• 프린팅코리아
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• s.31
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• pp.104-105
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• 2005

요즘 웰빙의 영향으로 자연친화적인 제품들이 인기를 끌고 있다. 그러나 이에 못지 않게 천연 재질은 아니지만 천연재질 같은 느낌을 주는 인조 제품도 인기를 모으고 있다. 그러한 제품들 중에서 단연 돋보이는 제품은 무늬목 시트다.

• The Korean Journal of Pesticide Science
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• v.19 no.3
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• pp.287-294
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• 2015

In Korea, Strawberry bacterial angular leaf spot disease was first reported in 2010. The disease of strawberry caused serious problem for strawberry producers and export. To field test, we applied the bactericides in June and October as nursery stage and cultivation stage, respectively. In nursery stage with high temperature condition, Oxolinic acid (97.2%) showed significant control effect. In cultivation stage with low temperature condition is soil sterilization and soil non- sterilization the control effect. In cultivation stage in soil sterilization stage Validamycin (93.3%) showed reliable control effect against the disease. Also, soil non-sterilization stage with low control effect of Validamycin (80%) showed control effect the lower than a soil sterilization stage.

• Research in Plant Disease
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• v.9 no.3
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• pp.149-152
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• 2003

Black leaf spot disease occurred on Dendrobium phalaenopsis grown in farmer's fields located in Bonggangmyon, Gwangyang-eup, Jeonnam, Korea. Black small spots occurred on leaves at initial stage of infection and the infected leaves turned yellow from the tip. The yellow leaves were falled, resulting in stem blighting or eventual death of the entire plant. White mycelial colony of the causal fungus grown on potato dextrose agarturned dark violet later and optimum temperature for the mycelial growth was $25^{\circ}C$. The causal fungus isolated from the black leaf spot on D. phalaenopsis was identified as Fusarium moniliforme based on the mycological characteristics and pathogenicity. The fungus also caused same symptoms on leaves of Phalaenopsis sp. and Cymbidium sp. as well sa D. phalaenopsis by wound inoculation. This is the first report on black leaf spot of D. phalaenopsis caused by F.moniliforme in Korea.

• Proceedings of the Plant Resources Society of Korea Conference
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• 2018.10a
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• pp.84-84
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• 2018

참억새(Miscanthus sienesis)는 화본목 벼과 억새속에 속한 다년생 단자엽식물로 동아시아와 오세아니아 동쪽 해역에 자생하고 있으며, 국내에서는 관상가치가 높아 정원용이나 조경용 소재로 이용되고 있는 대표적인 산림식물이다. 억새속(Miscanthus)은 물억새(M. sachariflorus), 참억새(M. sinensis), 억새아재비(M. longiberbis), 장억새(M. changii)로 분류하고 있으며, 이는 종을 구분하는 화기구조가 작고, 변이가 다양하기 때문이다. 그 중 참억새는 이러한 변이를 이용하여 다양한 초장과 엽 무늬를 가진 재배품종이 많이 개발되었으며, 내한성 또한 강해 정원용 관상식물로서의 가치가 높이 평가되고 있다(Lewandowsik et al, 1964). 지금까지 참억새 재배품종은 엽 무늬를 중심으로 개발되어 품종간 높은 유사성을 가지고 있어 구별하는데 어려움이 있었다. 본 연구에서는 새로운 참억새 품종개발시 기존품종과의 차이를 구별할 수 있는 기준을 제시하고자 기존 참억새 재배품종들에 대해 형태적 특성을 조사 분석하여 고찰해 보았다. 조사결과 가로무늬를 가진 'Strictus'와 'Zebrinus' 품종은 형태적으로 매우 유사하였으나 전체적인 모습에서 'Zebrinus'가 'Strictus' 품종에 비해 잎의 끝부분이 늘어지는 정도가 커 처진 특성을 나타내었다. 또한, 세로무늬를 가진 'Cosmopolitan'과 'Carbaret' 품종의 경우 초장 및 엽신의 길이가 유사하였으나 엽 무늬 위치에 차이가 있는 것으로 나타났다. 엽 폭이 좁은 세엽종인 'Morning Light'와 'Little Kitten' 품종은 형태적 차이는 없지만 가장자리 엽 무늬 유무로 구분이 가능하였다. 반면에 'Adagio'와 'Little Kitten, 품종은 형태적으로 매우 유사하여 좀 더 세밀한 조사가 필요할 것으로 보인다. 앞으로 더 많은 참억새 재배품종의 형태적 특성을 조사한 자료를 이용한다면 신품종 개발시 기존 재배품종과의 차이를 비교하는데 효율적으로 이용될 것으로 기대된다.

• Journal of the Korean Institute of Telematics and Electronics
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• v.26 no.7
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• pp.157-165
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• 1989

To recover three dimensional information in Shape from Texture, the distorting effects of projection must be distinguished from properties of the texture on which the distortion acts. In this paper, we show an approximated maximum likelihood estimation method in which we find surface orientation of the visible surface (hemisphere) in gaussian sphere using local analysis of the texture. In addition, assuming that an orthogonal projection and a circle is an image formation system and a texel (texture element) respectively, we drive the surface orientation from the distribution of variation by means of orthogonal projection of a tangent direction which exists regularly in the arc length of a circle. We present the orientation parameters of textured surface with slant and tilt in gradient space, and also the surface normal of the resulted surface orientationas as needle map. This algorithm is applied to geographic contour (artificially generated chejudo) and synthetic texture.

• Journal of the Korea Fashion and Costume Design Association
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• v.2 no.1
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• pp.21-35
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• 2000

The purpose of this study was to evaluate the preference of image for modern application of Korean traditional patterns. A survey was conducted using the randomly selected 292 undergraduate women students of Taegu city. The degree of interest and preference in Korean traditional style or something like that had measured by 5 scale method. And then they had two groups which are interest/non-interest group, and preference/non-preference group in Korean traditional style. Also, preference of Korean traditional patterns was measured by 5 scale method. The image of Korean traditional patterns consisted of semantic differential scales. Analysis was by frequency, percentage, and mean. For difference of groups analysis was by t-test. The results were as follows:1. For the survey, 53.8% showed the interest and 40.4% did the preference for the traditional patterns. There was the positive correlation(0.782) between the degree of the interest and preference. 2. Among twenty traditional patterns, the patterns of plants and nature were very preferred, but the patterns of geometrical things was not preferred. 3. For the nature pattern, the image seemed to be elegant and feminine(womanly). For the plant pattern, the image seemed to be feminine, neat, weak, light and mild. For the animal pattern, the image seemed to be heavy, gorgeous, deluxe, virile(manly), strong and active. Last, for the geometrical pattern, the image seemed to be elegant, deluxe, rigid and strong. 4. Between the interest／non­interest groups, there was the significant difference in pattern of cloud, mountain, lotus flower, plum blossoms, orchid, dragon, chinese phoenix and bogy. Especially, for the orchid pattern, the preference difference between these groups was large. 5. For the plant pattern, the image difference between these groups was very large as the elegant-rustic image. Especially, the interest group evaluated as the elegant image. 6. Between the preference／non­preference groups, there was the strongly significant difference in the preference for the orchid pattern. 7. For the geometrical pattern, the image difference between these groups was very large as the mild­cold image. Especially, the preference groups evaluated as the cold image.

• Journal of the Korean Society of Costume
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• v.65 no.7
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• pp.32-46
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• 2015

Treasures patterns are simplified designs of vessels used in everyday life, which were symbols of luck. Treasures patterns on textiles are largely assorted into four groups: eight auspicious patterns of Buddhism, eight immortal patterns of Taoism, seven treasures patterns of King Chakravarti in the Buddhist Scriptures and normal treasures patterns. Among them normal treasures patterns are most commonly used. Records in the Joseon documents show these patterns as being composed of seven treasures patterns or eight treasures patterns. But observation of the actual relics show that these patterns ranged from four to ten patterns. Korean traditional textiles treasures patterns began to appear in Korea on the relics of the last of Goryeo period. They were used as sub-patterns among main patterns of dynamically rising cloud patterns with five heads. Treasures patterns in the early Joseon period were commonly used as sub-patterns, and cloud and treasures pattern were prime examples of this. In the 16th century, lotus vine pattern, small flower vine pattern, or small flower pattern were often used as main patterns and treasures patterns were regularly used as sub-patterns. The robe of the Great Monk of Seo San was unique, in that both main and sub patterns consisted of the treasures patterns. From the 17th century, treasures patterns began to be used as main patterns. For example, a relic with eight alternatively arranged treasures patterns were found. Though there were still some cases where the patterns were used as sub-patterns, they begin to appear bigger than the previous period and became similar to main patterns in size. In the 18th and 19th centuries, there were various cases where treasures patterns were combined with flowers, fruits, animals, and letter patterns and used as main patterns. And there are many different methods of representing and developing the patterns.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.56-73
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• 2017

The purpose of this study is to categorize the lotus patterns of traditional Korean fabrics. This study collected 169 fabrics of Korean lotus flower patterns and then made a list of era, configuration of pattern, type of artifact, findspot and holding institutions. It analyzes the characteristics of 251 kinds of lotus woven on 169 Korean fabrics, 251 kinds of lotus on 169 fabrics divided into Realistic Type, Design Type, and Abstract Type. They consist of 213 kinds of Design Type(84.8%), 21 kinds of Realistic Type(8.4%), and 17 kinds of Abstract Type(6.8%). The largest part of lotus patterns is Design Type. Design Types are subdivided into 14 types. This result contrasted with the conclusion of the research paper about peony patterns in Traditional Korean Textiles. The largest part of peony patterns was Realistic Types. Realistic Types of lotus patterns in Korean textiles are subdivided into 6 types. Korea has more diverse forms and a higher ratio of Realistic Types than China and this can be interpreted to reflect that there is a tendency in Korea to prefer natural patterns. Besides abstract Types are subdivided into 3 types. When the lotus flower patterns of Korea and China are categorized and similar types are compared, there are some unique patterns that appear only in Korea or China. Not only that, similar types display differences in pattern arrangement methods and portrayal among the two countries. If such study results are utilized, they can be grounds for distinguishing the production area of lotus flower textile fabrics when they are newly excavated in the future.

• Research in Plant Disease
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• v.11 no.2
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• pp.162-166
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• 2005

Disease progress of gray blight of tea (Camellia sinensis O. Kuntze) cv. Yabukita was investigated during the growing season of 2004 at Boseong Tea Experiment Station, Jeonnam Agriculture Research and Extension Service, Boseong, Jeonnam. The disease began to occur from late June and peaked in late July. Antagonistic bacteria against Pestalotiopsis longiseta, the causal pathogen of causing gray blight of tea plants were isolated from phylloplanes of tea plants. An isolate BD0310 which showed the strongest antifungal activity against the pathogen but nonpathogenic to tea plants was selected as a biocontrol agent for the gray blight. The isolate was identified as Bacillus subtilis based on its cultural, morphological, and biochemical characterization and 16S rDNA sequence analysis.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.101-116
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• 2010

In this study, the subjects are the expression methods and compositions of peony patterns in Chinese textiles. This study represents the peony patterns which are from Tang Dynasty to the Qing Dynasty, the research subjects are the peony patterns in fabric, except the peony patterns which are expressed by gold foil, embroidery and kesi. The objects of this study are 72 pieces of peony patterns. We sketched the configuration details of peony patterns through the Illustrator program. Analyze and classify the configuration accurately. Based on the 72 pieces of peony patterns, expression methods and compositions of the peony pattern are as following, firstly, we classified peony patterns into three categories, based on expression methods, as realistic shape, pattern shape and shape. Among these 72 fabric relics, there most of realistic shape 42 pieces(58.3%), pattern shape 25 pieces(34.7%), and shape 5 pieces(7.0%). Secondly, in the realistic shape peony, the most of pattern has petal accumulate as grape- shaped. This type is found in almost every Dynasty and was used regularly in the eras of Song and Ming Dynasty. In the era of Ming Dynasty, by using petals like the curly mushroom, Yeongji(靈芝), the pattern of symbolizing longevity was habitually used. The U-shaped flower pattern (type E) and the pattern of emphasizing the veins of petals are found only in the remains of the era of Qing Dynasty. Thirdly, in the pattern shaped peony, the most of pattern has some petals which are separated(type C). Fourthly, we classified peony patterns into four categories, based on compositions, as individual branch form, floral branch form, cluster branch form and floral nest form. Among these 72 fabric relics, there most of individual branch form 33 pieces(45.8%), floral branch form 18 pieces(25.0%), cluster branch form 13 pieces(18.1%), floral nest form 8 pieces(11.1%).