• 한국의류산업학회지
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• 제20권1호
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• pp.10-21
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• 2018

Kushan dynasty was located in the middle of Silkroad, from the 1st century BC to the second century AD, where it negotiated with various races. Therefore, the culture of the Kushan has multi cultural elements. The purpose of this study is to understand the life of the ancient Silkroad by accessing this characteristic culture of the Kushan through costume analysis. And the results of this study will be used as a basic data for studying the relationship between Korean ancient costumes and Silkroad costume type. As a research method, literature survey and artifacts analysis were performed in parallel. The results of this study are as follows: The basic type of the Kushan costume was a typical nomadic ethnic type with a long tunic and trousers. Tunic was fastened with a belt and straps at the waist, and the lower part of the belt was wider like a skirt. The tunic was divided into two types: open front and closed front. Because Kushan was originally a nomadic people who lived in Central Asia, the nomadic elements of Central Asia remained unchanged in the early costumes of the Kushan, but over time the details of the costumes changed according to the surrounding political situation. When Kushan negotiated with Parthia, the parthian coat was worn by the influence of them. After occupying Greco Bactria, accepting the Greek culture of Bactria, Kushan's costume was supplemented by the external costume element of drapery, which changed the style of the nomadic costume into a elegant style.

• Acta Via Serica
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• 제8권1호
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• pp.87-100
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• 2023

Interaction between sedentary and nomadic cultural traditions has played an important role in the centuries-old history of applied arts in Uzbekistan. By the late 19th and early 20th century, driven by urbanization in the region and the gradual transition of nomadic and semi-nomadic peoples to sedentary lifestyles, many industries and traditional cultural forms of formerly nomadic ethnic groups disappeared. Nevertheless, their role in shaping the national cultural identity of the Uzbek people is great. This is true in relation to one of the largest ethnic groups in Uzbekistan, the Kungrats, whose applied art represents a unique, viable, and yet little-studied phenomenon in the national culture of Uzbekistan. The article reviews carpet weaving, one of their surviving crafts, exemplified by qiz-gilam, a unique type of rug made using a combined technique. This study helps to show the nature of historical and cultural interrelations in the carpet weaving of Central Asian peoples and their cultural contacts with the carpet art of neighboring regions more widely and objectively. An important theoretical result of this study is the creation of criteria and tools for identifying qiz-gilam carpets. This allows us to bring clarity to the yet undeveloped system of their identification in museum and gallery practice.

• 한국의류산업학회지
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• 제9권1호
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• pp.6-14
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• 2007

The purpose of this study was to delve into what type of expression mode of fashion design could suit the life style of digital nomads, as the appearance of nomadic life style was concurrent with people's modified way of thinking and sociocultural changes in today's digital society. It's basically meant to define the roles of fashion design, which was discussed as a way of improving the quality of life as a sort of 'culture,' and to suggest some of the right directions for fashion design in the future. The culture of today's digital era is marked by a pursuit of high mobility and high speed, and by nomadic disposition that is built on flexible thinking. The kind of design that lets people carry nomadic things with them and thereby improve their mobility can satisfy their needs for mobility, and body-friendly design that functions as a device of information in itself can meet their needs for mobility as well. The leading example of the latter is a wearable computer, and wearable scientific technology will be taken to another level, thanks to the advance in digital technology. In the future, that will be more accessible to people in general, and subminiature digital equipment will gain popularity in fashion industry as part of textiles and clothing or as an accessory. And specific kinds of design will be widespread, including variable design, multi-functional design and modular design. The first serves as a tool to protect the human body and to facilitate the adaptability of it to the given circumstances, and the second is characterized by a superb physical and psychological protectability. The third lets wearers bring design to completion at their own option, owing to an increase in the number of open-minded people and the development of interactive media. All these types of design could be called a wearer-friendly, human-oriented design that is specifically appropriate for the digital age. Wearers can actively be involved in design process as productive consumers, which is expected to help increase opener practices in fashion design sector.

• 헤리티지:역사와 과학
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• 제46권4호
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• pp.64-77
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• 2013

현재의 몽고와 바이칼(Baikal) 호 서부, 투바(Tuva), 카자흐스탄(Kazakhstan), 중국 황하 상류 지구 및 신강(新疆) 등 광대한 지역에 분포했던 흉노의 철기문화는 전체적으로 유목문화의 특징을 선명하게 보여주고 있다. 철기제조기술 발생 이후 농업경제 위주의 중국 중원지구에서는 식량생산량의 증가가 명백하게 일어났다. 이것은 철제 농공구가 청동제 농공구에 비하여 내마모성과 인장강도가 강하며 파손 시 수리가 용이한 점 등 농경에 더욱 적합한 기계적 성능을 지녔기 때문이다. 때문에 농경지구에서는 다양한 철제 농경도구가 생산되었다. 그러나 흉노는 유목경제에 기초하고 있었기 때문에 철제생산도구의 사용이 유발하는 식량 생산력의 증가와 생산구조의 변화 정도가 높지 않았다. 다만, 군사 무기 방면에서의 변화는 비교적 컸다. 철기제작기술 보급 이후 원사무기(遠射武器) 위주의 흉노 무기 체계의 위력이 눈에 띄게 강해졌다. 게다가 이 시기에 흉노가 말 위에서 활을 쏘며 돌격하는 기사전술(騎射戰術)을 적극 활용하면서 흉노의 철제무기의 위력은 더욱 배가되었다. 이처럼 철기가 생산도구의 생산성 향상에 미친 영향보다 전쟁무기의 성능 향상에 미친 영향이 더욱 컸던 것이 유목경제를 기반으로 하고 있는 흉노 철기문화의 중요한 특징 중 하나이다. 비록 중국 중원계 철기문화의 영향력이 강하기는 하나 두 지역의 자연환경과 경제구조의 차이가 크기 때문에 철기문화가 발생한 이후 중원지역과 흉노지역은 사회 발전 방향의 차이가 발생했으며, 이러한 점은 철기문화에도 그대로 반영되어 나타난다. 철기제작기술이 전래된 뒤에도 흉노는 자신들의 경제방식을 계속 유지하였다. 때문에 그들이 사용했던 철제 생산도구는 앞선 시기의 청동제 생산도구와 형태상의 변화가 거의 없으며 흉노의 영역 내에서 철기문화의 공통성은 광범위하게 유지되었다.

• 복식
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• 제58권6호
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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.

• 한국지역지리학회지
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• 제3권1호
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• pp.155-163
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• 1997

몽골의 건조한 자연환경에서 몽골인들은 유목이라고 하는 문화를 만들어냈다. 또한 유목민들은 초원에서 유목 생활에 필요한 가옥으로 이동식의 겔을 창조해 냈다. 겔의 주요 재료는 버드나무 줄기와 휄트인데, 전자는 하천에서 쉽게 구할 수 있으며 겔의 골조로 사용되고, 후자는 양모를 원료로 만들어졌는데 지붕을 덮고 벽을 두르는데 사용한다. 겔은 건축하기 쉽고, 해체하기 쉬우며, 운반하기에 가벼운 특성을 갖는 이동식 가옥이다. 겔의 형태는 원형 평면에 낮은 원추형의 지붕으로 되어 있어서 바람에 대한 저항이 적고, 휄트는 단열의 효과가 좋은 재료이다. 즉 겔은 바람이 강하고 혹한의 겨울을 대비한 유목민의 가옥이다. 유목민의 음식은 가축예서 얻을 수 있는 젖과 고기로 만들어진다. 그들은 우유 양유 야크유 등을 많이 마시며, 가공하여 치즈 버터 마유주 등을 만들고, 육류는 삶아서 먹고, 일부는 건조시켜 장기간 저장해 놓고 먹는다. 내장은 순대로 만들어 먹기도 한다. 유목민들이 식물성 식품을 섭취하지 않아도 건강하게 생활할 수 있는 것은, 풀을 사료로 하는 양에서 짠 젖에 필요한 식물성 영양소가 포함되어 있기 때문이다.

• 패션비즈니스
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• 제24권5호
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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.

• 복식
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• 제65권4호
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• pp.124-136
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• 2015

Xinjiang Uygur Autonomous Region is the area with the most Muslim populations in China and the costume of this ethnic minority group was influenced from its surrounding environment and religion. Headgear is one of the important costume elements of Muslim ethnic minority such as Kazakh, Kirghiz, Uzbek, and Tadzhik people, and each group has developed narious forms of it. Especially, we can notice characteristics of headgear in Xinjiang Uygur and four ethnic minority groups through women's headgear pursuant to motive of wear, classification of type, differences and comparability with other areas. Thus, purpose of this study is to investigate women's headgear of Muslim ethnic minority in Xinjiang Uygur Autonomous Region. Based on local data at the Xinjiang Uygur Museum, the study referred to Chinese ethnic minority costume and literature data as well as advanced researches related to Islam, and analyzed characteristics of women's headgear of four ethnic groups in connection with Muslim formation background in Xinjiang Uygur. Women's headgear of Muslim ethnic minority in Xinjiang Uygur can be largely divided into three types; cylindrical, conical and hood type. Headgear was influenced not only by natural environment and weather for protection of body, but also by Islam. Along with strong desire for decoration and expression of racial features, it was used as a means of race discrimination and representation of identity. The religion of Islam within these four ethnic groups grew in accordance with tradition of existing nomadic tribes and regional characteristics, and women's headgear developed in various ways added with religious precepts and nomadic features. Taking everything into consideration, it is found that women's headgear of Kazakh, Kirghiz, Uzbek, and Tadzhik people developed, adopting their own living style and features of minority races instead of remaining identical to the headgear type of Muslim countries in other area.

• 패션비즈니스
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• 제2권2호
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• pp.26-36
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• 1998

Taking in a broad sense, the Big Yopae has two kinds of big oval type and chained small squares or big oval type and chained small oval one. These are named as I type and II type. Again, it is divided into of plain oval and of dented one. means that the big and small oval is dented. This study surveyed the Big Yopae according to each ages. They seemed to be created similar times and it is hard to distinguish I-A from II-A type. After that, the big oval varied as dented one and the small oval as well accordingly. Generally, the Big Yopae have rectangle decoration and this showed that the top decoration was influenced by northern culture. It is designated as bird feather style top decoration in this study. The bird feather inserting decoration, which was come from the northern nomadic tribes culture, was started as shamanism to bird and developed into 'Scythe-shaped' tail mode. 'Scythe-shaped' tail mode is considered to have same type with making an application to the bird feather type top decoration.