• Journal of the Korean Society of Costume
• /
• v.60 no.6
• /
• pp.117-138
• /
• 2010

This study tries to analyse the type of sasanian crowns by looking into the icons and meanings of various motifs that changed the archetype and shape of the crowns, and the social and political factors that affected those motifs. Based on such analysis, the study is aimed at completing the periodic typology of the sasanian crown. For this study the literature research is combined with the empirical analysis of information. Korymbos which symbolizes globe represented the authority and power of the sasanian kings, but the motif with such meaning was replaced by star motif in the late-sasanian crowns. The basic motifs embellishing the sasanian crown represent Gods, which is interpreted as an attempt to symbolize the relations between Gods and kings. These motifs are found on each king's crown in a different and individual way, which seems because the kings at the time chose the motif that can symbolize their own political intention or spirit. At the early days of the sasanian dynasty, Korymbos motif was highly emphasized on the crowns, and was used throughout the end of the dynasty and then was replaced by star motif. From the mid-4th century, Crescent motif started to be used, which was always shown as the shape supporting Korymbos and star motif on it. Bird wing motif was intermittently used in the early and middle days of the dynasty, and was highly emphasized in the crowns of all the kings in the end of the dynasty. Star motif started to be used in the end of sasanian dynasty.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.25 no.2
• /
• pp.61-82
• /
• 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.

• Journal of Fashion Business
• /
• v.27 no.2
• /
• pp.1-25
• /
• 2023

Taq-i Bustan rock reliefs are relatively well preserved among Sassanid relics. They are considered concrete and empirically important materials for studying Sassanian culture. In these rock reliefs, inauguration of various kings and hunting scenes are depicted. Thus, kings' attire and life of the court could be discerned according to eras. The purpose of this study was to investigate Sassanian clothing styles of various social positions by analyzing their clothing depicted in rock reliefs and to improve comprehension of the culture of the Sassanian Dynasty. Methodically, literature studies and artifacts were analyzed in parallel. Data of these two insources were consolidated for comparison. Results of this study are as follows. Since the Sassanian Dynasty succeeded the Parthian Dynasty, the Parthian style of clothing pieces such as tunic and trousers appeared in their attire. Basic types of tunics and trousers did not vary according to social status or age. However, details showed differences in those aspects. In the early Sassanian Dynasty, the dressing style of Rome was adopted. Styles of tunic and trousers featured draperies with many wrinkles and shoes were worn instead of boots. Trousers were tied with laces at ankles and laces were decorated with round clasps, imitating the style used by Kushan kings to the east of Sasanians. External cultural elements were also present in costumes of the Sassanian Dynasty, which played a bridging role for cultural exchanges between Eastern and Western civilizations at the gateway of the Silk Road.