• Acta Via Serica
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• v.6 no.2
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• pp.21-36
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• 2021

This paper discusses textile motifs depicted in the hunting panels inside the late Sasanian larger grotto at Taq-i Bustan. Scholars of Iranian art have referred to these rock reliefs in order to trace the origin of Sasanian textile decorations and their exportation in the whole medieval Eurasian continent. This however does not seem to be the case. In fact, the textile motifs reproduced at Taq-i Bustan could be a good term of comparison only for late Sasanian textile production. Moreover, nothing like this has appeared in previous Sasanian rock reliefs. For this reason, the present paper argues that some of those motifs could actually be importations from Central Asia where reproductions of textiles embellished with those motifs were very popular. Islamic written sources on Taq-i Bustan rock reliefs could be very useful to support some ideas expressed in this paper.

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

• Acta Via Serica
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• v.1 no.1
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• pp.25-32
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• 2016

Iran's relations with the Far East date back to the Parthian Period. Despite this, the collapse of the Sasanian Empire and the escape of Yazdgird's survivors is currently being re-evaluated as the beginning of a new chapter in bilateral ties, especially between Iran and China and Iran and Silla. In a chapter of $Ku{\check{s}}-n{\bar{a}}meh$ (KN), the text describes Silla (an individual's name) as the father of the people of Silla (toponym). In this paper, I have tried to give a reasonable interpretation for this narration by KN. Also I have frequently referred to other texts to present a comparative study that supports my claim.

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

• Acta Via Serica
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• v.7 no.2
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• pp.39-64
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• 2022

Ancient Iranians highly esteemed the horse and horse tacks, one of which is the jul (saddlecloth). It is a felt, sheepskin, or woven pad placed between the horse's back and saddle. The aim of this paper is to identify and categorize jul designs in the Sāsānian period. The research questions are about the variety of jul designs and how to categorize them. This is fundamental research and the method is descriptive and analytical. Neither a jul nor a saddle-cover remains from the Sāsānian period, therefore the statistical population includes all available items, such as metal and stone items and parget and plasterworks, in which juls are recognizable. Due to the scarcity of such items, all the available samples were studied; so the sampling method is a total enumeration. This is documentary research by means of note-taking and using reliable websites; the data has been analyzed qualitatively. The results show that jul designs were not diverse in the Sāsānian period. All-over designs were dominant. In terms of pattern types, these designs are classified into five groups, each of which has its own formal and aesthetic characteristics: all-over design with a four-petal flower pattern, allover design with a checkered pattern, all-over design with a spotted pattern, allover design with a tiger stripe pattern, and all-over design with a zigzag pattern.

• Korean Journal of Heritage: History & Science
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• v.41 no.1
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• pp.5-19
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• 2008

Thirty six samples of Western asia glass vessel shards which were excavated from South Mound of Hwangnamdaechong were each measured for thickness, pore size and specific gravity and analyzed for ten major compositions and thirteen trace elements. The glass samples with colorless, greenish blue and dark purple blue were well classified by principal component analysis(PCA). All glass shards of Hwangnamdaechong belonged to Soda glass system ($Na_2O-CaO-SiO_2$) which have the range of 14~17% $Na_2O$ and 5~6% CaO. The corelation coefficients of (MgO, $K_2O$) and (MnO, CuO) showed above 0.90. The concentrations of thirteen trace elements apparently differentiated from colorless, greenish blue and dark blue glasses. We found that thirteen trace elements were very important indices for studying raw material of glass and the origin of glass making. Colorless glass : The specific gravity is $1.50{\pm}0.04$. Circle or oval circle pores are observed with regular direction in internal zone and the longest one is about 0.35 mm. The raw material of sodium must be the plant ash because sodium glasses contain HCLA(High CaO, Low $Al_2O_3$) and HMK(high MgO, high $K_2O$) and suggested to Sasanian glass. The total amount of coloring agent of colorless glass is below 1 % which is too small to attribute to the color. Greenish blue glass : The specific gravity is $1.58{\pm}0.04$. The fine pores which are 0.1~0.2mm are dispersed in internal zone. Sodium glasses are distributed to HCLA and HMK. Therefore the greenish blue glass also have used plant ash for raw material of sodium with the same as colorless glass. It was also suggested to the glass of Sasanian. The total amount of coloring agent of greenish blue glass is about 4% under the influence of working MnO, $Fe_2O_3$ and CuO. Dark purple blue glass : The specific gravity is $1.48{\pm}0.19$. There are rarely pores in internal zone. They are distributed to HCLA and LMK(Low MgO, Low $K_2O$) and suggested to Roman glass. The raw material of sodium is estimated to natron. The total amount of coloring agents of greenish blue is about 3% by $Fe_2O_3$ and CuO. These studies for western asia glass shards from South Mound of Hwangnamdaechong could be used in the future as the standard data which could be compared with those of other several graves in Korea and dispersed in foreign areas.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.243-270
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• 2007

Linked pearls pattern expressed on textiles have no limited scale or shape when manufacturing, so they are free in expression. And from the design, material, and color we can analogize the social culture of that age. Oriental linked pearls pattern was started from the Sasanian Persia and introduced through the Silk Road, so it is closely connected with the East and the West culture. This study will consider from the 5th century to the 10th century; the mural costume of the West Central Asia, the ancient textiles excavated from the Sinjiang and Qinghai area of China, and the linked pearls pattern which are collected at Shosoin, Japan. And from this study, will concentrate on clarifying the linked pearls pattern's condition of the cultural exchange between the East and the West and it's structural variation process. The design of linked pearls pattern delivered to the East through the Silk Road is differed by area. For example, in the Western Pamir Plateau, where the ancient Sogdians mainly lived, the excavated linked pearls pattern's subject were deer or cassowary variated from the West Asian motif. But the ones excavated from Kucha Xingang had Chinese motifs added so they showed Chinese characters or Buddhist Bodhisattva image instead of Helios. Like this, the appearance of new patterns, which were accompanied by structural variations, gradually deviated from the standardized pattern of the Sasanian Persia. And this structural variation process has relations with the construction and arrangement method of various patterns of the after ages. The foliated floral Spray, which is placed at the lozenge space of linked pearls' space, had developed into ogival - shaped pattern (Neunghwamun). And the prevalence of geometrical structure pattern after the 10th century and the unfolding method of Tapjamun which is arranging unit pattern in order, are similar to the linked pearl pattern. In brief, linked pearls pattern accompanied by technical improvement let us understand the polished artistic code from its expression, and has importance in showing universal pattern beyond region and culture.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.32-53
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• 2018

The $Sh{\bar{o}}s{\bar{o}}-in$(正倉院) is the detached storage building for Japanese treasures that belongs to $T{\bar{o}}dai-ji$ in Nara, Japan. The reason why $Sh{\bar{o}}s{\bar{o}}-in$ collections are drawing attention is that Japanese artifacts, sculptures, paintings, and other objects that were introduced through the Silk Road, such as Sasanian Persia and India, and those that were introduced from the Unified Silla and Tang China. In addition, hundreds of well-preserved documents of $Sh{\bar{o}}s{\bar{o}}-in$ collections play an important role as a historical reference material covering not only the social situation of the time but also the history of exchange of cultural diplomacy and the change of Buddhist doctrine. In particular, some of collections of $Sh{\bar{o}}s{\bar{o}}-in$ were made in China and may have been imported or received as gifts, but many of the artifacts made in Baekje and Unified Silla are becoming more and more important. This paper examined the research status of $Sh{\bar{o}}s{\bar{o}}-in$ metal crafts of Korean and foreign scholars, and examined the association with the relics of $Sh{\bar{o}}s{\bar{o}}-in$ through metal crafts excavated from the Korean Peninsula. The research on the future direction of $Sh{\bar{o}}s{\bar{o}}-in$ collections should be summarized as follows. 1. Systematization of state-level support and single window for the research of $Sh{\bar{o}}s{\bar{o}}-in$ collections 2. Accurate listing and database of $Sh{\bar{o}}s{\bar{o}}-in$ collections 3. The positive implementation of joint research with Japan and invitation of researchers related to $Sh{\bar{o}}s{\bar{o}}-in$ collections 4. The exchange exhibition between the Korean National Treasures and the $Sh{\bar{o}}s{\bar{o}}-in$ collections 5. Expansion of the research base through the publication and support of books related to $Sh{\bar{o}}s{\bar{o}}-in$ collections.