This study interprets Siberian shaman costumes from the perspective of Siberian shamanism’s spiritual culture by combining theoretical and empirical studies. According to the natural environment and language families, the Siberian people are classified into the Altai, Tungus, Ural, and Paleo-Siberian groups. Se Yin’s research classifies the spiritual culture of Siberian shamanism as cosmic, spiritual, and nature view. Eliade’s research has divided Siberian shaman costumes into form, headdress, and ornament. According to the present study, shaman costume form and decoration reflect the Siberian three-tiered cosmic view, such that the shaman’s head, body and feet correspond to the upperworld, middleworld and underworld. In addition, animism, totemism and ancestral worship appear in the shamanism’s spiritual view. For example, the costume’s form shows the totem of each tribe, while the costume accessories reflect animal worship, plant worship and ancestral worship. Finally, shamanism’s nature view mainly manifests through three processes: personification, deification, and ethics. As an intermediary between man and the spirits, shaman use their clothing to reproduce the image of half man and half spirit. The shaman’s costumes are deified and considered to have divine power. For example, the animals represented on the costume help the shaman travel through space. Generally, good animals help a shaman enter the upperworld, while animals that help a shaman enter the underworld are considered evil. Also, the number of hanging accessories represents the shaman’s ability.

Using lanthanum zinc oxide (LZO) film with the ion-beam irradiation, uniform and homogeneous liquid crystal (LC) alignment was achieved. To fabricate the LZO thin film on glass substrate, solution process was conducted as a deposition method. Cross-polarized optical microscopy (POM) and the crystal rotation method reveal the state of LC alignment on the ion-beam irradiated LZO film. Between orthogonally placed polarizers, POM image showed constant black color with regular transmittance. Furthermore, collected incidence angle versus transmittance curve from the crystal rotation method revealed that the LC molecules on the ion-beam irradiated LZO film were aligned homogeneously. Atomic force microscopy (AFM) and X-ray photoelectron spectroscopy (XPS) were conducted to reveal the relationship between the ion-beam irradiation and the LC alignment. The ion-beam irradiation changed the LZO film surface to rougher than before by etching effect. Numerical roughness values from AFM analysis supported this phenomenon specifically. XPS analysis showed the chemical composition change due to the ion-beam irradiation by investigation of O 1s, La 3d and Zn 2p spectra. The ion-beam irradiation induced the breakage of chemical bonds in the LZO film surface and this occurred surface chemical anisotropic characteristics for uniform LC alignment.

This study attempts to analyze the social and cultural meanings of the ethnic groups to which different types of shamans belong in Siberia from the appearance characteristics in terms of clothing through Roland Barthes’s semiotic theory. The research method here is to analyze three types of shaman costume classified by Holmberg, which are bird-type, deer-type, and bear-type, through theoretical research and to investigate the analysis process of Roland Barthes’s semiotics theory. Roland Barthes’s approach to semiotics presents an analysis model that can explore the sociocultural meaning of the Siberian shaman costume. The research results are as follows. In the first type, to be closer to the god of the upperworld, shamans transform themselves into birds by decorating their costumes with the characteristic elements of birds such as feathers and wings. In the second type, the shamans’ costumes are made of deerskin, and the headdress is shown in the shape of antlers to make it easier to receive messages from the upperworld and run fast in the underworld. In the third type, the shaman’s costume is made of bearskin, the head is covered with bearskin, and the body is decorated with bear pendants. Through the power of the bear, the shaman is sent to the underworld to defeat evil gods and remove diseases. Shamans can show their particularity of being a demigod and non-binary gender through clothing. They use this to reflect their authority as a medium of communication between man and god.