• 복식
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• 제60권9호
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• pp.26-40
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• 2010

The purpose of this study is the Tibetan folk costumes'characteristics and change of design in stage. The subjects are the Tibetan costumes in the Spring Festival Gala of CCTV. The basic characteristics of Tibetan folk costumes are fat waist, long sleeves, overlap, and right ren. Tibetan costumes consist of Tibetan gowns, aprons, shirts, belts, Tibetan hats, headgear, ornaments, all of these compose the traditional image of the Tibetan people. Because of the long-term closed survival, the development of Tibetan costumes has no much vertical differences and changes. The costumes of Weizang(衛藏), Ali(阿里), Gongbu(工布), Kham(康巴), Amdo(安多) have different features which are divided according to different dialects. Study the changes of design Tibetan stage costumes from 25times, we can get that during the 1986~1992, people emphasis on the activities of dancers, styles are simple, just to grasp the characteristics of the Tibetan costumes. In the 1993~1999, the dancers put on the real-life Tibetan clothing on stages. By the 2000s to now, Tibetan stage costumes have much more changes in forms and colors which are more complete and complex. The types of Tibetan costumes include Tibetan all clothing, they all express the changed forms and colors without exception. So in this period are artistic Tibetan folk costumes.

• Parasites, Hosts and Diseases
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• 제59권3호
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• pp.311-317
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• 2021

The present study reports a rare case of Taenia saginata infection, which was initially diagnosed as acute cholecystitis in a Tibetan patient at the Qinghai-Tibetan Plateau pastoral area, China. A 45-year-old female was initially diagnosed with acute cholecystitis at a hospital in China. She had a slight fever, weight loss and constipation and complained of pain in the upper abdomen and left back areas. Increase of monocyte, eosinophil and basophil levels were shown. Taenia sp. eggs were detected in a fecal examination. An adult tapeworm approximately 146 cm in length, whitish-yellow color, was collected from the patient after treatment with traditional Chinese medicine. The adult tapeworm had a scolex and proglottids with genital pores. The scolex was rectangular shape with 4 suckers and rostellum without hooklet. The cox1 gene sequence shared 99.5-99.8% homology with that of T. saginata from other regions in China. The patient was diagnosed finally infected with T. saginata by morphological and molecular charateristics.

• Journal of Korean Neurosurgical Society
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• 제67권3호
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• pp.345-353
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• 2024

Objective : Blood-blister aneurysms (BBAs) of the internal carotid artery (ICA) are challenging lesions with high morbidity and mortality rates. Although research on BBAs is well documented in different populations, the study of BBAs in the Tibetan population is extremely rare. This study aimed to evaluate the characteristics of BBAs and analyze the treatment modalities and long-term outcomes in the Tibetan population in comparison with the Han population. Methods : The characteristics of patients with BBAs of the ICA from January 2009 to January 2021 at our institution were reviewed. The features of aneurysms, treatment modalities, complications, and follow-up outcomes were retrospectively analyzed. Results : A total of 130 patients (41 Tibetan and 89 Han patients) with BBAs of the ICA who underwent treatment were enrolled. Compared with the Han group, the Tibetan group significantly demonstrated a high ratio of BBAs among ICAs (8.6%, 41/477 vs. 1.6%, 89/5563; p<0.05), a high ratio of vasospasm (34.1%, 14/41 vs. 6.7%, 6/89; p=0.001), a high risk of ischemic events (43.9%, 18/41 vs. 22.5%, 20/89; p<0.05), and a low ratio of good outcomes (modified Rankin scale, 0-2) at the 1-year follow-up (51.2%, 21/41 vs. 74.2%, 66/89; p<0.05). The multivariate regression model showed that ischemic events significantly contributed to the prediction of outcomes at 1 year. Further analysis revealed that microsurgery and vasospasm were associated with ischemic events. Conclusion : In comparison with Han patients, the Tibetan population had a high ratio of BBA occurrence, a high incidence of ischemic events, and a high ratio of poor outcomes. The endovascular approach showed more benefits in BBA patients.

• 복식
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• 제66권1호
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• pp.42-57
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• 2016

The Tibetan people are an ethnic group that is native to Tibet who have adapted to the region's harsh climate and environment, and developed their own culture. Religion played a central role in maintaining its traditional culture and society in the history. The objective of this study is to understand Tibetan costume and religion, and examine patterns that appear on the costume to study their religious symbolism. The significance of this study lies in explaining the symbolisms of the patterns that appear on the costume in terms of cultural maintenance and change. Based on literature review, I summarized the data about Tibet's environment, history and religion, and divided the residential district into three: ${\ddot{U}}$-Tsang, Amdo, Khamba. Then, I organized each region's characteristics and clothes, and studied Tibetan Buddhism (Vajrayana) costumes and features of the patterns that appear on the costumes. Through combining these data, I would like to examine the religious symbolism of the costume pattern of Tibet. Buddhism is at the heart of cultural and social maintenance and change in Tibet, and the patterns shown in the costume is influenced mostly from Buddhism. The features of general Tibetan costume vary with the region and life style, but the patterns that appear on the costume are used over a wide area to represent good luck and the spread of Buddhist teachings. The costumes for religious rites vary with religious sects, but most of the patterns are commonly used. The symbolism of pattern is a form of figure that represents the human psyche and physical world. The symbolism of pattern implies meanings such as compensation or futuristic wish. First, the lucky omen normally means long life, happiness and peace, and means religious salvation in Buddhist perspective. Second, warding off evil spirits normally means avoiding misfortune, and means dignity and self-protection, and protection of Buddhadharma in Buddhist perspective.

• International journal of advanced smart convergence
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• 제13권2호
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• pp.172-186
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• 2024

With the globalization of the film industry, ethnic minority films have been developed and studied by many scholars for their special ethnic representation. The film "Tharlo" directed by Pema Tseden carefully explores the identity anxiety of a Tibetan shepherd. Through the connection and separation between the protagonist and traditional culture, it shows a complexity of modern ethnic identity for minority people. This study explores what kind of cinematic techniques and symbolic elements the director uses to shape ordinary characters, build a narrative space, and show ethnic representation. This paper puts forward a theoretical framework combining cinematic quantitative methods with qualitative narrative and semiotic analysis, aiming to deepen our understanding of cinematic techniques and ethnic representation, and provides a new perspective and profound insights for discussing the complexity faced by ethnic minorities in contemporary films. This study finds that Tseden's "Tharlo" successfully portrays the complex transformation of Tibetan cultural identity in the context of globalization and modernization through cinematic techniques such as fixed camera positions, long take and black-and-white cinematography, combined with the use of symbolic elements like mirrors, lambs and identity cards.

• 감성과학
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• 제21권3호
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• pp.115-128
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• 2018

티베트 고원에서 살고 있는 티베트인 또는 장족은 오랜 역사와 자연환경에 순응한 자신만의 독특한 생활양식을 가지고 있어 독자적인 의복문화 형태를 지닌다. 복식 중에 색채, 문양, 도안의 사용에서 종교적인 의미를 나타낼 뿐 아니라, 복식을 통해 자신의 생활의 희망과 자연을 존중한 마음을 강하게 표현하고 있다. 티베트 민족 복식의 색채 상징성에 관한 고찰을 통하여 티베트족 문화의 특수성을 이해하고자 장족 복식에 사용된 색채를 분석하고 그들만의 색채의 의미를 고찰하였다. 장족의 색채인식, 상징성을 색의 사용 예시와 출현빈도를 중심으로 살펴보았다. 연구방법으로는 복식사진의 색채 수집 및 분석을 실시하였는데 I.R.I HUE-TONE 시스템에서 매칭 색상과 색조를 찾는 방식이었다. 장족 복식도서의 칼라사진과 청해 장족문화박물관의 장족 복식을 직접 촬영한 사진, 인터넷 박물관의 복식사진 등 총 96장의 사진이었다. 결과는 첫째, 세상을 구성한다고 생각하는 가장 주요한 요소를 5가지 색 장오색에 연결하여 각 색마다 자연적 의미를 부여하는데, 빨간색은 불, 파란색은 하늘, 흰색은 구름과 흰 눈, 초록색은 초원, 노란색은 대지를 각기 상징한다. 둘째, 홍과 녹, 흑과 백, 홍과 남, 황과 자색 등 강렬한 색채조화를 이루도록 대담한 색채를 사용하고 있는 것이 특징이다. 셋째, 티베트인들의 특유한 심미관을 표현하는데 색의 일반적인 감성을 대부분 따르지만 그들만의 감성이 들어있는 색상이 존재하였다.

• Acta Via Serica
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• 제7권1호
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• pp.1-28
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• 2022

The province of the People's Republic of China, the Xinjiang Uygur Autonomous Region has historically been known under various names - Eastern Turkestan, Chinese Turkestan, Kashgaria, etc. In the early 19^th century this region was one of the least explored in Western scholarship and for the influence over which the so-called 'Great Game', geopolitical rivalry between Great Britain and the Russian Empire, gradually unfolded. This rivalry was one of the significant factors stimulating increased interest in an in-depth and comprehensive study of the geography, nature, and population of Kashgaria. Accordingly, in the second half of the 19^th to early 20^th centuries, several expeditions were organized that pursued serious academic goals alongside military, diplomatic, and commercial purposes. One of these expeditions, organized by the Imperial Russian Geographical Society, was the so-called 'Tibetan expedition' led by a talented scientist and military figure M.V. Pevtsov in 1889-90. The expedition followed the routes of Eastern Turkestan, the northern outskirts of the Tibetan Plateau, and Dzungaria studying this vast region's geography, topography, nature, climate, and population. The results of this investigation were presented by M.V. Pevtsov in a detailed and comprehensive report published in St. Petersburg in 1895. An important part of this narrative is the so-called "Ethnographic Essay of Kashgaria," which reflects the author's observations and thoughts on this region's ethnic composition, religious beliefs, language, customs, and rituals. This article offers insights and analysis of the content of Pevtsov's report, which provides valuable information about the daily life of the population of Kashgaria at the end of the 19^th century to an English-speaking audience.

• 스마트미디어저널
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• 제12권11호
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• pp.175-184
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• 2023

농촌 지역 노인들은 거주 환경이 열악하고 사회성이 떨어지며 노후지식이 부족한 곤경에 직면하고 있다. 이와 더불어 부족한 사회보장시설 및 의료시설의 문제로 인해 농촌에 거주하는 노인들의 자살률은 도시보다 훨씬 높다. 편안한 지역사회 환경을 통해 농촌 지역 노인들이 긍정적인 마음을 가지고 이를 통해 날로 심각해지는 고령화 문제를 해결하기 위해서 연구자는 간쑤성 톄러우향(甘肅省鐵樓鄕) 바이마장족(白馬藏族) 노인들의 지역사회 환경을 연구대상으로 하여 지역사회 환경의 개선 방안을 연구했다. 선행연구로써 농촌 지역사회 환경의 고령친화적 개선에 대한 연구를 살펴보고 이를 통해 이론적 배경으로써 ERG 이론을 본 연구의 이론적 근거로 삼았다. 연구방법으로써 현지 조사 및 인터뷰를 통해 바이마장족 거주 지역의 독거노인 수를 조사하고 국가 표준을 근거로 분류했다. 그리고 노인들의 현재사회 환경 현황이 드러난 사진을 수집하고 이를 통해 파악된 문제를 종합했다. 마지막으로 ERG 이론의 세가지 욕구인 생존 욕구, 관계 욕구, 성장 욕구의 세 가지 측면에서 노인들의 지역사회 환경을 분석하고 이에 대한 고령친화적 개선 방안을 마련했다. 본 연구의 목적은 지역사회 환경의 고령친화적 개선을 통해 노인의 생활환경, 사회성 및 생존력을 향상 시키며 이를 통해 노인들의 노후 생활에 즐거움을 더하는 데에 있다.

• 한국농촌생활과학회지
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• 제8권2호
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• pp.93-110
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• 1997

The customs of women s riding horse was prevalent in thriving period. The face toilet was mainly used by Gau Chang pattern. Wha Jun (chinen; Hwa-Qun(화전), make-up on forehead), was influenced nearly by Gua Chang and distantly by India. Penciling eyebrows with blue was transmitted from persia. Chinese cosmetics was most influenced during Tang Dynasty for it's colorful make-up and facial decorations such as Aek-Whang(액황), Wha-Jung(화전), Jang-Yob(장엽), Swa-Hong(사홍) and those made many Dynasty, since those kinds of styles were the result of mixture between traditional chinese and western styles, it became so unique and diverse. The Declining period of the Tang Dynasty has begun from the turning point, resulting from Rebellion of An Ru Sha'. Rebellion of An Ru Sha' made the chinese people have a sense of precaution, and an antipathy against babarian. Furthermore, the power of Tang Dynasty onto the countries bordering on western china unfortunately was declining due to the defeat at 99 the Talas war in 751. As the fashion of ‘Ho’ disappeared the costume pattern was restored to the traditional Chinese style of large sleeve and broad width. However, the Tibetan mode was appeared in women's hair style and face toilet since Yuan Ha (801-812). In Song Dynasty, women's make-up and adorment were originated from Dang Dynasty, but those were more simple than in Dang Dynasty.

• 복식
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• 제60권4호
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• pp.113-125
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• 2010

This study is purpose to trace a genealogy of Rainbow stripe in 30 ethnic costumes in East Asia. And with through comparative views between Korean and the other minority that is shown a bilateral relation of rainbow stripe in their costume, we make sure the unique character of rainbow stripe in Korean traditional costume. The stripe in the costumes was generally used on sleeves with 3~6 patches. There were 10 types of methods for making the stripe including sewing. Weaving and sewing with trimming was also frequently used either and the stripe by weaving with multicolored yarns were mostly found in the southern region of china. Black, blue and red were frequently used in the costume as a main color that was contrasted with rainbow stripe and especially, black was mostly used. Korean preferred bright colors as a main color. Contents of the genealogy of the multicolored stripe in ethnic costume in East Asia are followed. The 28 ethnic groups who used the stripe in their dress except Korean, the Mans, Mongo people and Tibetan were located in the southern region of East Asia. And the other ethnic groups distributed in the northwest and northeast region of East Asia. The distribution of the rainbow stripe in the costume could be grouped into two sections: the southern region people and Korean-the Mongol people-the Tus- the Zangs group. And the latter group was shown strong relation with the culture of Korean's rainbow stripe costume. 11 ethnic peoples including Korean, the Vis, the Miaos, the Tus, the Mongol people, the Chaoxians, the Zangs, the Lahus, the Jinuos, the Hanis, the Luobas and the Dulongs, were saliently used the stripe in their costume. The stripe in Japanese costume was judged that was not a kind of the rainbow stripe was shown the other ethnic groups, was a color arrangement by layered dress or geometrical pattern. From above, we could recap a particular characteristic of the rainbow stripe in Korean traditional costume. Many colors were used in the stripe and bodies than the other ethnic people and the color was bright. In many cases, a color of patch at the point of armhole was red and Black color was not used in the stripe. The width of patch was a relatively narrow and regular. It has shown that the rainbow stripe in Korean traditional costume was organized independently.