• The International Journal of Costume Culture
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• v.6 no.2
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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.

• Journal of Fashion Business
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• v.8 no.3
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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.

• Journal of Fashion Business
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• v.11 no.4
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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.

• Journal of Fashion Business
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• v.15 no.6
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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.

• Journal of the Korean Society of Costume
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• v.62 no.5
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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.

• The Korean Journal of Malacology
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• v.26 no.2
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• pp.165-170
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• 2010

The location of the style sac and morphology of the crystalline style were described morphologically in three bivalve species (Tegillarca granosa, Mytilus galloprovincialis and Saxidomus purpuratus) which inhabited in different area. The style sac of them was connected to the posterior stomach. There was the crystalline style in the style sac. The crystalline style of three species was long circular cone of translucent gelatin form, which was hard and elastic. There was a red-yellow and spiral filament inside the crystalline style of Tegillarca granosa and Mytilus galloprovincialis. A white and long tube was located from basal portion to the end of crystalline style in Saxidomus purpuratus. RLC (relative length of crystalline style) of Tegillarca granosa, Mytilus galloprovincialis and Saxidomus purpuratus was 47.69, 48.97, 64.20% and RWC (relative weight of crystalline style) was 0.54, 0.54, 0.39%, respectively.

• Journal of the Korean Society of Costume
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• v.53 no.8
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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.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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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.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.5
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• pp.656-663
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• 2020

The study analyzed how F. L. Wright's architectural design concept changed based on Taliesin West (1940). According to the analysis, F. L. Wright was also influenced by the ancient Mayan civilization in addition to the Froebel block and Japanese culture. Wright realized the design style of Mayan civilization directly at the Biltmore Hotel, which is located near Taliesin West. Later, Wright's architectural design elements changed considerably. In particular, the local characteristics of Arizona, where Taliesin West is located, desert climate, and Cherokee Red, the color of ocatilla cactus growing in the desert, have been applied in his symbolic colors of his architecture. The following is a summary of the changed design concepts compared to before 1940: 1) A square module was used for floor plans before 1940 that later changed to a design concept called a circle and spiral. 2) The form of a column that simply emphasized its verticality changed to various shapes. 3) The gable roofs used in the early days of Wright's architecture changed to various forms that rose into the sky after 1940. This change was seen as the culmination of potential experiences that had not been realized before 1940.

• Archives of design research
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• v.11 no.1
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• pp.131-142
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• 1998

Gustav KJimt (l862-1916)was a pioneer in the field of painting and decorative art. He was severly critized by the art critics of the time because of his rebellous art style. He firmly believed that there should exist a new kind of art that should portray the essence of the new liberalized era and that shoud reveal the idea of an artist in his work. Klimt was an aesthetic who sought beauty in life. He represented man as a micro universe within the macro universe. In order to portray man's inner being and to depict the process of life and death in nature, he symbolically employed female entity as a medium. Through uses of the circles, triangles, rectangles, and the spiral forms in his paintings, Klimt symbolized the meanings of man and nature. The circle symbolizes the universe and female entity; the triangle, human being; the rectangle, the earth and male entity; and the spiral, a universal force that attracts the opposite poles. The highly decorative characteristic nature of Klint's paintings and murals has often been modified in the pattern design field. It has been applied to home-furnishings and apparel textile designs, stained glasses, tiles, and posters. The techniques and layouts of these designs have been modified so that they may suit their manufacturing processes. In general, these pattern designs have two spectrums. One is the kind of design that has faithfully carried out Klimt' s original painting style. The other is the kind that has extracted the essence from the Klimt' s original art work.