• The Research Journal of the Costume Culture
• /
• v.17 no.3
• /
• pp.407-423
• /
• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.

• Fashion & Textile Research Journal
• /
• v.19 no.4
• /
• pp.400-410
• /
• 2017

Bactria was the intersection of transportation between Greece-Iran and Central Asia at the Silk Road. This kingdom was Greek in all of its ruling classes. Because the Greek culture of Bactria spread to India and the east, Bactria was a very important place in ancient civilizations. The purpose of this study is to understand the life and the various cultures of Bactria and the influence of Greek culture on the costumes of Bactria. The research method was approached through the analysis of the empirical data. Data on antiquities were analyzed in European exhibition catalogs and secondary data collected from Internet. The results of this study are as follows: First, the original costume of Bactria was identified in two styles in the reliefs of the Persian Achaemenid. One is the tunic jacket sarapis that goes down to the knee and wide trousers with half-length boots. The other is the Scythian style trousers that looks like a barrel in a Sarapis. Second, in the Bactrian coin depicting the bust of the Bactrians, the hair styles and headgear of the Bactrian kings were analyzed. The Bactrians wore braids with short curly hair and wore Macedonian hats and helmets on them. Third, the relics excavated from the ruins of Ai-Khanuom depicted the forms of the ruling classes of Bactria. The dress styles and hair styles of gods and priests were imitating the form of the Greek costume as it is.

• Fashion & Textile Research Journal
• /
• v.9 no.6
• /
• pp.595-602
• /
• 2007

This study examined the aesthetic characteristics of Grecian style which is being considered as the representative classic of Western fashion and the transformations of those Grecian styles on the fashion of the twentieth century. This study used positive research method using literatures on art history and clothing history, fashion related publications, and magazines and websites to understand the trend of fashion designer's collections. The study results are as follows. The aesthetic characteristics of Grecian style was considered to be the ideal beauty combined with symmetry, the functional beauty combined with non-construction, and the sensual beauty combined with natural body. The ideal beauty combined with symmetry appears as a style that shows idealistic proportion of a body emphasizing high-waist based on the golden ratio and the body as a whole rather than details. The functional beauty combined with non-construction appears as perfect recreation a body in its original and natural form. The clothing takes a form that does not have any structural design and has simplified cutting and sewing. It uses pins and strings to fix up the form of clothing which is flexible and naturally draped. The sensual beauty combined with natural body is found in natural silhouette dress alluding naked body in connection with Rousseau' naturalism in neoclassic period. Throughout the twentieth century, the desire for Grecian style was conveyed by a single detail or through an array of allusive effects.

• Journal of the Korean Society of Earth Science Education
• /
• v.10 no.2
• /
• pp.214-225
• /
• 2017

The first accurate estimate of the Earth's circumference was made by the Hellenism scientist Eratosthenes (276-195 B.C.) in about 240 B.C. The simplicity and elegance of Eratosthenes' measurement of the circumference of the Earth by mathematics abstraction strategies were an excellent example of ancient Greek ingenuity. Eratosthenes's success was a triumph of logic and the scientific method, the method required that he assume that Sun was so far away that its light reached Earth along parallel lines. That assumption, however, should be supported by another set of measurements made by the ancient Hellenism, Aristarchus, namely, a rough measurement of the relative diameters and distances of the Sun and Moon. Eratosthenes formulated the simple proportional formula, by mathematic abstraction strategies based on perfect sphere and a simple mathematical rule as well as in the geometry in this world. The Earth must be a sphere by a logical and empirical argument of Aristotle, based on the Greek word symmetry including harmony and beauty of form. We discuss the justification of these three bold assumptions for mathematical abstraction of Eratosthenes's experiment for calculating the circumference of the Earth, and justifying all three assumptions from historical perspective for mathematics and science education. Also it is important that the simplicity about the measurement of the earth's circumstance at the history of science.