The purpose of this research is to study a case of the minimalism on Game Graphic User Interface design in Computer game. It is to analyse the minimal tendency on Game Graphic User Interface design in several Computer games such as Prince of Persia, Mirror's Edge, Splinter Cell, Gears of War, Call of Duty4, Metro 2033, Crysis2. These games expanded the field of Game Graphic User Interface design with the unique form of minimalism. Minimalism came from the formative arts in the 1960s and influenced to other fields of art. It seems to be an expression of various styles that promptly meet the needs of the times. Therefore, in this research, I would highlight the phenomenon of minimalisation in Game Graphic User Interface design and research the influence of Minimalism that appears in modern design focused on "simplicity" and "minimum" which are representative trend of Minimalism.
Journal of the Korea Fashion and Costume Design Association
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v.7
no.1
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pp.41-54
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2005
The purposes of this study on various headgear at the age of the Persian Achaemenes are to analyze one cultural aspect of the Achaemenes Kingdom that made a great empire about 5th century B.C. and to understand the ancient Persian culture. It is widely recognized that the Persian region was an important place for cultural exchange between the East and the West through the Silk Road and its culture affected China and Korea. Therefore, it is necessary to study ancient culture in this region for further understanding of the Korean culture. However, research activities have not been satisfactorily conducted. This study is an attempt to elevate the interest in this subject. In this study, European archeological materials covering Naqsh-e-Rostam (a tomb of Darius), Apadana stairs, Darius palace in Persepolis, and Bistun(Behistun), the relief at the age of the Achaemenes Kingdom, were collected and analyzed. From this study, the following results were obtained. For crowns at the age of the Achaemenes Kingdom, two kinds of shapes are observed; Mitra, a kind of headband, in the early period and a cylindrical one in the later period. Mitra was also worn by chiefs trusted by the king. Further, slightly different styles of cylindrical crowns were observed, which is considered that kings might wear unique crowns to symbolize new period of their reign. In addition to crowns, various styles of headgear for subjects are observed, meaning that tribes conquered by the Persian empire used their unique headgear. Further, such different styles of headgear might be a tool for social classification. Representative styles of headgear include the semicircular one worn by the Median nobles, Strophion originated from the Elam's headband, and nomadic tribes' Baschlik observed in the Median relics.
The purpose of this thesis is to find out how the upper garment styles in the Ancient East and est had been influenced with each other. Analytical studies conclude the fellowing findings: 1) Upper garment styles in the feat Asia and the Egypt already highly developed in 28th century B.C. and show us the original style of the wrap-over to the left and that of the round neckline(曲領). Upper garment of the open in the center front shown in Babylonia in 18th century B.C. had been inherited to the caftan of the Hebrew and later succeeded to the Persia. 2) The tunic styles of the round neckline, the wrap-over to the left and the open in the cotter front, which were the basic styles of the upper garment, had teen widely accepted to the central Asia and the East Asia, as well as the Northern Europe, from the West Asia. 3) The styles of the wrap-over to the right originated from China since it had begun to show in the Shang Dynasty(商代, 殷代). 4) The East and the West costumes had been very much intermixed in 4th century B.C. Alexander the Great of Macedoria in 4th century B.C. expanded his territory to the central Asia and built up the Bacteria, when the most western civilization had been greatly transmitted to the Orient. Meanwhile the tunic being clad in the West and Central Asia began to be worn by soldiers in the period of the Warring States in China (326-299 B.C.) and afterwards worn even by civil officials since the age of the T'ang Dynasty of China. 5) The Upper garments of the open in the center front, the wrap-over to the right, the wrap-over to the left and the round neckline were found in Korea, which mean that the upper garment styles in the Ancient Korea were intermixed of the factors from the West Asia, the central Asia and the East Asia. 6) The styles of costume in the East Asia were influenced by the West Asia through the central Asia. The upper garment styles Europe were also influenced by the West Asia. Thus the upper garment styles in the Ancient East and West had been mutually affected with each other.
The purpose of Sassanian dynasty was to succeed the civilization of Achaemenid dynasty but it shows vestiges of Parthian civilization in many ways. This study is an attempt to take a look at Sassanian civilization through analyzing these rock reliefs since these features are shown on the rock relief of Ardashir I in early Sassanian Iran. The way carried out this study was first, to collect and search documentary data to establish the theoretical background, and collect positive data by exploring this region and then we comparatively analyzed the two data in general and the result is the following: The form of costume is different according to the person's status. In the early period of Ardashir I the costume style of the royals is reflected by clothes such as tunic, trousers in parthian style. However, trousers do not have vertical pleats which are commonly shown in the case of parthian trousers. It assumed that after the early period of Ardashir I, Sassanians formed their own styles. The form of cap is also different according to the person's status. Ardashir I and the Ahura mazda god put on crown and Korymbos which symbolized the sovereign power. Except the king and the god, the prince and the king's vassal put on high caps called Kolah. Diadem which symbolized sovereign power of king was used by the king, the god and the crown prince. There are two kinds of diadem. The first form has vertical pleats and the other does not have pleats. This form became different depending on the social position. The form of hairstyle is generally thick curly hair which goes down until the shoulder. There is no difference in their hairstyle in terms of the social position. The beard style is generally in the form of scoop. There is also no difference in terms of the person's status.
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.
In the history of costume, coat can be traced up to ancient Persia but it was generalized as today's style around 14th an d15th century in Euro[pe. World wars, revolutions and rapid social changes of the last 80 years have produced more changes in the way people dress than any comparable period in history. Thewse changes enabled emergence of more modernized woman's garments and through it, dress and coat ensemble became public's main fashion. In 1920's after world war I, boyish style in woman's garment was in vogue. Woman's coat was also in the same style with length sortened up to the knee level and silhoutte was straighter and semi-fitted than previous period. Length of the coat was longer in late 1930's but shortened again in 1940's. And the most popular silhouette of both 30's and 40's was shape of the hourglass which was commonly called the "X-shape". Also double=breasted coat with fitted waistline, belt and flare skirt was in vogue. In 1950's and 60's, with the variety of lines in woman's garments, silhouette of the coat also appeared in many different forms. Along with the various shapes, color of the coat changed throughout the decades : dark colors in 20's, bright colors in 30's, mixed colors of 20's and 30's in 40's and in 50's, color had changed to archromatic. In fabric, wool was most popular in all periods. However, such gabrics as tweed, cotton, gaberdine, linen were added to give variety. It is very interesting to see collars trimmed with expensive furs were very popular in 20's and 30's but it almost disappeared in 40's and fur trimming reappeared in late 50's. In addtion to silhouette changes in design, details such as buttons, epaulettes, pockets and fur trimming of hemline were emphasizing points of varieties in design. This study has set time limits world war I which was the period coat became major fashion of woman's clothing, to 1960's.
Journal of Korea Entertainment Industry Association
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v.14
no.2
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pp.85-95
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2020
An Instruments are not only for musical usage, but also for historical, social and cultural contexts. The yanggeum instrument began to be played in Persia before the 10th century and is played in various parts of the world in the 21st century. It has been handed over for many years and played creatively beyond the boundaries of the region. In this paper, we will learn about the meaning of Korean traditional yanggeum, which preserves its original shape without any change in form or technique, through a method of musical iconography. As a method of musical Iconography for the musical instruments, we examined the data on the drawings and compared it with the literature, focusing on the origin, form and performance of the instruments. I hope that this study will not only provide a new perspective on instrument research, but also help understand the historical, social and cultural implications of the instrument. It is hoped that research on musical instruments will be done in many different ways and that the realm of musical science will be approached widely.
The purpose of this study was to derive exotic products handled by Bon Marche department store, examine characteristics, and reveal the meaning of exotic taste in the 19th century. The research method is literature research centered on original materials of the time, such as old literature related to department stores, and films, newspapers, magazines, and periodicals as well as books and papers. Commercial catalogs and Agenda-Buvard published by Bon Marché were used as visual materials. Results are as follows. Exotic tastes of products of the Bon Marche department store in the late 19th century showed an oriental style centered on Persia, India, China, and Japan. Products from various regions such as Turkey, Spain, Algeria, Tunisia, England, Italy, and Russia were also accepted. These exotic tastes had the following contributions and meanings. First, they expanded items and product development and activated domestic industry through production of imitations and replicas. Second, before the advent of department stores, foreign items that came to Europe were exclusive properties of a few privileged classes. However, in the late 19th century, as the number of consumers who wanted to have a new status higher than themselves increased, exotic products of the Bon Marche department store became the object of desire for material pursuits toward the upper class rather than sentimental fantasies. Third, exotic tastes gradually spread to the public as production of products imitating foreign products became possible industrially with an easy access to them. From this, it can be seen that department stores were mediators of trends and the epicenter of popularizing exotic tastes.
Journal of the Korea Fashion and Costume Design Association
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v.25
no.2
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pp.61-82
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2023
This is a study about the patterns depicted on the reliefs at Taq-i Bustan built during the Sasanian Dynasty of Persia. This study aims to understand the costume culture of the Sassanian Dynasty by analyzing the patterns depicted on the reliefs at Taq-i Bustan. As a research method, a literature survey and a comparative analysis of empirical data collected through historical site exploration was synthesized. The results of this study are as follows: Patterns appearing on the reliefs at Taq-i Bustan include pearl patterns, flower patterns, and animal patterns such as ducks, boars, and simurghs. The themes of these patterns appear differently depending on the social status, so it is assumed that the patterns were used as a means of symbolizing social status in the Sasanian Dynasty. The pearl pattern was a typical pattern that appeared in royal iconography, and the flower pattern appeared in multiple variations, and was a pattern commonly observed in the kings and his servants. Among the animal patterns, the Simurgh(Semurv) pattern is a representative pattern, which symbolizes the fertility and fecundity of the earth and this pattern was observed only on the clothes of kings. Therefore, the Simurgh(Semurv) pattern was understood as a pattern symbolizing the king's wish for the well-being of nature and the people. The patterns of other animals were mainly observed on the king's servants. Through the analysis of the patterns depicted on the reliefs at Taq-i Bustan, the life and the social aspects of the Sassanian Dynasty could be examined.
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.
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