earticle

영어

This paper takes the decorative elements of buyao golden leaves on the Korean Peninsula as its primary research object and explores their evolution from physical form to aesthetic connotation within a cross-cultural East Asian framework. Drawing on archaeological typology, technological analysis, and iconographic interpretation, it traces the origin of buyao in early Chinese ritual and decorative systems and demonstrates how, during the Han and Jin dynasties, its forms and symbolism were transmitted eastward and underwent processes of localization and reinterpretation. The study pays particular attention to the transformation and recombination of golden leaf motifs during the Goguryeo and Silla periods, revealing how craftsmen achieved aesthetic innovation through changes in material carrier, decorative density, and rhythmic motion. The findings indicate that Korean artisans not only inherited the dynamic aesthetic principles of Chinese and Central Asian crown ornaments but also restructured them creatively according to local belief systems, ritual codes, and aesthetic values. By incorporating indigenous symbols such as tree-like “Y-shaped” branches and abstract bird-wing forms, they generated a distinctive visual language that combined sacred vitality with hierarchical order. The process of cross-cultural translation seen in these artifacts thus embodies both technological hybridity and cultural agency. It reflects the multilayered accumulation and interaction of East Asian material civilizations and underscores the Korean Peninsula’s active role in reconstructing its own cultural subjectivity through artistic adaptation, innovation, and synthesis. Ultimately, buyao golden leaves function as tangible evidence of how aesthetic concepts, ritual meaning, and technical knowledge circulated, converged, and transformed across East Asia during antiquity.

중국어

本文以朝鲜半岛“步摇金叶”装饰元素为研究对象, 置于东亚跨文化交流的宏观脉络中, 揭示其由器物形制到美学语义的生成、转译与再造逻辑。研究综合考古类型学、技术史 与图像学的方法, 从出土器物的分期与谱系入手, 结合纹饰—结构—连接件的微观观察与 图像材料的互证, 首先厘清步摇的起源与演变路径：由先秦以来的“灵动法器”意涵, 经由 两汉礼制化的“山题—分叉—垂饰”范式而完成制度性编码；随汉晋之际的区域互动, 步 摇形制与连接技术沿辽西—乐浪/带方等走廊在东北亚扩散, 实现所谓“步摇东渐”。其后, 论文以高句丽、新罗为核心样本, 围绕“连接技术的标准化”“叶片尺度的缩放”“载体的跨 媒介迁徙”三条线索, 解释金叶造型如何从冠冕扩展到耳饰、项饰、服饰缝附件乃至礼宴 器物, 形成从身体到器物的连续“动态美学链条”：如新罗高耸山形层级冠的均布垂叶与 桃形端饰、皇南大冢北坟穗状垂饰在“点颤—线摆”上的复合频谱、毫米级桃形微叶项链 的缩微化动势, 以及金铃冢项链和武宁王陵金银饰片在衣缘与裙裾上的流光场域, 再到金 质高足杯口沿等距小叶所营造的仪式性光动效果。基于这些个案, 本文提出三项可验证 的机制：其一, 礼制的“秩序化吸纳”, 即以轴线、层级、对称与度数将“动而不乱”的叶端 动势纳入王权可视化程序；其二, 工艺的“模块化转译”, 活环、簧丝与铰接等连接单元的 同构使形制得以复制、拼组与跨载体迁徙；其三, 本土的“灵性化重构”, 弱化写实物种而 强化Y形枝与鸟翼的抽象升腾与生长意涵, 使自然母题在祖先祭祀与贵族礼仪语境中获得 新的社会学意义。研究结果显示, 朝鲜半岛工匠既保持外来冠饰的动态美学基因, 又能创 造性地转化西亚与中国的装饰语汇；他们通过接口化的连接单元与尺度弹性, 将金叶从 单一头饰母题升级为统摄冠、耳、项、衣、器的程序化设计语言, 并在“细环—太环”及 叶片数量/密度的阶差中内嵌等级标识。由此, 步摇金叶不仅是装饰史的风格现象, 更是 物质文明层累互鉴与制度—信仰—审美三者耦合的可视证据, 揭示了东亚早期技术与符 号如何在多中心互动中被吸纳、转译并再语义化。结论指出：朝鲜半岛在吸收中原礼制语法与草原动势偏好的同时, 以在地的灵性与审美原则完成了对异域元素的深度整合, 展 现出在文明互动中重构主体性的能动实践, 并为理解东亚物质文化网络的形成机制与区 域艺术史的比较研究提供了新的框架与证据支撑。