These two very special works are from the National Museum of Korea, loaned to us in celebration of the gallery’s opening. Made around the 5th century during the Silla kingdom period (about 57 BCE–676 CE), the set was found in the Seobongchong Tomb in Gyeongju, the ancient capital of Silla.
Gold Crown and Pendants from Seobongchong Tomb, Three Kingdoms period, Silla kingdom (57 BCE–676 CE), 5th century
Treasure designated by the Korean government. © National Museum of Korea
Gold Belt from Seobongchong Tomb, Three Kingdoms period, Silla kingdom (57 BCE–676 CE), 5th century
Treasure designated by the Korean government. © National Museum of Korea
The Silla kingdom was known as the “country of dazzling gold” among neighbors near and far. They had learned the practice of using the precious material to embellish clothing and other materials in the 4th century through interaction with the Goguryeo kingdom (about 18 BCE–660 CE) and China’s Former Qin dynasty (351–394). The Silla readily adopted gold culture and went on to produce large quantities of magnificent gold objects.
Unquestionably one of the world’s most valuable materials, gold was considered by the Silla not only an emblem of power and wealth but also a symbol of eternal youth and immortality, as it never rusts, tarnishes, or corrodes. Gold objects, therefore, were reserved exclusively for the royal family, whereas silver or bronze objects could be used by regional lords and nobility in the capital city.
The crown during excavation from the Seobongchong Tomb, 1926
© National Museum of Korea
To date, only five gold crowns as elaborate as this example have been discovered in Korea. All have been excavated from tombs like Seobongchong, which contained tens of thousands of burial objects, including dozens of gold pieces. This kind of burial practice suggests the shamanistic belief that thrived in the Silla kingdom before Buddhism became the region’s dominant religion in the first half of the 6th century. In this indigenous belief system, people understood life to be cyclical, with individuals having another life, similar to the one they lived, after death. It was thus important to send off those who had died with objects they would use in the afterlife.
The tree branch that forms the central element of the crown
An antler, one of the crown’s repeated motifs
Three bonghwang perched on the crown
Various motifs found in the crown and the belt also confirm such beliefs. The crown is composed of three tree branches flanked by two antler shapes, a cross-band that forms a dome inside the crown, and three bonghwang, mythical birds, perching on the apex of the cross-band. Trees were viewed as a source of life, and written records mention that a large sacred tree once stood in the ritual precinct of the Silla kingdom. Deer antlers were believed to have the power to comfort the soul of the dead, and bonghwang were thought to accompany the soul on its journey to the next life.
A fish that dangles from the belt
A gogok, a comma-shaped bead that symbolizes new life
The symbolism on the belt is also rich: the fish symbolizes fertility for the many eggs it lays and also eternity because it never closes its eyes after death. A gogok (comma-shaped bead), found on both the crown and the belt, suggests the birth of new life for its fetus-like form.
While the images tell us much about the ideals of the crown and belt, it is difficult to identify the objects’ owners due to the lack of markers in the tomb and the general scarcity of related written references. Archaeological interpretation of burial goods and the size of the Seobongchong Tomb lead us to believe that the set belonged to Silla royalty, if not a Silla ruler. Rulers assumed the role of priests until Buddhism was officially accepted, and they would have worn the crown and belt on occasions such as national memorial services or coronation ceremonies. The dangling spangles would have produced shimmering visual effects and tinkling sounds, creating an otherworldly atmosphere during such events.
A frontal view of the crown
A side view of the crown
Some scholars argue that the fragile structure of such gold crowns and belts, and that they were found covering the face of the buried at the time of excavation, indicate they were made and worn only for burials. But the leather and fabric lining of the crown and belt—additions for comfort and stability—suggest that the set was likely used during its owner’s lifetime before being included in tombs for their next life.
The belt on display in Gallery 130. In the case behind the belt is an 18th-century Buddha as well as smaller objects and ceramics related to the Buddha.
With such ample symbolic meanings in their material and motifs as well as exquisite craftsmanship, it is no wonder the gold crown and the belt were designated as Treasures by the Korean government—a true testament to their tremendous artistic, cultural, and historical significance.
I hope you are able to visit the new Korean art gallery this winter to experience the new presentation and all the insight it affords into the religious and material culture of Korea, but I am especially eager for you to catch this rare opportunity to see these Korean national treasures—before they return to Korea on February 3, 2025.
—Yeonsoo Chee, curator of Korean art
Sponsors
Funding for the gallery of Korean art is generously provided by the National Museum of Korea.
