新羅 樹枝形帶冠의 展開過程 硏究 = A Study on the Development of the Tree-form Headband Crowns of Silla

다국어 초록 (Multilingual Abstract)

The crowns of the Three Kingdom period in Korea can be classified into two categories: ‘pointed cap-style crowns’ and ‘headband-style crowns.’ The ‘pointed cap-style crown’ is a small cap decorated with precious metals and put on a topknot; it is fastened by making a knot with strips attached to the sides of the crown. This crown is called Mogwan(帽冠). The ‘headband-style crown’ is formed by attaching vertical ornaments to the headband, and this crown is called Daegwan(帶冠). The Daegwan of Silla is usually made by attaching vertical ornaments made in the shape of abstractly rendered trees, and this crown is called the tree-form headband crown(the tree-form Daegwan: 樹枝形帶冠).

Despite the widely shared interest in them, the tree-form headband crowns of Silla had not been studied as an independent research subject until the 1970’s. In the period of Japanese forced occupation, the curved jades affixed to the golden crown were mainly discussed to overemphasize the possible connection between the gold culture of Silla and the Japanese Isles. In addition, following the restoration of independence, the crowns were utilized, in accordance with the logic of post-colonialism, as a sign purported to prove Silla culture’s relationship with the Scythian culture of Siberia. This research trend changed from the 1980’s onward, as the basic framework of Silla archeology was laid out and research subjects were diversified. Silla crown research results over the past 30 years did contribute to clarifying the hierarchical social order and the contours of provincial control in the Maripgan period(麻立干時期: 356-514). Ironically, however, the overall context of changes in the tree-form headband crowns has never been dealt with, although it is the basis of all discussions. Accordingly, this paper aims to diachronically analyze and interpret the tree-form headband crowns of Silla from start to finish.

First, the premise is the analysis on the purpose of the golden crowns and the iconography of vertical ornaments, which have so far been the subjects of controversies. Most papers published so far have analyzed the purpose of the golden crowns as burial items. A recently conducted material analysis through XRF Spectrometer reveals that, although gold is the main ingredient, it is alloyed with a trace amount of silver. It is also shown that the proportion of gold has the tendency to become less, albeit minutely, as the volume of the vertical ornaments gets greater. This shows that the ratio of alloy was intentionally controlled in order to make the relative density and strength of the alloy suitable for the increased volume of golden crowns. This intentional control is linked to the development of structural reinforcement designed to increase elasticity, as identified in typological analysis. Through this, it can be logically proven that the golden crowns of Silla were used for practical purposes, rather than for burials. The iconography of vertical ornaments can be seen as derived from ‘Sinmok(神木: sacred tree)’, which is known to have been a sacred object at Sodo(蘇塗), an area designated for indigenous religious rituals in the central and southern parts of the Korean peninsular from the period of Samhan(三韓) onwards. Considering the existence of shamanic priest-kings through the Isagum period(尼師今時期) and also the fact that national rituals were held in Sijomyo(始祖廟: shrine for the founder of a dynasty) and Singung(神宮: the divine palace) in the Maripgan period, ‘Sinmok’ can be inferred to have been a symbol of the indigenous religious rituals of Silla. While the alternate-shaped vertical ornament was previously recognized as an antler and thus used as a ground for suggesting the influence of Siberian shamanism, from the point of biological characteristics, it can be nothing else but the figure of a tree. Therefore, the iconography of the headband-style crowns of Silla, in both the opposite-shaped and alternate-shaped vertical ornaments, can be construed as have been derived entirely from ‘Sinmok’, a symbol of indigenous religious rituals. As such, the term ‘the tree-form headband crown’ is appropriate as the form’s label in the archeological classification system. The above premise informs us that there is no connection between the material and the purpose and that the changes made to the shape of vertical ornaments are the pivotal point in typological analysis.

The context of changes in the tree-form headband crowns is typologically analyzed. Types are based on the changes in shape, with the density of opposite branch vertical ornaments, the combination aspects of vertical ornaments, and the used material as classifiers. Technical patterns are classified according to production techniques, which are the standards by which to extract the range of time and subtle evolutions that are difficult to determine with typological classifications alone. When combining types and technical patterns, the temporal axis of the changes are identified, and the crowns can be classified into typological groups ranging from I to VI. Each typological group is sequenced in chronological order, representing its relative chronology. Doing this can shed light on the evolution of the mainstream that was formed by groups of several coexisting types and then changed in uninterrupted succession. Only in some types can interrupted changes be found, and especially the types located outside of the main temporal axis are aspects of non-mainstream groups. The mainstream groups of crowns were produced in the center of Silla, whereas the non-mainstream ones were imitations produced in the provinces. While the stylistic uniformity was already laid out in the I and II typological groups, it is the golden tree-form headband crown of the III and IV typological groups that should be regarded as the archetype equipped with both opposite branch and alternate branch vertical ornaments. By the standard of the archetype, the I and II typological groups belong to the prototype stage, the III and IV typological groups belong to the standard stage, and the V and VI typological groups can be labelled as the regression stage. The standard stage is divided into the phase of standard establishment and the phase of standard development, and the regression stage into the phase of transition to regression and the phase of regression to decline.

The production date of the Silla tree-form headband crowns differs according to the chronological perspectives of Silla archeology that have been previously known. As expected, the primary standard is the dating of the southern mound of Hwangnamdaechong(皇南大塚 南墳). When considering the conventional theories of documentary historiography on the Maripgan period of Silla, the views regarding the Taewang royal tomb(太王陵) as the royal tomb of King Gogukyangwang(故國壤王: r. 384-391) of Goguryeo, and the evolution of dragon and phoenix openwork design in the 5th century, the southern mound of Hwangnamdaechong can be construed as the royal tomb of the Silseong Maripgan(實聖麻立干: r. 402-417), in the view of the present writer. And the year 553, when Silla expanded into the Han River basin, is the absolute date that determines the upper limit of the phase of regression to decline observed in the area. As such, the prototype stage dates to the late fourth quarter of the 4th century–the first quarter of the 5th century. The phase of standard establishment dates to the second–third quarter of the 5th century, and the phase of standard development dates to the fourth quarter of the 5th century–the early first quarter of the 6th century. The phase of transition to regression can be dated to the late first–second quarter of the 6th century, and the phase of regression to decline can be mostly dated to the third quarter of the 6th century–the first half of the 7th century.

The development of the tree-form headband crowns of Silla can be interpreted in the historical context. Namely, the standard stage must be viewed as an aspect of the point in time when the indigenous religious rituals of Silla reached their pinnacle. The prototype stage of the earlier period is an aspect of the spread of indigenous religious rituals across the domain of Silla. Conversely, the regression stage is an aspect of the disintegration of the preexisting symbolic system in the face of great changes like the centralization of political power and the official recognition of Buddhism. In the reign of Naemul Maripgan(奈勿麻立干: r. 356-402), national rituals began to be held in the Sijomyo, and the production principles of crowns made of precious metals were introduced from Goguryeo. But it seems that uniformity was not realized as in the case of the time of the initial appearance of the crowns. The uniform modality achieved with opposite branch vertical ornaments alone was probably formed in the reign of the Silseong Maripgan. Through this, the indigenous religious rituals’ spread throughout the domain of Silla can be identified. The standard stage in which the archetype was created is construed as an aspect of the period from the reign of Nulji Maripgan(訥祗麻立干: r. 417-458) to that of King Jijeung (智證王: r. 500-514). Especially, in the year 487, the roles of Singung as the sanctum for national rituals and of Sijomyo as the place for tribal rituals diverged. At this very point of role diversion, the production of imitations of the tree-form headband crowns began to appear in the provinces. The phase of transition to regression can be seen as an aspect of the early middle antiquity, when the Maripgan period ended and the framework of centralized state was laid out, i.e., the period centering around King Beopheung’s reign(法興王: r. 514-540). Although the tree-form headband crowns were continued to be produced in the center, the disintegration of the archetype seems hardly unrelated to the process of the weakening of the Silla-style religious rituals due to the official recognition of Buddhism. The phase of regression to decline is the period in which the disintegration of the Silla-style religious rituals were all but completed, and it can be divided into two points in time: the point when gilt-bronze crowns were produced in peripheral areas located outside of provincial centers and in the Han River basin that was newly integrated to the domain of Silla and the point thereafter, when copper crowns were produced without using any precious metals at all, failing to meet the minimum requirement of the dress and headdress code system. The former point in time is construed as an aspect of the situation where newly absorbed provincial people actively adopted the Silla-style religious rituals in their efforts to assimilate into Silla society. On the other hand, the latter point in time is construed as the time when the Silla-style religious rituals were accepted as just daily indigenous forms of worship, diverged to the point where they were borrowed by local shamans, indicating the final stage of the tree-form headband crowns.

The tree-form headband crowns of Silla evolved sequentially in their development that spanned around 250 years. This development reflected all the formation and progress of the Silla-style religious rituals in the Maripgan period and even the fall of preexisting religious rituals into the status of daily indigenous forms of worship, which was caused by the adoption of Buddhism in the middle antiquity(中古期: 514-653). When viewing this phenomenon as reflecting the change of the symbolic systems, the present writer is of the opinion that the aspects of its respective stages can also be clearly mapped out because the driving force behind the change is so distinct.

국문 초록 (Abstract)

이 논문은 新羅 樹枝形帶冠을 통시적으로 분석하고 해석하는 데 목적을 두었다. 형식학적 분석에 앞서 자료의 편차를 검증하고 분류체계를 분명히 하고자, 冠의 용도와 도상을 분석하였다. 금관은 체적이 커짐에 따라 金銀의 합금비율을 인위적으로 조절한 점에서, 다른 재질의 冠과 더불어 실용적으로 착용하던 기물로 보아야 한다. 즉 모든 재질의 冠은 그 용도에 차이가 있을 수 없음을 논증하였다. 또한 신라의 주된 帶冠은 그 도상이 고유한 종교제의의 神物인 ‘神木’에서 유래한 것이므로, 形式名을 樹枝形帶冠이라 할 것을 제안하였다.
형식학적 분석을 통해 신라 수지형대관은 크게 始原―標準―退化의 세 단계로 나누었다. 더불어 표준 및 퇴화 단계는 각각 標準 成立段階와 標準 發展段階로, 退化 轉換段階와 退化 衰退段階로 세분하였다. 4세기 4/4분기에서 7세기 2/4분기까지 유행한 신라 수지형대관은 대략 250년의 전개과정을 거치며 순차적으로 변화되었다. 그 전개과정 속에는 麻立干時期에 신라식 종교제의가 형성 및 발전되던 양상과 中古期에 불교를 받아들여 기존의 종교제의가 일상적인 고유 신앙으로 전락한 모습까지 고스란히 담겨있음을 해석하였다. 이를 상징체계의 변화라고 본다면, 필자는 변화의 動因이 너무나 뚜렷하기에 단계별 양상을 역시 명확히 구분해 낼 수 있는 것으로 판단한다.

목차 (Table of Contents)

• Ⅰ. 머리말 = 1
• Ⅱ. 硏究 方法 = 3
• 1. 硏究史 檢討 = 3
• 2. 硏究 主眼點 = 8
• Ⅲ. 樹枝形帶冠의 分類와 段階 設定 = 10
• 1. 型式分類의 前提 = 10
• 2. 型式分類 = 21
• 3. 段階設定 = 34
• Ⅳ. 樹枝形帶冠의 展開過程 = 51
• 1. 各 型式群의 年代 = 51
• 2. 展開過程과 그 歷史的 脈絡 = 59
• Ⅴ. 맺음말 = 66
• 《참고문헌》 = 69
• 【Abstract】 = 72