• 패션비즈니스
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• 제10권6호
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• pp.38-51
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• 2006

In Scythian art the multitude of animal representations well illustrates the preoccupation of this nomadic people with animals in their environment. Usually only wild animals are represented. The purpose and meaning of the 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). Following earlier Scythian migrations, Sarmatian animal-style art is distinguished by complex compositions in which stylized animals are depicted twisted or turned back upon themselves or in combat with other animals. Without copying nature, they accurately conveyed the essence of every beast depicted. Scythian bound the leather belts that was hanged a hook that shaped of different kinds at the end on the upper garment. Through the antique records and tombs bequests the styles of 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. In Korea, through the antique records and tombs bequests the styles of Buckles was horse-shaped and tiger-shaped Buckles that were influenced by scythe style.

• 복식
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• 제27권
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• pp.17-26
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• 1996

This thesis is to study the original form of Buckles of our country in ancient times On the upper garment bound the leather belts that was hanged a hook that shaped of animal form at the end. The background of Buckles was originated from those northern mounted normadic groups which was Scythe style costume culture. In Korea through the antique records and tombs bequests the styles of Buckles was divided into three groups horse-shaped tiger-shaped bar-shaped Buckle. These styles were influened by scythe style and developed greatly and trasmitted to Japan.

• 보존과학회지
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• 제35권3호
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• pp.209-216
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• 2019

청주 송절동유적 출토 마형대구 29점의 납동위원소비 분석결과를 활용하여 납의 원료산지를 확인하고, 출토지와의 연관성을 확인하고자 하였다. 먼저 동북아시아 방연석 분포도(Mabuchi, 1985) 대입결과 대부분 중국 남부영역 내에서 매우 밀집한 분포 경향성을 나타내었으며, 한반도 납동위원소 분포도 적용결과 전라도와 충청도 지역에 해당하는 영남육괴 및 옥천변성대 지역인 Zone 3으로 확인되었다. 따라서 청주 송절동유적 출토 마형대구는 출토지와 유사한 지역에 위치한 방연석 광산에서 채취한 원료를 사용하여 제작하였을 것으로 볼 수 있다. 이와 함께 한반도 마형대구 출토 중심지역에 해당하는 중서부지역의 미호천유역 및 안성천유역 출토 마형대구 38점의 납동위원소비 분석결과와 비교하여 해당 문화권 내 마형대구 제작에 사용된 납 원료산지의 연관성 및 지역적 특성을 확인하였다. 향후 시대적 지역적 특성을 나타내는 마형대구를 대상으로 한 납동위원소비 분석결과를 축적하여 추가적인 원료산지 비교분석 연구를 통해 한반도 출토 마형대구의 납 원료산지에 대한 종합적인 정보를 얻을 수 있을 것으로 생각된다.