• 한국의류산업학회지
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• 제5권1호
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• pp.34-42
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• 2003

Hair styles vary greatly and are an integral part of the Miao women's costume, often denoting marital status. The hair style was expressed in various styles by using Kokye. Chukye and Byunbal. Hair is swept in to buns and knots of varying size or arranged in huge structures supported with extra hair or wooden pieces. The hair ornament was expressed in various styles turban and hat. Some groups use a turban as an integral part of the style that is wrapped round the head in a specific way. Silver ornaments occupy an important position in the bright and colorful attire and personal adorment of Miao women's in Guizhou. Silver horns, silver crowns, silver hats are peculiar to Miao women's hair style. They are also indispensable hair ornaments of Miao women's. festive dress in Guizhou.

• 패션비즈니스
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• 제7권4호
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• pp.142-154
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• 2003

This study was conducted on the costume of the 6 minorities dwelling in Guizhou Province of China. The result of the study is summarized as follows. As Guizhou Province yields much silver, most of the minorities used silver ornaments a lot and dyed their garments by using indigo extracted from plants that grow in the area. The headdress was of style that for both men and women a long cloth is wound around a head in various ways. In some cases, women used cow's horn, pearl and silver ornaments. Most wore a short upper garment such as blouses with overlapping necks or blouses with diagonal on the front, and as a lower garment men and women wore trousers and skirts, respectively. As a way of ornament, embroidering, wax printing and weaving were commonly used, but pattern and color used in the ornament varied depending on the individual minorities.

• 박물관보존과학
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• 제10권
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• pp.15-20
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• 2009

남원 척문리 출토 은화관식의 보존처리 과정과 부식화합물의 종류를 소개하고자 한다. 또한 현재까지 출토된 백제시대 은화관식 12점의 4가지 기존 형식 분류를 구체화 하고, 각각의 은화관식을 비교한 결과 제작기법은 동일하나 크기나 두께에서 차이가 있었다. 이것으로 볼 때 은화관식을 제작할 당시 많은 수량을 한번에 만든 것이 아니고 필요할 때마다 제작된 것으로 추정된다.

• 한국의류학회지
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• 제47권2호
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• pp.392-408
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• 2023

This study concerns the flower-shaped silver crown ornament and inverted triangle-shaped crown ornament of Baekje, which were worn frequently during the Sabi period. The purpose of this study is to present a new estimated shape of the crown and ornaments. Individual excavation cases and archaeological data were analyzed. The flower-shaped silver crown ornament appears as a thin silver plate with buds on the center and side branches and is symmetrically bent from the center to form a ∧ shape. The inverted triangle-shaped crown ornament resembles two right-angle triangles that are back-to-back. The crown to which the two ornaments were added appears to be a triangular crown that was made by covering birch bark of with fabric. Both ornaments were believed to have been located on the front of crown, but that is incorrect. The flower-shaped silver crown ornament was inserted on the front of the crown, and the inverted triangle-shaped crown ornament was fixed with a tip at the top of the crown and then obliquely on the crown's side. The inferred design was confirmed with real reproductions. This study is significant in that it identifies the crown of Baekje during the Sabi period.

• 패션비즈니스
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• 제2권1호
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• pp.71-75
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• 1998

The Miaos who is the minority people mainly living in the southwestern part of China, expressed their indicator and solidarity through the costume in order to maintain their racial character while experiencing numerous adversities over thousands of years, where the costume has served as a source of cohesion as well as a primitive religious thought, and also showed their faith, desire, longing and aspiration. This study examined the Miao's traditional costume by classifying it into the following; hair style, headdress, upper and lower garments, and other costume. And the silver ornaments used for attire and their symbolic meaning were examined. The result of the study is summarized as follows. 1. The reason that types of the costume has been diversified is because there was promise of ancestors who intended to differently express the type of a kind as symbol of the racial branch that is the Miao's special type of society. Thus, the costume type could tell where a tribe live. Another reason is because only marriage between families with different surname but the same type of costume was accepted. 2. As women made and wore the costume themselves, it also served as a means of being proud of their skill or wealth, they tried to make it more beautiful and it was also used as a token of marriage or love between relatively enlightened men and women. 3. The design used on the costume was expressed as a symbolic meaning of indicator to strengthen the racial solidarity because it connoted worship to ancestors who had experienced lots of adversities. 4. The hair style was expressed in various styles by using Kache such as Chukye, Byunbal and Kokye. It is likely that ornaments used on the head of women in the form of cow's horn or silver crown were used as one of the methods to stress the valuableness of the cattle that were essential to agricultural life. In addition, various styles of turbans were used to indicate the respective regions. 5. Cock's feather ornaments or silver ornaments in the form of pheasant's feather on the edge of women's skirts, peasant's feathers that men wore on their head, or Baekjoui and men wore resulted from the Miaos' thought of adoration for birds, which implied a primitive religious meaning. 6. As the region where the Miaos live yields much silver, the silver ornaments were mostly used to be proud of wealth, which symbolized light and pureness.

• 디자인학연구
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• 제2권1호
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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.

• 박물관보존과학
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• 제17권
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• pp.17-42
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• 2016

신라시대 대형 고분인 서봉총에서 출토된 과대 1점과 요패 8점을 성분 분석하였다. 구성품을 크게 금판, 못, 영락, 금사 등으로 구분하여 성분비를 검토한 결과 모두 서로 다른 순도를 지닌 금제로 제작되었다. 과대에 사용된 금판은 순도 17~18K, 19~20K 두 가지로 구분되며, 못은 약 20K, 영락과 금사는 대부분 18K의 금으로 제작되었다. 요패에 사용된 금판 역시 대부분 17K~19K이며, 연결고리는 17~19K, 못은 17~20K, 영락과 금사는 약 19K의 금제로 확인되었다.

• 한국의류산업학회지
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• 제3권2호
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• pp.115-123
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• 2001

The dress and ornaments in the Taijiang were fashionable, which were densely populated with Miao nationality. Women's traditional festive dress in Taijiang included an embroidered blouse and a pleated skirt. The garments are decorated with plenty of ornamental designs. The colours of festive dress were as rich and gorgeous as those of fashinable desses. Embroidery was very popular in Taijiang and its principal feature is embroidery with loose, coloured floss silk. The image of patterns changed ingeniously and colourfully but do harmony. In the using of colour, one kind of the festive dress was in the main red, which means a bright dress. The colour of another kind of festive dress was blue, which means a dark dress. There were many kinds of silver ornaments for women. Taijiang was most outstanding in this respect. The great variety of silver ornaments was a unique feature of women's dress in Taijiang.

• 복식
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• 제64권1호
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• pp.106-122
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• 2014

This study is based on the official Chinese history of the ancient Korean(中國正史朝鮮傳) clothing and ornaments, and also tries to discover, study, and adjust the system of the ancient Korean clothing and ornaments. Ancient Korea has very poor official records of its clothing and ornaments. Therefore, this study had no choice but to rely on the official Chinese history to cover for the lack of resources. The official Chinese history documents are not only important for studying ancient Korean history, but also important for studying about the ancient Korean clothing and ornaments. This research selected historical documents about the ancient Korean clothing and ornaments from fifteen different Chinese dynasties' official documents, and then systematically classified the documents in order to compare them. All these processes confirmed the following subjects. In regards to the Kwan(冠: general hat), the hat types included Check, Byun(弁), Jeol-poong(折風), Jowoo-Kwan(鳥羽冠), So-gol(蘇骨), and Na-kwan(羅冠). These Kwan(冠) were influenced from Chinese clothing and ornaments. Gold and silver decorations on the Kwan(冠) were influenced from the Scythai culture. The feather decorations on the hat were residual of the bird worshiping culture or the hunting lifestyle. These things show that the ancient Korean clothing and ornaments originated the clothing and ornaments from the North. But the use of Jo-woo(bird feather) was common around the globe in many ways during the ancient times, regardless of area and period. The official Chinese history describes men's hair style as Choo-gyul (椎結) or sometimes pronounced, Choo-gyul(椎結). These seem to describe the topknot. Women had various types of hair styles such as Yu-byun-bal-su-hu (wear women's hair in a braid). The official Chinese history show that the ancient Korean clothing and ornaments originated the clothing and ornaments from the north. The ancient Korean clothing and ornaments influenced and were influenced by its neighboring countries.

• 패션비즈니스
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• 제5권2호
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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.