• Journal of the Korean Society of Costume
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• v.52 no.2
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• pp.81-90
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• 2002

There are increasing a foreign visitors since 88 Seoul Olympic game. Uniform is getting increased importance as one of the symbols which represent the characteristic of restaurant as well as gloves good impression to the customers and foreign tourist. This study aims at developing uniform packages (including table cloth, mat, napkin, end so on) that satisfy the customers' need and let foreign visitors recognize the outstanding beauty of Korean traditional pattern. For uniform design, It was selected a sumacsae of a the lotus flower motif and developed a textile pattern design by using CAD system. And then the developed textile design was printed a polyster100% fabric by using the digital textile printing system. Uniform packages designs were developed applying traditional sumacsae motif in order to capture a modern stance of beauty under using blue and pink color and same concept of modern image.

• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.29-40
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• 2009

On April 28th of 2006, a set of Buddha's reliquary was excavated from the pagoda in n Nacsan Temple. According to the record, the relics were put in the pagoda in the 18th year of King SookJong in the Chosun Dynasty (1692). The present paper examines ten pieces of wrapping clothes covering reliquary found in the pagoda. They are especially precious data in the history of textiles because they were blocked off from outside and was preserved in good condition with vivid colors still remaining after more than 300 years. Of the ten pieces of wrapping cloth, five were double-layered and the other five were single-layered. They include 15 pieces of silk fabric but, excluding repeated use of the same silk fabric, the total of 11 pieces of silk fabric were examined. All 11 kinds of silk fabric were patterned, 9 of which were Satin and the other 2 were Twill. Of the 9 Satin pieces, 8 pieces were 5-end satin which had the ground of 5-end warp satin with the figure of 5-end weft satin. The remaining 1 Satin piece were more splendid with prominent figures by using warp and weft of different colors. The 2 Twill pieces used twill weave-the ground was 3-end warp twill and the figures were 5-end weft twill. Both of the Twill pieces were weaved with character patterns, partly using wrapped gold thread as supplementary weft. The patterns of 11 pieces of silk fabric include flower, dragon/phoenix, cloud, and geometric patterns. Five were flower patterns, three were dragon/phoenix patterns, two were geometric pattern, and one was cloud pattern. In addition, various treasure patterns, character patterns were utilized as supplementary patterns. The flower and phoenix patterns reflect characteristics of the textiles of the 17th century whereas check pattern and cloud pattern were very unique.

• 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 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.

• Korean Journal of Breeding Science
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• v.42 no.2
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• pp.188-194
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• 2010

This experiment was conducted to characterize the inheritance of petal color, flower-eye color, flower shape, leaf variegation pattern, and leaf-end shape in Cyclamen persicum. The segregation of $F_2$ and backcross populations from crosses between inbred lines was tested for Mendelian inheritance mode. From four different combinations of crosses, it was found that the petal color was controlled by a single incomplete dominant gene. The other characters, flower-eye color, flower shape, leaf variegation pattern and leaf-end shape were confirmed to be controlled by single complete dominant genes.

• Journal of the Korean Society of Costume
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• v.44
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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.

• Korean Journal of Plant Tissue Culture
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• v.25 no.4
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• pp.263-266
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• 1998

Flowergenic callus was induced from the ovary surface of Allium fistulosum L. cultured on MS medium containing 0.5mg/L NAA and 0.5mg/L BA or 0.5mg/L kinetin. After 3-4 weeks of culture, the flower buds were developed from flowergenic callus. The continuous production of flowergenic callus was proliferated, when subcultured on the medium containing 0.5mg/L NAA and 0.5mg/L kinetin. However, frequency of flower bud formation from flowergenic callus was decreased as the subculture was repeated. Histological observation reveals that the developmental pattern of flower bud from flowergenic callus was closely similar to that of natural flowers.

• Journal of Plant Biology
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• v.33 no.3
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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.

• Molecules and Cells
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• v.26 no.5
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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.

• Journal of the Korean Society of Costume
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• v.54 no.1
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• pp.11-21
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• 2004

This study examined the kinds, shape, technique, and arrangement of pattern for the Korean traditional women costume between 1995 and 2002. The sources used this study were collected from the magazine “HANBOK, ONGOJISHIN, BEAUTIFUL OUR DRESS” Results were as follows 1) In the kinds of pattern, the most pattern of use was the flower pattern, and the geometric pattern showed the trend of increase. these results mean the use of pattern lately is progressed by the new direction. 2) In the shape of pattern, the style shapes were decreased gradually and the geometric shapes were increased. these results show that the modern beauty is chased. 3) In the technique of pattern. the results viewed that the embroidery technique used in the meantime decreased and the JOGAKBO technique increased. 4) In the arrangement of pattern, the modern arrangement was most superior in the most of year. That is estimated the arrangement of pattern have been chased the modern beauty than the others of pattern.