• The International Journal of Costume Culture
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• v.13 no.1
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• pp.23-25
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• 2010

Archaeological evidence shows that cotton fibres of the genus Gossypium were first used for textile production at Mehrgarh, Pakistan in the Neolithic period ($6^{th}$ millenium BC). Eventually the cotton plant and textiles found their way to Egypt and through there, to Greece. However, the chronological origins of the cultivation and/or use of cotton fibres in textile production in ancient Greece are ambiguous. The main sources of information are ancient written texts and excavated textile finds. Both indicate that the introduction of cotton in Greece can be placed in the mid-first millenium BC. However, it is not clear whether the cultivation of the plant and consequently the production of cotton textiles was established in that period or whether another cotton species was produced and used locally in Greece or whether isolated examples of cotton textiles had been imported in Greece before the cotton plant. A more comprehensive analytical study of surviving textile finds coupled with archaeological research for plant production and cultivation would provide the answer to these questions.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.1
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• pp.217-227
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• 1997

Costume of each age reflects its own history. Military costume is an reflections of war, social and geometrical background. Soldiers on their uniforms were at the battlefields with their lives and country on their shoulders. The main purpose of this writing is to study military costume of ancient empires in historical Point of view including especially those of Egypt, Mesopotamia, Crete, Greece, Etruria, Rome. As we will see, ancient military costume developed from earlier stages of uniforms into military costume in various ways. The types of military costume formed itself gradually but rapidly into sophisticated, useful, and excellent quality clothes. Military costume of early ancient empires signified its strength and were actual and symbolic costume that determined life and death, glory and disgrace.

• Journal for History of Mathematics
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• v.33 no.4
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• pp.223-236
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• 2020

We examine how the formulas of the area and the circumference of a circle related to pi in the ancient Egyptian and the Old Babylonian fields of mathematics have been controversial. In particular, the Great Pyramid of Khufu, Ahmes Papyrus Problem 48 and Moscow Mathematical Papyrus Problem 10 have raised extensive controversy over π. We propose the pi-theory of the Great Pyramid of Khufu as a dynamic symmetry based on Euclid's rectangle. In addition, we argue that the ancient Egyptian or Old Babylonian mathematics influenced Solomon's Molten Sea, Plato and Archimedes' pi.

• Korean Journal of Human Ecology
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• v.8 no.1
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• pp.135-150
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• 1999

The purpose of this study is on the dance costume of ancient Egypt. First, after the present study looked onto a specialty of Egyptian dance, and then the present study classified Egyptian dress into type and form, quality of material and color tone, hair and headdress and other ornaments. Fundamentally, this study was intended to understand the traditional culture and to grasp the peculiarity of Egyptian dancing dress. This study was progressed as a theoretical research by using documents, photographs, literatures of museum, etc. The results of the study could be summarized as follows. Egyptian dancing featured the earliest form of stage dance in the world and improved religion dancing and sideshow dancing getting out of the form of primitive dance, and also there were professional dancers who developed highly skillful dancing technique. They played a role in disseminating it to many countries of the Mediterranean sea. Dancers of Egypt wore a variety of cloths like the general people. Accordingly, there were no big differences in qualify of material, color tone and other ornaments as well. Yet in accordance with improvement of dance, there was a show-up of clothing of professional dancers and changing of detail parts. So dancing dress was formed while distinguished from general clothing. Therefore, dancing dress of Egypt represents racial characteristics, activity, originality and pursues not authority, but respect of physical beauty or natural beauty.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.15-30
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• 2001

The purpose 7f this study is to investigate the change of the ideal beauty of human bodies and the related clothing form designs from the ancient Egypt to the Romantic Period in the aspect of optical illusions effects to achieve the ideal beauty so that we can accumulate the knowledges for the modern clothing form design and the related optical illusion effects. The scope of this study is limited to the female body forms and female dress forms. The analysis on the optical illusions in the dress forms of the various period relied on the literatures and some representative photographs and figures. The important results are as follows : 1. In the body Priority type designs of Egypt, Greece and Rome, the natural Beauty of human bodies was represented by H type silhouett, the smooth and transparent drapery materials were used with radiant line pleats resulting in slant optical illusions. 2. In the clothing priority type designs of Byzantine, Gothic, Renaissance, Baroque, Rococo and Romantic Period, manteau, cotehardie, hennin and poulain were used to emphasize long arms and legs, high waists, belly curves and large heads resulting in optical illusions of vertical emphasize. Also long train, farthingale and panier were used to emphasize body expansion resulting in the optical illusions of Titchener alld Lipps. Large and complex patterns showed the optical illusions of Aubert. 3. In the clothing priority/body concealment type of Byzantine period, thick materials with precious gems and voluminous silhouettes were used to emphasize body expansion resulting in optical illusions of materials.

• Korean Journal of Human Ecology
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• v.10 no.2
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• pp.179-188
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• 2001

The purpose of this study was to research the symbolic of Ancient Egyptian Crown ornament. The results of this study were summarized as follows. Ancient Egyptians expressed the authority of king and nature worship to the crown ornament. The volume and scale of shape symbolized the authority of king and the nature worship. The brillant and plentiful of colors symbolized the strong1y authority of king. The numbers of patterns symbolized the authority of king and the nature worship.

• Journal of Fashion Business
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• v.5 no.5
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• pp.36-48
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• 2001

The Christianity that spread to Egypt in 3rd century in A.D. is called Copt. Coptic Church built a lot of monasteries along the lower stream of Nile River, which produced thousands of text and paintings. Ethiopia is well known for its worship to Virgin Saint Mary and produced many paintings of Virgin Saint Mary in different costumes. The pictures usually came in foldable small books containing 3 pictures. The paintings usually featured Virgin Saint Mary and Jesus Christ dressed as royalty in crowns, saints and angels. There are saints on white horse, mirroring the oriental influence on Coptic painting. This research will look into the patterns and colours on the Coptic textiles, mainly tapestry.

• Journal of the Korean Society of Costume
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• v.35
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• pp.135-149
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• 1997

In this thesis the northeast Asian footwear culture are examined,. in order to search the origin It started from the cradle of ancient civilization such as Meospotamia Egypt Indus and ancient China civilization region prior to the northeast Asia. The results are: On account severe intense climates and rough road as well ancient people starts to put the shoes on. Primitive form of ancient footwear put into the two categories: Chinese in the central land begins to put the shoes named Lee. After making contact with nomadic northern races boots named Wha is adopted functionally and taken throughout China. oreans wear the shoes both boots and shoes named Lee. Japanese walked with bare feet and simul-taneously Dagetta was used for rice farming. The changes of footwear is mainly in-fluenced by the factors such as climate con-dition social economic prohibition func-tional elements and aesthetic standards. Cli-mate conditions have influence upon the footwear materials form and foot exposure, The functional elements influenced on the ways of wearing shoes. Decorated patterns and materials of footwear is under the influnece of social economic prohibition and also affected by aesthetic standards(Tab 1-4) In accordance with pattern function materials of footwear the type and characteristics of footwear in China Korea nd japan came out with diversity(Tab 5-9)

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.72-87
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• 2011

The 21st century are seeing a large number of performing arts, and one of them, opera is evolving, transforming itself as one of total arts. Besides, the costume in performing art which play a major role in opera's visual impact, characterize figures, set the tone for performance and greatly contribute to the perfection of the stage. Under these circumstances, the study developed designs of stage costumes and built a full-scale production of the Magic Flute, one of three greatest Mozart operas. The opera based on a fiction, is still popular today since it is a fantastic fairy tale introducing moral and ethical lessons. The play's background itself is Egypt. But due to its fairy-take-like storyline, it has been performed focusing on various concepts rather than on costumes prepared through background research. As such, this study conducted research on designs of stage costumes that contains the element of Egypt and also take athleticism and comfort into consideration. The results derived from the study were as follows. First, traditional dresses of ancient Egypt were used as a basis while adding some modem touch in terms of forms or colors, which resulted in a new design. Second, a variety of images were captured using textures and colors that fit the characteristics of attributes of the figures. Third painting techniques were used to help highlight the symbolic image of Egypt-simple, not heavy and extravagant-with fairy-tale-like fantasy.

• Journal of Fashion Business
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• v.7 no.6
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• pp.67-75
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• 2003

In fashion history, the color "green" has been used from ancient to modern times constantly. Especially nowadays, the worth of green in fashion is becoming bigger than ever before to express the longing for pure nature. The purpose of this study is to define green's imageries in western costume history. For the basic about green, first of all, this study researched green of origin, effect and costumes in western history, then classified green's imageries. Green's imageries expressed in western costumes can be divided mainly into a 'nature imagery' and a 'religious divinity imagery'. Nature imagery was extended again into 'youth, devil, citizen and ecology image'. Youth image came from the luxurious feature of nature and it was extended again into 'innocent love, virgin and immaturity'. Religious divinity imagery has been represented in the ancient Egypt, Islam and Christian religion. In those cultures, green was considered as a sacred color of Osiris, Mahomet and Holy spirit.