복탁의 起源과 變遷에 관한 硏究
A Study on the Origin and the Changes of ‘Bogtag’ Hat
0
조회
0
다운로드
6
인용
0
참고문헌
키워드
초록
A unique item of garments, which distinguishes as the real “Mongolian” from among many ethnical groups in the world, is the matchless and remarkable hat of the Mongol women of that time, the bogtag. The origination of bogtag, the Mongolian hat, is diverse with several theories such as the creation by hunting nomads, the emergence during the reign of Kükül, symbolic representation of Shamanism or animalism. Bogtag appears on the ninth century paintings but it became huge popular during the thirteenth and fourteenth centuries, and such fame is closely related to the stretch of the Mongol Empire(Greater Mongol State). It is consisted of three main parts such as the wearing part or bottom, the middle part or connecting part of the lower and upper parts of the hat, and the narrowed upper part of birch bark. Its top is square likewise the top of pillar and wrapped with expensive textile. On the top of it is stuck a peacock feather, then it is decorated with gem-stones, and line of duck feathers. Rich ladies wear this hat over another hat with fashion of hood, which has a special hole on its top, through what they get through their plaited hair in one braid, and then tie the hat under chin. All the archeological findings and historical facts confirms that the bogtag was an item of garments indicating only the married women, which had ancient heritage and specific fashion and form distinguished it from hats of other nations and ethnic groups. Detail observation of the hats of the queens of the Yuan Dynasty from the portraits reveals that the queens wore a pearl decoration completed in form of “khatan süikh”. In decoration of the bogtag, the hat of married women, colour played important role, indicating age and social rank, family origin and livelihood level, and social status. In accordance with written sources and paintings, royal queens, aristocratic women used red textile, gold brocade silk in their head garments, while the ordinary women wore hats with warm colour silks such as brown, yellow and green as the excavated bogtags, taken out from burial sites belonged to common people. Bogtag became popular during the reign of Chinggis Khan and the feather ornament of it was the most splendid and tallest in the thirteenth century. In the late thirteenth century the hat and feather ornament became shorter. According to documents, the height of bogtag existed from 28 centimeters to 112 centimeters, and bogtag was worn by married women and queens for court ceremonies. The tallest feather ornaments, four times higher than the body of the hat, appear in paintings during the reign of Tolui. The hat and feather ornaments were the shortest in the reign of Hülegü. Since Qubilai Qa'an established the Yuan Dynasty in 1271, the sizes of bogtag were classified into the large, medium, and small, and in addition, more diverse materials and ornaments were used. In the late fourteenth century, the height of the hat became shorter, but various feather ornaments were attached or bogtag without any feather ornaments also appeared. Bogtag is a representative ceremonial hat, which was worn by Mongol married women, was popular in Eurasian territory during the Pax Mongolica, the Mongol Empire in the thirteenth and fourteenth century. The Mongol Empire or Greater Mongol State emerged from a nomadic state and expanded its territory to conquest most of Eurasia and the sea. Along with the Mongol Empire’s stretch, the traditional Mongol women’s ceremonial hat, bogtag, was spread all over the Eurasia.
Abstract
A unique item of garments, which distinguishes as the real “Mongolian” from among many ethnical groups in the world, is the matchless and remarkable hat of the Mongol women of that time, the bogtag. The origination of bogtag, the Mongolian hat, is diverse with several theories such as the creation by hunting nomads, the emergence during the reign of Kükül, symbolic representation of Shamanism or animalism. Bogtag appears on the ninth century paintings but it became huge popular during the thirteenth and fourteenth centuries, and such fame is closely related to the stretch of the Mongol Empire(Greater Mongol State). It is consisted of three main parts such as the wearing part or bottom, the middle part or connecting part of the lower and upper parts of the hat, and the narrowed upper part of birch bark. Its top is square likewise the top of pillar and wrapped with expensive textile. On the top of it is stuck a peacock feather, then it is decorated with gem-stones, and line of duck feathers. Rich ladies wear this hat over another hat with fashion of hood, which has a special hole on its top, through what they get through their plaited hair in one braid, and then tie the hat under chin. All the archeological findings and historical facts confirms that the bogtag was an item of garments indicating only the married women, which had ancient heritage and specific fashion and form distinguished it from hats of other nations and ethnic groups. Detail observation of the hats of the queens of the Yuan Dynasty from the portraits reveals that the queens wore a pearl decoration completed in form of “khatan süikh”. In decoration of the bogtag, the hat of married women, colour played important role, indicating age and social rank, family origin and livelihood level, and social status. In accordance with written sources and paintings, royal queens, aristocratic women used red textile, gold brocade silk in their head garments, while the ordinary women wore hats with warm colour silks such as brown, yellow and green as the excavated bogtags, taken out from burial sites belonged to common people. Bogtag became popular during the reign of Chinggis Khan and the feather ornament of it was the most splendid and tallest in the thirteenth century. In the late thirteenth century the hat and feather ornament became shorter. According to documents, the height of bogtag existed from 28 centimeters to 112 centimeters, and bogtag was worn by married women and queens for court ceremonies. The tallest feather ornaments, four times higher than the body of the hat, appear in paintings during the reign of Tolui. The hat and feather ornaments were the shortest in the reign of Hülegü. Since Qubilai Qa'an established the Yuan Dynasty in 1271, the sizes of bogtag were classified into the large, medium, and small, and in addition, more diverse materials and ornaments were used. In the late fourteenth century, the height of the hat became shorter, but various feather ornaments were attached or bogtag without any feather ornaments also appeared. Bogtag is a representative ceremonial hat, which was worn by Mongol married women, was popular in Eurasian territory during the Pax Mongolica, the Mongol Empire in the thirteenth and fourteenth century. The Mongol Empire or Greater Mongol State emerged from a nomadic state and expanded its territory to conquest most of Eurasia and the sea. Along with the Mongol Empire’s stretch, the traditional Mongol women’s ceremonial hat, bogtag, was spread all over the Eurasia.
참고문헌 (60)
- "高麗史", ~
- 李圭景, "五洲衍文長箋散稿 15 東國婦女首飾辨證設", ~
- 경기도박물관, "몽골 유목문화" (1999)
- 김호동, "몽골제국과 세계사의 탄생" (2011), 돌베개
- 르네 그루쎄, "유라시아 유목제국사" (1988), 사계절
- 유원수, "몽골비사" (2004), 사계절
- 유희경, "한국복식사연구" (1975), 이대출판부
- 최해율, "유목민의 꽃 몽골 여자복식의 흐름" (2008), 민속원
- 김미자, "고고관(姑姑冠)에 관한 연구", 복식, 58(3), pp.105~115 (2008), 한국복식학회
- 제․바이사흐, "제13세기 몽골민족의상과 두발형태", 제11회 국제복식학술회의 발표요지, ~ (1993)
- Jia, Xi Jung, "Study on the structure of Gu-gu-gwan in Yuan Dynasty", 한국복식학회프로시딩 (2008)
- 加藤定子, "古代中央アジアにおける服飾史の硏究" (2002), 東京堂出版
- 國立故宮博物院, "故宮圖像選萃" (1973), GAKKEN
- 杉本正年, "東洋服裝史論攷 中世編" (1984), 文化出版局
- 沈從文, "中國古代服飾硏究" (1988), 南天書局有限公司
- 李志常, "長春眞人西遊記" (2001), 河北人民出版社
- 周汎, "中國歷代服飾" (1988), 學林出版社
- 彭大雅, "黑韃事略" (1985), 中華書局版
- 內蒙古自治區民族事務委員會, "蒙古民族服飾" (1991), 內蒙古科學技術出版社
- 刘非和, "蒙古民族服飾文化" (2008), 文物出版社
- "遼金元宮詞" (1988), 古籍出版社
- "元朝秘史" (1985), 上海書店影印
- "事林廣記" (1963), 中華書局影印
- 吉田順一, "ハラホト出土モンゴル文書の硏究" (2008), 雄山閣
- 江本敬二, "アジア北方諸部族の婦人帽孛黑塔 In 東亞論叢" (1940), 文求堂
- 白鳥庫吉, "高麗史に見えたる蒙古語の解釋", 東洋學報, 18(12) (1929)
- 蔡美彪, "罟罟冠一解 In 中國文史論叢" (2010), 世紀出版
- "陝西蒲城洞耳村元代壁畵墓", 考古輿文物 (2000)
- Al Qašānī, "mahū (1316-7) In Persian literature" (1927), a bio-bibliographical survey
- Anning Jing, "'The Portraits of Khubilai Khan and Chabi by Anige(1245∼1306), A Nepali Artist at the Yuan Court", Artibus Asiae, 1(2) (1994)
- Cagman, "The Topkapi Saray Museum" (1986), Thames & Hudson
- Dawson, Christopher, "The Mission to Asia" (1980), Sheed and Ward
- Roxburgh, David J, "TURKS, A Journey of a Thousand Years, 600-1600" (2005), Royal Academy of Arts
- Dzhanibekov U, "The Kazakh Costume", pp.1996, Алматы
- Eggebrecht,A, "Die Mongolen und ihr Weltreich, Roemer- und Pelizaeus-Museum" (1989), Meinz am Rhein
- Haenisch Erich, "Mangḥol un niuca tobca'an, Yüan-ch'ao pi-shi: Die Geheime Geschichte der Mongolen" (1937)
- Fazlullah Rašīd ad Dīn, "Džami-at-tavarich" (1957), Baku
- Doerfer, Gerhard, "Türkische und mongolische Elemente im Neupersischen" (1963), I.Franz Steiner Verlag GmbH
- Grünwedel. A, "Altbuddhistische Kultstätten" (1902)
- "Gugong sbubua lu. Vol 7" (1956), Jisheng shuju
- Ipsiroglu, "Ders Malerei der Mongolen" (1965)
- James C. Y. Watt, "When Silk was Gold-Central Asian and Chinese Textiles" (1997), The Metropolitan Museum of Art
- Jin Weinuo, "The Great Treasury of Chinese Fine Arts Painting" (1988)
- Komaroff L, "The Legacy of Genghis Khan: Courtly Art and Culture in Western Asia, 1256-1353 In The Metropolitan Museum of Art" (2002), Yale University Press
- Kunst-und Ausstellungshalle der Bundesrepublik Deutschland GmbH, "Dschingis Khan und Seine Erben" (2006)
- Le Coq. A, "Die buddhistische Spätantike in Mittelasiem" (1924), Die Wandmalereien
- Rubrouck, "Voyage dans L'Empire Mongol 1253-1255" (1997), Imprimerie Nationale
- B,Suvd, "Mongol Costumes" (2004), Mongol Costumes Co
- Tehran Museum of Contemporary Art, "Perisian Painting" (2005), Museum of Contemporary Art
- Wang Yao T’ing, "Darstellung der mongolischen Herrscher" (2005), Kunst-und Ausstellungshalle der Bundesrepublik Deuctchland
- Yaldiz, "Bildnis einer Stifterin" (1996)
- Abbās al ʿAzzāwī, "Taʿriḫ al ʿIraq bain iḥtilālain(1258-1534)" (1935)
- Alāʼ adDīn ʿAṭā Maliki Ğuvainī, "Ta'rikh-i-jahān-gushā In GMS 16(Mírzá Muḥammed ibn Abdu'l-Whhāb-i Qazwīnī tr" (1912), Leyden
- А., Баасанхүү, "몽골 알 타이 지방 주민의 물질문화" (2006), Улаанбаатар
- Грязнов, М. П, "남시베리아 거주민 영웅서사시의 고대 기념물 In 고고학논문집 3: 시베리아와 중앙아시아의 청동기와 초기 철기시대" (1961), Л енинград
- Доде З. В, "복탁에 관하여 In 러시아고고학" (2008), Наука
- Х., Нямбуу, "할하 일부 지방의 문양 (19-20세기 초)" (1968), Улаанбаатар
- Окладников, А. П, "복드산 근처 암벽에 있는 고대 몽골의 초상화, 글씨와 그림 In 몽골고고학논문집" (1962), Изд. Наука
- Руденко, С. И, "스키타이 시대 고르노-알타이 지방 주민의 문화" (1953), Ленинград
- У., Эрдэнэбат, "몽골 여성의 복탁 모자" (2006), ШУА-Археологийн хүрээлэн
