• Title/Summary/Keyword: silver ornaments

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Conservation and Analysis of Gilding Silver Buddhas and Relics Discovered Inside Buddha of Joseon Period (조선시대 은제금도금불상과 그 복장품의 보존처리 및 재질연구)

  • Kwon, Yoonmi;Park, Seungwon;Yu, Heisun;Choi, Heeyoon;Yun, Eunyeong
    • Conservation Science in Museum
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    • v.9
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    • pp.31-49
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    • 2008
  • We have investigated and conserved three small Buddha statues dating from Joseon period that were purchased by the National Museum of Korea. Chemical analysis and investigation of internal structures were enabled us to identify its compositions and hollow spaces which have various materials just like fabrics, silver ornaments, beads and wood fragments. The fabrics date from the early years of the Joseon dynasty to the middle one. The compositions of matrix of the Buddha statues vary 80-90 wt% Ag and 7-15 wt% Cu. And its surface layers were gilt with amalgam. Mechanical and chemical cleaning with EDTA-2Na were applied together during the cleaning process.

Study of Material Features of Baekje Gilt-bronze Crowns (비파괴 분석법에 의한 백제 금동관 재질 특성 연구)

  • Kim, Seonggon
    • Conservation Science in Museum
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    • v.23
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    • pp.91-108
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    • 2020
  • This study conducted non-destructive analyses of the material features of seven gilt-bronze crowns of Baekje Kingdom that were excavated in the Cheonan, Gongju, Seosan, Iksan, Naju, and Hapcheon areas. A typical Baekje gilt-bronze crown has a conical inner crown and an outer crown embellished with vertical ornaments on the front and the back, a tube topped with a hemispherical ornament, and other ornamentation. Diverse designs (e.g., dragon, bonghwang, flowers, and plants) were applied using a range of techniques, including repoussé, chasing, openwork, and engraving. Formal features differ among the crowns according to their period of production and site of excavation. The substrate metal of the crowns is either pure copper or mixed copper with a small amount of lead. The crowns were amalgam-plated on the surface with pure gold or gold with a small amount of silver. The crown from Okjeon Tomb No. 23 in Hapcheon in the ancient Gaya region has a high silver content, which appears to be a regional feature. In addition, this crown from Okjeon Tomb No. 23, which can be categorized as Baekje-style gilt-bronze crown, seems to be plated at most three times, while the gilt-bronze crowns found within Baekje Kingdom territory were plated once or twice.

A Study on Traditional Costume of China's Minorities (I) - Centering Around Yunna Province Minorities - (중국(中國) 소수민족(少數民族)의 민족복식(民族服飾)에 관(關)한 연구(硏究)(I) - 운남성(雲南省)의 소수민족(少數民族)을 중심(中心)으로 -)

  • Kim, Young-Sin;Hong, Jung-Min
    • Journal of Fashion Business
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    • v.2 no.3
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    • pp.137-156
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    • 1998
  • In this study, the researcher studied the historical background, and the traditional culture about dress and ornament of Yunnan Province of China, The results of the study are as follows. 1. Dress and personal ornaments of the Va peoples vary with the locality. Their traditional dress and adornment is characterized by those in the Ximeng area. Men usually wear black or dark blue collarless jackets and black and dark blue loose and short bagged trousers with folding waist. Women usually wear close-fitting sleeveless pullover blouses with V-shaped necks and straight skirts with patterns of red and black cross stripes. 2. Jingpo men have changed to wear shirts with button down the front and trousers. They also entwine white turbans with red bobbles on both ends, and carry diagonally long knives, firelocks and red woolen figured satchels on their shoulders. Women usually wear black velvet blouses with silver bowl-shaped ornaments and chains around collars and on the fronts. They also wear red straight skirts with overlapped slit on the right, waistbands and waist hoops made of rattan and bamboo. 3. The Naxi nationality has a long history and excellent traditional culture. In modern times, women like to wear red, blue or purple laced blouses, long double-layered pleated skirts, waistbands and embroidered shoes. They wear their hair in buns with either hats or kerchiefs over them. While working or going out, they put on their "seven-star" capes made of sheepskin and embroidered with two big circles and seven small ones, while is a symbol of their frog totem. 4. The dress and adorment of the Jinuo people is simple, elegant and has its own unique characteristics. Men usually wear white buttonless shirts with round necks and an opening on the front, knee-length bagged trousers and legging. They wear cloth turbans, earrings and also put small bamboo or silver pipes in the holes of their earlobes. Women wear short buttonless blouses with round necks and seven coloured stripes and thin tight-fitting or embroidered triangular underwear. 5. The dress and ardorment of the Benglong (De' ang) nationality has its own strong national colour. Most of the men wear jackets with buttons arranged diagonally on the front, loose, short trousers and black or white turbans. Some young men like to wear eardrops and silver necklaces. Women's dress and adornment differs according to various branches. For example, the women of the Bielie and Liang branches have their hair shaved and wear black turbans. They use large square silver tablets as buttons and wear blue or black blouses with buttons down the front. 6. Oai men usually wear trousers, white or blue cloth turbans and round-necked shirts with buttons down the front or arranged diagonally on the front. Women usually wear long straight skirt and blouses. But dress and adornment varies in regions. 7. The Bai nationality dress and adornment has unique national style. The dress fabrics are mainly cotton cloth, silk and velvet. Men usually wear red velvet vests over white shirts with buttons down the front or black velvet vests over light blue shirts. They also wear white of blue turbans and carry satchels with beautiful embroidered designs over their shoulders. Women usually wear red velvet vests over white blouses, or black vests over light-coloured blouses.

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A Study on the Expression f Clothing and Textiles Recoreded in "Eigamonokatary" ($\ulcorner영화물언\urcorner$에 나타난 복식자료 연구)

  • 문광희
    • Journal of the Korean Society of Costume
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    • v.35
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    • pp.293-304
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    • 1997
  • This paper is a study on the expression of Clothing and Textiles recorded in $\boxDr$Eigamono-katary$\boxUl$This book is a novel de-scribed the Royal Court from 883 till 1107. In this book many kinds of Garments Orna-ments Colors and Materials were mentioned. But in this paper 69 kinds of Garments and Ornaments were reserched and the rest will be reported in the next paper, The discoveries of this paper were as follows. 1. All the things of this book were reflections of the reality in Heian period. 2. The main styling of that period was a little bit soft but the straight silhouette were fashioned, . In that time Clothing had a special meaning and the manner for a fashion was very important, .3 In the female garments Karakoromo were developed many kinds of pattern by dyeing method, Especially the Surizome was fashioned very much. 4. there were many kinds of gray tone like as clerical robe and mouning dress. This was the effection of Buddism style. 5. The decoration of fablics and garments were usualized for instance smooding and luster by beating and starch sewuing a piece of gold silver and shell nakabe and knot bend. Shawl Yumaki and Kosizasi was a charming point of that time, . 6, hair decoration shose parasol rain coat etc, . were developed and use freuently.

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A Study of Dress Prohibitions (채단에 대한 금제)

  • 전영숙
    • Journal of the Korean Home Economics Association
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    • v.11 no.2
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    • pp.147-165
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    • 1973
  • One of the characteristics of feudal society is the control of the dress and ornamentation which stand for various social classes and personal relationships. Throughout the Yi-Dynasty, certain forms of dress and ornamentation were controlled or prohibited by the government. For instance, there was a Ban on the use of gold and silver for ornaments and silks or satins for dresses, and the violator was subject to severe punishment according to the penal laws. This seems to have been done more for symbolism and the dignity of the various social ranks and powers than as an economic measure against foreign products. The use of yellow cloth, for instance, was once banned out of blind submission to the traditional practices in China, then the most powerful nation in Asia. The working classes were prohibited to use any silks of foreign production. This was done to discourage a spirit of wasteful luxury and the tendency to prefer the often higher quality foreign product. The government regulated the class of the traditional wedding ceremony, again as a means of both encouraging economy and reestablishing the distinctions between the classes. In spite of these attempts at control by the government a large trade in smuggled goods was still carried out. This had the effect of impeding the development of the clothing industry in the country.

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A Study on Fashion Design through Ethnic Costume Image of Chinese Miao Nationality (중국(中國) 묘족(苗族) 민속의상(民俗衣裳) 이미지의 디자인 연구(硏究))

  • Shin, Kyeong-Seob
    • Journal of Fashion Business
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    • v.4 no.1
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    • pp.33-44
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    • 2000
  • The purpose of this study is to research Miao ethnic costume which have been distinctly expressed differences according tribes and areas, present fashion design reflecting image of Miao ethnic costume. Two steps was taken in order to achive this purpose. The first step was to put in order formative characteristics of Miao ethnic costume being based on the Chinese books and domestic research materials. The second step was to study formative characteristics of Miao ethnic costume in comparison 2000A/W fashion trend, illustrate and schematize fashion designs. The results of formative characteristics of Miao ethnic costume are summarized as follows 1. X or H silhouette through skirt & jacket and pants & jacket. 2. Layered look that been twisted around several items. 3. Fine pleats skirts. 4. Refined and splendid color. Black was used main color, dark blue & red purple were used coordi color, vivid color were used accent color 5. Geometrical pattern, cross stitch embroidery. 6. Various ornaments being used silver. 7. Various hair styles and hairdressers. Using above characteristics, this study presneted fusion fashion design combined images of ethnic and techno with dark blue, mustard, blue purple. The target was Forties, professional woman.

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Characteristics of fashion accessories of minorities in Yunnan, China - focused on Bai, Zhuang, Hani, Dai, and the Zang nationality - (중국 윈남성 소수민족 복식의 장신구 특성 - 바이족(白族), 좡족(壮族), 다이족(傣族), 장족(藏族), 하니족(哈尼族)을 중심으로 -)

  • Xuanmeng, Zhao;Yoon, Jung-A;Lee, Youn-Hee
    • Journal of the Korea Fashion and Costume Design Association
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    • v.20 no.1
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    • pp.109-124
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    • 2018
  • This study focused on the accessory of clothes of minority groups in Yunnan province to further the research about specific accessories' development in the future. Among the minorities in Yunnan, this study centralized characteristics of ornaments, hats and belts among five minority groups such as the Bai, Zhuang, Hani, Dai, and the Zang as representatives to study in detail because these five ethnicities have a relatively long history and plentiful information. The results are as follows: First, exaggeration means large gorgeous patterns that attract attention. Generally, there are many natural resources that can be used in places where these minority groups live such as gems, gold, silver shells and animals' horns, bone, teeth and the like. Headdress includes combs, loops, hairpins and other similar articles. Second, nature is a very fundamental part that people rely on for existence and development. The production and living that people need in life all depend on nature. The design of accessories is made from animal forms and patterns of clothes are presented through embroidery and wax printing. Designers always tried to add natural elements to their works. Third, symbolism consists of two aspects: One is the people's imagination, which related to actual materials, and the other is the product of imagination that provides better conditions to inspire people when they design. In China, most minority groups believe in Buddhism. The symbols in the clothing show their devout faith. Even the method of wear has many special implications like the use of accessories and length of clothing. The pattern of dragons and use of golden, red and other colors all have a proper symbolic significance in modern designs.

A Study on Korean Man's Head Ornaments in the Joseon Dynasty (조선시대 남자(男子)의 수식(首飾) 연구(I))

  • Chang, Sook-Whan
    • Journal of the Korea Fashion and Costume Design Association
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    • v.10 no.1
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    • pp.99-116
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    • 2008
  • This study reviewed pertinent literature and examined relics of manggon(a headband worn to hold a man's topknot hair in place), donggot(a topknot pin), and chigwan(a topknot cover). Before the modernized short hair style, wearing a gat was an important custom. Therefore, manggon, which was used to hold a man's hair in place under the gat, was considered an essential part of the man's official dress code. Donggot is a pin that held the topknot hair in place. It was a must have for a married man, like the binyeo, a lod-like hairpin, for a married woman. Unlike gwanja, it had nothing to do with official rank, but materials were of a variety of materials, including jade and gold. The structure of the donggot was studied in three parts-head, neck and body. Major forms for the head include the mushroom, bean and ball. Bullet and half-cut bullet forms were also found. Forms for the neck include straight-neck and curved-neck. A neck with a belt around a double chin was also found. Forms for the body include the tetrahedron, octahedron and cylinder. The most popular form for silver and white bronze donggot heads was the mushroom, followed by bean and pile forms. Chigwan is also called chipogwan, chichoal, choalgyesogwan, noingwan and sangtugwan. In poetry it was called chichoal, and it used to be called taegogwan in the past as well. Chigwan was so small that it managed to hold a topknot. According to confucian custom in the Joseon period, by wearing chigwan, men didn't display their bare topknot even when they didn't dress up. When they went out, they wore another official hat over the chigwan.

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Some Views for the Buddhist Culture of Southeast Asia at Middle Ages through the Chinese Description (II) (중국문헌을 통해본 중세 동남아의 불교문화(II))

  • JOO, Su Wan
    • SUVANNABHUMI
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    • v.4 no.1
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    • pp.57-90
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    • 2012
  • This essay is for a study on the survey of buddhist cultural literary document about the Southeast Asia by Nanqishu(南齊書), Liangshu(梁書), Chiu T'angshu(舊唐書), Hsin T'ang shu(新唐書) which are included in the Chinese Official History and Jí-shénzhōu-sānbăo-găntōng-lù(集神州三寶感通錄), Weioshu Shilao Ji (魏書 釋老志). These documents allows us to imagine next some historical states. First, these documents are recording this area, especially Funan, as a plentiful diggings of gold, silver, tin, copper, etc. These are important materials for gilt bronze sculptures. Further, this local produced gold called 'Yangmai(楊邁)' is recognized as same as Zĭmòjīn(紫磨金) in china, and these documents explains the process of producing the bronze images and golden ornaments in Southeast Asia. Specially, this plentiful materials leads them to make a 10 wei(圍) tall golden-silver image which worshiped as hindu god or sometimes buddhist images. Second, Vietnam and Funan in Northern and Southern Dynasty periods were in antagonistic relationship not only in the political but also in religious between Vietnamese Hinduism and Funan's Buddhism. Under this situation, the monk Nagaxian(那伽仙) who had came from India was accredited to Southern Qi court as a delegate to build a good relationship by the common religion Buddhism. It means the Buddhism of Southeast Asia also took a role of diplomacy. Third, these documents proved the active Southeast Asian cultural exchange in early 3th century. At this time, Funan delegate Suwu(蘇物) visited the court of Kushan Dynasty in India and he is seemed to travel the city of Pātaliputra. It oppressed us to extend our outlook which have been restricted in the relationship between Southern india and Southeast Asia to more broaden area. In addition, the buddhist art of Southern India and Bodhgaya temple was imported to Southeast Asia directly to send to Southern China. For example, the wooden buddha image, Bodhgaya stupa image, and Sri Lanka style's buddha images are looked be introduced to Southern China at this time throughout the Southeast Asia. At last, we got to know that the court music of Kucha in the northern silk route was imported to the Southeast Asia in early middle age. Even it may be introduced by China, but this document is very important to make the surmise is not unreasonable that the buddhist culture of northern silk route imported to the Southeast Asia accompanied with Kucha music. The buddha images in Gandharan style which are excavated from some site of Southeast Asia may demonstrate this literary sources is authentic.

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"A Study on Hebrews Clothing in the Old Testament" - Especially on Hair Styles, Headgears, Footwear and Personal Ornaments - (구약성서(舊約聖書)에 나타난 히브리인의 복식(服飾) - 두식(頭飾), 신발 및 장신구(裝身具) 중심(中心)으로 -)

  • Park, Chan-Boo
    • Journal of the Korean Society of Costume
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    • v.10
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    • pp.63-80
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    • 1986
  • The Old Testament cotains mention of the history of creation and clothing in ancient Hebrew. This study dealt with Hebrew dress customs especially aimed at the manners of their hair styles, headgears, footwear and personal ornaments. References are Korean Revised Version, English King James Version and Revised Standard Version. There is little mention of hair styles and headgears in the Old Testament. Some sort of turban was worn by priests, and soldiers protected themselves with helmets, but most Israelitish men went bareheaded except on special occasions and often wear simple headbands. It was more common for women to use headwear of some type-turbans, scarves, and veils concealing the face. The veil was the distinctive female wearing apparel. All females, with the exception of maidservants and women in a low condition of life, wore a veil. It was the custom for women to wear a veil entirely covering their head in the public. Through most of the Old Testament periods long and thick hair was admired on men and women alike. The Hebrews were proud to have thick and abundant long hair, and they gave much attention to the care of their hair. The caring of hair was deeply related to their rituals. Nazirites never took a razor to their hair during his vow-days, but instead let it grow long, as an offering to God. Men would not cut their beards, but allow them to grow long. The Israelites' standard footwear was a pair of simple leather sandals. This was one of the items of clothing not highly prized. In a colloquial saying of the time, a pair of shoes signified something of small value, and to be barefoot except in times of mourning or on holy place, was a sign either of extreme poverty or humiliation, as in the case of war prisoners. Because precious stones were not mined in the Palestine-Syria region, Hebrews imported them from foreign country. They were consumer-to a large degree limited by their very modest standard of living-but not producers. Hebrews liked the precious stones and were motivated to acquire and wear jewels. Besides their use for adornment and as gifts, the precious or semiprecious stones were regarded by Jews of property. The Hebrews were not innovators in the field of decorative arts. The prohibition of the Law against making any "graven image" precluded the development of painting, sculpture, and other forms of representational art. Jewish men did not indulge in extravagances of dress, and there was little ornamentation among them. Men wore a signet ring on their right hand or sometimes suspended by a cord or chain around the neck. The necklaces, when worn by a male, also bore any symbol of his authority. Bracelets were extremely popular with both men and women, men usually preferring to wear them on their upper arms. The girdle was a very useful part of a man's clothing. It was used as a waist belt, or used to fasten a man's sword to his body, or served as a pouch in which to keep money and other things. Men often carried a cane or staff, which would be ornamented at the top. Among the women there was more apt to be ornamentation than among the men. Hebrew women liked to deck themselves with jewels, and ornamentation of the bride were specially luxurious and numerous. They wore rings on their fingers or On toes, ankle rings, earrings, nosering, necklace, bracelets. Their shapes were of cresent, waterdrops, scarab, insect, animal or plant. Sometimes those were used as amulets. They were made of ceramics, gold, silver, bronze, iron, and various precious stones which were mostly imported from Egypt and Sinai peninsular. Hebrews were given many religious regulations by Moses Law on their hair, headgears, sandals and ornamentation. Their clothing were deeply related with their customs especially with their religions and rituals. Hebrew religion was of monotheism and of revealed religion. Their religious leaders, the prophets who was inspired by God might need such many religious regulations to lead the idol oriented people to God through them.

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