• 복식문화연구
• /
• 제20권3호
• /
• pp.392-402
• /
• 2012

The norm for everyday costume in India and Indonesia had consisted of either draped garments or loincloths. However, as the Islamic values spread in these countries various tailored clothes began to be worn. In order to study this spread of tailored clothes, the researcher first looked at the historical background which was the origin of Islamic costumes and its unique traits through the works of literature. Based on these findings, the researcher tried to identify the Islamic elements in the costumes of India and Indonesia. The researcher put forward the following conclusion: In India, people began to wear Islamic costumes after the establishment of Mughul Empire (1526~1857) in the 16th century, despite the Islamic invasion in the early 8th century. The pants that the ruling class of Islam wore such as shalwar, churidar and coats in the style of kaftan as well as turban spread quickly throughout the nation and now they are important part of Indian traditional costumes. Also in Indonesia, people began to wear tailored clothes as they accepted Islamic faith. The Indonesian costumes which exposed the upper body part may have been suitable for the climate but it was inappropriate according to the Islamic precepts. The religious beliefs led to the creation of the unique Indonesian sarong, wraps such as kain panjang and a new type of traditional costumes that combined the elements of pants or tunic from the Islamic culture.

• 복식
• /
• 제34권
• /
• pp.121-134
• /
• 1997

The purpose of this study is to research of cultural symbol on Safavid lampas in Persia. The results are as follows. A significant feature of continuous pat-terns in lampas is the use of the human figure and a signature of designer's name in the Islamic world. Motifs can be identi-fied as Safavid lampas by the style of motifs such as birds leaves trees flowers on a gold or silver namely metal back-groud. the result shows that cultural symbol on Safavid lampas is connected with islamic culture.

• 한국의상디자인학회지
• /
• 제6권1호
• /
• pp.13-24
• /
• 2004

This study was analyzed three basic patterns of the Islamic arts. These are natural flora, geometrical and calligraphy pattern. Islamic belief in Aniconism, doctrine of unity and worship of arabic language demanded delicate, decorative, and abstract patterns instead of patterns of real image. Natural flora pattern was classified into arabesque and various flower patterns. Muhammad commands that "The artist who fashions a representation of living things is competitor of God and therefore destined to eternal damnation, so if you want to represent living things, you should only depict flowers and trees". Then the natural flora patterns developed into main Islamic pattern. Geometric pattern was composed of geometrical elements like, circle, trigon, square, rectangle, pentagon, hexagon, octagon or other polygons, stars or motifs with straight or curved lines. Circle symbolized ′celestial′ sphere and crystal of the lower octagon symbolized ′earthly existence′. Therefore if the circle join with the octagons, it means fusion of celestial and earthly existence. Another important influence on the Islamic art was the calligraphy pattern, the writing of Arabic language. The major language of calligraphy pattern was Arabic script and often Persian script. Calligraphy pattern was composed of Kufic and Cursive script. The cursive script was developed various forms. The Islamic tenet prohibit depiction of sacred images, the sacred Arabic calligraphy such as ′Alla′ or ′Mohammad′ was substituted of them. And the content of calligraphy pattern was used with Quranic phrases. The aesthetics of Islamic patterns analyzed aesthetic of ′rhythmic lines′, aesthetic of ′unity in multiplicity′, aesthetic of tessellation and aesthetic of harmony. On the textiles of the Islamic culture, the arabesque, floral, geometric and calligraphy patterns were frequently used.

• 패션비즈니스
• /
• 제23권5호
• /
• pp.48-66
• /
• 2019

The purpose of this thesis was to investigate the similarities between religious costumes and Kazakh and Tajik minority women's costumes in the Chinese northwestern minority population that believes in both Islam and Shamanism. The research was conducted by investigating the forms, colors, and patterns of 240 representative costume pieces and making quantitative comparisons between religious and traditional costumes. The results showed that the Kazakh and Tajik costumes were similarly formed, both intended to cover the human body. Both the Islamic and traditional headdresses were also similarly shaped. In terms of color, black, white, green, and blue were found frequently in the Islamic religious costumes, as were red and yellow. Red, white, and brown, ascribed to the colors of shamanism, signifying incantations, were also frequent, indicating that this was engrained in their lives. A review of the traditional costumes revealed the patterns of Islam. Plants, geometry, abstraction, and letter patterns were dominant, whereas the meaning of the Islamic patterns, rebirth, sun, life, and hope, influenced the traditional costume patterns. Patterns associated with incantations, like the animal horns shown in the shamanism religious costumes, were persistently observed even after the people were converted to Islam. This study on the similarities between religious and traditional costumes in the Chinese minority might help us understand the connection between religious and traditional costumes and elucidate the cultural costume transition process.

• 복식문화연구
• /
• 제11권6호
• /
• pp.941-955
• /
• 2003

In this study, the researcher investigated how tailored garment were accepted and developed in India where the traditional costumes, such as Sari and Dhothi, excluding the tailored process, were mainly worn. It is suspected that pants and coats were first introduced during the Kushan Dynasty but they scarcely influenced on the costumes of India. In the 7th Century when Islam made its entrance in India, pants and coats were not accepted in India due to the exclusive attitudes of Indians, Hindu. Pants and coats were worn locally as Indian costumes through the Islamic Mughul Empire in the 16th Century. During that period, the cultural exchange between Islam and Hindu made the change of the clothes of India reflected the mixing of Islamic and Hindu elements. The colonization of India by Great Britain that was the turning point for diverse kinds of tailored garment in the costume history of India inasmuch as western elements were introduced. The western style tailored method and design changed the appearance of Indian pants into slimmer style. The style spread and influenced on the design of indian clothes greatly; hence, western style shirts and coats were accepted in India.

• International Journal of Costume and Fashion
• /
• 제11권1호
• /
• pp.1-13
• /
• 2011

Research on the influence of foreign culture influx on fashion has a significant meaning as a reference for predicting future fashion trends affected by globalization. Therefore, this study examined the transformations in Turkish costume in the 13th to 18th century when Turkey was most thriving in history. As the Ottoman Turk Empire expanded its territory, its costume changed by embracing both western and Islamic cultures and presented exotic styles in terms of fabric, pattern, color, design and details.

• 한국의상디자인학회지
• /
• 제6권2호
• /
• pp.111-121
• /
• 2004

The Mevelana sect is a spiritual Islamic group experiencing spiritual transaction with their god through a peculiar dancing as a form of religious ritual. The Mevelana, a sect of Islamic Sufism, has their head mosque in Konya in Turkey. Although Mevelana sect is regarded as heretic of Islam, it has exerted considerable influence on the Islamic religion through its peculiar religious worshiping form constituted in dancing and reciting poems. Nowadays, Turkey recognizes the Mevelana dancing as their precious cultural legacy of a long history, exerting public information efforts to give it for wider publicity of Turkey to the world. The Mevelana dress with ornament attired for the ritual dancing performance is regarded to symbolize a spiritual medium, which leads to conciliation with the eternity. The straight lines and curved line characteristic of the Mevelana dancer's trousers, skirt, jacket and such mirrors the image of the Orientals, which is in peculiar contrast with the white and gray colors of the dress with ornament. The impression of the spiritual Mevelana dressing in harmony with the dynamic dancing motion goes beyond mere a religious dressing. It is expressive of a graceful and sophisticated modern formative art, of which the mystic design gives an inspiration to the modern fashion. After Poiret, Islamic factors have emerged in the modern fashion. For instance, a hat with Arabic fashion lapel, a Fez hat of Turkish style, harem pants and such are still popular in the modern fashion. It seems probable that the Iraq War would far more activate the influence of Arabic culture to the modern fashion. By making an analysis on the religious background and formative characteristics of the Mevelana dressing, and by giving design examples on how the Mevelanan dressing has been applied to the modern fashion, this research suggests working out new designs by making a renewed application of their characteristics to the modern fashion.

• 복식문화연구
• /
• 제29권6호
• /
• pp.810-827
• /
• 2021

Indonesian women have emerged as global consumers, and various studies are needed to expand the global fashion market targeting their needs. In this study, a survey was conducted to determine the fashion design preferences of Indonesian Muslim women according to demographic characteristics and religious variables. In this study, Indonesian women aged from their teens to their 40s were surveyed by questionnaire during June 2020. This yielded 301 survey responses, which were analyzed using χ²-test, t-test, ANOVA, and Duncan's multiple range test using SPSS23. The results of the study are as follows: Analysis of the demographic characteristics of Indonesian Muslim women and the degree of acceptance of fashion trends according to religious variables showed significant differences according to age, monthly income, and the extent to which they wore a hijab. Analysis of the demographic characteristics of the women and the degree of acceptance of the fitted garment according to religious variables showed significant differences depending on their age, whether they were married, their monthly income, religious faithfulness, the extent to which they wore a hijab, and the degree of acceptance of Islamic discipline. After examining the difference in Muslim women's preferred fashion images (according to demographic characteristics and religious variables), significant differences were identified according to their age, income, extent to which they wore a hijab, and the degree of Islamic discipline with regard to clothing.

• 한국의류학회지
• /
• 제32권5호
• /
• pp.808-820
• /
• 2008

The costume of Islam cultural area has been affected by the strict social structure, formed by religion, and traditional costume of Islam has been maintained up to these days under the influence of religion. Islam Traditional Costume, which is the succession of the traditional costume of southwest Asia region, became armed with the form of closed costume due to the chastity and oppression. There are figurative features of Islam Folk Costume; first, the dimensional form due to the ampleness, covering the body, second, the reinforcement of closed form such as chador and burqa, third, the symbolism such as the adornment or incantational ornament, which has been inherited from the former times of Islam era, fourth, the color, simplified with black and white. The aesthetic values of Islam folk costume are represented with 'The beauty of abstinency', suppressing the ornamentation and color, caused by the strict social atmosphere under the influence of the form of traditional costume and religion, 'The beauty of concealment' due to the closeness, with affluent costume forms, covering the body and even concealing the face, and 'The beauty of symbol' which is demonstrated with incantational ornamentation of face and interior decoration. In some nations amongst Islam nations, the wearing of hijab is strictly regulated but black chador and burqa are regarded as negative symbols, representing the closeness and oppression of Islam. It is the product of Orientalism from the western perspective. The Islam Hijab culture is the symbol of oppression towards women, but, on the other hand, it is the device to protect women and the traditional culture, symbolizing the identity.

• 복식
• /
• 제64권6호
• /
• pp.47-64
• /
• 2014

A variety of traditional costumes have been developed in Asia due to different natural and cultural environments and they are still worn by people in many areas. Traditional costumes in Asia have been formed under the influence of various ideologies, as well as technology and social structure. Three Asian religions(Buddhism, Hinduism and Islam), which have undeniably strong influence on traditional Asian cultures, have great effects on the styles of traditional costume in each region of Asia. The purpose of this study is to compare the characteristics and aesthetic values of traditional Asian costumes. To do this, the author used images of traditional costumes, which were taken in person by the author, in each region of Asia as reference. Unlike the traditional costumes in the West, which expose the body shape, traditional Asian costumes have nonstructural features in construction, form and wearing rules. They are also decorated with religious symbols and other ornaments, which is different from functional and non-decorative modern clothes. Each traditional Asian costume has unique characteristics. The costume under the influence of Buddhism shows the beauty of concealment that features trans-spatiality and abundant silhouette. On the other hand, the Hindu costume shows the beauty of symbolization represented by very colorful and complex ornaments, while costume in the Islam regions shows the beauty of restraint with clothes that wrap up the body in accordance with its strict religious discipline. Asian religions also represent philosophy, culture as well as an ethnic group. They have influenced entire Asian cultures including the arts, aesthetics and social structure and decided the style of costumes.