• 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.

• 복식
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• 제58권6호
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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.

• 복식
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• 제55권4호
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• pp.138-150
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• 2005

Phrygia headgear has an important meaning from the perspectives of costume history and cultural exchanges in ancient times. This study is to investigate the prototype of Phrygia headgear through analysis of its manufacturing methods and styles on the basis of prior studies on ancient sculptures and literatures conducted by European researchers and to examine its history and meanings. In these ways, this study will be helpful in understanding the importance of Phrygia headgear in cultural exchanges between the East and the West. Results of this study can be summarized as follows: Phrygia headgear was orn by eastern tribes, so it was a symbol of those from the east in ancient times. Phrygia headgear is frequently found in Greek artistic works of 5th to 4th century BC that depicted eastern tribes. Also, this headgear can be observed in artistic works for Mithras, Attis, or other gods. Since Phrygia headgear's shape is similar to that of Homer's helm, many researchers believe that it might be originated from Homer's helm. This headgear made of oxen scrotum(stierbeutel) or its surrounding skin has a long end at the top. This long end is round and drooping toward the front side. From such unique shape, we top. This long end is round and drooping toward the front side. From such unique shape, we top. This long end is round and drooping toward the front side. From such unique shape, we can draw a conclusion that Phrygia headgear was made of oxen scrotum and its surrounding skin. Dependingy on drooping patterns, there are various shapes, such as the round, tightly swollen one worn by Mithras, the tongue-shaped one found in Basilika S. Apolinare Nuovo's mosaic depicting three wise men, the balloon-shaped one frequently found in Greek vases depicting Scythian, and the one drooping to the side depicted in Alexandersarkophag. Further, some Phrygia headgear has covers for neck and ears. For example, Phrygia headgear worn by Persian Satrap tribe has such covers attached to the head part. Meanwhile, Phrygia headgear worn by Amazone tribe does not show such separate covers, Rather, one piece of oxen skin was tanned and finished to make such covers. Wearing Phrygia headgear can be interpreted in several ways. Use of animal's skin for wearing things is a unique aspect in ancient societies because they believed that wearing animal skin would give them power of the animal. Further, Phrygia headgear made of oxen scrotum was a symbol of reproductive power to women.

• 복식
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• 제17권
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• pp.29-43
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• 1991

Yu was a type of dress worn on the upper part of the body which was commonly used in Northeast Asia. It was originally used by the Northern race for the need of courtesy as well as protecting cold. It was believed that Yu in Northeast Asia, which was called Kaftan, was came from Scythai lived in North Eurasian land around the Black sea. Scythians were the first-formed horse-riding race in the world and their civilization influenced those of far Asiatic sector along the steppe route. As their power expanded, their costume culture transmitted to the East(China, Korea, Japan). The upper garment, Yu, was characterized by the left-sided collars, narrow sleeves belted at the waist to the length of the hip line and the tight trouser on the lower part, which we commonly called HoBok(胡服) style. 1. Yu in Northeast Asia was originated from the Eurasians, Scythian Culture. Being exchanged, active style costumes were widely used among Chinese, Koreans and Japanese throughout centuries' including $4{\sim}8$ century. 2. Chinese Yu had a style of wide-sleeves and right-sided collars. The traditional costumes of Han race are consisted of wide-sleeved Yu on the upper and long-skirt on the lower part of the body. Before the adoptation of HoBok during reign of King Jo Mooryung in 307. B.C., HoBok style had already found in the remains since the Sang period. There were various names among Yu during the Han period. Seup, Sean Eui, Kye, Kyu were one of the styles and several names were meant for collar and sleeves. During $4{\sim}8$ centuries, clothes of right-sided collar were found, superior to that of left-sided and narrow sleeves were widely used both the royal and the humble. Various styles of decoration were seen in Yu around neck, back and sleeves comparing other nations. 3. Yu, in Korea, was typical style of Northern-bound HoBok. Both men and women had similarity in Yu style, narrow sleeves, left-sided collar, belted at the waist and to the length of hip line. Influenced by Han race, in the $4th{\sim}8th$ centuries, dual system of collar was found. But we cannot see major change in Yu and finally was connected to the present. 4. The original design of the Japanese costumes was not similar to that of Northern nomadic hunting race, which was suitable for horse-riding activities. Owing to the climates along the island, we could see various conditions ranging from the cold and to the warm. Influenced by the climates, pulling over the neck(Pancho style) were major design in Japan. As Korea was advanced earlier than Japan, Korean landed Japanese territory showing clothes. So primitive costumes had changes in style. During the $4th{\sim}8th$ period. The Korean mode was found in Haniwa (which was built to make sacrifices to the dead King) and costumes in Jeong Chang Won. Among the costumes in Jeong Chang Won, we put 3 or more costumes to the category of Yu characterizing elements of Korea and Tang period. From the $4th{\sim}8th$ century, China, Korea, Japan fell into the same cultural category, Scythai. Styles in Yu among three nations, we saw little differences, basically along times. Originated from the West Asia, Yu was transmitted to the far East changing Chinese costumes, Koreans melted it into the traditional elements and then influenced Japan.

• 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.

• 헤리티지:역사와 과학
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• 제45권4호
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• pp.54-73
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• 2012

최근 북방유목민족인 사르마티아에 관한 고고학적 자료들이 증가하면서 사르마티아인들의 활동 양상과 그 실체들이 조금씩 규명되고 있다. 이 글에서는 사르마티아인들의 동서 교역의 활동 양상을 사르마티아식 검집의 확산 지역 중심으로 살펴보았다. 사르마티아인들의 검은 스키타이나 페르시아인들이 사용한 아키나케스(Akinakes)의 계보를 잇는 것이지만 손잡이나 패용 방식에서 손쉽게 칼을 뺄 수 있도록 변화되었다. 즉 양 측면에 달린 4개 돌기에 끈으로 연결한 검집을 허벅지에 부착시키는 패용 구조로 변한 것이다. 사르마티아식 검은 기원전 5세기 파지리크시기 알타이 지역에서 처음 등장한 이래 사르마티아인들의 활동 중심지인 남시베리아, 박트리아, 파르티아, 로마로 확산되었다. 이 글에서는 동서 교섭의 요충지인 박트리아지역에 속하는 아프가니스탄 틸랴 테페 4호묘에서 출토된 검집에 관심을 두었다. 사르마티아식 검을 패용한 채 매장되었던 틸랴 테페 4호묘의 묘주는 당시 쿠샨왕조의 지배하에 있었던 박트리아에서 상당한 위치의 인물로 파악된다. 묘주가 2자루의 사르마티아식 검을 패용하고 있었던 것은 박트리아에 사르마티아의 영향이 상당이 수용된 사실을 의미한다. 사르마티아인들이 동서교섭에서 중요한 역할을 담당할 수 있었던 배경에는 중국산 물자를 실크로드에 공급하였던 이들의 역할과도 관련이 있다. 이에 사르마티아인들이 활동한 북방 초원 루트에 중국 한대 동경, 메론형 구슬, 수정구슬 등의 장식구슬, 금환연접구슬 등 중국 특히 비단이 생산되었던 남중국의 공예품들이 출토되는 경위에 관심을 가졌다. 모자이크 구슬은 당시 남중국 그리고 사르마티아와의 관계에 의한 것으로 살펴보았다. 거리적으로 먼 사르마티아와 남중국이 교섭할 수 있었던 중간 매체로는 흉노가 주목된다. 이와 관련하여 흉노의 유적에서 남중국에 가장 많은 분포를 보이는 금환연접구슬이 발견되는 점을 참고하였다. 남인도와 동남아시아에서 유행한 금환연접구슬이나 모자이크구슬이 아프카니스탄의 틸랴 테페 유적에는 없는 반면 같은 초원길로 연결되는 사르마티아 유적이나 흉노의 몽골 유적에서 등장하는 점이 흥미로운 것이다. 이는 남중국과 사르마티아, 흉노와의 연결 루트를 상정하게 한다. 한편 사르마티아인들의 중심연대인 기원전 2세기에서 기원후 2세기 사이 초원루트와 남중국을 잇는 교통로로는 운남에서 미안마를 지나 파키스탄, 아프가니스탄을 지나 인도 동부로 들어가는 서남실크로드로 판단된다. 1세기 동서교섭의 루트에는 북방 초원 루트, 남해 루트, 오아시스 루트 등 다양한 루트가 존재한다. 이들 루트들은 운반, 집산되는 물자의 특성이나 당시 정치적 관계에 의해 다양하게 사용되고 형성되었다. 이 글에서는 인도와 중앙아시아, 그리고 남중국을 잇는 최단거리의 길인 서남루트가 북방 유목민들인 사르마티아인들에 의해 사용되고 개척된 상황을 살펴본 것이다.