• 스마트미디어저널
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• 제13권1호
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• pp.76-85
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• 2024

본 연구는 체험형 전시 콘텐츠 관람객의 프레즌스 경험과 이에 따른 효과, 재관람 의도에 대해 살펴보았다. 이를 위해 혜초의 여행기 왕오천축국전, 실크로드 문화유산을 소재로 한 체험형 전시 콘텐츠 관람객 246명을 대상으로 설문조사를 실시하였다. 조사결과, 콘텐츠 소재에 대한 이해 및 관심도는 프레즌스 경험에 영향을 미치지 않았으나 유사한 체험형 전시 관람 경험은 프레즌스 경험에 긍정적인 영향을 미쳤다. 아울러 전시 콘텐츠의 프레즌스 경험이 높을수록 프레즌스의 효과인 각성과 감동도 컸다. 그리고 프레즌스의 효과 중에서 감동은 재관람 의도에도 긍정적인 영향을 주었다. 따라서 향후 체험형의 전시콘텐츠는 이용자들이 프레즌스를 체험하게 하는 기획, 제작, 전시가 필요하다는 사실을 확인하였다.

• 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.

• 패션비즈니스
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• 제24권5호
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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.

• 보존과학회지
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• 제34권4호
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• pp.305-311
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• 2018

The yellow crystalline material present in yellow and green glass beads excavated from sites in the Baekje region of Korea was previously analyzed through scanning electron microscopy with energy dispersive spectroscopy and X-ray diffraction, revealing that the yellow crystalline material was $PbSnO_3$. This material is a pigment that is rarely seen in the Korean peninsula. Furthermore, some studies have been published on the provenance of lead in this material, which revealed no relationship to Korea, China, or Japan. In this study, we collected all accessible results of analyses on the lead isotope ratio of yellow and green glass beads excavated from the Korean peninsula, specifically from 7 sites in the Baekje region(located in the vicinity of Seoul, Wanju, Hwaseong, Osan, Gongju, Buyeo, and Iksan) and 2 sites in the Silla region(located in the vicinity of Gyeongju and Changnyeong). We subsequently investigated the lead provenance of the opacifying agents in the glass beads through comparison with the current extent of the galena data accumulated for the East Asian region, including Korea, China, and Japan, and for Thailand(Kanchanaburi Province), Southeast Asia. Our analysis determined that the lead provenance of the glass beads excavated from the Korean peninsula was Thailand(Kanchanaburi Province). Beyond our results, further studies should seek to determine the production sites of the glass beads. Obtaining and comparing the scientific analyses of glass beads from India and Southeast Asia would enable research on the glass beads trade through the maritime silk road.

• 한국의상디자인학회지
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• 제7권1호
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• pp.41-54
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• 2005

The purposes of this study on various headgear at the age of the Persian Achaemenes are to analyze one cultural aspect of the Achaemenes Kingdom that made a great empire about 5th century B.C. and to understand the ancient Persian culture. It is widely recognized that the Persian region was an important place for cultural exchange between the East and the West through the Silk Road and its culture affected China and Korea. Therefore, it is necessary to study ancient culture in this region for further understanding of the Korean culture. However, research activities have not been satisfactorily conducted. This study is an attempt to elevate the interest in this subject. In this study, European archeological materials covering Naqsh-e-Rostam (a tomb of Darius), Apadana stairs, Darius palace in Persepolis, and Bistun(Behistun), the relief at the age of the Achaemenes Kingdom, were collected and analyzed. From this study, the following results were obtained. For crowns at the age of the Achaemenes Kingdom, two kinds of shapes are observed; Mitra, a kind of headband, in the early period and a cylindrical one in the later period. Mitra was also worn by chiefs trusted by the king. Further, slightly different styles of cylindrical crowns were observed, which is considered that kings might wear unique crowns to symbolize new period of their reign. In addition to crowns, various styles of headgear for subjects are observed, meaning that tribes conquered by the Persian empire used their unique headgear. Further, such different styles of headgear might be a tool for social classification. Representative styles of headgear include the semicircular one worn by the Median nobles, Strophion originated from the Elam's headband, and nomadic tribes' Baschlik observed in the Median relics.

• 융합보안논문지
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• 제17권4호
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• pp.63-67
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• 2017

중국의 부상으로 동아시아에서 헤게모니가 중국으로 이동하고 있다는 것은 현실화되었다. 시진핑 정부의 대외정책은 우리나라와 주변국, 전세계에 영향을 직 간접적으로 미치고 있는데 중국이 주창하는 신안보관과 실크로드 정책, 새로운 패러다임의 외교방식을 주장하고 있다. 중국은 아시아에서 새롭게 형성되는 강력한 국가로서 경제력을 이용하여 아시아 질서를 재정립하고 패권을 장악하려는 의도가 명확해지고 있다. 나아가 세계 패권에도 미국과 쌍두마차로 달리고자 하는 의도가 정치, 경제, 군사 및 외교 분야에서 나타나고 있다. 북한 핵 미사일 개발로 촉발되고 있는 한반도 위기상황을 제대로 극복하기 위해서는 우리는 한 미 일 공조와 나아가서 중국과의 관계 개선에도 최선의 노력을 경주해야 할 시점에 와 있다. 본 연구에서는 북한의 안보위협에 따른 한반도 주변의 역학관계를 벗어나 제2차세계대전 이후 냉전과 탈냉전 시기를 거치면서 중국이 구사해 온 동남아 정책에 대하여 거시적으로 분석하였다.

• 한국콘텐츠학회논문지
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• 제15권11호
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• pp.41-49
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• 2015

세계유산으로 등재된 석굴암 본존불의 위상이 이름값을 못 하고 있는 것으로 여겨진다. 명호(名號)가 확립되어 있지 않은 점과 세계인과 문화를 공유하기 위한 스토리텔링이 부재한 것으로 나타난다. 이런 문제점에서 출발하여 석굴암 본존불의 위상을 제고하기 위한 필요성이 대두되었다. 따라서 본 연구는 일반적인 불상의 형식과 석굴암 본존불의 특징들을 비교 검토하고 부처의 원류(原流) 또는 원형(原型)으로서 석굴암 본존불의 위상을 되짚어 보게 되었다. 연구 방법으로는 선행연구와 문헌정보를 토대로 한 기술적인(Descriptive) 방법으로 탐구하였다. 아울러 유네스코 세계유산이 지닌 경제적 가치와 그 효(效)를 살리기 위해 중국의 샹그리라(Shangri-La)를 예시로 비교 연구하면서 성공요인을 분석해 보았다. 결론에는 명호가 지닌 정체성의 혼돈을 지적하고 이의 확립을 대안으로 제시했으며 정부 주도형 민관 학제 연구를 통해 총체적인 위상을 재정립하는 방안을 제시했다.

• 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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• 제4권2호
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• pp.119-128
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• 2019

This paper attempts to reveal little-known pages from the history of relations between the peoples of Central Asia and Korea based on materials derived from written sources and modern scientific literature, as well as from medieval wall paintings from the early medieval Afrasiab Palace of Varhuman, the ruler of Samarkand, and from stone sculptures of Sogdian figures contained in Silla royal tombs. Korea's interest in the western lands led to its contact with Buddhism, which spread and later flourished in all three Korean kingdoms (Koguryo, Paekche and Silla). The spread of Buddhism in turn motivated a number of Korean monks to undertake pilgrimages to India via Central Asia. Hyecho, a young Silla pilgrim, left evidence of his journey via the South China Sea to India in 723 AD. Paul Pelliot discovered a report from Hyecho's journey entitled Notes on Pilgrimage to Five Regions in India (Wang Wu Tianzhuguo zhuan) in the Dunhuang caves in 1908. Hyecho's contributions are worthy of attention, substantially complementing knowledge available for this little-studied period in the history of South and Central Asia. The information contained in Hyecho's manuscript is, in fact, considered the most significant work of the first half of the 8th century. Research regarding the relationship between Central Asia and Korea remains underdeveloped. Existing historical evidence, however, including the above mentioned Samarkand wall paintings, depicts the visits of two Korean ambassadors to Samarkand, and evidence from Silla tombs suggests the presence of diplomatic relations in addition to trade between the two regions. Overall, the history of the relationship between Central Asia and Korea yields new insights into how and why these distant countries sustained trade and diplomatic and cultural exchange during this early period. Taking into account Korea's growing interest in Uzbekistan, especially in its history and culture, this article can act as a catalyst for studying the history of the two country's relations.

• 복식
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• 제55권1호
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• pp.129-138
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• 2005

There has been a lot of debate between scholars around the folding screen painting, A Beauty under the Tree[조모입여병풍], a collection of Shosoin, Japan. Even though it is preserved in Japan, its distinguished Chinese feature made many scholars to think it might be made in China and be transmitted to Japan. However, the inspection of the material during $1973{\sim}1975$ has revealed an important fact, that is, the feather used in this screen painting belonged to Japanese bird feather. Moreover, a great amount of documents written in Tenbyo(천평승보, 8th century) period, which was thought to be used as the ground material of this painting. Therefore we can get many evidences saying that this painting was made in japan. In a basic sense, I stand on this side just because it has more evidences. However, we must be careful to make a final conclusion. Especially on the precious things like this painting screen, we must take whole considerations as possible as we can. First of all, we must consider whether Japan could have ability to make this. Second, there could be other possibility that Japanese repair the original one with their feathers or papers. In order to prove this, study on other pieces including painting screens should be done. I just suggest an objective international discussion. Lastly, I can find the common feature between the pieces of Shosoin and the ones of United Shilla, which could be influenced by same impact, the Silk road trade in a broad sense.