luxury was hard to bt kept to the nobles or rich people, the same as old days and present days. The prohibition of th{ luxury and personal ornaments of Korea had nothing to do with the commons, and it was limited tc the nobles and rich people. The prohibition was aimed to cultivating the custom of frugality by eradicating the luxurious atmosphere, but it was chiefly due to the tribute to the China and tht discrimination of the. status. We can say that the recent personal ornament was the flower of handi craft industry bloomed in the prohibition and regulation.

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A Study of the Bracelets Excavated from Fifth-and Sixth-century Silla Kingdom Tombs: Physical Characteristics and Wearing Practices (신라 5~6세기 무덤 출토 팔찌에 대한 연구 -물리적·형태적 특성 및 착장 양상을 중심으로)

  • Yoon Sangdeok
    • Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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    • v.1
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    • pp.174-197
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    • 2024
  • Personal ornaments made from precious metals that have been excavated from tombs dating to the Maripgan period (4th-6th century) of the Silla Kingdom are a major subject of analysis in the study of gender and hierarchy among the tomb occupants. Nonetheless, bracelets had been neglected until Ha Daeryong's recent research on determining gender through bracelets attracted attention. Accordingly, an examination and organization of the fundamental elements of Silla bracelets was needed. In response, this paper examines their physical characteristics, appearance, changes over time, and related wearing practices. The data for this study is derived from 176 bracelets, mostly made from silver or gold. Copper and glass bracelets are also included. Many of them were cast in a single-use earthen mold. Even the notched and protruding designs were created by casting rather than carving. Glass bracelets and bracelets with dragon designs were made using molds with round cavities. Excluding those produced using metal sheets, the rest of the bracelets are thought to have been cast in a mold with a long-string-shaped cavity and then bent round. After being bent, the two ends were either soldered together (closed type) or left open (open type). As demonstrated in the study by Lee Hansang, Silla bracelets evolved from plain rounded rod-shaped bracelets, such as the one excavated from the Northern Mound of Hwangnamdaechong Tomb, to versions with notched designs, and eventually to those with protruding designs, which gained popularity by the sixth century. The precedents of plain rounded rod-shaped bracelets are presumed to have been thin rod-shaped bracelets from the Proto-Three Kingdoms period. Bracelets need to be fit to the wrists so that they do not slip off easily when worn. The open type design was the preferable way to achieve this. Moreover, given the ductility of gold, silver, and copper, it seems that it would have been possible to stretch or deform them. In the end, I concluded that even if a bracelet is too small to pass man's hand, the open type could have been worn. Furthermore, if a closed-type bracelet were pressed into an oval shape, it would not be impossible for a man to put it on. When bracelets are divided according to their degree of deformability into type A (the open type) through type D, which is almost impossible to deform, type A is commonly found with wearers of thin hollow earrings, and types C and D (which are difficult to deform) are not found with wearers of thin hollow earrings, but only with wearers of thick hollow earrings. Therefore, it can be seen that men were allowed to wear bracelets, and the existing studies that differentiate between men and women based on the wearing of thin hollow earrings, thick hollow earrings, and swords remain valid.

The Comparative Study of Costume and Ornaments between Shilla and Uighur (신라복식과 위구르복식의 관계 연구)

  • 한윤숙
    • Journal of the Korean Society of Costume
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    • v.24
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    • pp.15-28
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    • 1995
  • This thesis focuses on the study of costume and ornaments of Shilla which had been severely affected by Uighur, and those of Uighur in Uighur self-governing district located in Shin Kang. East Turkestan, in Centrals Asia. This study aims to identifty the way of intergration of Uighur's costume and ornaments into Shilla, and orgins of Shill's costume and ornaments which had amix of internationl elelemnts thoursh cross exchanges, by comparing the differences between the two, and at the same time to clarify the pedigree of Korean costume and ornaments which are said to be udner a severe Chinese influence, by highlingting its uniqueness and originality . The result of the study demonstrates and originality of SHilla by melting foreign cultures into its own style in the process of accepting them. This means that the Shilla has recreated them in t도 form of simplification, and added naturalistic abstratness which is an element of Norther culture. The costume and ornaments are divided into coronets men's costuem, women's costume, and accessories 1. Coroncts A horse-riding man, and the costume type of 유고제 착유지체형 tell the Northern culture's influence on 백화수피기마인물채화담립 and patterns of a lotus flowr and arabesque show the 백화수피기마인물채색답립 has an influence of Buddhism with cluture of bordering countries of Western China , The origin of 뱍회수피제안형건(원정형, 방정형) lies in Northern cultures which can be found in ancient tombs of the Huns in noin-Ila , and stone caves of Jizil in Kochang. The wall paintings in Alexandropol, Murutuk and 돈황 No. 409 cave show that 초화형입식계금관 is under the influence of Northern culture, and Bezerkrick No, 25 cave and 회 번 in Kocho also show 수목녹각형입식관 is under the influence of Northern culture, with its origin in Novecherkaask. In this regard, the transformed coroncts of Shilla has shows a blended culture of Shilla with Nothern, Chinese, and Western cultures. 2. Men's Costume 반령포 derives from cultures of bordering countries of Western China centering around Uighur and Turkey. 연주문 in Uighur prince's costume and in Uighur paintings of Central Asia were reflected into the arts of Shilla in a direct way, and the motive of Uighur was deviatelly expressed at Shilla's arts in the form of simplicity , and naturalistic abstract paintings as in shown at 입수쌍조문 in tiles and brick. Along with this , 고착지체형 costume originates from Eurasia's Northern horseriding costumes as was shown in a golden man in B.C.4-5C which is now possessed by Kazakstan Republic Academy Archelogy Center Museum, and a golden figure from Skitai ancient caves, an the origin is carried away into wall paintings of Kizil No.14. cave in 8c and Astana's early period ancient tomb. No.6. 3. Women's Costume The hair styles of Shilla people are either 변발 or up -style with a lot of hair around it whose origin can be seen in Astana No.216 and No.187 caves of Kochang and Uighur's wall paintings of royal princess's hair style. Astana's middle period No. 206 and No.230 tombs reveal the its origin of 고착장군 while Astana early period No. 6 tomb shows that of 광유풍만형. 4. Accessories The earrings with small golden beads is seen at earring of figure holding a sword in wall painting of figure holding a sword in wall painting of Kizil in about 5 C. and those of a offering people in Sorchuk wall paintings. The earrings with small golden beads originates from a golden pendant of Shivargan, Afganistan, and golden pendants and other golden and metal accessories from Chrioba ancient tombs in Skiti Critia peninsula. Shilla's costume derives from the costume style of horse-ridding man, which proves the fact that Shilla people are horse-ridding peoplewith excellent horse-ridding techniques, and traditions. The people of Shilla are from horse-ridding people of local mounted momads in Northern part of Siberia steppe and this origin of Northern culture had been carried into Uighur in East Turkestan. At the same time , Shilla has a wealth and power since it was rich in gold and iron , thus producing lots of materials made of them. The results of this study emphasizes Shilla's identity and self-control by creating an independent an innovative heterogeneous culture since Shill's active exchanges with East Asia allowed it to accept the most civilized Uighur culture in East Turkestan among Altai languate which had frequent cross contacts with India and Europe.

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