• Korean Architects
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• s.581
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• pp.14-15
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• 2017

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.1
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• pp.1-11
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• 2003

The following paper deals with Persian costume of Achaemanid period in Persia. The study about Persian costume is very important for the research of European and Asian costume. However, its theme is insufficiently examined until now, so we were not able to recognize the Persian costume culture properly. For the reason mentioned above, this study is necessary for understanding the Persian costume culture at that time correctly. The research was undertaken with the information on historical archaeological art sites, analyzing the dressing carved in the reliefs of king's Audiencescene in Apadanastairs in Persepolis. The results driven from the study are as the following: There are two styles in the reliefs of Audiencescene in Apadanastairs. One is long robe with pleats, which is called Persiandress. The other is tunic and trousers. Persiandress, long robe with pleats which was the typical dress in Persia at that time was originally the dress of Elamites, who occupied a very advanced civilization in this region. This robe was a borrowing by the Persians from their Elamite neighbours as formal dress. There is the Persian dress worn by king, prince, guardsmen, servants in the reliefs of Audiencescene in Apadanastairs. It is inferred from this that the dress was popularly worn in Persian court. Tunic and trousers, the typical clothing of ridding race, is worn by Median who is one of the relatives of Persian. The tunic has narrow sleeves and is reaching the knees. The trousers are ending at the ankle. Beyond the clothing, various headgear are also examined according to the social status and nationality. These are being precious materials for study on the persian costume among the relations with other surrounding countries.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.124-144
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• 2008

This study is taken as the part of the cultural research on the Kaspian coastal region, which has a great significance as the start of human civilization and in the history of cultural exchange. This study is focused on the Achaemenid dynasty of the great Persian Empire that Iranians have established on the Parsa region, south of Iran on 6-4th century B.C. This research limits to the tribute-relief illustrated on the stairs of Apadana Palace in Persepolis during the age of Achaemenid dynasty. The objective of this research is classify and analyze Persians and its neighboring tribes, their dresses and the detailed elements of the dresses to complete the typology of the dresses in that period and use this to categorize the features of nomadic and agricultural tribes of costal areas of the Mediterranean Sea to Northern India and study the cultural exchange and its effects. Furthermore, we aim to use the above typology to revise the typology of the Korean traditional dresses that were formerly just sorted as a type of coat-trousers that classified as a nomadian Scythian dress type. The results of above analysis are as follows: The clothing of many tribes living in the coastal areas of Mediterranean Sea to the Northern India in the Achaemenid dynasty of Persia on 6th century B.C. shows that the typology of the dressings have close relationship with the region they live in. Such typology is displayed differently from tribes east and west of Iran. The tribes west of Iran showed characteristics of an agricultural tribe and the tribes east of Iran displayed features of a nomadic tribe. In addition, uniformed styles of dressing were displayed amongst many tribes sharing a common lineage. Such inference came from the fact that similar styles of dressings were identified not only in tribes east of Iran but also in tribes west of Iran.

• Journal of Fashion Business
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• v.7 no.2
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• pp.15-25
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• 2003

In this study on the Persiandress called Persiandress or Mediandress, its names, styles, and structures that are still subject to a great deal of controversy were investigated. In addition, the reason why the Persiandress was wrongly named as Kandys by the early researchers was also examined. The documents of reliefs on the Apadanastairs in Persepolis and the European papers concerning this themes were subject of this analysis. Such investigation and examination results are summarized as follows. There is still no agreed name describing the Persiandress, which is called "Persiandress" or "Mediandress". Further, there is no definite conclusion on whether the Persiandress was made in one piece or two pieces. The first person who insisted that the Persiandress was made in one piece is a German archaeologist, Ernst Herzfeld. He said that the Persiandress was made in one long tetragonal piece, had a hole in the middle for head, and had lots of pleats when it was tied with a belt. On the contrary, researchers who insisted that the Persiandress was made in two pieces stressed the sleeve pleats in four folds, which is one of the representative characteristics, and said that such four-fold sleeve pleats would not be formed when the Persiandress was made in one piece and worn by a belt. Consequently, they have conducted studies according to their insistence and the resultant pattern. Kandys, the Median's typical dress, is a coat worn over the jacket and trousers. Although it had sleeves, the Median did not use them. Indeed, Kandys was used as a kind of cloak. However, the wrong term, Kandys is still used in Korea. So, it is necessary to correct use of such wrong term.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1257-1264
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• 2009

In regard to media contents of digital heritage reconstruction, they are actively produced in museums, art galleries and special exhibitions. However, there is no concrete guideline for the productions and the pipelines are not systematic either. This makes the process ineffective regarding time and cost. Media contents production of digital heritage reconstruction might seem similar to film or documentary production, but it is important to construct its specific pipeline based on its specific purpose. The digital Heritage group in research center for culture technology of KAIST produced media contents which digitally reconstructed various heritages such as Persepolis, Iranian remains, with National museum of Korea, Sukgulam, and Hue, an ancient city in Vietnam, with Cultural heritage administration of Korea. From these experiences and case studies, this paper will present a pipeline model for efficient production.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.41-54
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• 2005

The purposes of this study on various headgear at the age of the Persian Achaemenes are to analyze one cultural aspect of the Achaemenes Kingdom that made a great empire about 5th century B.C. and to understand the ancient Persian culture. It is widely recognized that the Persian region was an important place for cultural exchange between the East and the West through the Silk Road and its culture affected China and Korea. Therefore, it is necessary to study ancient culture in this region for further understanding of the Korean culture. However, research activities have not been satisfactorily conducted. This study is an attempt to elevate the interest in this subject. In this study, European archeological materials covering Naqsh-e-Rostam (a tomb of Darius), Apadana stairs, Darius palace in Persepolis, and Bistun(Behistun), the relief at the age of the Achaemenes Kingdom, were collected and analyzed. From this study, the following results were obtained. For crowns at the age of the Achaemenes Kingdom, two kinds of shapes are observed; Mitra, a kind of headband, in the early period and a cylindrical one in the later period. Mitra was also worn by chiefs trusted by the king. Further, slightly different styles of cylindrical crowns were observed, which is considered that kings might wear unique crowns to symbolize new period of their reign. In addition to crowns, various styles of headgear for subjects are observed, meaning that tribes conquered by the Persian empire used their unique headgear. Further, such different styles of headgear might be a tool for social classification. Representative styles of headgear include the semicircular one worn by the Median nobles, Strophion originated from the Elam's headband, and nomadic tribes' Baschlik observed in the Median relics.

• Cartoon and Animation Studies
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• s.22
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• pp.31-45
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• 2011

The paper holds its purpose to analyze the descriptive function and meaning of first person animation which the focalizer, character, and all narrators are indicated as 'I', For the purpose, the following was reviewed; the relation between 'I' as child memorizing the days of childhood as adult and the current 'I' as adult, and the aesthetic effect of experience and sense of the child on the audience reading the narration. The retrospective narrating situation of the adult narrator brings descriptive effect which comes from 'the tension between the experiencing self (self as child) and the narrative self (self as adult). The works focus on the content of child experience through the confession of the adult narrator, but the view of the adult always heading towards 'the present'. That is, the aesthetics contained by the first person narrator is related to endless arousal of the values of hidden and forgotten things. In addition, the descriptive method of child focalizer as 'the subject of experience' brings qualitative change which enables reasoning of the subject as itself, which is free from the view tamed by rational system. Becoming an adult, the lost ability of mimesis brings qualitative change by meeting with the generality of childhood sense. Therefore, it can be known that the meaning the narrator contains in the first person narrator condition of animation links with the degree of aesthetic completion of the work, but also, it is a highly strategic descriptive device which determinately affects even the acceptance of audiences regarding the work.