• Journal of the Korean Society of Floral Art and Design
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• no.43
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• pp.123-138
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• 2020

This study found Flower Jewelry works in the monthly magazine specializing in flower decoration for nine years from 2011 to 2019. Based on the analysis of the type of expression, method of expression, type and number of plant materials used, and the type and number of non-plant materials used for the flower jewelry found, it was conducted to find out the trend of flower jewelry in Korea. By expression type, a total of 96 works were analyzed as 20.83% for headdresses, 57.29% for necklaces, 5.21% for earrings, 6.25% for lists, and 10.42% for other works(χ²=94.833, p<.001). According to the analysis of the frequency of use of expression techniques, headdresses, necklaces, and lists for each work were produced using five to six different expression techniques and earrings were produced using two to four expression techniques. Material coupling techniques 34.43%, flower and leaf utilization 30.17%, visual techniques 16.63%, collectivization techniques 14.12%, technical highlighting techniques 4.26%, and other 0.39% (χ²=455.222, p<.001). The most frequently used techniques were framing techniques 16.63% and knotting techniques 16.44%. Plant materials used in flower jewelry were found to be 22.61% for Phalaenopsis spp., 13.48% for Gomphrena globosa, 9.57% for Gloriosa rothschildiana, 7.39% for Epidendrum cinnabarinum, 6.96% for Chamelaucium uncinatum and 4.78% for Craspedia globosa (χ²=718.104, p<.001). In the case of branch, the most common was used with 70.00% of the Cornus walteri, and 10.00% of Actinidia arguta, Celastrus orbiculatus, and Salix pseudolasiogyne were used respectively (χ²=10.800, p=.013). In the case of foliage, 24.65% Aspidistra elatior, 24.62% Asparagus asparagoides, 11.54% Senecio rowleyanus, and 6.15% Ceropegia woodii (χ²=269.385, p<.001). In the case of berries, 44.44% of the fruits of the Smilax china, 33.33% of the Hypericum patulum, and 11.11% of the Phytolacca americana were found (χ²=11.444, p =.022). Non-planting materials used in the manufacture of flower jewelry were found to be 47.34% of 2mm aluminium wire, 33.73% of copper wire and 10.06% of 1mm aluminum wire (χ²=186.704, p<.001). The figure was 53.57% for pearls, 12.50% for ribbons, and 4.14% for spangles and feathers.

• Journal of Convergence for Information Technology
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• v.10 no.7
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• pp.232-239
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• 2020

This study evaluated the antioxidant and anti-inflammatory activity of ethanol extracts using three parts of the chives plant: the bulb, the leaf, and the flower. As a result of DPPH and ABTS radical scavenging ability, the scavenging activity of the flower extract was higher than that of the bulb and leaf. In addition, as a result of FRAP analysis, antioxidant activity increased in all extracts depending on the extract concentration. The total polyphenol content was high in the following order: flower (11.29±0.37 mgGAE/g) > leaf (6.61±0.14 mgGAE/g) > bulb (5.7±0.67 mgGAE/g) extract. The cytotoxicity of the three extracts against rat macrophage RAW264.7 cells and HaCaT cells, both of which are human cutaneous keratinocyte cell lines, was minimal. NO by LPS was generated as a result of examining the anti-inflammatory activity of each extract through the NO colorimetric analysis method and ELISA. TNF-α secretion was decreased to a significant level in the flower ethanol extract. Therefore, these results indicate that there is a high possibility that the ethanol extract of chives, a natural plant resource, can be used as a cosmetic raw material.

• The Journal of the Convergence on Culture Technology
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• v.4 no.1
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• pp.231-236
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• 2018

Flowers are one of the most natural expressions of human expression. Recently, these flowers have been applied to various kinds of products to enhance their aesthetic value and to use them as artistic materials expressing their vitality. The purpose of this study is to investigate the formative characteristics of flowers that are visually beautiful and to express them visually through the fusion of various products used in daily life. Based on this research, we study the importance of emotional design that gives satisfaction to consumers and new design expression techniques. In addition, we pursue the aesthetic value of the product with naturalness and original design sense, and develop sensibility product design expressing design sensitivity by combining floral motif with various products based on expression of decoration using image of flower. I would like to suggest the possibility of development of sensible product design.

• (The) Research of the performance art and culture
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• no.23
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• pp.5-36
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• 2011

The purposes of this treatise are to compare theories of theatre in 'Kwandaega' with theories of theatre in 'Poongjahwajun', to recognize differences of theories between the former and the latter, and to find out the comparative characteristics of theories of Korean theatre. There are four differences between the former and the latter. These are as follows; Firstly, in the aspect of contents, the former is consisted of discussions about nature of theatre, discussions about acting, discussions about staging, and the latter is consisted of discussions about nature of theatre, discussions about acting, discussions about staging, discussions about origin, and discussions about dramaturgy. Secondly, in the aspect of nature, the nature of theatre in the former is recognition and practice as 'homo performans', the nature of theatre in the latter is realization of 'flower[花]'. Thirdly, in the aspect of acting, discussions about acting of the former are consisted of 'Sachae' theory'(Inmulchirae, Sasulchirae, Dekm, Nerumsae), discussions about acting of the latter are consisted of method of training per ages, method of training per role playings, trainings in everyday life. Fourthly, in the aspect of staging, the focus of staging in the former is realization of an endless series of changes[千變萬化], the focus of staging in the latter is realization of 'flower[花]'. There are four characteritics in the theories of Kwangdaega. These are as follows; Firstly, the contents of kwangdaega are consisted of discussions about nature of theatre, discussions about acting, discussions about staging. This theory is theory centered on actor/actress. Secondly, the nature of thestre in Kwangdaega is recognition and practice as 'homo performans', supporting of self-generational values, supporting of folk, new interpretation about secularism. Thirdly, the discussions about acting are consist of 'Sachae Theory'. Fourthly, the discussions about staging are consisted of realizations of an endless series of changes[千變萬化]

• Journal of Hospice and Palliative Care
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• v.18 no.2
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• pp.85-96
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• 2015

In Korea, modern art therapy was developed in the 1960s and 1970s in the form of supplementary activities for patients in psychiatry. Along with the foundation of the Korean Association for Clinical Art in 1982 by psychiatric doctors, the therapy involved more various arts forms such as music, art, dance, poetry therapy, and psychodrama. More organizations with specific expertise opened such as the Korean Art Therapy Association, Korean Art Therapy Association, etc. in the 1990s and the Korea Arts Therapy Institute in 2001. As of April 2015, the members of the Korean Art Therapy Association total 15,000, including 6,200 regular members. The arts in integrative arts therapy (IAT) is an individual's creative activity which is related to his inner world, and the forms of IAT include music, drawing, dance and poetry therapy. From the aspect of phenomenology, IAT is psychophysical therapy involving the arts that helps patients recognize and perceive their experiences with an aim of at a recovery of the body and creativity from the phenomenological aspect. It is also a therapeutic activity that targets growth and development of the body and mind. Meta-analysis of the effects of art therapy with a focus on that involving music, drawing, dance movement and IAT in recent years in Korea, significant effects were observed in all factors but physical function. The biggest effect was mentality adaptation followed by activity adaptation and physiology. In the run up to the implementation of the daily flat-rate system for the health insurance reimbursement for palliative care in July 2015, the Ministry of Health and Welfare is reviewing the coverage of music therapy, drawing therapy and flower therapy, which are currently practiced by 56 hospice institutes in Korea. This is a meaningful step because the coverage of hospice and palliative care came after that of art therapy for psychiatric patients was approved in 1977. Still, there is a need clarify the therapeutic mechanism by exploring causality among the treatment media, mediation type and treatment effects. To address the issue of indiscriminately issued licenses, more efforts are needed to ensure expertise and identity of the licensed therapists through education, training and supervision.

• Journal of the Korean Society of Floral Art and Design
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• no.45
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• pp.3-12
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• 2021

The 1-methylcyclopropene (1-MCP) is the gaseous ethylene action inhibitor, which delay senescence and wilting by blocking the binding of its receptors. We investigated the effects of 1-MCP with different treated duration (0h (Control), 1h, and 4h) in cut flowers of Eustoma grandiflorum 'Voyage' and Cymbidium 'Lapine Hat'. The relative water uptake increased by 14.5% than control (9.8%) and the flower diameter maintained high from 3 to 11 days in 1-MCP treatment for 4h in E. grandiflorum 'Voyage'. The relative fresh weight was averagely high in 1-MCP treatment for 4h, however, the vase life was not significantly different in both cut flowers. Since the effects of 1-MCP treatment was differently responded by plant species and cultivars, interacted studies of duration and levels of 1-MCP are needed for the pronounced effects of postharvest quality.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.13-24
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• 2004

This study was analyzed three basic patterns of the Islamic arts. These are natural flora, geometrical and calligraphy pattern. Islamic belief in Aniconism, doctrine of unity and worship of arabic language demanded delicate, decorative, and abstract patterns instead of patterns of real image. Natural flora pattern was classified into arabesque and various flower patterns. Muhammad commands that "The artist who fashions a representation of living things is competitor of God and therefore destined to eternal damnation, so if you want to represent living things, you should only depict flowers and trees". Then the natural flora patterns developed into main Islamic pattern. Geometric pattern was composed of geometrical elements like, circle, trigon, square, rectangle, pentagon, hexagon, octagon or other polygons, stars or motifs with straight or curved lines. Circle symbolized ′celestial′ sphere and crystal of the lower octagon symbolized ′earthly existence′. Therefore if the circle join with the octagons, it means fusion of celestial and earthly existence. Another important influence on the Islamic art was the calligraphy pattern, the writing of Arabic language. The major language of calligraphy pattern was Arabic script and often Persian script. Calligraphy pattern was composed of Kufic and Cursive script. The cursive script was developed various forms. The Islamic tenet prohibit depiction of sacred images, the sacred Arabic calligraphy such as ′Alla′ or ′Mohammad′ was substituted of them. And the content of calligraphy pattern was used with Quranic phrases. The aesthetics of Islamic patterns analyzed aesthetic of ′rhythmic lines′, aesthetic of ′unity in multiplicity′, aesthetic of tessellation and aesthetic of harmony. On the textiles of the Islamic culture, the arabesque, floral, geometric and calligraphy patterns were frequently used.

• Archives of design research
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• v.19 no.3 s.65
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• pp.167-182
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• 2006

From 1998 Seoul city is being rebuilt for 'the city which people want to go around on foot'. Many streets only for cars have been transformed for pedestrians. In addition to that streets are built not only just to pass by, but also enjoy themselves, so 8 Streets in Seoul have been redecorated as 'Streets of History and Culture'. These Streets are chosen because they have their own unique history or culture, so they are remodeled with lightings, exhibition pavilions or sign postings etc except manhole covers. Even these 8 streets have manhole covers; they are not particular, just same as like other streets. For most streets manhole cover is an essential component of them, but it is mostly omitted to be designed in particular. For the most time some of the standard manhole covers are installed in a street. Taking a look at manholes in Minneapolis city, they inform visitors what the landmark, landscape, symbol, representative flower or tree of the city is. Sometimes they are designed by famous artists and become art which all pedestrian can enjoy. If manhole covers in 'the streets of history and culture' are designed to represent its history or culture, visitors will get information about there easily and enjoy their design. To foster manhole cover designs, the government office should co-work with professional designers or design societies and encourage people to spend a certain amount of the construction cost to design manhole covers. At school designing manhole cover can be handled in an art class and besides can have a class in the field, streets to observe manhole cover designs. Getting more concern of manhole cover design, competitions and exhibitions are able to be held.

• FLOWER RESEARCH JOURNAL
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• v.18 no.4
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• pp.308-314
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• 2010

Importance of color in floral design has been emphasized for long time, but it is difficult to find out standardization of color for floral design and for educational system. Wedding bouquet is major and important part of floral design and it shows same problem. The research is concentrated on color image analysis of wedding bouquet designs which have been submitted for 'Interflora World Cup Competition' with the intention to utilize the study result as the basic information of floral design. Colors of wedding bouquets from 20 different countries were analyzed. All of designers chose high brightness and saturation more for designing the bouquets. Warm colors and cold colors have been taken in similar portion. Blue color has been rarely used and it is probably because of the rarity of blue flowers. This study shows each continent has different color preference. European designers used wide variety of colors while Asian designers preferred red color. From this study, we found that color image scales of wedding bouquets represent 8 images out of 12 representative images. Four exceptions are 'clean', 'elegant', 'gentle' and 'modern' images.