• The International Journal of Costume Culture
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• 제6권2호
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• pp.69-82
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• 2003

The Scythians had a veritable passion for adornment, delighting in decorating themselves no less than their horses and belongings. Their love of jewellery was expressed at every turn. The most magnificent pieces naturally come from the royal tombs. In the area of the neck and chest the Scythian had a massive gold Torques, a symbol of power, made of gold, turquoise, cornelian coral and even amber. The entire surface of the torque, like that of many of the other artefacts, is decorated with depictions of animals. Scythian Torques are worn with the decorative terminals to the front. It was put a Torque on, grasped both terminals and placed the opening at the back of the neck. It is possible the Torque signified its wearer's religious leadership responsibilities. Scythian Torques were divided into several types according to the shape, Torque with Terminal style, Spiral style, Layers style, Crown style, Crescent-shaped pectoral style.

• 패션비즈니스
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• 제8권3호
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• pp.1-9
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• 2004

Scythians kept herds of horses, cattle, and sheep, lived in tent-covered wagons, and fought with bows and arrows on horseback. They developed a rich culture characterized by opulent tombs, fine metalwork, and a brilliant art style. The excavations of royal burials have provided the most complete record of the jewelry of the Scythians. Typical art objects were in the form of stags or other animals, hammered or stamped out of gold and often inlaid with colored stones or glass. The Bracelet consisted of two of distinct technique : One made from heavy forged gold bars, terminated with more delicate spiraled finals. Another technique used beaten gold foil, perhaps as thick as a piece of paper with fabulous designs repousse and chased (impressed in relief into the gold with small hammers and chisels) into the metal. They also used stones and clay dies to form gold foil into people repeated also motifs for use in torques and belts. The Scythian Bracelet were divided into 4 styles according to the shape, Bracelets with ends shaped like beasts style, Spiral style, Layers style, Crown with openwork style. Scythian Bracelet in the Black Sea region had completely degenerated, stifled by motifs and shapes of Greek origin, retaining its representational realism and its full emotional vitality.

• 패션비즈니스
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• 제11권4호
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• pp.204-220
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• 2007

The background of Korean Ethnical Costume was originated from those northern mounted nomadic groups, which was Scythe style Costume Culture. Through the antique records and paintings of tombs bequests hereby describe the forms of Scythian Cotume (1) Headgear : There was Conical Cap(or Pointed Cap), Feathered Cap, and Crown. (2) Clothes : Both Men and Women wore Jacket as upper garment with leftsided collars, narrow sleeves to the length of the hip line. As lower garment, they wore the tight Trousers and Kungo(:窮袴)that was attached with gusset. (3) Belts and Boots : On the upper garment bound the leather Belts that was hanged a hook that was shaped of animal form at the end. Scythian Buckles was divided into six groups, animal-shaped, animal's head shaped, animal fight-shaped, rectangle-shaped, rectangle openwork-shaped, genre scene shaped Buckle. To the Boots, they wore leather boots. (4) Ornaments : Ornaments divided into Dress Trimming(:Gold plaques), Earrings, Necklaces(;Torques), Bracelets, Rings. Scythian Gold Plaques were divided into several types according to the shape, animal style(curved beast shape, profile shape, head reversed over its back shape), round shape, quadrilateral form, star shape, flower shape, crescent shape, bundle shape, human appearance. Earrings consisted of a plain ring and pendant ring was a middle ornament hung from it to a pendants which hung was made of heart shaped leaves of the tree, beads-linked. Scythian Torques were divided into several types according to the shape, Torque with Terminal style, Spiral style, Layers style, Crescent-shaped pectoral style, Crown style. Scythian Bracelet were divided into 4 styles according to the shape, Bracelets with ends shaped like beasts style, Spiral style, Layers style, Crown with openwork style. Rings were rhomb-shaped and animal shaped styleRings (5) Animal motifs used in Scythian ornaments appears that in some cases the work was intended to be purely ornamental, while many times the motifs had symbolic meaning (such as the successful dominance of the aggressor over the victim portrayed in the attack scenes). Magical use of symbols may have been inten-ded to guarantee the power of the aggressor.

• 패션비즈니스
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• 제15권6호
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• pp.23-39
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• 2011

Scythian Earrings in the Black Sea region had completely degenerated, stifled by motifs and shapes of Greek origin, retaining its representational realism and its full emotional vitality. The purpose of this study is to review and research the symbolic meaning and classifying the types of the Scythian Earrings style through the tombs bequests. The Scythian Earrings were divided into the styles according to the shape, Earring with Ends Shaped like animal's Heads, Boat-Shaped Earrings, Bird-Shaped Pendants earrings, Earrings with a Disc and a Pendant, Earrings Shaped like the Figures, Earring with the drop Pendant, Spiral Earrings. Earrings based on the boat shape enjoyed a long popularity among the Scythians. As that form became elaborated and combined with the disk-pendent, it reflected native rather than Asian or Hellenic tastes. Although Scythian earrings were produced based on the shapes of Greece earrings, they recreated these as Scythian unique style. In particular, the animal motive and the decoration have various changes. The exquisite earrings attest to the elegant taste and splendid wealth of the upper classes.

• 복식
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• 제62권5호
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• pp.96-107
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• 2012

In ancient times, immigrants from Baekje wore various kinds of costumes that provided technological and aesthetic guidance for the Japanese costume, which has been modified and changed in Japan. The clothing and ornaments were strongly influenced directly by costumes of the Baekje period; therefore, many of the Japanese costumes at that time were crafted in the Baekje style. Through the antique records, paintings of tombs and bequests, we were able to find similarities between Baekje and Japan costumes in these categories: clothes, headgear, belt hooks and belt plaques, bronze shoes, and ornaments. (1) Clothes : They wore high-shaped hat and jacket and trousers(;袴) tied the bottom. (2) Headgear : There was a gilt bronze Conical Cap attached to the long tube with terminals in the shape of a hemisphere. (3) Belt hooks and belt plaques: There were horse-shaped belt hooks in mane styles and a checkered pattern on the lower part of the haunch and a belt Plaque shaped like the face of an animal. (4) Gilt bronze shoes: They were made with the style that had two side plates fixed in the instep side and heel-side. (5) Ornaments : They were made with flower-shaped plaques and spiral-shaped decorations. One earring was made with a three-winged pendent that were connected in a chain style and the others were in unique forms that were made by connecting narrow rings and a heart-shaped pendent.

• 한국패류학회지
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• 제26권2호
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• pp.165-170
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• 2010

서식지가 서로 다른 이매패류 3종 (꼬막, 지중해담치 및 개조개)의 당면체낭의 위치와 당면체를 형태학적인 측면에서 기재하였다. 당면체낭은 후위와 연결되어 있었으며, 당면체는 당면체낭에 위치하고 있었다. 3종의 당면체는 반투명의 젤라틴 형태의 긴 원뿔형으로 탄성을 가지고 있었다. 꼬막과 지중해담치의 당면체 내부에는 적황색의 나선형 필라멘트가 존재하며, 개조개의 당면체에는 기저부에서부터 말단부까지 희고 긴 관이 존재하였다. 각장에 대한 당면체의 상대길이비는 꼬막은 47.69, 개조개는 64.20%였으며, 지중해담치의 각고에 대한 상대길이비는 48.97%였다. 육중량에 대한 당면체의 상대무게비는 꼬막과 지중해담치는 0.54%였으며, 개조개는 0.39%였다.

• 복식
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• 제53권8호
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• pp.137-148
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• 2003

The culture interest regarding the new area causes an effect even in change of fashion and that result Mongol area where it is area other than Japan, China and India and it is having compromised beauty raised it's head. Mongol is in Noin-ula area which is a it's former self of the Hun's. There is to a textile pattern which was used not only the textile pattern which has the feature of Scythian system but also the textile pattern which has the feature of China was used. The feature of Noin-ula's the textile pattern is as follows. Noin-ula's textiles used Scythian system of animal pattern, vine pattern, palmette pattern, thunder pattern, spiral pattern, shape of diamond pattern. Scythian system of animal pattern and vine pattern proves the interchange with the countries to the west of China. Noin-ula's textile pattern is applied to the designer's work of art. The designers are John Galliano, Etro, Chloe, Emmanuel Ungaro and so on, who express the modern ethnic style design. Because the more developed the modern society is the more embossed feature of intention for the race and the fork art, I think that Ethnic style design is applied to modern sensitive and ethnic style in the future.

• 한국실내디자인학회논문집
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• 제20권6호
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• pp.97-104
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• 2011

Art has always been a witness to its time. The art of our century has lived through two world war. In that time Friedensreich Hundertwasser was born to a half Jewish family in Vienna in 1928. He lived and died as a painter, architect, designer, ecologist, writer, innovator... etc. He was impressed form Gustav Klimt, who pioneered the Viennese Secession which was the Austrian expression of the Art-Nouveau mouvement and inspired by the works of Egon Schiele from an early date. His style as an architect was heavily influenced by Antonio Gaudi and some of the Jugendstil architects. Although his architectural work is comparable to Gaudi in its biomorphic forms and use of tile, but is currently renowned for his unique styling. His character as follows; First, Bold color - His use of color is bold, and he has a strong sense of which color work well together. Second, Curved line & Spiral - It's the primary shapes in his works against the tyranny of ugliness and the iron rule of its straight line. Spiral reveal as a transautomaism. Third, Harmony with nature - His work is the creator of beauty, of nature of harmony, peace of joy, against the contradictions of our post-industrial society. He represented these various characteristics in his works. Hundertwasser first achieved notoriety for his boldly-colored painting, he is more widely renowned today for his revolutionary architectural designs.

• 한국산학기술학회논문지
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• 제21권5호
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• pp.656-663
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• 2020

본 연구는 본격적인 작품이 이루어지는 1940년 전·후(탈리에신 웨스트를 기준)하여 라이트의 건축적 디자인 개념과 구성요소들이 어떻게 변화했는지를 조사·분석하였다. 분석 결과 라이트는 프뢰벨과 일본의 영향 외에도 고대 마야문명의 영향도 받았고 이를 탈리에신 웨스트 작업실을 시작하게 된 계기를 만들어 준 빌트모어 호텔에 직접 실현시켰다. 이후 라이트의 건축 디자인 구성요소들이 변화됨을 알 수 있었다. 특히 탈리에신 웨스트 작업실이 위치한 애리조나의 지역적 특성, 사막 기후를 고려했을 뿐 아니라 그 지역의 식물인 오코틸로 선인장 색인 체로키 레드를 자신의 상징적인 색으로 적용하였다. 그리고 1940년 이전과 비교하여 변화된 디자인 개념을 정리하면 1) 1940년 이전의 공간형성을 위한 정(방)방형의 모듈에서 이후에는 원과 나선형이라는 디자인 개념으로 변화하고 2) 단순히 수직성을 강조한 기둥의 형태가 다양한 모습으로 변화하였고 3) 라이트가 건축 초기 시절에 사용한 박공지붕이 1940년 이후에는 하늘을 향해 솟아나는 다양한 형태로 변화하였다. 이런 변화는 이전에 실현되지 못한 잠재된 자신의 다양한 경험들이 누적되어 나타난 결과임을 알 수 있었다.

• 디자인학연구
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• 제11권1호
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• pp.131-142
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• 1998

20세기 초반기에 왕성한 작품활동을 하여왔던 구수타브 클림트는 새로운 시대에 걸맞는 새로운 정신을 발휘하여 새로운 조형성을 추구하며 총체적인 개념으로 작품활동을 전개하였다. 클림트는 그의 작품을 통해 심미적인 요소를 추구하고자 하였으며 인간을 대우주안의 소우주로서 표출하였고, 우주만물의 생성과 죽음의 과정을 여성을 매개체로 표현하였다. 클림트의 패턴은 원, 삼각형, 그리고 나선형으로 나타난다. 원은 우주, 여성을 상징하고, 삼각형은 인간을 상징하며, 사각형은 지구와 남성을 상징한다. 나선형은 돌고 도는, 끌고 당기는 우주의 힘을 상징한다. 클림트는 음과 양, 곡선과 직선, 난색과 한색의 대비를 통하여 그의 상징성을 더욱 강화시켰다. 패턴과 색상의 사용법을 통하여 그의 우주관을 상징적으로 표현하였던 클림트의 작품은 이차원적인 성격을 매우 강하게 나타낸다. 상징성을 표출하기 위하여 장식적인 패턴의 정교함을 보여주었던 클림트의 작품은 패턴디자인에 자주 응용되어 오고 있다. 그의 작품은 홈 퍼니싱 용도와 어패럴 용도의 텍 스타일 디자인으로 응용되어 왔으며, 스테인드 글래스와 타일로 제작되어 실내를 장식하며 포스터나 악세사리 용품에 응용되어 대중들의 삶에 깊이 침투되어 왔다. 이러한 디자인들은 클림트의 패턴들의 특성을 살리면서 각 디자인용도에 부합되게 레이아웃과 기법을 달리하는 방법에서부터 클림트의 작품을 전반적으로 소화시켜 그 느낌을 간결히 추상화하여 표출하는 방법에 이르기까지 클림트의 작품이 다양하게 해석되어 응용되어 오고 있다. 본 논문은 클림트 작품에 나타난 패턴들을 연구함으로 패턴디자인의 새로운 창의적인 방향을 제시하고자 한다.