• 복식
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• 제60권1호
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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%).

• 한국의상디자인학회지
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• 제15권3호
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• pp.69-83
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• 2013

Clothes show not just the different social status of people, but the ideology and value of former society through pattern, colour, materials, shapes, etc. The purpose of this article is to fill the academic blank of this part by researching the pattern of fabric design in Jing Pai(Beiing style) and Hai Pai(Shanghai style) cheong-sam during the period of the Republic of China. The contrastive analysis of regional pattern between Jing Pai and Hai Pai cheong-sam expect to provide the theoretical basis for the former fashion designers and scholars. There are three approaches in the article: Data collection method, comparison method and Combining theory with practice method as film. Regarding components of pattern, both Jing Pai and Hai Pai cheong-sam have mostly single or composite pattern like plants. Further the most of Jing Pai cheong-sam pattern is traditional flower pattern. But Haipai cheong-sam patterns have some western flower pattern. Beside that, it have some geometry pattern. Regarding arrangement of the pattern, both cheong-sams have scattered dot style, the border style, and pictures style. But continuous type of Jing Pai cheong-sam is less while Hai Pai cheong-sam is the most. Comparing Jing Pai cheong-sam color of patterns in "Moment in Peking" is unadorned and types are simple as chinese traditional clothes; However, "In the Mood for Love" introduces us various material colors, new types of patterns and extraneous characteristic geometry patterns of Hai Pai cheong-sam. Generally speaking, the main characteristic of Jing Pai cheong-sam is traditional and conservatism. It keeps Chinese traditional pattern and culture to the most extent. However, Hai Pai cheong-sam are confluent and open with absorbed external culture and techniques which are endowed new artistic color.

• 한국육종학회지
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• 제42권2호
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• pp.188-194
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• 2010

시클라멘의 꽃 및 꽃눈의 색, 잎의 모양과 무늬 등의 질적 형질에 대한 유전 분석을 위하여 이들의 특성이 다른 계통을 교잡한 후, $F_1$, $F_2$ 및 여교잡 세대에서 분리비를 조사하였다. 화색은 $F_1$이 양친의 중간색을 나타냈고, $F_2$는 자방친 화색: 중간 색($F_1$과 동일): 화분친 화색이 1: 2 : 1로 분리되어 한 쌍의 대립유전자가 불완전우성으로 유전하는 것으로 나타났다. 꽃눈 색은 흰색 ${\times}$ 빨간색 계통의 조합에서 $F_1$이 빨간색으로 나타났고, $F_2$에서 빨간색 3: 흰색 1로 분리되어 한 쌍의 대립유전자가 우성으로 작용하는 것으로 밝혀졌다. 모인 꽃잎 형태는 흐트러진 꽃잎 형태에 대하여 완전우성으로 유전하는 것으로 나타났다. 잎 형질에 있어서는 넓은 은색 무늬 잎이 선형 무늬 잎에 대하여, 그리고 피침형 잎 끝이 타원형 잎 끝에 대하여 각각 우성으로 작용하는 한 쌍의 대립유전자가 관여하는 것으로 나타났다. 이와 같이 시클라멘의 질적형질의 발현에는 한 쌍의 대립 유전자가 작용하며 꽃의 색은 불완전우성으로, 꽃눈의 색, 잎의 형태 및 무늬는 완전우성으로 유전되는 것으로 밝혀졌다.

• 한국의상디자인학회지
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• 제24권2호
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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.

• Molecules and Cells
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• 제26권5호
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• pp.474-480
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• 2008

OsMADS1 is a rice MADS box gene necessary for floral development. To identify the key cis-regulatory regions for its expression, we utilized transgenic rice plants expressing GUS fusion constructs. Histochemical analysis revealed that the 5.7-kb OsMADS1 intragenic sequences, encompassing exon 1, intron 1, and a part of exon 2, together with the 1.9-kb 5' upstream promoter region, are required for the GUS expression pattern that coincides with flower-preferential expression of OsMADS1. In contrast, the 5' upstream promoter sequence lacking this intragenic region caused ectopic expression of the reporter gene in both vegetative and reproductive tissues. Notably, incorporation of the intragenic region into the CaMV35S promoter directed the GUS expression pattern similar to that of the endogenous spatial expression of OsMADS1 in flowers. In addition, our transient gene expression assay revealed that the large first intron following the CaMV35S minimal promoter enhances flower-preferential expression of GUS. These results suggest that the OsMADS1 intragenic sequence, largely intron 1, contains a key regulatory region(s) essential for expression.

• 복식
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• 제44권
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• pp.235-247
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• 1999

The influences of Art nouveau and Art Deco are as follow: The first, in the side of silhouette, hourglass style and bell shaped skirt influence on mordern fashion chiefly and S-curve style was mollified. Empire style, hobble style in art deco age are all showed diversely, in these styles especially boyish style give an outstanding trasts to modern fashion. The second, the color of art deco, characterized by pastel in art nouveau's color tone, original color and black and gold was reflected on the textile design and showed diversely in the color fo modern fashion. The third, in the field of textile and pattern, flower and plant which was a motive of art nouveau style, organic curve and geometrical pattern and exotic motive was seperately used with motive in the pattern and design of mordern. Textile of goldish and silver tone, metal stuff, lace embroidery, fur, artifical flower, feather etc. showed up on the many parts of clothing. Like this Art Nouveau and Art style not only had a great effect on the costume but also decorations and formative arts.

• 식물조직배양학회지
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• 제25권4호
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• pp.263-266
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• 1998

파(Allium fistulosum L.)의 자방을 0.5mg/L NAA와 0.5mg/L BA 또는 0.5mg/L kinetin을 조합처리한 MS배지에서 배양하였을 때, 자방의 표면으로부터 화아발생 캘러스가 유도되었다. 화아발생 캘러스의 유지는 0.5mg/L NAA와 0.5mg/L kinetin이 첨가된 배지에서 계대배양 하였을 때 양호하였다. 배양 3-4주 후 화아들은 화아발생 캘러스로부터 형성되었지만, 계대배양을 거듭할수록 화아의 발생률이 감소하였다. 화아의 발생 단계별 조직학적 관찰 결과 돔형의 분열조직이 넓게 퍼지면서 자연상태의 꽃과 같이 외측에 화판, 내측에 심피와 배주가 기원된 후 성숙한 꽃으로 발달하였다.

• Journal of Plant Biology
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• 제33권3호
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• pp.183-188
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• 1990

Induction and culture of hairy roots by Agrobacterium rhizogenes A4 were carried out in Platycodon grandiflorum DC. After 2-4 weeks of inoculation with Agrobacterium rhizogenes hairy roots were formed at root segments in the balloon flower. Optimized growth of hairy roots was obtained in hormone-free MS medium, 6% sucrose and pH 5.8. The pattern of ginsenoside in the transformed roots was not different with that in the ordinary roots.

• 한국의상디자인학회지
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• 제25권2호
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• pp.61-82
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• 2023

This is a study about the patterns depicted on the reliefs at Taq-i Bustan built during the Sasanian Dynasty of Persia. This study aims to understand the costume culture of the Sassanian Dynasty by analyzing the patterns depicted on the reliefs at Taq-i Bustan. As a research method, a literature survey and a comparative analysis of empirical data collected through historical site exploration was synthesized. The results of this study are as follows: Patterns appearing on the reliefs at Taq-i Bustan include pearl patterns, flower patterns, and animal patterns such as ducks, boars, and simurghs. The themes of these patterns appear differently depending on the social status, so it is assumed that the patterns were used as a means of symbolizing social status in the Sasanian Dynasty. The pearl pattern was a typical pattern that appeared in royal iconography, and the flower pattern appeared in multiple variations, and was a pattern commonly observed in the kings and his servants. Among the animal patterns, the Simurgh(Semurv) pattern is a representative pattern, which symbolizes the fertility and fecundity of the earth and this pattern was observed only on the clothes of kings. Therefore, the Simurgh(Semurv) pattern was understood as a pattern symbolizing the king's wish for the well-being of nature and the people. The patterns of other animals were mainly observed on the king's servants. Through the analysis of the patterns depicted on the reliefs at Taq-i Bustan, the life and the social aspects of the Sassanian Dynasty could be examined.

• Journal of Plant Biotechnology
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• 제36권3호
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• pp.289-293
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• 2009

This study was conducted to determine the inheritance and expression of transgene in descendants ($T_1\;to\;T_2$ generation) of SOD2-transgenic petunia by PCR and RT-PCR analysis. The trangene was segregated as Mendelian inheritance pattern (3:1 or 1:0) in most of $T_1\;and\;T_2$ generation lines. Transgenic homozygous lines were obtained in T2 generation. It was identified that the transgene expressed stably in examined all plants of 6 $T_2$ lines. The representative morphological traits (plant height, flower diameter, and flower color) of $T_2$ plants were compared with those of non-transgenic plants.