• Acta Via Serica
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• v.7 no.2
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• pp.65-88
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• 2022

With the expansion of the Russian Empire southward in the nineteenth century, connoisseurs, art historians, and scholars in Russia began to pay attention to carpet traditions in the new territories of the Russian Empire in Turkestan. In journals and other specialty publications, they underscored a need to establish claims to authority over the knowledge of the traditional craft. They were highly attuned to parallel accounts of carpet weaving from regions that had a longer history of research and collecting of carpets. In contrast to the situation in Western Europe or the United States, commentators bemoaned the fact that the public and even professed experts in Russia did not properly appreciate carpets from the Caucasus and Central Asia. These scholars articulated a need to establish authority over the carpet weaving traditions of Russia's colonial possessions, resulting in a push toward a serious study of carpet weaving as a legitimate field of inquiry. This paper uses published sources on early carpet scholarship from the late nineteenth and early twentieth centuries to examine how carpet weaving traditions in Central Asia entered an imperial discourse of knowledge. It argues that attempts to understand and categorize carpet weaving as an art form occurred along two fronts. Intellectuals and scholars attempted to wrest control over the locus of knowledge from experts in the West as well as from local weavers. In the process, they established a distinctly imperial vision of carpet weaving in contrast to competing imperial discourses and over traditional forms of knowledge.

• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.186-203
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• 2015

This article attempts to examine both the outcome and future task of the art history research on Central Eurasia, better known under the name of "Silk Road". The term Central Eurasia encompasses Xinjiang Uygur, Tibet, Mongolia, former Soviet Republics, the northwest region of India, Iran and Turkey. The article analyzes the 30-year history of the region's art history research and further presents a desirable direction that the study should move towards. Though short in its research period, the ROK's art history study on Central Eurasia has shown eye-catching achievement in several areas such as the northwest region of India and the Xinjiang Uygur, Dunhwang of China. Two factors allowed for this accomplishment. First was the actual improvement of the work environment, where the scholars were finally able to travel to Central Eurasia and explore the historic sites for themselves since 1990. More important was the 'arena of study' for the next-generation scholars made possible by institutions like The Korean Association for Central Asian Studies and the Center for Central Eurasian Studies. Slowly but consistently, the two academic societies induced scholars' attention towards the field and fostered new experts. Circumstances changed, marking 2012 as the starting point. International academic forums held by the government branches surged in number. The intention behind it was to link the ROK with the Silk Road and ultimately to obtain the "Eurasia initiative". As of now, the public has shown heightened interest in the issue. The academia is subsequently riding on this second "wave of interest" following the first wave in the 1980s. However, increased popularity comes with some negative consequences, and this art history research on Central Eurasia is no exception. There are criticisms regarding the objectivity of recent academic forums. Some argue that the aim of the forums are sternly set most of the times, prohibiting the presenters to voice their own perspectives. Still, this heated attention will definitely play its role as a stepping stone for further development. The academia should commit to fostering rising researchers who will systemically and professionally study the field. This is imperative in order for the Korean culture to successfully communicate with the world and take itself to a new level. Without completing this task, the ROK's art history research on Central Eurasia is likely to remain idle.

• The Research Journal of the Costume Culture
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• v.2 no.1
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• pp.1-27
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• 1994

This result of the study on the costume of Osman Turkey are as following. 1. Empire of Osman Turkey(129∼1922) exerted an almost limites impact and influence on Europe and Asia during their regime 600 years. The distant ancestors of the Osman Turks were nomadic peoples, who wandered I tribal groups through the Central Asia. Therefore their costumes were based on nomadic culture. They had trade with West and East were influenced by Hellenism and Byzantium and grew, to a strong Islamic political power polygamy with which influence their clothing along with other culture. 2. Topkapi Saray was one of he principal residences of the Osman sultans and his court. Late 17 century, Topkapi Saray found many of kaftans of Osman Turks Empires of 14∼17 centuries. Otherwise we studied by the minatures of 16∼17 centuries, Since the Topkapi Saray became a museum in 1924, a program of careful restoration has made it possible to some pars of it to the public, after centuries neglection. 3. Osman Turkey Empire had important role in between West and East(silk-road). Economic, commercial, social and political factor of Turkey led to a development in the art of weaving (kema, kadife, catman, seraser, zerbeft, hatayi, kntnu, atlas)parallel to the rise and development of the Osman Turkey Empire itself, one which raised the art to a level attained nowwhere else in the world. Fabrics woven from gold and silver thread occupied a very important place in the court life of the time. This was due as much to their symbolic as to their material value, reflecting as they did the power, glory and magnificence of the Empire. 4. In order to study Eastern or Western history of costume one must study Turkey history of costume in advance. Also there is a great need of comparison to study of western, central and north eastern area history of costume.

• Journal of the Korean Society of Costume
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• v.35
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.

• Acta Via Serica
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• v.6 no.2
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• pp.61-90
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• 2021

Recent excavations in Qinghai Province, China, have disclosed textiles and artworks from Tuyuhun-Tubo (Tibetan) tombs, dated to the 7^th-9^th centuries, that suggest artistic and cultural exchanges along an external southern branch of the main Silk Road, between Gansu and Sichuan Provinces, across the Qinghai-Tibetan plateau toward the Himalayas. Many similar textiles, possibly from this area, have appeared lately on the art market and ended in private collections. Although these textiles, dated to the early Tibetan period, follow a popular prototype established in Central Asia in the 6^th century, the technical features, colors, and other indigenous elements suggest that they were woven in workshops different from those established between Sogdiana and Gansu. The exhibition "Cultural Exchange Along the Silk Road - Masterpieces of the Tubo Period," organized by the Dunhuang Research Academy and the Pritzker Collaborative Art between July and October 2019 in Dunhuang, Gansu, was a groundbreaking event that gathered scholarly attention on early Tibetan material culture, but a relevant publication is still forthcoming. In my previous work, I briefly discussed a group of silk textiles, possibly from Qinghai or Sichuan, that I analyzed in 2014 in the China National Silk Museum in Hangzhou, Zhejiang. In light of the recent material excavated, published online, or displayed in Dunhuang, in this article, I reevaluate the data previously collected, and discuss in detail the technical and iconographic features of one of the fragments held in Hangzhou. Eventually, the piece was recognized as the ending part of a large panel, which is now in the Abegg Stiftung in Riggisberg, Switzerland.

• Acta Via Serica
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• v.1 no.1
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• pp.95-104
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• 2016

The Silk Route in ancient times served as a link between the World's greatest civilizations and as a source of knowledge, art, religion and philosophy. This network of ancient caravan paths formed the first bridge between East and West, where two different civilizations came in contact with their respective cultural traditions and religious beliefs, as well as their scientific and technological achievements. One of the main routes of the Great Silk Route passed through the Karakoram, linking Kashgar with Kashmir and the Gandhara regions. The Karakoram Highway connects the Chinese province with Pakistan and follows the ancient Silk Route, which connected the Heartlands of Asia with the Western fringes and further beyond the entire continent of Europe. Evidences of the history of humankind, ranging from Pre-historic times to the spread of Buddhism from South Asia to China and the Far East, is depicted in the rocky cliffs on the waysides and on rough boulders scattered in the upper valley of the Indus River and its tributaries. The ancient trade routes also carried scholars, teachers, missionaries and monks of different beliefs and practices, who met and exchanged ideas. The Buddhists as well as Zoroastrians and other missionaries all followed the Silk Route, leaving permanent footprints of their passage. The ancient greater Gandhara is situated in the North-West of the Indian Sub-continent, with the steep mountain ranges of the Karakoram, the Pamir and the Hindu-Kush bordering it and the dry areas of Central Asia to its rear. A number of races from Central Asia migrated to Gandhara because of its mild climate and plentiful farm products and fruits. This area was an entry point of Western Culture into India and at the same times the exit point of Indian Culture, including Buddhism, to the West. In Gandhara, the diffusion of different cultures developed an art form, during the 1-7th centuries CE commonly known after its geographic name as "Gandhara Art". The Buddhism's route of introduction into China originated in Gandhara, then reached in Korea and Japan and other countries. The fame of Gandhara however, rested on its capital, "Taxila" which was a great centre of learning. From the time of the Achaemenians, down through Muslim period, Gandhara continued to establish and maintain a link between East & West, as shown by material evidences recovered from Taxila and other Buddhist centres of Gandhara during the course of archaeological excavations.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• SUVANNABHUMI
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• v.2 no.1
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• pp.17-53
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• 2010

The Chandi Borobudur was likely constructed around 800 AD, during the period of the Sailendra dynasty in central Java, Indonesia. The Chandi Borobudur have 1460 narrative panels of reliefs which are distributed from the hidden foot to the fourth gallery. The 160 panels show various scenes of actions producing the corresponding results according to the Karmavibhanga(分別善惡報應經) text. Blameworthy activities with their purgatorial punishments and praiseworthy activities with their subsequent rewards are both shown. The 120 panels depict the biography of Buddha according to the Lalitavistara (方廣大莊嚴經) text. The 620 panels depict stories from Jatakas (本生譚) and Avadanas (譬喩經). The stories of 560 panels are based on Mahayayana (入法界品, 488 panels) and Bhadrucari (普賢行願讚, 72 panels) of Gandavyuha (華嚴經) text. In this study, among the 120 narrative reliefs which tell the life story of Buddha according to the Lalitavistara text in Chandi Borobudur, the images of Birth of Siddhārtha(誕生), The Great Departure (出家), Attaintment of Enlightenment (成道) and The First Sermon (初轉法輪) have been compared with the images of biography of Buddha showing in Ancient India, Gandhara and South India, and China. From a historical perspective of cultural exchange, Borobudur is very important site because it is located on the south route of transmission of Buddhism from India to South Asia, China, Korea and Japan. Study on the reliefs sculptured on the wall of Chandi Borobudur provide us information to understand the process of spreading and changes in styles of Buddhist arts.

• Acta Via Serica
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• v.6 no.2
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• pp.37-60
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• 2021

Before the tenth century, the dress of elite women in and around China often reflected "Han" Chinese fashions and preferences. In funerary paintings and relief sculptures of Sogdian and Xianbei couples from the sixth century, for example, women wear "Han" Chinese-style clothing. Even in the Tang dynasty (ca. 618-907), when exchange with Central Asia via overland Silk Road trade impacted the styles and patterning of elite dress and men incorporated clear Central Asian attributes into their dress, elite women in the Tang sphere wore recognizably Tang fashions. Chinese-style dress in these centuries clearly conveyed cultural import and, likely, political power, especially after the founding of the Tang dynasty. However, the straightforward borrowing of Tang women's dress shifted in the Khitan Liao dynasty (ca. 907-1125). The Liao, in contrast to other states that shared a border with China in previous centuries, saw themselves as political equals to the Song dynasty (ca. 960-1278) court in the south. The Liao court was interested in Song customs and culture and incorporated artistic motifs and practices from the Song court. However, the Liao courtly idiom was never fully subsumed into the greater world of the Song - rather, the Liao used facets of Song courtly culture for their own ends. One way this is manifested is through the dual administrative system, a bureaucratic organization that, among other things, regulated and distinguished between who was permitted to wear Khitan and non-Khitan dress. In this paper, I will examine the material evidence from funerary contexts for how the dress of elite Liao women both engaged with the dress of the Song, while also maintaining a certain amount of cultural autonomy. Through their dress, elite Liao women signaled clear messages about their status, identity, and difference to their Song counterparts.

• 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.