• Journal of the Korean Home Economics Association
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• v.20 no.1
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• pp.11-22
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• 1982

The creation of clothing is a form of aesthetic expression through which feelings and ideas are conveyed. This study tried to find out the mental world and aesthetic consciousness of Ancient Egypt through the costume of the period. The beauty of human body was esteemed and expressed in body exposure, tight costumes and transparent fabrics. Through the silhouette of costume, wig and accessories, the beauty of simplicity was expressed. And the beauty of harmony was sought through the beauty of balance and emphasis. The aesthetic consciousness of Ancient Egypt is the refined elegance and it was composed on the basis of the ideas of nature worship and had been preserved by the spirit of traditionism for about 3, 000 years.

• Korean Architects
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• s.648
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• pp.92-97
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• 2023

• The Journal of the Korea Contents Association
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• v.9 no.7
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• pp.171-183
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• 2009

The spiritual world of the ancient times has precious values which forms the origin of human thought. This study aims to reevaluate ancient people's particular views on man in their spiritual world reflected through gods' ornaments by studying the human race's fundamental spiritual world gradually disappearing due to science development from Egyptian gods' ornaments expressed symbolically in Ancient mythical components. Although evidently ornaments in Egypt served for decoration, the basic purpose was exorcism as amulets, a shamanistic purpose to be protected from mystical and hostile powers by carrying them on the vulnerable spots of the body. As this aspect indicates, the human race tried to solve their self-insoluble transcendental issues through the help of supernatural power, pursuing to lead their lives there within. As a result, Egyptian ornaments; First, the deity raised their value by deifying human-beings. Second, the nobility enhanced their dignity by having goddesses wear the same skirts as theirs. Thirds, all deities maintained their class society by wearing fpassiums, bracelets, and anklets. Fourth, the resurrection was symbolized through gods and goddesses in charge of the afterlife.

• Journal of Fashion Business
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• v.15 no.3
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• pp.112-124
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• 2011

Textile and clothing in Ancient Egypt have carried long history and tradition. Especially, Egyptian textile culture, created mostly by the Copt, has the originality of weaving technology and the artistic beauty of the weaving motifs, making the textiles comparable to modern textiles. The purpose of this study is to research on the characteristics of Coptic textile designs of ancient Egypt and the tunic, a basic garment made of Coptic textiles, and offer materials for the development of the textiles and designs with artistic values which can be shared in the modern era, not just for the research of the relics of the past. Therefore, this study will follow the historical background of Coptic textiles and the process of the development, and look into the distinct features under the categories of material, colors and motifs. In addition, the tunic and its weaving technology will be explained and this will help understand the originality of Coptic textiles. The scope of this study is limited to the period of the 3rd to 12th centuries when the Egyptian weaving technologies advanced dramatically and many of the ancient Egyptian textiles discovered from the grave goods dates back, the research methode of the tunic as well as books published at home and abroad, research paper and photograph works. The textiles had developed along the Egyptian history which was influenced by different cultures such as Greek, Roman, pagan, Christian, and later, Islamic. For the textiles, they used a variety of pictorial motifs including Greek goddesses, pastoral scenes related to the Nile River and animals, human figures, geometrical figures and Christian icons. They are symbolic, natural, and mythological characters, and this explains that the world views and religions of the weavers influenced the development of specific motifs. Coptic textiles was used to make a tunic, a simple straight-sided gown without sleeves worn by men and women and was woven in a combination of linen plain weave and woolen tapestry weave for a tunic. Not only the excellence of the weaving technologies and the beauty of the colors used in the textiles, but also the diversity of the textures through weaving, embroidery, and knotting are detected in Coptic textiles.

• Journal of Fashion Business
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• v.9 no.6
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• pp.56-70
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• 2005

This study investigates historically difference by age of wig banishments that symbolize social-economic status from West Egypt era baroque age as qualitative study that use secondary bibliographic data, there is purpose. Conclusion of this study is as following. Because wig putting on that symbolize among several usages of wig putting on, socio-economic status until 17th century baroque age from ancient Egypt is been in fashion through privilege class lower classes as well as upper class wig putting on attain. Ancient wig putting on became measure that divide class because differ material of wig or one dimension, shape (style) and length became linear measure that it can aim wealth's emblem that putting on of long wave wig and whole wig that differ lust has many wig though was in fashion though whole wig and were in fashion arriving to Renaissance. That it becomes France clean fingernails' necessaries as Louis the 14th that ready crux of absolute authority establishment of France Court put wig from depilation to count 17 was clear socio-economic status etc. symbol measure inclination. Go without question status or position, wealth and churchman puts wig so that can know special sex of weapon of where the soldiers are belonged as well as put wig and wig putting on was parted according to job and lower classes participated in fashion of wig putting on. Wig putting on that become measure that symbolize job or status in this baroque age, position, wealth etc. gave absolute influence in wig fashion in 18th century.

• Journal of the Korean Society of Costume
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• v.39
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• pp.21-37
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• 1998

This study researchs forms of Egyptian religious dress for studying formation-process of religious dress and its ornament. The study goes abreast literature and the very spot's materials also divides god's dress, priest's. Ancient an egytian worshiped mainly animals, step by step animal's humanization. So gods were expressed animal's face and human's body. Egypt god's costume is 1st, to take off upper hament and wear loin cloth on trousers 2nd only to wear short sheath skirt. 3rd to wear shout sheath skirt and to skirt and to wear loin cloth on there 4th to cover whole body and to open hand like mummy. Egype goddess' costume is largely to wear long sheath skirt up to the ankle and we can see selkit goddess's figure that wearing kalasiris after new dynesty. Priest had been a bald head and worn loin cloth and surrounded leopard's skin on there, but after the period of empire, worn a wig and worn less stoically. Also god had hung the lion's tail at symbol of the dignity and priest had put on sandals for a ceremony.

• Journal of the Korean Society of Clothing and Textiles
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• v.2 no.1
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• pp.117-124
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• 1978

The costume, considered as a manner of clothing, represents the distinctive character of a country, of an epoch, of a personage; and always it mirrors the vicissitudes of human civilization. It is interesting to study the costume of ancient Western Asia, its civilization and culture were transmitted to Egypt and Greece. The results obtained are as follows: 1. Loin clothes, tunics, wraps were in Western Asia. 2. Sleeves and Trousers has been the great contribution to costume. 3. The Art of dyeing, weaving, and embroidering were well known. 4. Tassels and Fringes were used in Western Asia. 5. Egypt and Greece were affected by Western Asia.

• Journal for History of Mathematics
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• v.13 no.1
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• pp.89-98
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• 2000

This paper analyzes the philosophy of mathematics as the ancient Egypt. This article provides an overview of computer programing capacities by Mathematica. To give an idea of mathematical graphic's capacities, practical example will be computed.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.12-27
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• 2006

The purpose of this study was to analyze the mental, social and aesthetic facets contained in ancient shining costumes and to find out the internal meaning of ancient shining costumes that they wished to express. This study was based on the theoretical data regarding the materials, types, and characteristics of the shining costumes. Egypt, Rome, Greece and several Mesopotamian countries have been included as a scope of research. The literature examination skill was applied for the research. The internal meaning of ancient shining costumes could be understood as an instrument of expression regarding religion, social status and beauty.

• The International Journal of Costume Culture
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• v.13 no.1
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• pp.23-25
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• 2010

Archaeological evidence shows that cotton fibres of the genus Gossypium were first used for textile production at Mehrgarh, Pakistan in the Neolithic period ($6^{th}$ millenium BC). Eventually the cotton plant and textiles found their way to Egypt and through there, to Greece. However, the chronological origins of the cultivation and/or use of cotton fibres in textile production in ancient Greece are ambiguous. The main sources of information are ancient written texts and excavated textile finds. Both indicate that the introduction of cotton in Greece can be placed in the mid-first millenium BC. However, it is not clear whether the cultivation of the plant and consequently the production of cotton textiles was established in that period or whether another cotton species was produced and used locally in Greece or whether isolated examples of cotton textiles had been imported in Greece before the cotton plant. A more comprehensive analytical study of surviving textile finds coupled with archaeological research for plant production and cultivation would provide the answer to these questions.