• 한국의류산업학회지
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• 제19권4호
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• pp.400-410
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• 2017

Bactria was the intersection of transportation between Greece-Iran and Central Asia at the Silk Road. This kingdom was Greek in all of its ruling classes. Because the Greek culture of Bactria spread to India and the east, Bactria was a very important place in ancient civilizations. The purpose of this study is to understand the life and the various cultures of Bactria and the influence of Greek culture on the costumes of Bactria. The research method was approached through the analysis of the empirical data. Data on antiquities were analyzed in European exhibition catalogs and secondary data collected from Internet. The results of this study are as follows: First, the original costume of Bactria was identified in two styles in the reliefs of the Persian Achaemenid. One is the tunic jacket sarapis that goes down to the knee and wide trousers with half-length boots. The other is the Scythian style trousers that looks like a barrel in a Sarapis. Second, in the Bactrian coin depicting the bust of the Bactrians, the hair styles and headgear of the Bactrian kings were analyzed. The Bactrians wore braids with short curly hair and wore Macedonian hats and helmets on them. Third, the relics excavated from the ruins of Ai-Khanuom depicted the forms of the ruling classes of Bactria. The dress styles and hair styles of gods and priests were imitating the form of the Greek costume as it is.

• 해양환경안전학회지
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• 제13권1호
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• pp.75-92
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• 2007

본고는 송대 무역 발달을 가져온 요인을 규명하는 과정에서 항해술, 조선술의 발전과 해양환경, 시박사, 실크로드, 향료무역에 관한 연구를 한 것이다. 해양환경을 이해하기 위해 해상활동에 대한 경험과 기술의 필수적 요소에 선행하는 것을 사례를 통해 제시하였으며, 남송의 풍부한 경제력과 대외개방정책은 무역관리기구를 통해 체계적으로 관리되었음을 입증하였고, 그 기저에는 남송의 해상무역이 커다란 영향을 미치고 있다. 향료무역의은 동서교류의 연질고리인 동시에 서세동점(西勢東漸)의 원인을 제공했으며 향료수입이 세입의 1/20에서 1/10까지 차지하는 형국에 이르렀다. 이를 통해서 송대 국가 재정상에서 얼마나 영향이 컸는지 알 수 있다.

• 복식문화연구
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• 제2권1호
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• pp.1-27
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• 1994

This result of the study on the costume of Osman Turkey are as following. 1. Empire of Osman Turkey(129∼1922) exerted an almost limites impact and influence on Europe and Asia during their regime 600 years. The distant ancestors of the Osman Turks were nomadic peoples, who wandered I tribal groups through the Central Asia. Therefore their costumes were based on nomadic culture. They had trade with West and East were influenced by Hellenism and Byzantium and grew, to a strong Islamic political power polygamy with which influence their clothing along with other culture. 2. Topkapi Saray was one of he principal residences of the Osman sultans and his court. Late 17 century, Topkapi Saray found many of kaftans of Osman Turks Empires of 14∼17 centuries. Otherwise we studied by the minatures of 16∼17 centuries, Since the Topkapi Saray became a museum in 1924, a program of careful restoration has made it possible to some pars of it to the public, after centuries neglection. 3. Osman Turkey Empire had important role in between West and East(silk-road). Economic, commercial, social and political factor of Turkey led to a development in the art of weaving (kema, kadife, catman, seraser, zerbeft, hatayi, kntnu, atlas)parallel to the rise and development of the Osman Turkey Empire itself, one which raised the art to a level attained nowwhere else in the world. Fabrics woven from gold and silver thread occupied a very important place in the court life of the time. This was due as much to their symbolic as to their material value, reflecting as they did the power, glory and magnificence of the Empire. 4. In order to study Eastern or Western history of costume one must study Turkey history of costume in advance. Also there is a great need of comparison to study of western, central and north eastern area history of costume.

• Acta Via Serica
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• 제6권2호
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• pp.37-60
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• 2021

Before the tenth century, the dress of elite women in and around China often reflected "Han" Chinese fashions and preferences. In funerary paintings and relief sculptures of Sogdian and Xianbei couples from the sixth century, for example, women wear "Han" Chinese-style clothing. Even in the Tang dynasty (ca. 618-907), when exchange with Central Asia via overland Silk Road trade impacted the styles and patterning of elite dress and men incorporated clear Central Asian attributes into their dress, elite women in the Tang sphere wore recognizably Tang fashions. Chinese-style dress in these centuries clearly conveyed cultural import and, likely, political power, especially after the founding of the Tang dynasty. However, the straightforward borrowing of Tang women's dress shifted in the Khitan Liao dynasty (ca. 907-1125). The Liao, in contrast to other states that shared a border with China in previous centuries, saw themselves as political equals to the Song dynasty (ca. 960-1278) court in the south. The Liao court was interested in Song customs and culture and incorporated artistic motifs and practices from the Song court. However, the Liao courtly idiom was never fully subsumed into the greater world of the Song - rather, the Liao used facets of Song courtly culture for their own ends. One way this is manifested is through the dual administrative system, a bureaucratic organization that, among other things, regulated and distinguished between who was permitted to wear Khitan and non-Khitan dress. In this paper, I will examine the material evidence from funerary contexts for how the dress of elite Liao women both engaged with the dress of the Song, while also maintaining a certain amount of cultural autonomy. Through their dress, elite Liao women signaled clear messages about their status, identity, and difference to their Song counterparts.

• 복식
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• 제35권
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• pp.45-66
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• 1997

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.

• 공연문화연구
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• 제39호
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• pp.637-667
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• 2019

8~9세기 무렵 인도네시아는 세계3대 불교 유적에 드는 보로부두르 대탑을 건설하였지만 오늘날 인도네시아에서 불교신자를 만날 수가 없고, 인구 대부분이 무슬림이다. 그리하여 본고에서는 이슬람적 사회·문화 풍토 속에 불교적 산물인 보로부두르의 공연 예술이 어떻게 연결되고 있는지를 현지 조사를 통하여 조명해 보았다. 불교왕국이었던 샤일렌드라왕조는 사라졌지만 그들의 문화는 이어지는 힌두왕조와 융합적 관계를 유지하며 존속하였다. 16~17세기 인도네시아에 이슬람이 유입될 당시 합리적 온건주의인 수니파 독경사(讀經師)들은 기존의 신행을 문화로 포용하였다. 그 결과 오늘날까지도 인도네시아 사람들은 아랍풍 이름 보다 "쉬리, 라마, 시타, 아르주나"와 같은 인도풍 이름과 함께 라마야나 주인공들이 행하는 인도문화적 덕목을 추구하고 있다. 오늘날 인도네시아의 불교 인구는 1%에도 미치지 못하지만 보로부두르에 새겨진 주악도는 인도네시아의 공연 문화 곳곳에서 발견되었다. 보로부두르 부조에 보이는 궁중악사의 춤사위와 똑 같은 동작으로 춤 추는 악인들이 있었고, 각종의 공연예술에서도 부로부두르의 주악도를 연상시키는 모습들이 발견되었다. 그런가하면 한국의 사찰에서 발견되는 긴나라나 가루다, 간다르바 등, 힌두 신화속 뮤즈들이 같으면서도 다른 모습으로 존재하고 있었다. 인도네시아의 가믈란은 종교의식 및 궁중·마을 행사에서 시작되어 현재는 그림자극, 인형극, 타악 앙상블 등 여러 장르로 분파되었다. 이는 대부분의 전통 공연이 무속을 비롯한 기타 종교의식에서 출발하여 공연예술화 되는 것과 궤를 같이한다. 한국 사찰에서의 법기 타주와 이에 수반되는 의례악가무는 조선시대 억불을 맞아 걸립패와 유랑악사들의 탁발의 도구가 되었고, 오늘날 풍물놀이, 사물놀이 및 기타 공연예술의 자양분이 되었다. 이러한 점에서 인도네시아의 타악합주 가믈란과 한국불교의 법구 타주는 다양한 예술장르를 파생 시키는 문화 예술의 원류로써 중요한 키워드이다.

• 예술인문사회 융합 멀티미디어 논문지
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• 제9권2호
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• pp.481-491
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• 2019

고대에서 중세에 이르기까지 동서양의 문화가 교차하던 실크로드의 중심에 위치한 우즈베키스탄 사마르칸트에서 아프라시압 궁전지벽화가 1960년대 발굴되어 학계의 주목을 받아왔다. 특히, 7C 소그디아나 왕국 바르후만 왕의 즉위식이 그려진 서벽에서 고대 한국인으로 추정되는'조우관'을 쓴 두 인물이 발견되어 당시 국제적 정세와 문화적 특징을 살필 수 있는 중요한 사료로 활용되고 있다. 현재 아프라시압 역사박물관에 소장되어 있는 이 벽화는 사방으로 각기 다른 내용의 그림이 그려져 있고, 그것만이 가진 문화적 특성과 요소들이 내재되어 있음에도 불구하고 이를 활용한 스토리텔링과 문화콘텐츠의 개발은 없었다. 따라서 본 연구의 목적은 고대 한국인이 그려진 아프라시압 궁전지 벽화의 서벽 그림을 기반으로 한 문화콘텐츠와 캐릭터 개발과 활용방안을 모색하고자 한다. 이를 위하여 직접 현장을 방문하여 조사한 자료는 물론이며 기타 관련 학술자료들을 수집하였다.

• 헤리티지:역사와 과학
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• 제51권3호
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• pp.32-53
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• 2018

쇼소인[정창원(正倉院)]은 일본 나라시내(내량시내(奈良市內)) 토다이지[동대사(東大寺)]의 후원 쪽에 위치하는 목조(木造)로 지어진 단독의 창고 건물을 가리킨다. 이곳에는 나라시대로부터 소장되기 시작한 약 9,000여점에 이르는 다종다양한 미술품과 문서를 소장하고 있는 것으로 유명하다. 정창원 유물이 주목받는 까닭은 8세기 일본의 공예, 조각, 회화는 물론 사산조 페르시아, 인도와 같이 실크로드를 통해 건너온 물품과 당시 통일신라와 중국 당대에서 유입된 유물을 동시에 살펴볼 수 있기 때문이다. 여기에 수백여점에 달하는 생생한 문서가 잘 보존되어 있어 당시의 사회 제반 상황은 물론이고 문화 외교의 교류사 및 불교 교리의 변천까지 아우르는 역사적 고증 자료로 중요한 역할을 하고 있다. 우리가 주목하는 것은 이러한 정창원 소장 유물이 과연 어느 시기에 어느 곳에서 제작된 것인가에 관한 문제로서 이들 중에는 중국에서 만들어져 수입되거나 선물로 받은 것도 있겠지만 백제나 통일신라에서 만들어져 정창원에 소장된 유물이 다수 전해지고 있어 그 중요성이 더욱 부각되고 있다. 이처럼 중요성을 지닌 정창원 관련 연구가 그동안 어떻게 진행되어 왔는지 정리된 적이 없었다. 따라서 본고에서는 국내 외 학자를 중심으로 이루어진 정창원 금속공예의 연구 현황을 살펴보고 최근 한반도에서 출토되고 있는 금속공예품을 통해 이들이 지닌 정창원 유물과의 연관성을 검토해 보았다. 나아가 정창원 조사와 연구에 대해 앞으로 어떤 방향으로 진행되는 것이 바람직한지 정창원 조사와 연구의 과제를 다음과 같이 정리한 내용이다. 1, 정창원 소장 유물 조사를 위한 국가 차원의 지원 및 창구의 일원화 2. 정창원 소장 유물의 체계적인 목록화 작업 및 데이터베이스화 3. 일본과 공동 조사 연구의의 적극적인 시행 및 정창원 관련 연구자의 초청 4. 정창원 유물과 국내 보물급 유물의 교류 전시 추진 5. 정창원 관련 서적의 출판과 지원을 통한 연구 저변의 확대.