조선후기와 에도 기생의 두발양식과 장신구에 나타난 조형성 분석

박인애,전현진 한국인체미용예술학회 2019 한국인체미용예술학회지 Vol.20 No.1

This study comparatively analyzed the formality of hairstyles and hair accessories in the cosmetology culture of the Gisaeng (Korean equivalent of geisha) who led the cultural trends during the late Joseon and Edo periods. For this, it was assumed that the late Joseon and Edoperiods were the time when the grounds for the history of cosmetology culture were established. Specifically, the late Joseon era refers to the period from the reign of King Gwanghaegun (1608, 15th king of Joseon Dynasty) after the imjinwaeran (Japanese invasion of Korea in 1952) and byeongjahoran (Chinese invasion of Korea in 1636) to the reign of the 25th king Cheoljong (1863), while the Edo period was limited to the period from the reign of the 1st shogun Tokugawa Ieyasu (1600) to the 15th shogun Tokugawa Yoshinobu. According to an analysis of hairstyles and hair accessories during the late Joseon and Edo periods based on formality theory, oval-vertical and symmetric-asymmetric styles were found during the late Joseon era while triangular, oval, round and symmetric styles were observed during the Tokugawa period. In terms of texture, both rough and smooth textures were adopted during the late Joseon period while smooth texture only was expressed during the Edo period. From a color perspective, ‘natural black’ was observed in both countries. In terms of hair accessories, symmetric items were found during both the late Joseon and Edo periods. In terms of texture, hair accessories from the two countries showed different texture depending on material type. However, they were mostly smooth in the body with diverse textures in the ornamented parts such as jewels, intaglio and silver workmanship. Regarding the color of hair accessories, gold and silver were common with elaborate color in the ornamented part during the late Joseon period. During the Edo period, in contrast, a wide variety of colors including black, red, dark colors, metal and jewels were observed.

조선시대 전기 취두의 양상과 설치 의미 - 태안 출토품을 중심으로 -

이인숙 한국고고학회 2023 한국고고학보 Vol.- No.128

From ancient times, it was the roof that was most emphasized among the external appearances of a building when the intention was to display the beauty of the building and its differentiation from other buildings. Among other elements, the ornamental roof tile installed at the end of the ridge of a roof is an architectural component that has both a structural function and ornamental function. Ornamental roof tiles of such great symbolism were changed and developed from early times under the influence of China. An example of chwidu (鷲頭), a roof ornamental component used to decorate buildings of authority (such as the royal family), was recently excavated off the coast of Taean. It is the only case in which an intact chwidu, exquisitely carved with the face of a dragon having a gaping mouth, was excavated. Hence, it was first compared with the chiwen (鴟吻) from the Ming and Qing periods, which are still installed on buildings in China. As a result, it was found that the chwidu has something in common with both the chiwen from the Ming period and the chiwen from the Qing period. An attempt was then made to establish the specific production periods of chwidu among cases similar to that excavated in Taean, based on archaeological evidence. Cases of similar shapes and patterns to those of the Taean chwidu include the chwidu of the Hoeamsa Temple Site in Yangju, the chwidu of Sungnyemun Gate in Seoul, and the chwidu of jeongjagak (丁字閣, T-shaped shrine) at Gyeongneung of Seooreung in Goyang. As for their respective production periods, the chwidu of the Hoeamsa Temple Site was dated at the 1400s, the chwidu of Sungnyemun Gate to 1479 at the latest, and the chwidu of Gyeongneung jeongjagak to about 1469, respectively. Therefore, it was established that the Taean chwidu is a chwidu of the early Joseon period, produced in the 1400s. On the other hand, judging from the textual records on chwidu, the producer of chwidu during the early Joseon period was identified as japsangjang (雜像匠), affiliated with Waseo (瓦署). In principle, the use of chwidu was limited to buildings of the royal family, and accordingly chwidu was used for the major quarters of a palace, the jeongjagak of royal tombs, and the main entrance to the capital city. Against this principle, however, chwidu was sometimes put on a temple or a monument house according to the need of the royal family. Besides, the possibility was confirmed that chwidu was also used for government office buildings, which are not spaces directly connected to the royal family. It seems that a specific building in which chwidu was installed existed within a provincial government office, although this data is of the late Joseon period. It is presumed that this was because government offices in gun (郡) or hyeon (縣) acted as the haenggung (行宮, temporary palace) during the king’s visit outside the royal palace.

古代 三國의 장식기와와 지붕 意匠

최영희 한국고대학회 2023 先史와 古代 Vol.- No.72

Prior to Silla's integration of the three kingdoms, Goguryeo, Baekje, and Silla already designed roofs through the production and use of ornamental roof tiles in addition to basic tiles. It can be seen that the ancient ornamental roof tiles were based on Chimi(the ornamental roof tile of the ridge of a roof), square or arch shaped roof tiles, and their use is the same phenomenon in The Northern Wei, Sui and Tang dynasties of China, the Asuka and Baekbong eras of Japan. Since the 7th century, Goguryeo has been aware of the use of ornamental roof tiles by introducing the plate-shaped roof tile with a ghost face pattern from China, it is possible that roof tiles such as maksae in the diagonal direction were created. These ornamental roof tiles were handed down to Silla, which achieved the integration of the three kingdoms after the integration of the three kingdoms in the late 7th century, and were reproduced in a more colorful manner. However, considering the current situation in which it is not clear how long Goguryeo's roof tile production pattern will last in Pyongyang, it is necessary to review whether the flag year is likely to correspond to the Unified Silla Period. Baekje created its own form after introducing information on plate-shaped ornaments. The repeated use of Baekje-style lotus patterns shows a new and sophisticated appearance in design, and the active use of tiles on rafters is also one of the characteristics. These elements are passed down to the Japanese Asuka period through a tile-making doctor at the end of the 6th century. After accepting tile-making technology from Baekje and establishing a production framework, a roofing design through tiles was newly introduced in the first half of the 7th century when Silla's own production system began to be established, and it is thought to have been applied to a large-scale construction site called Hwangryongsa. 신라가 삼국을 통합하기 이전, 이미 고구려‧백제‧신라에서는 기본기와(암키와‧수키와) 외에도 장식기와를 제작‧사용하여 지붕을 의장하였다. 고대의 장식기와는 치미와 마루끝 판형기와를 기본으로 삼았던 것을 알 수 있는데, 그 사용은 중국과 일본에서도 동일하게 나타나는 현상이다. 고구려는 중국으로부터 귀면문 마루끝 판형기와를 도입하면서 장식기와의 활용을 인식하게 되고, 그 영향을 받아 보다 다양한 종류의 기와들을 창안하였을 가능성이 있다. 본 글에서는 이러한 장식기와들이 삼국통합 이후 신라로 전해져 보다 화려한 모습으로 재현되었을 가능성을 보다 적극적으로 제시하면서, 더불어 통일신라시대 이후 한반도 북부지역 造瓦樣相을 보다 명확히 해야 할 필요성을 언급하였다. 백제는 남조의 영향을 받아 연화문의 장식을 본격화하였으며, 마루끝 판형기와에도 수막새에 보이는 백제계 연화문을 반복사용하는 새롭고 세련된 디자인을 창안한다. 이것은 6세기 말 瓦博士를 통해 日本 飛鳥時代에 고스란히 전해진다. 신라에서도 치미와 마루끝 판형기와를 지붕 장식에 사용하는 모습에는 변함이 없다. 백제로부터 조와기술을 받아들여 생산의 틀을 마련한 이후, 신라만의 생산체계를 확립해나가기 시작한 7세기전반 기와를 통한 지붕의장이 새롭게 도입되어 황룡사라는 거대 건축의 현장에 적용된 것으로 생각된다.

일본 고훈시대 용문반육조대장식구의 제작기술과 한일교섭

김도영 일본어문학회 2023 일본어문학 Vol.101 No.-

A variety of metalworks were excavated from the Japanese archipelago during the Kohun period. Among them, belt ornaments represent the authority of the dead. Various types of belt ornaments were excavated during the Kohun period, and most of them are considered to be related to the Korean Peninsula in Japanese archaeology. However, it is understood that the Hanikubori-Belt ornaments were made in the Japanese archipelago because they were not excavated in the Korean Peninsula. In this paper, the manufacturing technology of the Hanikubori-Belt ornaments were analyzed to reveal the patterns of the ancient Korea-Japan relationships. As a result of the analysis, Hanikubori-Belt ornaments were made with high-quality metalwork technology such as precision casting and nemekuri-chisel. What is important is that a high level of metalworking technology is found in relics excavated from the Korean Peninsula at the same time, such as Baekje and Daegaya. Considering this situation comprehensively, it is possible to assume that Baekje and Gaya engineers with excellent technology arrived in the Japanese archipelago and the technology was transferred to the workshops under the Japanese royal family.

가야 로만글라스와 진식대금구 유입 시기와 교역로 연구

박광춘 ( Park Kwang-choon ),김다빈 ( Kim Da-bin ) 동아대학교 석당학술원 2019 石堂論叢 Vol.0 No.75

가야 유적에 대한 발굴조사가 증가함에 따라 금관가야를 중심으로 대외교류가 매우 활발하게 이루어졌음이 부장품을 통해 확인되고 있다. 최근 발굴 조사된 김해 대성동고분군에서는 로만글라스와 진식대금구가 금관가야 최상층 지배자 무덤인 대형 목곽묘에서 출토하여 학계를 놀라게 하였다. 과거 로만글라스는 5세기에 축조된 신라왕들의 무덤인 대형 적석목곽묘에서 주로 출토되고 있으며, 가장 이른 로만글라스는 4세기 말로 편년되는 경주 월성로 가-13호분 출토품으로 알려져 있다. 반면 김해에서 로만글라스가 출토한 대성동 91호분과 70호분은 토기편년에 의하면 약 A.D. 300년 전후로 편년되기 때문에 신라의 로만글라스보다 대략 1세기 정도의 시간차를 보인다. 로만글라스와 더불어 중국에서 최상층 계급이 사용한 진식대금구는 대성동 88호분과 70호분에서 출토되었다. 진식대금구는 中國 江蘇省 宜興 周處墓 출토품을 가장 이른 형식으로 분류할 수 있다. 주처묘의 피장자인 주처장군의 몰년이 A.D.297년으로 알려져 있어 대성동고분군 출토 진식대금구의 연대를 추정하는데 있어 참고할 수 있다. 형식 비교 결과 대성동고분군 출토 진식대금구는 宜興 周處墓, 洛陽 西郊 24號 등 중원계 진식대금구와 형식학적으로 유사도가 높고, 종래 북연의 喇麻洞 출토품은 유사도가 적기 때문에 유입 시기를 토기 편년과 일치하는 A.D. 300년 전후로 설정할 수 있다. 종래 로만글라스의 무역로는 실크로드 중 오아시스길이나 초원의 스텝로드를 이용했을 것으로 추정되어 왔다. 진식대금구 역시 중국의 남방지역에서 성행하여 북방과 고구려를 거쳐 한반도로 유입된 것으로 보았다. 하지만 중국의 경우 남방특산물을 戰國時代부터 널리 애용하게 되면서 해상 무역로가 일찍부터 열리게 되었으며, 漢代에 와서 남방 교역로에 관한 자세한 내용이 『漢書』에 기록된다. 또 『後漢書』 「西域傳 大秦國(로마)條」에서 로마인의 무역 활동이 잘 그려져 있어, 지금의 동남아시아·인도지역과 적극적으로 교역 했다는 것을 알 수 있다. 더불어 대성동 91호분에서는 로만글라스 외에 日本 琉球産 고호우라 조개로 장식한 마구가 출토되고 있어 남방 무역 범위가 상당히 넓었음을 짐작하게 한다. 금관가야에 로만글라스와 진식대금구가 유입되는 A.D. 300년 전후는 말레이 반도에서 베트남 남부에 이르는 넓은 교역로를 장악한 扶南國이 득세한 시기이다. 부남국의 외항인 베트남 옥애오 유적에서는 2세기경의 로마 금화와 漢鏡이 출토되었다. 부남국은 중국·인도와 중계무역을 통해 대국으로 성장하게 되었으며, 로만글라스를 중국에 이르게 하는 중요한 역할을 했던 것으로 추정된다. 다량의 철을 이용해 가야 최상층 지배자는 로만글라스와 진식대금구와 같은 위세품을 중국과의 해상교역을 통해 입수할 수 있었을 것이다. 덕분에 신라보다 약 1세기 정도 앞서 로만글라스가 유입되었을 것이다. 가야와 중국 간의 무역항로는 계절에 따라 바뀌는 서해의 해류를 이용하여 바다를 가로질러 갔다고 볼 수 있다. 2018년 마산 현동유적에서는 舟形土器가 출토되었는데 원거리 항해가 가능한 대형 범선을 형상화하고 있다는 점도 하나의 증거이다. Excavations regarding Gaya historic sites have been risen and it seems true that international relationships of Geumgwan Gaya were on the highest level during that period, according to the burial objects. Recent discoveries of Roman glass and gilt belt ornaments found from the royal tombs of Geumgwan Gaya in Daeseong-dong Tomb sites, Gimhae surprised the entire academic world. Roman glass, normally excavated from 5^th century Silla King Tombs(tomb with coffin mounted by stone), in the meantime, is also found from Ga-13 tomb of Gyeong-ju Wolseongri which is late 4^th century. However, the glass found from Daeseong-dong Tomb sites(No.91, and No.70) are categorized around AD300 years which brings the history of Roman glass up to 1^st century earlier than Silla’s glass. Along with glass, gilt belt ornaments that was mainly used by top class of China have been found from 88 tombs and 70 tombs of Daeseong-dong. Usually the earliest belt ornaments belong to Jucheo Tomb, Eoheong, Gangsoseong China and the deceased of the tomb who is General Jucheo died in AD 297 which could draw the era of Gaya belt ornaments. As a result of type comparisons, the ornaments of Gaya are quite similar to the Jucheo and Segyeo 24 tombs which belong to cetral China but it shows least similarity with Ramadong burial goods of North Yeon which concluded infall period of belt ornaments as AD 300 with the pottery. Trade route of Raman glass had to be believed to use Oasis of Silk road or grass step road. It is believed that belt ornaments had been popular in southern area China and then passed to Korea peninsula through north China and Goguryeo. During the age of civil wars, the traditional speciality were broadly accepted which brought early open of marine trade route and this was recorded on the 『Han History』. Detailed information about Roman people’s trade was found in Article ‘Roman’, 「Western China Record」 『Late Han Hisotry』 and so it is presumed that active trades with east-southern Asia and India was prevalent at that time. At the same time, horse ornaments decorated with Strombus latissimus from Ryugu Japan were found from No.91 tomb in Daeseong-dong, so the range of southern trade was believed to be broad. Bunamguk which was dominated from current Malaysia and South Vietnam was on the rise during AD 300, and this was proved by the Roman gold coins and mirrors of Han Dynasty of 2^nd century from Okeo site Vietnam where was outer port of Bunamguk. Bunamguk, therefore, seemed to play an important role to bring Roman glass to China with great power of trade with China and India. At the same time, Gaya with amounts of iron seem to have Roman glass and belt ornaments through the marine trade with China and so Gaya was able to hold Roman glass one century earlier than Silla. The trade route between Gaya and China was changed according to the flow of western sea which was affected by the season. This was supported by the ship-shaped pottery that was modelled of large sail boat, discovered from Hyeong-dong site last year.

고훈시대 대장식구의 전개와 특질

김도영(Kim, Do-Young) 한일관계사학회 2020 한일관계사연구 Vol.67 No.-

이 글에서는 중국대륙 및 한반도와 관련있는 일본열도의 대장식구를 분석하고 그 전개와 특질에 대해 살펴보았다. 고훈시대에 출토된 대장식구는 여러 양식으로 분류할 수 있는데 다양한 양식에 비하여 각각의 개체 수는 그다지 많지 않다. 지금까지 이루어진 한반도 대장식구의 연구 성과를 참고로 하면 고훈시대의 대장식구는 크게 倭Ⅰ~Ⅴ段階로 구분할 수 있다. 倭Ⅰ段階는 고훈시대 전기에 해당하며 중국에서 제작된 중원식대장식구가 일본열도로 이입된다. 중원식대장식구가 출토된 무덤에서는 재지계 유물과 함께 금관가야와 왜의 교류를 시사하는 외래계 물품이 부장되는 경향이 강하므로 대장식구에 과도한 정치적 의미를 부여하는 것에는 주의가 필요하다. 倭Ⅱ~Ⅲ段階는 고훈시대 중기 전반에 해당하며 일본열도 내에서 본격적으로 대장식구 문화가 전개되는 시기이다. 이 단계에 등장하는 용문투조대장식구, 초엽문대장식구는 삼연이나 한반도에서 제작되어 이입되었으며 그 입수 주체와 부장 배경에는 왜왕권이 깊게 관여하고 있었을 가능성이 크다. 다만 이 단계의 대장식구는 갑주, 찰갑과 같은 무구에 부착되거나 관 밖에서 출토되는 사례가 많아 당시 일본열도의 위세품이었던 갑주에 비하여 객체적 존재였으며 재질은 대부분 금동제여서 피장자 신분에 따른 재질 차이도 확인할 수 없다. 倭Ⅳ~Ⅴ段階는 고훈시대 중기 후반에 해당하며 용문투조대장식구, 초엽문투조대장식구가 자취를 감추는 대신 용문반육조대장식구가 대거 등장한다. 조금기술, 교구 형태, 수하식의 방울로 보아 용문반육조대장식구는 일본열도 내에서 제작된 것으로 보이는데 그 기술은 도래계 공인에 의해 전해졌을 가능성이 크다. 용문반육조대장식구가 등장하는 배경에는 雄略의 치세라는 일본 국내적 상황 외에도 한성백제의 멸망, 5세기 후엽 대가야의 발전 등과 같은 한반도의 정세도 함께 고려할 필요가 있다. 이후 고훈시대 후기가 되면 대장식구가 자취를 감추는 대신 大帶가 일시적으로 유행한다. 이와 함께 왜의 독자적인 가치가 반영된 장식대도, 이식, 식리가 국산화되는 것으로 보아 大帶는 이 과정에 발맞추어 왜왕권에서 독자적으로 생산, 분배한 물품으로 평가할 수 있다. This article analyzed belt ornaments of the Japanese Islands related to the Chinese continent and the Korean Peninsula and examined their development and features. Belt ornaments of the Tumulus period are largely classified into Japanese stages I to V. Stage I is the time when Chinese belt ornaments were transferred to the Japanese Islands. Stages II to III are the period when belt ornament culture was developed in the Japanese Islands. Belt ornaments of Stages II to III are related to royal authority. Stages IV to V feature new styles of belt ornaments. The new belt ornaments are thought to have been propagated by Korean craftsman. In the latter part of the Tumulus period, large belts were temporarily in fashion instead of belt ornaments, which disappeared. The large belts can be evaluated as the articles which were independently produced and distributed by Japanese royal authority.

백제 ‘은화관식’의 형상과 정치적 성격 검증

오은석 동아시아고대학회 2014 동아시아고대학 Vol.0 No.35

‘銀花冠飾’은 흔히 백제에서 率系 관료의 관모에 착장하는 장신구이자 일종의 정치적 표지인 銀花로 일컬어지 고 있다. 그런데 ‘은화관식’으로 지칭되는 대상물이 백제 당시의 銀花인지는 확언할 수는 없다. 이는 유물인 ‘은 화관식’을 기록의 銀花라고 구체적으로 명시한 증거는 없기 때문이다. 따라서 본고는 ‘은화관식’이 기록의 銀 花에, 형상과 정치적 성격이 부합하는지 검증해보았다. 이 검증에는 3가지 의문점으로 이루어졌다. 첫째는 기록의 金花로 지칭하는 무령왕의 금제관식과 기록의 銀花 로 지칭하는 ‘은화관식’은 그 출현시기와 형식학적인 면에서 차이가 크다는 점이다. 둘째, 기록을 통해 보았을 때 비교적 많은 관료가 銀花를 착용했을 것으로 추정되지만 ‘은화관식’은 1938년 첫 발견 이후 70여년 넘게 불 과 13점만 발견된 현상이다. 셋째는 ‘은화관식’이 관등을 드러내는 표지이며 정치적 성격을 내포하고 있다면 미륵사지 석탑 심초석 사리공에서 발견된 ‘은화관식’과 같이, 공양품으로 처분이 가능했을까하는 점이다. 이 3가지 의문을 중심으로 ‘은화관식’의 형상과 내재된 성격을 재검토해본 결과, ‘은화관식’은 꽃의 형상이 아 닌 나무의 형상을 가지고 있으며 따라서 외형상 ‘은화관식’은 기록의 銀花로 볼 수 없었다. 그리고 ‘은화관식’은 정치적 성격이 내재되어 있기 보다는 무덤 부장품의 성격이 짙고 私的으로 제작한 것으로 볼 수 있으며, 7세기 에 들어서는 私的인 기원의 상징물로도 부장되었다. 검증 결과 ‘은화관식’은 형상으로나 내재된 성격으로나 기록의 銀花로 볼 수 없었다. 銀花는 아직까지 발견되 지 않았으며 ‘은화관식’은 그 소재와 형태적 특징에 부합하는 명칭인 銀製 樹形 冠飾으로 부르고자 제안한다. The Silver Flower-Shaped Hat Ornament' was an accessory that decorated the official hat of a bureaucrat in a Sol-group position in Baekje. It is also known as the Silver Flower, which is seen in political signs. However, these terms may not be interchangeable as no definite evidence could prove the relation between 'the Silver Flower-Shaped Hat Ornament' and the Silver Flower. Therefore, this study will attempt to verify whether the shape and role in politics of 'the Silver Flower-Shaped Hat Ornament' coincide with those of the Silver Flower by examining available historical records. Three doubtful points have been noted on the relation between the Silver Flower and 'the Silver Flower- Shaped Hat Ornament'. The first is related to the differences between King Muryeong's Gold Diadem Ornament and 'the Silver Flower-Shaped Hat Ornament'. These two items bear significant differences in their period of appearance and form. Second, according to the records, most bureaucrats wore the Silver Flower in the past, but only 13 'the Silver Flower-Shaped Hat Ornament' pieces have been found since the first of its kind was discovered in 1938. Third, if 'the Silver Flower-Shaped Hat Ornament' indicated an official rank and had a political character, it could be treated as one of the goods offered to Buddha, such as the one discovered in the sarira hole for enshrinement in the foundation stone at the stone pagoda of Mireuksa Temple. After considering the three issues stated above, I reached the following conclusions. First, 'the Silver Flower-Shaped Hat Ornament' has an appearance that is more similar to a tree than a flower, which indicates that its shape is contradictory to that of the Silver Flower described in historical records. Second, 'the Silver Flower-Shaped Hat Ornament' was treated as a type of grave goods rather than an object with political purposes. 'the Silver Flower-Shaped Hat Ornament' was made personally, and it was also treated as a type of grave goods to wish someone luck in the 7th century. in sum, 'the Silver Flower-Shaped Hat Ornament' hardly refers to the Silver Flower because they are different in various ways. They were created ofr different purposes, and even their shapes are dissimilar. The study concludes that a Silver Flower specimen has never been found. Further, in consideration of its material and shape, 'the Silver Flower-Shaped Hat Ornament' may be renamed as Silver Tree-Shaped Hat Ornament.

조선시대 공포의 봉황두 발생 배경 연구

이우종(Lee, Woo-Jong) 대한건축학회 2014 대한건축학회논문집 Vol.30 No.5

The purpose of this study was to find out the origin of bonghwangdu(phoenix-head-ornaments) on bracketing units in Joseon period. For the purpose, early cases of bonghwangdu in dapo type and jusimpo type are analyzed at first. Second, architectural and cultural backgrounds of the ornaments on Joseon bracketing units are researched. And at last, the symbolic meanings of bonghwangs are compared with. The results of this study were as follows; bonghwangdu was probably decorated first in Buddhist buildings to simbolyze Garuda. it was originated around early 16th century, in jusimpo type bracketing units first, and adopted into dapo type bracketing units during mid and latter 16th century.

백제(百濟) 의관제(衣冠制)의 정비시기 검토 -은화관식(銀花冠飾)과 금동관모(金銅冠帽)를 중심으로-

나용재 ( Na Yong-jae ) 단국사학회 2016 史學志 Vol.53 No.-

백제 의관제의 정비시기를 추정함에 있어 은화관식과 금동관모는 각각 하한과 상한 시점을 알려주는 유용한 자료이다. 현재까지 발견된 은화관식은 모두 축조연대가 6세기 중반 이후로 편년되는 유구에서 출토되었음을 알 수 있다. 그러나 은화관식은 매납용으로 제작된 것이 아닌, 실제 사용되었던 것으로서 유구의 추정연대와 일정한 차이가 발생하는 성격의 자료임이 확인된다. 이를 착용할 수 있는 率系 관등 관인들의 기대수명 및 동시에 규정되었을 것으로 판단되는 국왕의 금화관식이 무령왕릉 출토 금제관식과 관련됨을 고려하면, 은화관식 규정이 포함된 백제의관제의 정비시기 하한은 적어도 6세기 초반으로 이해된다. 반면 백제의 금동관모는 지금까지 확인된 자료들의 추정 연대가 5세기 후반을 넘지 않으며, 출토지 역시 한성과는 거리가 있는 지방임을 알 수 있다. 금동관모는 5세기 후반까지 백제 중앙에 의해 재지수장층에게 사여된 것으로서 관등제에 의거하였던 백제 의관제에 선행하는 용품인 것으로 이해된다. 즉 금동관모의 제작과 사여가 중단되는 5세기 후반은 지방에 대한 지배력이 강화되었음과 동시에 관등제의 정비가 이루어져 이에 기반한 일원화된 의관제가 정비된 시기의 상한으로 볼 수 있다. In estimating the period of final institutionalization of Baekje attire system, silver flower-shaped diadem ornaments and gilt-bronze crown are useful materials as they can inform us the upper limit and lower limit of their timing. Judging from the date of their discovery, all of the silver flower-shaped diadem ornaments discovered so far were unearthed from artifacts that have been manufactured after the middle of the 6th century. However, the one unearthed from the stone pagoda of Mireuksa-ji site, trace of repairing was ascertained. This suggests that the unearthed silver flower-shaped diadem ornaments were manufactured not for the purpose of burying but for actual use, hinting that there is a certain time difference in-between these ornaments and other artifacts unearthed in terms of estimated date. When judging from expected life span of Sol-group rank officials who could have used these ornaments in Baekje together with the fact that gold flower-shaped diadem ornaments of a king that is considered as having been regulated at the same time with silver flower-shaped diadem ornaments is related with gold flowershaped diadem ornaments that have been unearthed from the tomb of King Mureong, the lower time limit of final institutionalization of Baekje attire system, which included regulations on silver flower shaped diadem ornaments, can be drawn around the early part of the 6th century at the latest. Estimated date of Gilt-bronze crowns of Baekje so far ascertained do not go beyond the second half of the 5th century, and the places of their unearthing were all at some distance from Hanseong, the center of Baekje. As a result of analysis based on these facts, gilt bronze crowns are ascertained that they had nothing to do with the central government organization of Baekje or direct local control system thereof as the feudal lords, chieftains or heads of Damno. Gilt bronze crowns of Baekje were the one that were bestowed to local chiefs until the second half of the 5th century by the central government of Baekje, which preceded attire system of Baekje that relied on official rank system. In this regard, the latter half of the 5th century when manufacture and bestowing of gilt-bronze crowns seem to have been suspended was a time when control over local areas was reinforced and the rank system was introduced in earnest, can be regarded as the upper time limit of final institutionalization of a systematic attire system that backed it.

하회탈춤 복식의 역사적 복원과 무형문화 유산의 전승방향

朴仙姬(Park, Sun-Hee) 백산학회 2008 白山學報 Vol.- No.82

Through setting the bride mask that preserves its own hairstyle at that time as an example among many Hahweh masks, the fact that dress and its ornament should find its own appearance in the masked dance got a big and specific write-up. To restore the style of dresses and ornaments of Hahweh masks, we need to know the production period of masks. That is the reason why I studied the bride mask that remains hairstyle of that time. In consequence, it was assumed that production period of Hahweh masks was between the early and the middle years of Goryeo. I tried to figure out the original form of the bride mask, matching with women’s dresses and ornaments in Goryeo according to the age estimate. As a matter of fact, if we put on the restored dress and its ornament of those days with the bride mask, the culture of dress and its ornament in Goryeo would revive from hair ornaments to dress. As the mask is not just a piece of sculpture but it also shows character’s personality, dress and that its ornament has a great importance as a dress-up tool. The dress and its ornament that surpasses flatness should be restored at the same times with mask’s production period as the mask which is not flat like a picture but three-dimensional differs the formative beauty according to its movement in the place. Only when dress of those days that goes with Hahweh mask harmonizes with entire dress and its ornament, uncommon formative beauty of Hahweh mask can be expressed as it is. Therefore, we have to consider that transmission of intangible cultural asset does not come down in itself but with tangible cultural property. Admitting the changeability and allowing re-creationis desirable in case of transmission of intangible culture. But if there is an assigned cultural asset, modification is not desirable in case of tangible culture. In conclusion, the expected transmission direction is that the dress matching with this should be revived with peculiarity and identity of the dresses and ornaments of those times.