• Journal of the Korean Home Economics Association
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• v.20 no.2
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• pp.37-43
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• 1982

The white color is the main characteristics of the traditional color of clothes. From the historical point of view, the Korean's pattern of wearing Baik-Eui can be found its origin from many people of North-East Asia in ancient time. The beginning of wearing Baik-Eui in Korea was at the age of tribes, and it was delivered to middle age, later on, to modern age near the end of Yi Dynasty. The other charactics of the traditional colors. are summarized as follows: 1. Prefered light color to dark color and light blue was noble and worthy. 2. The kinds of color were not various. 3. Color was native and pure not including grey or other colors. From the economical point of vie, the first thing is that Baik Eui was primitive in ti's color Though some say that wearing Baik-Eui is considered as a kind of worship of the Sun, yet we can also find that the every reason of it is that we had little dyes at that time. Especially the reddish dyeing materials were in short supply, so that had been imported mainly from Japan.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.63-84
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• 2022

One of the ancient nomadic cultures, the Saka is generally regarded as an important intermediary in the ancient Eurasian cultural network. This study is the reinterpretation of the excavations conducted on the Katartobe tombs site of the Saka culture through a joint three-year-long project by the National Research Institute of Cultural Heritage in Korea in collaboration with the Cultural Heritage Research Institute under the National Museum of the Republic of Kazakhstan. The main discussion of the study deals with the burial rituals performed by the community who built the Katartobe tombs by the comparison and review of the various researches on the Saka tombs based on the archaeological artifacts discovered during excavation. The research has shown that the Saka tribes maintained the tradition of burying domesticated animals, such as horses, with its owner and performed burial rituals which often involved the use of fire. The archaeological remains of the Saka also show that the burial rituals like these formed the key aspect of their cultural heritage. The archaeological discoveries also show that the Saka mourners built wooden cists under a single mound when they needed to bury multiple corpses at once and sustained the practice of excarnation when burying the bodies of those who died in the different periods of time. Some burials included a tomb passage which was used not only for carrying the deceased but also for a separate burial ritual. The main discussion of this study also deals with the remnants of bones of animals buried with their deceased owners in the same kurgan, as well as the animal species and their locations in the kurgan, resulting in the discovery of diverse meanings connected with them. The pottery buried in the tombs were largely ceremonial offering vessels, just like others excavated at nearby Saka tombs and located around the buried corpse's head facing toward the west. The excavation of the tombs also shows that two vessels were arranged at the corners of the coffin where the feet are located, revealing the characteristic features of the burial practices maintained by the tribe who built the Katartobe tombs. It may be too early to come to a definite conclusion on the burial practices of the Saka due to the relative lack of research on the kurgans across Central Asia. Excavations so far show that the kurgans clustered in a single archaeological site tend to display differences as well as uniformities. In conclusion, the ancient Central Asian tombs need more detailed surveys and researches to be able to make strides in an effort to restore the cultural heritage of the ancient Central Asian tribes who played a crucial role in the Eurasian cultural landscape.

• Fashion & Textile Research Journal
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• v.20 no.1
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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.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.2
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• pp.297-316
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• 1995

The system and symbolizing ideologic meanings of the metallic Kwon in period of the Three-Kingdoms were comsidered by comparing to their cultural path and structal styles throughout the tree and the deer worship ideology. The results of this study are as followings; Firstly, the beginning of the Korean, mostly northern style was originated from metal tools of the Bronze age in BC 6c-7c. The maJ;lufature of the metallic adornment brought the pr-evailing use of metallic objects of craftwork after the supply of ironmongery. Secondly, the cultmal characteristics of the metallic Kwan in the kor-ean Peninsula were influenced f-rom the northern chinese tribes, Momg Go, Hung No, and Sien-pi who were transmitted from the scythian of the southern Russia having a prefenence for gold. Thir-dly, the metallic Kwon of the Kogmgo and the Baekje era was ideologically based on the ar-t of Buddism of the pattern of blazing flame, the carved pattern of flower- of herb, and the honey. sukle which were tramsmitted to china thr-ough the silk noad. Fourthly, the metallic K wam of the silla era consisted of the tree and the antler types in closely nelated to the tree and the deer ideology which were based on the background of shamanism. It should be raid that the metallic Kwan of the silla esa are connected to the type of nor-them ancient K wan. Lasthy, the metallic Kwan-Mo of the Kaja esa was mosthy original type of flower of herb even if kome of these ar-e similiar to the tree adornment type of silla. This type of flower of herb in based on the scythian type with a statue im silveer founded at Alexandnopol in the southern russia.

• Journal of the Korean Society of Food Culture
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• v.34 no.2
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• pp.93-111
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• 2019

This paper provides a comprehensive description of previous studies of making and developing kimchi in terms of the origins of kimchi and the changes in the history of kimchi, along with newly discovered data, including the collection of works in Joseon Dynasty as well as old cookbooks discovered after the year 2000, and latest research in related disciplines, e.g., ancient history studies, archeology, and linguistics. Because new ruins and relics, such as the Liao-ho Civilization in the Northeast Asia continent, which was closely related to Dongyi tribes, have been discovered and studied, it is important to determine how to reflect the outcome of archeological studies on the origin of preserved vegetables. In addition, to describe the background and changes in the independent formation of making Korean kimchi chronologically, they were divided into the following: development from jjanji to singunji; formation of the basis for seokbakji dressed with fermented fish sauce; settlement of seokbakji culture for dressing seokbakji with fermented fish sauce and spices, including chili varieties when they were introduced; and establishment of the method for making whole cabbage kimchi, which is currently typical kimchi made by adding the seokbakji as the stuffing of the cabbage kimchi, to examine the time and specific details of the change.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1559-1570
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• 2008

Since brought into from the economic life of nomads, the felt, the target of this study, has been developed in various ways of giving the functions of class symbol as well of protection against the cold and of ornamentation. Therefore, the study on how the felt was developed in Joseon Dynasty and how different culture from nomadic tribes it formed is significant in comprehensively under,;landing the economic, social and natural environmental factors in the Dynasty. The felt named "Jeon" has been constantly appearing in Korea from the ancient time, but it was not produced actively in the early part of Joseon Dynasty. That's why it was not a climatic condition suitable for sheep-breeding, and the government managed sheep-breeding but it aimed primarily at not producing clothing materials but having memorial ceremonies. Since sheep-breeding was not widely spreaded, production of Jeon was limited and some part was imported from China, so it was one of rare valuable goods. Therefore, the felt of wools named "Yangmojeon", the colored felt named "Chaejeon", etc. were used as liking items in the high-class society, and their materials and components were a little different depending on the official post. On the other hand, people in the low-class society used to wear the felt hats made of cattle feathers and miscellaneous fur, named "Jeonlip" and "Beougeoji". Since the middle of Joseon Dynasty, use of the felt was divided into two groups according to the users and the function, along with successful spreading of cotton and development of market economy. The function of Jeon to protect against the cold was replaced by cotton, but the felt hats of Beongeoji, Jeonlip, etc. were worn by common people continuously. As seen above, it is considered that the felt culture in Joseon Dynasty was formed very differently from the nomadic culture, because of its historical and sociocultural characteristics, and it had unique developing progress among all available fabrics.

• Journal of architectural history
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• v.16 no.3
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• pp.7-20
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• 2007

A bridge is a space used as a passage. This space should be functional, solid, and beautiful. Since the beginning of human life, bridge architecture has given importance to function as a connection from one place to another. Stepping stones in the stream were the connections between divided spaces in the agricultural life, the bridge on the entrances of a town was the place for separation, expectation, and communication for people gathering around the community. Southern Chinese provinces such as Zhejiang, Hunan, Yunnan, and Guizhon is famous for it's spectacular scenary, and tribes like the 'Miao' and 'Dong' live in a cooperate community. The 'Dong' tribe is one of the 'Yue' genealogy where the people have settled down in this place in the days of 'Qin Shi Huang(Qin dynasty)'. As the population of the 'Dong' tribe growed, they used a bridge to connect town to town. The scale became larger with additional design, giving splendid achievement to bridge architecture. The 'Fungyu bridge' in Tongdao and 'Chungyang bridge' in Sanjiang are some fine examples. The Fungyu bridge could be defined as a bridge which blocks wind and rain, this has the same function as the lounge bridge in Taishun located in southern Zhejiang province. In Taishun, 5 minority races such as the 'Dong' and 'Miao' people have been living together as a clan society for centuries on mountains as high as 1000m following their own tradition. The 'Xiliu river' flowing thorough has a variety of bridges remaining in it's original form, and it is recently known as a museum of ancient bridges. The formation of the bridges in Tongdao and Taishun shows that it is different with the arch and straight bridges remaining in Korea. In this study, it is readjusting the base data, showing plan characteristics and describing the construction of the wooden structure above the bridge post.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.229-244
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• 2010

This study aims to discuss the type and characteristics of primitivism in the modern fashion of the $21^{st}$ century and, as a research method, the concept of primitivism as well as the transition of the patterns of primitivism expressed in modern art have been considered and reviewed through a variety of references. In particular, an empirical analysis of the works that have been created from 2000 to 2009 has been performed using domestic and overseas fashion and collection magazines. The characteristics of primitivism in modern fashion possess the following types of expression: First, Sensuality can be cited as one of the characteristics, either by using direct or indirect exposure of the human body, a silhouette which fits tightly to the body, or creating the effect of sensual beauty using animal fur or bird feathers. Second, Incantation: Masks symbolizing primitive incantation are used to cover the human face or primitive incantation is incorporated as a theme of hair accessories or fashion trinkets, etc. In addition, such decorations as tattoos and the body colorations of ancient tribes are reproduced in modern fashion by means of body painting, printing or other accessories, emphasizing the image of occult primitiveness. Third, Naturalness can be cited as one of the characteristics. Naturalness is emphasized in modern fashion not through artificial decorations and processing, but rather through different patterns of exposure by which natural purity can be felt or through the use of non-artificial materials which recalls primitive civilization. Forth, Playfulness is expressed in the form of graffiti or abstract letters and paintings, and the character of the play is often expressed by the use of grotesque images based on various distortions and exaggerations of the human body, the utilization of symbols of primitive incantation and body and/or facial painting. Fifth, Lastly 'folkishness is emphasized. Folk-like objects, facial decorations, exposure of the body and intense color contrasts typically represent the folkish characteristics.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.2 no.2
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• pp.73-99
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• 2023

The dragon is a special imaginary figure created by the people of East Asia. Its archetypes appeared primarily as totemic symbols of different tribes and groups in the region. The formation of early dynasties probably generated the molding of the dragon symbol. Dragon symbols carried deep imprints of nature. They concealed alternative messages of how ancient people at different locations dealt with or interacted with nature. Under pressure to standardize in the medieval and late imperial periods, the popular dragon had to transform physically and ideologically. It became imposed, unified, and framed, conveying ideas of caste classification and power, and losing itsecological implications. The dragon transitioned from a semi-ecological domain into a total social caste system. However, many people considered the "standardized" dragon as the symbol of the oppressor. Because of continuous orthopraxy and calls for imperial reverence, especially under orthopractic agenda and the surveillance of local elites, the popularized dragon was imbued within local artworks or hidden under the sanctity of Buddhas or popular gods in order to survive. Through disguise, the popular dragon partially maintained its ecological narratives. When the imperial dynasties ended in East Asia (1910 in Korea, 1911 in China, 1945 in Vietnam), the dragon was dramatically decentralized. However, trends of re-standardization and re-centralization have emerged recently in China, as the country rises in the global arena. In this newly-emerging "re-orthopraxy", the dragon has been superimposed with a more externally political discourse ("soft power" in international relations) rather than the old-style standardization for internal centralization in the late imperial period. In the contemporary world, science and technology have advanced humanity's ability to improve the world; however, it seems that people have abused science and technology to control nature, consequently damaging the environment (pollution, global warming, etc.). The dragon symbol needs to be re-defined, "re-molded", re-evaluated and reinterpreted accordingly, especially under the newly-emerging lens-the New Confucian "anthropocosmic" view.

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.65-81
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• 2006

This is the study on the costumes of Parthian Period in Persia which had powerful influences on the Occidental and Western cultures in B.C 3 to A.D 3. With different types of Parthian costumes in each period, this study shows what types of costumes people used to wear and how they were co-related with its surrounding cultures. The ancient costumes of Korea had something to do with the elements of the Northern part at that time. To make an intensive study of Korean ancient costumes, these Parthian costumes which are known to those of northern nomadic tribes are studied to provide basis elements for study between the Korean styles and the exotic styles. The basic forms of the Parthian styles were jackets and trousers. They consisted of three kinds of jackets such as those to be adjusted In the front, tunics and coats. As for trousers, they were divided into three types such as those with horizontal pleats, round-side pleats and vertical pleats. 1) The jacket to be adjusted in the front was long enough to reach the hip and fit the body reasonably tight, and its neckline was shaped into V-type. It was a very popular style among the people of high and low classes. 2) The tunics had narrow sleeves. It was a one-piece pattern which reached the knees. It was settled with a belt on the waist. Its neckline was shaped into the round but its slit was not cleat. Its styles were into tight-fit and drapery ones. 3) The coats were almost similar to the jacket to be adjusted in the front with short length, but they were entirely long and open. They appeared later than the short jackets and the people of high class seemed to wear these styles. 4) 1'rousers with horizontal pleats - They had almost horizontal pleats on them, and they were a little tight. They seemed to be the early style in the Parthian period. 5) Trousers with round side-pleats - With saggy side pleats on them, these trousers had round pleats like a drapery style. This pattern was also considered Hellenistic elements shown in the Parthian costumes. The trousers consisted of the underdrawers and the leggings (called salwar or shalwar), which is thought to emphasize its functionality for its wearer to mount a horse with more ease. 6) Trousers with vertical pleats - With straight vertical pleats on them, these trousers had some volumes and bias decorations in the middle of them. These styles were thought to be worn by the ruling class of the Parthia from early to late period.