Szilágyi András (szerk.): Ars Decorativa 15. (Budapest, 1995)

NAGY Ildikó: Hagyományos koreai ruhadísz a Hopp Ferenc Kelet-Ázsiai Művészeti Múzeum koreai gyűjteményében

and a stick-like piece like the end of a sceptre at the side of the opening, on this surface there is a small chrysanthemum motif relief. It is connected to the braid of the endless knot by a ring that is attached to a part of the stick. Toothpicks or ear-picks were kept in it. The next pendant string has a bright green colour, the jade ornament connected to the braided motif of the endless knot is rectangular is shape. It is an example of light coloured openwork carving, with finely curving angles. On the two largest surfaces, of the front and the back, there are openwork motifs opposite one another -a magpie and plum-blossom. (These are symbols of moral purity.) On the three narrower surfaces (upper, right and left sides (there are motifs of flowers and leaves with small carved lines. The lower panel is undecorated and the bundled tassel is attached to it through a little hole drilled into it. Absorbent material was placed inside the ornament, and this was probably scented. To the light green endless knot of the third strand connects with a four-branch coral ornament. Its material is very plain and has a fine shine. (N. B.: one branch is defective). The mounting is a dragon-head made of gilt copper. The insides of the ears and the contours of the black pointlike eyes of the dragon are painted red. Since the dragon was the symbol of the ruler, use of the dragon pattern was connected only to notabilities - so our decorative tassel composition may have been the property of some high-born personage. To the lower and upper parts of the brilliant rose endless knot of the fourth strand are fastened on rings, a butterfly decorations made of jade The light-tone jade butterflies -symbols of longevity- are made with openwork carving: their antennae are each pierced through once and their twice. The mounting on the reverse side of the jade butterfly's body is a relief-like fashioning of the head, thorax and abdomen made of gilt copper; its surface is grooved and ribbed. On the front surface of the butterfly's body a composition of stylized ornamental elements is visible. This consists of various kinds of goldsmith's work and semi-precious stone appliqué pieces. On its front side the body of the butterfly is connected to the mounting on the reverse. The head of the butterfly takes the form of a sceptre ruyi -the emblem of a ruler and the symbol of good luck. The middle part, the thorax, consists of a piece of coral fixed to a textile base; the abdomen is made of green convex malachite stone. The fine veining of the wings is surrounded by stylized decorations: the typical mushroom motif that symbolizes longevity, chrysanthemums with openwork petals - also symbols of moral purity. Moreover, some leaves were made with stamped and embossed work with and bluish-green enamelling. The coral inlay imitating the thorax part of the upper butterfly and the element connecting the head to the back mounting are missing and the fastening is broken off on the lower part. The hanging element of the whole composition consists of a butterfly-shaped button made of silver with a U-formed hanging fastener on its reverse side. A string from all four strands of the norigae passes through the latter and with this it was possible to hang the whole decoration onto the tie or band of the ceremonial dress. The surface of the butterfly is coated with translucent enamel of cobalt-blue, turquoise and yellowish-brown. The goldsmith's work decorations are made of copper covered with layers of silver and, finally, fire gilt.

14 The four strand norigae in our collection is a fine and irregular piece of earlier and, despite its missing pieces, it represents great aesthetic value. It is difficult to date its production. From the coloured silk threads of the composition a colour analysis of dyes could be made. This showed that the coloured silk threads were dyed using synthetical dyes. Of these colours the cyclamen-rose strands out; its use accords with the spread of synthetic dyes, in the last part of the nineteenth century. It follows from this that the silk ornamental elements could have been made at that time. Certain hanging ornaments exhibiting carving and goldsmith's work may have been made earlier. Consequently, this