• The Research Journal of the Costume Culture
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• v.15 no.4
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• pp.593-603
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• 2007

The purpose of this study is to study the Central Asian costumes($1{\sim}7C$) and develop new design items and suggest new brand launching. Korean apparel industry has been suffering from imbalance of supply and demand caused by the sagging economy and too many apparel companies. Due to the several years of recession, clothing consumption decreased and foreign brand's market share got bigger. As a result, managing a company became difficult and it is time for Korean apparel industry to enter the global market. We need a brand with new image and design that has big potential of purchasing power not only in Korea but also in China, and furthermore in global market. But even nearby Chinese market already became very competitive. One way of approaching Chinese fashion market is to find something special, for example, their historical background. Central Asian culture and costumes, a part of China, has both Eastern and Western culture. No other apparel industry had interest in the Central Asian costumes yet. Therefore, through their costume, a fresh design idea can be suggested.

• Journal of the Korean Society of Costume
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• v.36
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• pp.167-181
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• 1998

This paper is the result of research about what imply the symbolic significance of the shamna's costume in Siberia and Central Asia by using plates, medias and exhibitions in JNME. The reselts of the present study are summarized as follows; 1) The researcher define the shamanism as incantation, religious phenomenon centering arround shaman who communicate with the existence of preternatualness by possession or trance. 2) Siberia and Central Asia's shamans are comunicated with the existence of preter naturalness by trance. 3) In Siberia and Central Asia, the shaman's costumes is presented in a shaman ritual are caps, jakets, ornaments, stick and shoes. They symbolize spiritual world, stupendous shaman and powerful animal. 4) A significant symbolic meaning of shaman's costumes is that they change shaman to the existence of preternatualness.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.1
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• pp.1-18
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• 2014

This study analyzes the styles of Baekje costumes by examining costume types and styles based on the research of old books and a comparative study of archaeological and historical Baekje art relics in Central Asia. The results of the study are as follows. 1. Through the comparative study of the records of old books, relic materials (Yangjikgongdo, Mural paintings of Takamatsuzuka Tumulus, Cheonsuguk Mandarasujang, Shosoin relics, and Haniwas), we can see that ancient Japanese costumes were influenced by the culture of Baekje costumes. 2. A comparative study of the records of relic materials of Baekje and Central Asia show that there were vigorous interchanges between the East and West. 3. Baekje costumes showed a great diversity in styles because they were based on Buyeo costumes developed in conjunction with vigorous overseas trade. 4. Baekje's upper garments are summarized as Boksam and Po for men and Yu, Banbi and Euisapo for women. Boksam and Yu styles varied as tunics and overlapped jackets with straight and round collars. Two types of sleeves coexisted. The sleeves of Hansung Baekje period were a diagonal lined style that was wide on the armhole and narrow on the wrist. The sleeves of Sabi Baekje period were a reversed diagonal lined style that is narrow on the armhole and wide on the wrist. Pants styles were summarized as Gon, Gunggo and Daegugo. There were not enough relics and references for the Baekje costumes; however, this study widens the possibility of the existence of various styles of Baekje costumes through inferences from available data.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.183-199
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• 2006

This study aims to estimate the nationality of two envoys by examining their dresses and appearances depicted on the wall painting of Afrasiab's Palace in Samarkand with the concentration on the history of the international exchange between three states and the countries in Central Asia. The international exchange between three states and the countries in Central Asia are examined with the concentration on the literature review. And what are related to the dresses during the period of the three states are examined with the concentration on the literature review and the wall painting of Goguryeo tomb. The followings results were identified. The dresses of envoys were comprised of Jowugwan, the soft hat shaped like a peaked hat, the upper garment reaching a hip line with Jikryeong Gyoim and Tongsu, narrow trousers, black belt with a hook, front-pointed shoes and big sword with a round ring. The items of dressing are very similar to those during the Goguryeo period as observed on the wall paintings and excavated articles from the tombs from the Goguryeo period and literature. The next examination is estimated that Goguryeo had the official relationship with the countries in Central Asia before the invasion of Tang in mid-7 century when the wall painting, in our estimation, was produced, and to this end, Goguryeo sent the envoys to those countries. The envoys on the wall painting were estimated to be from Goguryeo as discussed above.

• Fashion & Textile Research Journal
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• v.7 no.4
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• pp.387-393
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• 2005

This study compares shamans' costumes of Korea with those of Siberia and Central Asia. It also investigates the meaning of shamanism and shamans,the relationship of Korean shamanism to shamanism, and the genealogy of Korean shamanism. For collecting and analyzing data of the research, literature reviews, field studies, and the investigation of historical relics are mostly used. The following are the major findings of the research: Through the comparison of shamans' costumes of Korea with those of Siberia and Central Asia, this research finds out some similarities and differences in the costumes. Both Korean shamans and Siberian and Central Asian shamans wore shaman's costumes and used utensils like bells or mirrors when they perform a religious service. On their costumes, they both used an element which stands for birds. However, they were different in terms of the materials or styles of the costumes, of the function of the costumes, and of the decorating with ornaments. The differences in the materials or styles of the costumes, different functions of the costumes, and using ornaments or not can be viewed as a general phenomenon, which is resulted from different environments. The soul's departing the body or the possession or a mixed method can be considered as mere variations due to regional or cultural differences. In conclusion, based on the comparison of the costumes of shamans of Korea with those of Siberia and Central Asia, the shamans of Korea and Siberia and Central Asia share the same origin. And the genealogy of Korean shamans can be said to be originated from the northern shamanism.

• Journal of Digital Convergence
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• v.11 no.1
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• pp.413-421
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• 2013

We, currently settled on the peninsula, have a long history and our ancestors lived over the vast land further to the central Asia and northern China. Normally, our ancestors traded with many countries, but they fought battles when they were on bad terms and many countries emerged and disappeared. In this history, a variety of cultures have been established and the traditional martial arts is a part of those cultures. Our martial arts has been almost severed because of the development of fire weapons in the late Chosun Dynasty, Japan's colonial rule, and 1950-53 Korean War. Fortunately, we can study the traditional martial arts from history books, the records on the martial art books and relics. Muyeadobotongji, the martial art book published in the late Chosun Dynasty, regrets the negligence of martial arts Giyae(arts) after Japanese Invasion of Korea in 1592 and the Manchu war of 1636 and accommodated the martial art skills from Chosun, China and Japan. It is useful for studying martial arts, because it contains detailed description and drawings, clothes and accessories, and the specification of the weapons. However, the problem is the level of Giyae of the martial arts organization and individuals based on Muyeadobotongji vary and some organizations are arguing about the numbers.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.243-270
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• 2007

Linked pearls pattern expressed on textiles have no limited scale or shape when manufacturing, so they are free in expression. And from the design, material, and color we can analogize the social culture of that age. Oriental linked pearls pattern was started from the Sasanian Persia and introduced through the Silk Road, so it is closely connected with the East and the West culture. This study will consider from the 5th century to the 10th century; the mural costume of the West Central Asia, the ancient textiles excavated from the Sinjiang and Qinghai area of China, and the linked pearls pattern which are collected at Shosoin, Japan. And from this study, will concentrate on clarifying the linked pearls pattern's condition of the cultural exchange between the East and the West and it's structural variation process. The design of linked pearls pattern delivered to the East through the Silk Road is differed by area. For example, in the Western Pamir Plateau, where the ancient Sogdians mainly lived, the excavated linked pearls pattern's subject were deer or cassowary variated from the West Asian motif. But the ones excavated from Kucha Xingang had Chinese motifs added so they showed Chinese characters or Buddhist Bodhisattva image instead of Helios. Like this, the appearance of new patterns, which were accompanied by structural variations, gradually deviated from the standardized pattern of the Sasanian Persia. And this structural variation process has relations with the construction and arrangement method of various patterns of the after ages. The foliated floral Spray, which is placed at the lozenge space of linked pearls' space, had developed into ogival - shaped pattern (Neunghwamun). And the prevalence of geometrical structure pattern after the 10th century and the unfolding method of Tapjamun which is arranging unit pattern in order, are similar to the linked pearl pattern. In brief, linked pearls pattern accompanied by technical improvement let us understand the polished artistic code from its expression, and has importance in showing universal pattern beyond region and culture.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.226-241
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• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.