• 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%).

• Journal of Plant Biology
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• v.37 no.2
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• pp.159-166
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• 1994

Direct current (DC) applied to cotyledons during a 16 h inductive dark period inhibited the flowering in the short-day plant, Pharbitis nil Choisy cv. Violet. The inhibitory effect of DC was more profound when the current flowed from roots to cotyledons, showing its polarity-dependent action. The second half on the inductive dark period was more sensitive to DC stimulus. The flowering was significantly depressed only when DC stimuli were applied to the translocation path of the floral stimulus from the induced cotyledon to the apex, suggesting that the transport of floral stimulus was damaged by the DC treatment. The vegetative apex culture bioassay system showed that a significant level of the floral stimulus activity existed in the phloem exudate from the cotyledons which would fail to form their own floral buds. These results strongly support the hypothesis that DC partially impede, at least temporarily, the transmission path of the floral stimulus from florally-induced cotyledon to the apex, rather than depressing in situ synthesis of the floral stimulus.

• Journal of the Korean Society of Floral Art and Design
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• no.40
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• pp.77-96
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• 2019

This study was conducted to grasp distribution of native plants in flower market and uses of native plants in floral decoration. This study was investigated native plants sold in flower market(2017.01-2017.12) and their monthly sales. Also, this study analyzed the use of native plants, frequency of native plants classified by form and color of native plants used for floral decoration in flower magazines 'Fleur' and 'The Flower'. Among 172 species distributed cut-flower, native plants in Korea flower market are only 24 species(14.0%). Number of filler flower(15 species) is more than other forms. Native plants used in 'Fleur' and 'The Flower' were 14 species(10.2%) and 17 species(9.6%), it is meaning that native plants were less used than foreign plants. The number of filler flower was the highest in both magazines, but form flower(299 works) in 'Fleur' and mass flower(571 works) in 'The Flower' are used most frequently. According to color analysis of native plants used for floral decoration, P(purple), PB(navy) and RP(reddish purple) were 57% of the total. It can be increased native plants uses in flower decoration with developing form and mass flower considering color preference.

• Journal of the Korean Society of Floral Art and Design
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• no.45
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• pp.47-56
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• 2021

It was applied by making the models such as the prior learning (e-learning), modeling by manual, learner's practice, 1:1 teaching coaching, self evaluation, coaching behavior assessment(primary, secondary), and self-directed practice. First, the cognitive practice education through the prior learning is very essential in the practice of floral design. Second, the practice class of floral design is a class where the professor generally set an example first, and the learners followed. Third, this study was to prepare the checklist, reflect it through the self evaluation, and prepare the evaluation form in accordance with the element, principle, and technical parts of floral design about the finished works. Fourth, contrary to the existing class completing within the class hour, the practice class is a process of trying to do self-directed practice, returning to home. Fifth, this study was to evaluate the works the learner made once again through the sketching and photographing by placing the work process of portfolio at the last step. To conclude, this study has found that such series of process through six steps on the practice form by the learner only would be excellent teaching learning model to improving the basic capacity of floral design. Accordingly, the development of teaching materials related to this and adaptation in the field in the future is considered as it will be very helpful to the learners' self-directed learning.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.41 no.5
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• pp.371-380
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• 2008

This study elucidated the floral composition of marine algae and community structure at Hallyeo-haesang National Park, on the southern coast of Korea. In all, 89 species, comprising 10 green, 30 brown and 49 red algae, were identified. The dominant species in terms of importance value were Ulva pertusa, Colpomenia sinuosa, Undaria pinnatifida, Padina arborescens, Hizikia fusiformis, Sargassum sagamianum and Amphiroa dilatata. The vertical distribution of marine vegetation was characterized by Enteromorpha linza - Ulva pertusa - Gelidium divaricatum in the upper intertidal zone, Hizikia fusiformis - Sargassum thunbergii in the middle intertidal zone, and Amphiroa spp. - Hildenbrandtia rubra - Corallina pilulifera in the lower intertidal zone. Functional form group analysis showed that coarsely branched forms comprised 50.3% of the algal community, whereas thick leathery forms, sheet forms and filamentous forms comprised 11.9-13.1%. R/P, C/P and (R+C)/P values were 1.91, 0.74 and 2.64, respectively. A cluster analysis of species occurrence suggested that the number of marine algal species differed greatly among the sampling sites.

• Journal of the Korean Society of Floral Art and Design
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• no.43
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• pp.19-37
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• 2020

The purpose of this paper is to seek for a new exhibition form of floral art design that deviates from formalism by suggesting a planning exhibition with storytelling away from the unilinear exhibition composition method of floral art design currently being held in Korea. Storytelling in flower art exhibition is to construct an easy-to-understand exhibition through the use of the four-step construction method of introduction-development-turn-conclusion, or the three-step construction method of intro-body-conclusion. It is intended to efficiently propose interaction between creators and viewers. In order to seek for diversification of floral art design, it is necessary to secure a convergent view that has been blowing since the Millennial, collaborate with other fields, or attempt exhibition planning that reflects storytelling. The main function of the exhibition is to meet and communicate directly with the public. This study intends to propose the exhibition structure and implementation direction of floral art exhibition through the case of 'Hwawanggye' held at the Sungkyunkwan University Museum in 2017, focusing on the exhibition where storytelling is applied. Through this study, it is expected that the discourse in the field of floral art will be expanded, and various networks of aesthetic suggestions and floral art design with storytelling will be boosted.

• Korean Journal of Medicinal Crop Science
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• v.4 no.3
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• pp.199-204
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• 1996

We investigated the structures of floral organs and the developmental process of each floral organs in Bupleurum falcatum. The overall size of a floral was about 2mm. The lengths of ray, pedicel, pistil and stamen were 22.5mm, 3.6mm, 1.0mm and 1.3mm respectively. The ovary surface was 0.9mm in length and 1.4mm in width. And the developmental periods of each floral organs were as follows; 1 through 6 days in stamen emergence, 6 through 9 days in petal detachment and pistil emergence, 9 through 16 days in pistil ma­turation, and above 16 days in pistil degeneration after onset of flowering. This plant was admitted to be a allogamous plant, especially with the protandry form of dichogamy.

• Journal of the Korean Society of Floral Art and Design
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• no.45
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• pp.77-95
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• 2021

This study considers the problem of reality that our floral art has to overcome as a loss of the floral art spirit caused by the expansion of Western-centered formalism flower culture, and considers the discussion on the deformality of distancing and the free spirit of nomadism. The floral art, which works on the creator's aesthetic mental world through flowers, is an art of mental image that values the free mental world of the creator. It also refers to the importance of artist consciousness as an art of self-imago that makes the target world beyond the "expression of similarity" that reproduces the target world. In this context, the lack of concern about the identity of Korean floral art appears to be the creative training and work of Korean floral artists who are biased toward Western expression techniques and creative methods. It also expresses a problem with our cultural consciousness, which is dominated by the Western flower culture of flower design. Here, we are obliged to understand the reality of Korean floral art biased by Western flower design and to organize discussions to solve the problem. Therefore, this study examines the problems that our floral art has to overcome as part of seeking the identity of Korean floral art and enhancing the cultural value of Korean floral art through criticism of Western cultural acceptance. This is a historical consideration of the nature of Korean floral art to recover, while also a process of identifying the meaning of the free creative spirit that the artist should maintain as an aesthetic art. Furthermore, such criticism of the Korean floral art culture and discussion of introspection are expected to serve as an opportunity to further expand the academic discourse system for the floral art while embodying the "identity" of Korean floral art.

• Journal of Sericultural and Entomological Science
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• v.54 no.1_2
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• pp.17-22
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• 2016

Rearing environment direct effects on oviposition preference of black soldier fly(Hermetia illucens). In this study, the number of egg-filled flutes was surveyed according to the size of adult rearing cages and oviposition media of black soldier fly (BSF). The height of the adult rearing cages were fixed at 2 m and provided different sizes of width and length and released 20,000 BSF adults in the rearing cages. The mean number of BSF egg-filled flutes was 895.4 at $4{\times}4m$ cage, 876.3 at $2{\times}1m$ cage and 62.3 at $1{\times}1m$ cage. Comparison of egg-filled flutes was according to cages material of adult BSF. The mean number of egg-filled flutes were 820.7 and 604.3 at different cage materials such as mosquito net and green house film. The mean numbers of egg-filled flutes were 326.6 in green floral form, 135.2 in green corrugated cardboard and 41.0 in brown corrugated cardboard. And the mean number of egg-filled flutes were similar floral form with the corrugated cardboard was overlapped by floral form such as 57.7 and 64.7. The mean number of egg-filled flutes was 29.0 and 48.2 in 6 mm and 4 mm diameter of oviposition hole.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.131-146
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• 2022

The purpose of this study is to implement the textile design applying the floral pattern shown in Korean traditional fabrics and the New-Hanbok Chulic Dress in 3D through a virtual fitting system. As a research method, first, we analyzed the floral pattern types of fabrics in the literature related to traditional Korean textiles. Second, we developed textile designs of traditional flower motifs using 13 extracted flower types. Third, we applied the floral textile designs to the 3D original form of new-Hanbok Dress produced based on design preference survey results. The findings derived through this study are as follows. First, among Korean traditional patterns, the type of flowers used in textiles were blossom of chrysanthemum, orchid, camellia, apricot, peony, peach, pomegranate, hydrangea, narcissus, lotus, plum, chinese rose, and rosa rugosa. Second, this study found that the value of traditional culture can be further increased by using traditional flower patterns as an infinite source of creative design. Third, it was confirmed that the new-Hanbok can be developed endlessly as a clothing design that combines various morphological modifications and patterns without departing from traditional designs. In the future, if the research on costume design using various items of traditional clothing and the development of textile designs based on traditional culture continues, the development of new clothes design that leads to the development of Korean traditional clothing culture and meets the sensibilities of modern people will be endless.