• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.2
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• pp.63-78
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• 2017

The purposes of this study was to study Turkic clothing traditions as a way to shed light on cultural development via the interactions among different tribes along the Silk Road, the close correlations between the surroundings of the Turks and their costumes, and the root of Turkic culture through literature studies and empirical studies. The study results are as follows. First, the Turks were nomadic equestrian tribes in the north that dominated the cold dry steppes from the $6^{th}$ to $8^{th}$ century A.D., when they expanded their influence to Dongbei, China to the east, and Turkistan (Central Asia) to the west. The Turks formed a nomadic lifestyle and culture suited to a cold dry climate, and interacted with various other tribes via the Silk Road, while exchanging and sharing different cultural aspects. Second, given that the Turkic garments constitute a two-piece style, which is a category of the basic nomadic costume of northern tribes, and that the artifact materials manifest jackets, overcoats, pants and skirts, the garments are categorized into tops and bottoms. The tops are sub-categorized into jackets and overcoats. The bottoms are sub-categorized into pants and skirts. In light of the necklines of tops, jackets have round necklines, while overcoats have V-necklines, round necklines and lapel collars. The bottoms include narrow-legged pants, wide-legged pants and closed-hem pants. Drapery skirts are worn at the waist. Third, the Turkic V-neckline overcoat is comparable to the Huns' silk overcoat, which illustrates the ethnic link between the two tribes. Also, the Turkic narrow- and wide-legged pants are consistent with the Huns' silk pants discovered in Noin Ula. The Turkic costumes are mostly tight fitting, suitable for the nomadic lifestyle in a cold, dry climate. Also, additional patches must be attached to the crotch points of pants due to the equestrian lifestyle.

• Archives of design research
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• v.15 no.1
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• pp.399-406
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• 2002

There have been diverse discourses arguing that new design has been emerging in the 21 st century. However, there have been very few trials to identify systematically the characteristics_of new design paradigm and to develop new design educational program based on them. Thus, this paper aims at development of strategy of new design educational program according to the characteristics of new design paradigm. At first, design is viewed as part of 'culture'and the structure of culture is identified: 'Artifact', 'Value', and 'Basic Assumptions'. Similarly, design is found to comprise of three fundamental attributes: 'Function', 'Aesthetics','Symbolic'. These levels are shown to be in the relation of mutually recycling influences. These structural framework is used to understand the design methods and qualification of designers over the development of design paradigms: vernacular design, machine age, and information-knowledge age. The result leads the list of requirements of new educational design program: 'Human-Centered','Situation-Based','User-Participatory', and 'Intangible'. The model of strategy of new educational design program is developed and proposed.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.178-197
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• 2008

Due to the inflow of the western culture since the 19th century, female skirts and jackets have been changed considerably in detail though their basic composition was maintained. The analysis on female jackets from the start of the modern period to 1960s has been undertaken with artefacts as well as reports and research dissertations related to them. For period appraisal, analysis was divided into several periods which are from 1890s to 1910s, and every 10 years afterwards. As a result, aspects for the appraisal in each period was found. Aspects for period appraisal in modern jackets can be a change in total length and side length, a change in shape of the sleeves (from straight to round), a change in width, and a difference in closed shape of the collars. Material and color can be another aspect which shows fashionable material or new materials (man-made textile or nylon) of each period, color combination of surface and lining material as well as other parts of the jacket, use of a stiffener made with net or sheer textiles. Research using books and archives is important for the appraisal of the garment artifact. However, most of all, one should have the attitude of examining the artifacts frequently in order to achieve deeper understanding and an eye for accurate appraisal.

• Nuclear Engineering and Technology
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• v.53 no.5
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• pp.1619-1625
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• 2021

This paper demonstrates the possible nondestructive analysis of iron artifacts' metallurgical characteristics using neutron imaging. Ancient kingdoms of the Korean Peninsula used a direct smelting process for ore smelting and iron bloom production; however, the use of iron blooms was difficult because of their low strength and purity. For reinforcement, iron ingots were produced through refining and forge welding, which then underwent various processes to create different iron goods. To demonstrate the potential analysis using neutron imaging, while ensuring artifacts' safety, a sand iron ingot (SI-I) produced using ancient traditional iron making techniques and a sand iron knife (SI-K) made of SI-I were selected. SI-I was cut into 9 cm², whereas the entirety of SI-K was preserved for analysis. SI-I was found to have an average grain size of 3 ㎛, with observed α-Fe (ferrite) and pearlite with a body-centered cubic (BCC) lattice structure. SI-K had a grain size of 1-3 ㎛, α-Ferrite on its backside, and martensite with a body-centered tetragonal (BCT) structure on its blade. Results show that the sample's metallurgical characteristics can be identified through neutron imaging only, without losing any part of the valuable artifacts, indicating applicability to cultural artifacts requiring complete preservation.

• Acta Via Serica
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• v.4 no.1
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• pp.125-146
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• 2019

This paper deals with the question of the origin of polo. Although it is a sport that has been mainly active in the West since the nineteenthcentury, it is well known that British troops in the northern part of Pakistan learned about the sport from the local people there. Most agree that the origin of polo is Iran. However, in this paper, rather than specifying a specific area as the birthplace of polo, it is argued that polo was a cultural phenomenon commonly found on the Silk Road. This is based on the fact that polo has been known for centuries in China, the Korean Peninsula, and Japan, as well as throughout Iran, northern India, Tibet, Central Asia, and the Uighur Autonomous Region. Yet, the transmission of polo cannot be traced chronologically according to the supposed propagation route. This cultural phenomenon has changed over a long period of time according to the local environment, and the change was caused by mutual exchanges, not by one party. Therefore, there are limitations to interpreting cultural phenomena linearly. Thus, the origin of polo could also be identified with another area, namely Baltistan in modern day Pakistan, instead of Iran. These results support the argument that to understand Silk Road civilization, a process-centric approach based on 'exchanges', not a method of exploring archetypes to find 'the place of origin', should be utilized. Polo is undoubtedly an important cultural artifact with which to read the Silk Road as a cultural belt complex, as well as an example of the common culture created by the whole Silk Road.

• KOMUNHWA
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• no.56
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• pp.59-91
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• 2000

The iron culture have been studied mainly about the initial aspect and the growth of polity grossly on the level of the south Korea or the Yeungnam province. But the iron culture is necessary to study by diachronic and regional approach about the artifact

• Conservation Science in Museum
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• v.29
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• pp.33-46
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• 2023

Modern and contemporary cultural assets are defined as a collective term for tangible historical and cultural assets produced in the modern and contemporary period (around the opening of Joseon to the present) in Korea. Among them, rickshaws have been used as a major means of transportation for about 40 years since the opening of the ports in Joseon. The repair process for rickshaws divides the rickshaw into three parts, namely the body, the cover, and the wheels, applying a plaster treatment process by referring to the outcomes of the condition assessment and material analysis for the metal, wood, fiber, and paint used. Overall, the repair process is carried out through dry/wet cleaning, joining, stabilization, reinforcement of damaged parts, and other restoration treatments, which reveal metal decorations and patterns on the scaffolding (flowers, arabesque patterns, etc.) that were previously not observable with the naked eye, while also adding to the stability of the artifact. In addition, props were produced to ensure the artifact's safe exhibition.

• Journal of Fashion Business
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• v.24 no.5
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• pp.158-176
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• 2020

The purpose of this study was to examine the cultural diversity in terms of costumes by analyzing the costumes depicted in the early Kushan Dynasty relics, Tillya Tepe. As a research method, literature research and artifact analysis were conducted in parallel. The type of costume worn by the king (or priest) was in the type of a jacket and skirt, which was thought to be of Persian influence. The Greek god of Dionysos was wearing a costume with Danryong (團領) and narrow sleeves, a nomadic type of Central Asia. It could be seen that costumes were transformed into indigenous elements of the region. The shape of the helmet worn by the warrior was a Greek-Macedonian helmet. However, details were transformed into indigenous elements of the Kushan dynasty. The clothing of a nobleman riding a carriage was an element of dress that was observed in Chinese po(袍), and was an unusual element not found in nomadic peoples. There were goddesses wearing Greek robes like Aphrodite in Tillya Tepe's relics. On the other hand, there were goddesses who did not wear Greek chitons like the Greek goddess Athena. Instead, they wore high-waisted robes worn by the Orient goddesses. In addition, after Kushan occupied India, there were Indian elements believed to be expressed by accepting Indian culture. These elements were combined with regional orient elements of the Kushan dynasty, Central Asian elements, and Kushan's own elements. Thus cultural diversity emerged in the costumes depicted in Tillya Tepe artifacts.

• Journal of Conservation Science
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• v.36 no.4
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• pp.296-305
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• 2020

Konbaung Dynasty was the last unified dynasty that ruled Myanmar from 18^th to 19^th century. During this time Buddhist art flourished in Myanmar due to the interest of the rulers toward their traditional culture. Metal decorative artifacts in the 18^th century are classified into structures and Buddha statues. They are further subdivided into gilt-bronze and bronze objects, depending on their material component. Three-dimensional gilt-bronze decorative artifacts were cast with a brass alloy of Cu-Zn-Sn-Pb and their surfaces were gilded with extremely thin gold leaves (less than 1 ㎛ in thickness). The gilded layer approximately comprised 10 wt% silver in addition to the main element, gold. The lack of Hg in the gilded layer, indicated that the amalgam gilding technique was not applied. The analysis results indicated that the lacquered gilding technique was applied to the objects. Bronze decorative artifacts without gilding were cast with materials containing Cu-Sn-Pb. The bronze pavilions and bronze Buddha staues were crafted using the same alloy of high-tin bronze, which approximately contained 20 wt% Sn. No heat treatment was applied to reduce the brittleness of the objects after they were cast with a large amount of Sn. The most significant difference between the gilt-bronze and bronze decorative artifacts lie in their elemental compositions. The gilt-bronze decorative artifacts with their gilded surface were manufactured using brass containing zinc, while the unplated bronze decorative artifacts were composed of bronze containing tin. Artifacts of the same type and size are classified differently depending on the materials utilized in the surface treatment such as gilding.

• Korean journal of communication and information
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• v.66
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• pp.184-210
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• 2014

There have been technologically distorted naturalization and overzealous digital culture in the formation and development of digital society in Korea. While the suppressive aspects of the 'neo-'authoritarian control and regulation have been excessively centered on the Internet, the autonomous actions of online users from below, with regards to their roles in agenda-setting function, have been evolved as the political. This paper aims to investigate the specificities in the developmental mode of digital technology in Korean society since the mid-90s. In this paper, 'techno-surplus' depicts the state that the abnormal is embedded within a technological artifact beyond its receptive ability. 'Techno-surplus society' designates such an extreme case of specifying technological surplus. In fact, the term of 'techno-surplus society' can be used for a metaphor symbolizing our society, in which social distortion and abnormality caused by 'techno-surplus' have been quite frequently happening, in its comparison to a degree of normality in the institutional politics. This paper explores the local specificities of 'techno-surplus society', in which the regressive aspects have stand out as being more different from the technological developments in China, Japan and the U.S.