• 복식문화연구
• /
• 제17권3호
• /
• 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.

• 한국의류산업학회지
• /
• 제19권4호
• /
• 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.

• 한국의류산업학회지
• /
• 제9권6호
• /
• 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.

• 대한지구과학교육학회지
• /
• 제10권2호
• /
• pp.214-225
• /
• 2017

지구크기에 대한 최초의 정확한 측정은 기원전 230년, 헬레니즘의 과학자인, 에라토스테네스 (276-195 B.C.)에 의하여 이루어졌다. 역사적으로 수학적 추상화는 유럽의 고대 그리스인의 천재성을 보여주는 좋은 예이다. 그 당시에는 상상하기 어려운 태양이 멀리 떨어져 있기에 태양광선이 평행하게 지구에 입사한다는 전제를 요구하는, 논리적이고 과학적인 기법의 에라토스테네스의 과학적 방법의 성공이었다. 중요한 것은 간단한 수학적 비례식을 성립하기 위해서는 지구가 둥글고, 광선이 지구에 나란하게 들어온다는 가정이 필요하였다. 즉 천상으로부터 지상으로 유클리드 기학학이 연결된다는 내용이다. 그것은 최초로 태양중심을 주장한 아리스타쿠스의 제안을 받아들여야 했고, 아리스토텔레스의 자연관인 우주는 아름답고 우아하다는 사상에 기반을 두어 지구는 구처럼 대칭적이라는 것이다. 우리는 이러한 가정들을 현대가 아닌 그 당시 어떻게 정당화 했는지를 탐색하는 것이다. 또한 실험의 미적 관점에서 에라토스테네스의 지구측정의 중요한 특징은 단순성에 있다는 것을 강조하는 것이다.