• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.3
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• pp.304-311
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• 2011

This study selects camellia flowers as a material for design development and created patterns by simplifying the image of camellia flowers and combining it with a geometrical motif. It it applied them to various fields to develop design content for fashion cultural products that were Korean, modern, and competitive. For this purpose, this paper used Adobe Illustrator CS2 to turn the camellia flower into a motif and develop it into a pattern. Based on the realistic form of camellia flower, this paper set 3 basic motifs of new formative images, using graphic elements, such as omission of a form, simplification, overlapping, repetition, and reduction, and it also developed two transformed motifs by applying a different color to each motif. This paper repetitively arranged each motif in the background of a diamond shape, a square, and a circle, and it combined each motif with the patterns of marcel, stairs, and stripes, through which it expressed the combination of the geometrical patterns and the flower patterns. Through the application of repetitive and combined patterns of each motif, the enlargement and reduction of motifs, the repetition of motifs, the combined use of motifs, and the change in colors and layout, this paper used the motifs of various fashion cultural products, such as scarves, neckties, and T-shirts.

• Journal of Environmental Science International
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• v.24 no.2
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• pp.197-205
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• 2015

This study was performed to identify the effect of fertilizer application and planting method on growth and yield of 'Seolhyang' strawberry during seedling raising. According to the concentration of fertilizer applied, the height of daughter plants was the highest at an EC of $0.8dS{\cdot}m^{-1}$. Leaf number and crown diameter were greatest at an EC of $0.6-0.8dS{\cdot}m^{-1}$. In the first measurement, root number was highest in non-fertilizer application, while root weight was heaviest in non-fertilizer application and EC $0.4dS{\cdot}m^{-1}$. The higher the concentration of fertilizer applied as culture media, the lower the growth rate. Thirty days after planting on the main field, plant height and number of new leaf were highest at an EC of $0.8dS{\cdot}m^{-1}$. However, no significant difference was found in leaf length and width and chlorophyll content according to fertilizer application. Marketable yield of 25 g or higher was greatest in EC $0.6dS{\cdot}m^{-1}$. In contrast, no significance was found in total marketable yield at an EC of $0.4-0.8dS{\cdot}m^{-1}$. Aconsistent pattern was exhibited in the growth of 1-5 harvesting flower clusters according to planting method. The length of leaf and flower cluster was short and chlorophyll content was low, when bed soil was removed 100% in harvesting of the first flower cluster. In all treatment, leaf length was shortened until harvesting of the second and third flower cluster, but rapidly lengthened in harvesting of the third and fourth flower clusters. Moreover, the length of flower cluster had a increasing tendency from harvesting of the third flower cluster. However, chlorophyll content was reduced continuously until harvesting of the fifth flower cluster, and was lowest in harvesting of the fourth flower cluster without removal of bed soil. Total yield was greatest in treatment of crown removal in bed soil between November and May. Late marketable yield between March and May was highest in treatment of 100% bed soil removal, followed by treatment of crown removal. Marketable yield of 25 g or higher was greatest in treatment of crown removal between December and February, while greatest in treatment of 100% bed soil removal between March and May.

• Journal of the Korean Society of Costume
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• v.43
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• pp.259-282
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• 1999

To analyze the characteristics of Orientalism which is expressed in the fashion of the 1990's this study was examined according to three aspects such as form textiles and pattern and the aspects was considered with regard to Chinese Indian Japanese Korean, Southeas Asian and North African style. 1. In form Orientalism which is influenced by latest other fashion trend; Naturalism and Minimalism is expressed as a comfortable casual style which simplifies the way of wearing and mixes the characteristic elements of folk costume with western costume. The way of layerd wearing like knotting wrapping draping and the symbolic from which is inspired by the unique are of each country are shown. 2. In textiles Chinese Japanese and Indian silk as well as Southeast Asian and North African cotton show a splendid oriental impression using vivid color. On the other hand the linens of Korea like hemp and ramie emphasize natural characteristics and show a simple and unartificial oriental beauty. But in the use of material and color it shows a remarkable tendency to break the preconceived idea by coordinating a luxurious silk with a practical denim or harmonizing technical new-masterials with traditional materials. 3. In pattern the decorative elements of Orientalism such as a traditional pattern skills to dye embroidery and other decorations are emphasized on the form of western costume. The sketchy patterns of Chinese Korean and Japanese styles which include the pattern of a flower a bamboo and a butterfly are expressed using embroidery or textile printing. The geometrical seriate patterns of Southeast Asian and North African styles use traditional dyeing methods like Batik. Also the Indian technique of decoration like Mirro Work satisfies handcrafted royalty and feminine romantic taste in modern minimal fashion. The Orientalism expressed in the fashion of 1990's emphasizes the characteristics of people wearing colthing which break the preconceived idea by simplifying the form harmonizing differences between oriental and western cultures and mixing the elements of traditional costumes among countries. Most of all. Ethno using geonmetrical seriate pattern and technical new metal material and Romantic Ethnic using flower embroidery precious stones and beads are appearing as a distinctinve feature.

• Journal of agriculture & life science
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• v.46 no.2
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• pp.75-82
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• 2012

This is a study on the flower pattern artwork of the west wall of the Jagyeongjeon in Gyeongbokgung to find out the type of plants and flowers represented and their symbolism. The research was conducted from July 2010 to March 2011 and the artwork classified on the basis of its horticultural traits. A number was assigned to each pattern for analysis: No. 1 is Prunus mume, No. 2 is Prunus persica, No. 3 is Paeonia suffruticosa, No. 4 is Punica granatum, No. 5 and 6 is Dendranthema grandiflora, No. 7 is Rhododendron mucronu and No. 8 is Phyllostachys bambusoides. These 8 flower patterns symbolize longevity and fecundity and their presense around the Jagyeongjeon helped to bestow good fortune on the royal family so that they might live long lives and bear many children. 4 artworks symbolize longevity, 2 artworks symbolize integrity and 1 artwork symbolizes wealth and happiness. There is also symbolism of the need to have constancy in a royal household even during secular change. Out of the 8 artworks, the imagery of a bird and a moon is represented only once, but the image of a butterfly is represented five times in the surrounding elements. The bird and butterfly symbolise freedom and happiness from free love. Women in the palace are like a butterfly wanted to be like love as a freedom and have a free and open relationship like a butterfly. But a harmonious relationship between the royal family wanted to have a symbolic meaning that could be seen of the symbolistic. Based on the "Yangwhasorok"only plants with the highest values, from the 1st and 2nd grades, were used in the artwork of the west wall of the Jagyeongjeon.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.1
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• pp.113-123
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• 2011

The purposes of this study were to re-interpret the Traditional Korean Painting of Flower and Bird Patterns from a modern point of view and use them in apparel textile design. A literature review of the Traditional Korean Painting of Flower and Bird Patterns was made first, and then, through manual and Photoshop workings, two apparel textile designs were suggested. The results were as follows. First, Traditional Korean Paintings of Birds and Flowers are covered not only by decorative beauty but also by the common pure hope and ideology of loving and adoring nature, which is inherent in the symbolism and racial characteristics and high aesthetic sense appeared by ancestors' life feeling. The meaning that is symbolized by each subject matter appearing in the Transcontinental Painting of Bird and Flower is important, but the ancestors' deeper and affectionate desire is shown in the harmony and happy aspect of a picture where more than two subject matters appear, such as Song Hak do where pine is with crane, cockscomb with chicken, bamboo with beacon fire, or a couple of them with flower. Second, two kinds of textile designs were suggested. The motif of work 1 targeted professional women of activity and individuality in their late 30s to early 40s. The lotus blossom pattern was selected to present its concept, "Chic Elegance." The motif of work 2 targeted intelligent women in their mid 40s, and the peony blossom was selected to present its concept, "Romantic Elegance."

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.5
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• pp.573-582
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• 2012

This work is to develop a T-shirt by adopting a unique cloud pattern (a good auspicious sign as design material) from traditional native Korean patterns for application to various cultural products and textile design cloth patterns; subsequently, a T-shirt design was processed based on this. As a research method, computer design programs Adobe Illustrator CS3 and Adobe Photoshop CS3 were used along with a literature examination as part of motive for design development and pattern realization. Three basic motives were selected as a new formative image in this work, utilizing graphical elements such as abridgement and simplicity of pattern, where flower-shaped cloud pattern, uprising cloud pattern, and 卍-shaped or swastika-shaped pattern of traditional cloud patterns were selected. Each motive diverged into two motives via the shape transformation and the application of different colors. The newly developed basic motive was further processed into a combination of one-time repeat pattern, stripe pattern, and application pattern with mixed cloud motives (that were previously developed), which altogether turned out to be 36 pieces of textile design. In addition, with newly developed motive designs and textile designs, a total of 12 shirt designs for 4 pieces were developed for these three each. The shirt design was developed into a shirt blouse, sleeveless T-shirt, half-sleeve T-shirt, and sports T-shirt among others in order to fit various uses and purposes.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.2
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• pp.297-316
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• 1995

The system and symbolizing ideologic meanings of the metallic Kwon in period of the Three-Kingdoms were comsidered by comparing to their cultural path and structal styles throughout the tree and the deer worship ideology. The results of this study are as followings; Firstly, the beginning of the Korean, mostly northern style was originated from metal tools of the Bronze age in BC 6c-7c. The maJ;lufature of the metallic adornment brought the pr-evailing use of metallic objects of craftwork after the supply of ironmongery. Secondly, the cultmal characteristics of the metallic Kwan in the kor-ean Peninsula were influenced f-rom the northern chinese tribes, Momg Go, Hung No, and Sien-pi who were transmitted from the scythian of the southern Russia having a prefenence for gold. Thir-dly, the metallic Kwon of the Kogmgo and the Baekje era was ideologically based on the ar-t of Buddism of the pattern of blazing flame, the carved pattern of flower- of herb, and the honey. sukle which were tramsmitted to china thr-ough the silk noad. Fourthly, the metallic K wam of the silla era consisted of the tree and the antler types in closely nelated to the tree and the deer ideology which were based on the background of shamanism. It should be raid that the metallic Kwan of the silla esa are connected to the type of nor-them ancient K wan. Lasthy, the metallic Kwan-Mo of the Kaja esa was mosthy original type of flower of herb even if kome of these ar-e similiar to the tree adornment type of silla. This type of flower of herb in based on the scythian type with a statue im silveer founded at Alexandnopol in the southern russia.

• Horticultural Science & Technology
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• v.34 no.1
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• pp.163-171
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• 2016

We investigated the intensity and pattern of the scent produced by diploid and tetraploid Cymbidium flowers, using an electronic nose with 6 metal oxide sensors (MOS). The MOS responses were evaluated by principal component analysis, discriminant function analysis, and sensor data. These analyses revealed that tetraploid flowers had a stronger scent than diploid flowers in Cymbidium Golden Elf 'Sundust'. Furthermore, among the different flower parts-column, lip, and petals-the column produced the strongest scent. There was no significant difference between the flowering periods of diploid and tetraploid potted Cymbidium Golden Elf 'Sundust' and Cymbidium Elma 'Orient Toyo' grown in a greenhouse. Moreover, there were no significant differences between the number of flowers per flower stem and the length of flower stems on the diploid and tetraploid plants of these two Cymbidium cultivars. This study provides potentially useful information for the breeding of polyploidy Cymbidium in the floriculture industry.

• Korean Journal of Oriental Medicine
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• v.11 no.2
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• pp.141-154
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• 2005

The following is a taxonomic list of the specific features of external and internal shape and pattern analysis of Paeonia lactiflora PALL. and P. obovata MAX as the standard of herbal medicine. 1. External shape of original plant P. lactiflora has lancelate and elliptical leaves with no hair on both sides. It bears a flower bud at the shoot apex or leaf axil. On the other hand, P. obovata has obovate leaves with hair on the back side. It has a single flower bud at the shoot apex. 2. Physical characteristics of herbal states P. lactiflora has a bright and smooth external surface whose color is light red brown, light gray on its section and it is not easy to cut. On the other hand, P. obovata has a coarse external surface whose color is dark brown, pinkish on its section and it is easy to cut. 3. Physical characteristics of herbal state in currents Paeonia Radix Alba is brown on the external surface, and whitish on its section. On the other hand, Paeonia Radix Rubra is dark brown on the external surface, and yellowish-white on its section. 4. Internal characteristics Internal shape is correspond to that of Paeonia Radix described in literatures. Only P. lactoflora has a concentrated vascular bundle toward centeral cylinder. On the other hand, P. obovata has a scattered vascular bundle at the cortex. 5. Physicochemical pattern by HPLC Both P. lactoflora and P. obovata showed the same pattern. Paeoniforin, a main component, appears upon 13.68 in retention time (Rt) in both. In addition, both contain a large amount of paeoniflorin. Such results will, in the future, be used as basic source for the additional research, such as biological reactions and genetic discrimination.

• Journal of Fashion Business
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• v.9 no.3
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• pp.150-161
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• 2005

The retro fashion and orientalism have been the main trend in the fashion industry tram 2000 as the turning point tram the minimalism. In particular, the far eastern oriental ism, that is, Japanese orientalism had been rapidly spread from 2001. As the trend has been moving to Chinese orientalism from 2003, the fabrics with flower pattern prints and those imbued with Chinese orientalism that were popular in 1960 are the main stream in the textile industry at present. As keeping up with the current trend, this study analyzed the common features and differences between textile patterns with Chinese orientalism that are prevailing ai present and the textile patterns that were popular in 1960s through the film "In the Mood for Love" that told the story of people who immigrated from Shanghai to Hong Kong in 1960s. According to the analysis, the popular textile patterns in 1960s were splendid flower patterns, pop art and op art patterns. Such a trend was elegantly expressed as the textile pattern of Chinese orientalism using qipao in the film "In the Mood for Love".