清代后妃朝冠純以金鳳為飾，和宋代以來龍鳳花釵冠的系統有別，本文以清代的金鳳朝冠為中心，將其置於中國歷代后妃禮冠的脈絡中思考，以期呈現清代建國的文化企圖。主要處理的問題有四：一、歸納朝冠金鳳典型的工藝特色，說明金纍絲鳳主體的製作技法於十八世紀前期已發展成熟。二、關注滿人將明代鳳冠與自身文化融合的過程，運用肖像畫及檔案，闡釋十七世紀初至十八世紀以成組金鳳為飾的包頭與鳳鈿，如何接受與調整明代鳳冠的影響。三、探究后妃朝冠發展的脈絡，根據檔案及帝后畫像推測順治朝後期確立后妃朝冠的初型；經乾隆初年積極修訂，約於乾隆七年（1742）完成后妃朝冠的定制。四、從物質文化的角度探討朝冠金鳳纍絲技法與樺皮材質傳達的文化意涵。

The Qing (1644-1911) ritual court headdresses of empresses and concubines were decorated exclusively with figures of gold phoenixes, and this style of decoration was different from that used in China since the Song dynasty (960-1279), which featured dragons, phoenixes, and also flora. This article focuses on the development of Qing female ritual court headdresses and places them in the context of Chinese ritual headdress history, thereby demonstrating the cultural aspirations of the founders of the Qing dynasty. This paper addresses four major issues. Firstly, the standard technical features of the gold phoenixes on court hats are summarized, as filigree phoenix-making techniques reached their maturity in the early 18th century. Secondly, the paper examines the process of integrating the phoenix headdress, which originated from the Ming Central Plains tradition, into Manchu culture. Thirdly, it explores the evolution of the court ritual headdresses worn by empresses and concubines: The prototype emerged in the later part of the Shunzhi 順治 era (1644-1661); but a fixed model was not established by the Qianlong 乾隆 Emperor until 1742, after much revision in the earlier part of his reign concerning regulations about clothing and headdresses. Fourth, from the perspective of material culture, the paper investigates the cultural significance of the filigree techniques for making gold phoenix headdresses and the material of birch bark.