This study examines the process of the introduction of stupa, which has originated in India, to the Xinjiang Uyghur region and the features of the stupas in the Xinjiang Uyghur region in detail. This study examines the layout of the buildings in temple compounds and the types, structural elements, and construction methods of the stupas in the Xinjiang Uyghur region in particular by looking into the content of the Da Tang Xi Yu Ji and remaining stupas, which provide examples of stupas at the time. This study finds that due to the characteristics of dry deserts, stupas in Xinjiang Uyghur region, where assimilation between Eastern and Western cultures is seen, were mostly made by pressing clay into a mold and had no interior spaces. Also, construction materials and techniques had been developed and improved in a way that enabled stupas to combat the challenging desert conditions. However, the stupas in this region differed significantly from the wooden tower-like stupas discovered in central China(zhongyuan 中原). The shape of the dome of most stupas in Xinjiang Uyghur region was chosen under the influence of the Gandharan style. Some of the stupas in the region have taken the general forms of the wooden stupas and the others have taken many forms, from cylindrical drums to towers. Also, there have been forests of stupas and stupas similar in form to chaityas and stupas of Vajrayana. Such different forms were transformed and modified through regional history and it was related to the peoples and cultures that produced and used stupas. Stupas evolved into distinct forms in Xinjiang Uyghur region in this way.

This study aims to develop fashion designs that combine atlas fabric with the characteristics of Uygur costume to modernize the costume of the Xinjiang Uygur. Research contents and methods are as follows. First, based on previous studies, research analysis was conducted on the cultural background, clothing characteristics, and material of Uygur clothing. Second, based on such research contents, designs combining the characteristics of Uygur costume and atlas fabric were presented. Third, to analyze the utilization of atlas fabric and examine fabric characteristics, material was gathered from collections on domestic and foreign web sites. Through field explorations of local museums in the Xinjiang area, minority group culture was observed in more detail. Based on collection of traditional clothing and analysis of its characteristics, fashion designs that apply contemporary trends were developed. General silhouettes without any restrictions to the waist and decorations made using embroidery were often used. Atlas silk, developed in China using Ikat weaving methods, is an important traditional clothing fabric of the minority group Xinjiang. Based on such data collection analysis, the produced works highlighted traditional ethnic characteristics by extracting classical patterns of atlas fabric, modifying or partially expanding them, combining them with hand knitting, and adding contemporary sensations, thus providing confirmations of the possibility of popularizing classic patterns in more practical manners.

The study investigates Atlas fabrics, the Ikat weaving method used by the Uygur People in Xinjiang, China. Based on domestic and foreign papers and other literature, different cultural characteristics of Ikat fabrics from various regions are compared. Following a theoretical investigation, characteristics of fabrics from the Indian Patola, Indonesian Ikat, Japanese Kasuri, and Uzbekistan Adras are summarized and compared with the characteristics of pattern, color, and manufacturing process of Atlas silk from Xinjiang China (also an Ikat fabric). The results are as follows. First, although the weaving process used for Ikat fabrics differs from country to country according to different national cultures, lifestyles, colors, patterns, and usage methods, they are all Ikat dyed fabrics. Therefore, they are all regarded as precious objects symbolizing a certain social status, and are used as a gift for special occasions, such as weddings. Second, the form of the pattern varies. Indian Patola has clear outlines and regular patterns, while the patterns of Japanese Kasuri are mainly inspired by folk life ideas. Indonesian Ikat contains influences from indigenous tribes, and Uzbekistan’s and China’s Atlas textiles are influenced by geography, religion, and national culture, including bright colors and pattern designs inspired by plants, musical instruments, and geometric figures. Finally, the patterns and colors of Xinjiang Atlas fabrics present strong ethnic characteristics. Unlike the Uzbekistan fabric which is mostly influenced by Islam, human and animal patterns would not feature in Xinjiang Atlas patterns, which mostly consist of long strips, repeated in a neat and orderly form.

本论文研究1990年代中国新疆维吾尔族的民族分离运动与中国的民族政策的主要内容和特征。新疆维吾尔族具有与汉族不同的民族认同感，而这些民族认同感主要来自于维吾尔族的历史和文化因素。受到冷战体系的崩溃和一些中亚伊斯兰国家独立，新疆维吾尔族也要求分离和独立，因而在中国境内发生了很多恐怖事件。为了控制新疆的形势，中国政府采取了多种方法，如在国内采取‘严打’政策; 阻止与海外维吾尔族以及伊斯兰势力的联系; 对新疆地区实施包括经济方面的各种优待政策。 今天的新疆在中央政府的多种政策和努力之下，基本上维持着安定的局面，但在解决新疆问题上还存在一时难以解决的各种矛盾。第一，‘中华民族’的认同感和中央政府统治思想的弱化。第二，新疆的安定与经济之间的关系和矛盾。第三，对于外部势力和强大国对中国内政介入的对策。 对中央政府来说，来自西部的何种‘高度’自治或独立要求也不会接受，而一旦存在新疆维吾尔族继续要求分离和独立，那'中华民族'与新疆的民族认同感之间的矛盾也无法一时解决。