• 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.

• Acta Via Serica
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• v.8 no.1
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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.

• Fashion & Textile Research Journal
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• v.9 no.1
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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.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.64-77
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• 2013

In China, archaeological research on Xiongnu started later than in foreign countries. In the late $19^{th}$ century, several Russian archaeologists started to study Xiongnu's archaeological culture. However, since the late $20^{th}$ century, archaeological research of the Xiongnu in China quickly gained speed. The Xiongnu culture has been reported in Mongolia, northern steppe of China and eastern part of Eurasian steppe. Mainly, Xiongnu sites, dated from the late 2nd century B.C. to the 1st century A.D., are reported on the west side of Baikal Lake(Zabaikal), Mongolia and the Inner Mongolia of China. Based on the historical records and the archaeological remains, the North Xiongnu culture is defined to be the remains of Zabaikal, and the South Xiongnu culture the archaeological remains of Northern China. The expelled North Xiongnu, while fleeing to the western part of Eurasia, left traces of their own archaeological remains in southern Kazakhstan, Xinjiang of China, Altai, and finally appeared in the Europe as Huns. In order to adapt to the environment of northern steppe of China, Xiongnu used a nomadic economic system, giving uniqueness to its iron works. The most characteristic iron works of the Xiongnu is the highly-sophisticated iron weapons. Compared with the iron works of agricultural economic society, Xiongnu iron-works are short of production tools and various vessels. The "Nomadic type" iron works found in Xiongnu area date back to the Warring Country period or slightly later. Further research need to be conducted on "Nomadic type" Xiongnu iron works.

• Journal of the Korean Society of Costume
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• v.58 no.6
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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.

• Journal of the Korean association of regional geographers
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• v.3 no.1
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• pp.155-163
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• 1997

The Mongolian ger is ideally suited to the mongol's steppe climate and the nomadic way of life. This is a multipurpose dwelling which can be easily collapsed, transported to another place and put up again fully preserving its original shape. The pastoral nomadic ger has two key components: the wooden framework and the felt cover. The wooden parts are the walls(khana), the long poles(un), the smoke escape(toono) and its supports(bagana). One wall consists of 10-15 branches of willow tree. each about 1.5m high bound together in a way making it possible to fold it for transportation and then unfold it like an accordion. The unfolded walls are connected to form a circle. The long poles(un) are fastened to the upper part of the walls, with the other end passed through the toono hole, the only sky window and smoke escape through it from the ger. The toono is propped up by two posts, called bagana. All this forms the wooden framework of the ger, which is covered with felt. When the herders fire up their metal stoves, the temperature inside the ger becomes quite comfortable. Because the nomads live in a climate where there is only one growing season in a year, they do not make long migrations to new pastures. Livestock subsist on standing vegetation for eight months of the year. The basic pasture migration strategy is to leave enough standing vegetation at the end of the growing season in September to suffice until the new growth appears the following May. Mongolians use a type of compressed tea leaf that is called "brick" tea in English because it is rock solid and roughly the shape of a brick. And they consume a larger percent(88%) of fat from animal products such as meat, milk, butter, and cheese than any other people in the world. Milk products made from the milk of sheep, yak, and goats are major foods in the nomad's diet, but they are produced mainly in summer when all the animals are lactating. Mongolians made their special nomadic food culture on the steppe.

• Journal of Fashion Business
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• v.24 no.5
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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.

• Journal of the Korean Society of Costume
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• v.65 no.4
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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.

• Journal of Fashion Business
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• v.2 no.2
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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.