• 제목/요약/키워드: coat pattern

검색결과 97건 처리시간 0.018초

한우에서 모색관련 유전자 변이에 관한 연구 (Investigation of Coat Color Candidate Genes in Korean Cattle(Hanwoo))

  • 도경탁;신희영;이종혁;김내수;박응우;윤두학;김관석
    • Journal of Animal Science and Technology
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    • 제49권6호
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    • pp.711-718
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    • 2007
  • 본 연구는 한우의 모색발현에 정확히 어떤 유전자가 어떤 유전기작에 의해 관여하고 있는가를 규명하고자 황갈색의 모색을 지닌 한우와 검정모색을 지닌 홀스타인과의 교배를 통해 만든 F2집단의 DNA를 이용하여, MC1R, ASIP 및 TYRP1 유전자형과 한우모색 발현양상을 연관분석 하였으며, 또 한우 집단내에서의 이들 유전자형 빈도를 조사하여 황갈색 한우모색 다양성과 후보유전자 변이의 연관성연구에 필요한 정보를 제공하고자 하였다. MC1R 유전자의 경우 황갈색을 지닌 3두의 유전자형은 모두 e/e 형으로 밝혀졌으며, 검정모색을 지니고 태어난 나머지 3두의 두 좌위에서의 유전자형은 ED/e임을 확인하였는데 황갈색과 검정모색의 비율이 1:1로 나온다는 것은 MC1R 단일유전자가 한우의 모색에 중요한 영향을 미치는 것으로 사료된다. MC1R 이외의 모색발현에 영향을 줄 수 있는 ASIP와 TYRP1 유전자들은 F2 집단에서 염기서열을 분석한 결과 이들 유전자들이 한우 황갈색모색에 주된 영향을 미치지 않는 것으로 나타났다. 하지만 TYRP1 유전자에서 발견된 329번 (Glu329Lys) 아미노산 변이는 TYRP1 단백질의 구조와 화학적 성질에 영향을 줄 수 있는 것으로 사료되어 한우집단에서 황갈색바탕의 모색변이에 영향을 줄 수 있는지에 대한 추가적인 연구가 이루어져야 할 것이다.

제주마에서 총마 모색의 유전 양성과 후보 유전좌위의 유전적 다형성 (Genetic Polymorphisms of Candidate Loci and Inheritance Ppatterns of Gray Coat Color in Jeju Horses.)

  • 한상현;이종언;김남영;고문석;정하연;이성수
    • 생명과학회지
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    • 제19권6호
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    • pp.793-798
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    • 2009
  • 본 연구는 제주마에서 빈번하게 관찰되는 전신성 백모색 발생의 유전 양상과 유전적 변이와의 상관을 구명하기 위해 수행하였다. 백모색은 표현형과 MC1R 유전자형 분석 자료의 조합을 근거로 결정한 가라, 유마, 적다 등 모든 기본 모색에서 관찰되었다. 제주마에서는 타 품종들에서 KIT 유전자의 이형 접합성에 의해 발생하는 선천성 백색에 대한 잠재적 돌연변이 들은 발견되지 않았다. STX17 유전자의 intron 6 에서 4.6-kb 중복을 보유한 개체들에서 특이적으로 탈색된 백모색이 관찰되었다. 관찰기록과 STX17 유전자형에 따라 제주마에서 관찰되는 탈색된 백화현상은 총마(점진적 백화증, Gray) 로 확인되었다. 가계도 분석에서 총마 형질은 상동염색체성 우성유전형 질로 나타났으며 상동염색체성 열성형질인 albinism과도 구분되었다. 제주마에서 총마 모색이 자마 시기에는 명확하게 발현되는 않으며, 종종 다른 표현형들과 혼동을 일으키기도 하기 때문에, 총마와 이와 유사한 표현형으로 출생 시부터 혼합 모색을 나타내는 조모색, 상처 치료 후 백화, 백반 유사피부 백색증 등에 대한 추가 연구가 요구된다고 하겠다. 그럼에도 불구하고 총마와 유전적 배경의 관계를 구명한 본 연구결과는 제주마에서 분자육종을 위한 유용한 정보를 제공할 것으로 사료된다.

조선시대 직물에 나타난 구름문양의 유형과 특성 (The Type and Characteristics of the Clouds-Shaped Pattern)

  • 장현주
    • 한국의류산업학회지
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    • 제6권2호
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    • pp.169-176
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    • 2004
  • The clouds-shaped pattern is originated from Taoism, Buddhism, and Confucianism. It stands for good-luck, longevity and productivity. It has been used on its own or with other patterns since the ancient times. It also has various forms. It particularly was used more frequently than any other patterns as a typical good-luck pattern, representing auspiciousness, divine authority, and so on in Chosun dynasty. The pattern, according to its component parts, is classified as individual type and compound type, which is mixed with other patterns such as treasure pattern, plant pattern, letter pattern, or animal pattern. For both individual type and compound type, swastika-shaped cloud pattern was mostly used. For compound type, the pattern compounded of treasure pattern was extraordinarily used a lot. In terms of the arrangement, the most common arrangement methods were brick-shaped arrangement and dense type arrangement, the arrangement method that spreads the patterns all over the surface. Among the fabrics with clouds-shaped pattern, satin damask fabrics had the majority. Clouds-shaped pattern was used a lot in men's Po(coat), such as Dahnryoung, Jiknyoung, Chollik, etc. rather than in women's clothes. It was a typical pattern used in Dahnryoung, an official uniform that represented people in the highest class in Chosun dynasty. The divine power symbol of this pattern indicated the authority and dignity that the upper class people could have.

BODY CONFORMATION AND BLOOD PROTEIN / ISOZYME POLYMORPHISMS OF TAMARAW (Bubalus mindorensis)

  • Majid, M.A.;Momongan, V.G.;Penalba, F.F.;Barrion, A.A.;castillo, E.M.
    • Asian-Australasian Journal of Animal Sciences
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    • 제8권2호
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    • pp.119-122
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    • 1995
  • A total of 6 tamaraws were observed for determining coat color and measured for body conformation. Banding pattern of 4 blood proteins and 2 isozymes were analysed from the peripheral blood of two tamaraws. The coat colour of younger tamaraws were observed to be brown and adult was found to be complete black. The body weight, body length, withers height, head length, head width, horn length and tail length of adult male and female tamaraws were: 236 kg and 208 kg; 113.5 cm and 112.5 cm; 19.5 cm and 20 cm; 30.0 cm and 28.5 cm and 36.0 cm and 35.5 cm, respectively. The electrophoretic banding pattern, distance migrated and the allelic frequencies obtained in tamaraws were similar compared with that reported in swamp buffaloes. Although the sample size was very small, results of this study could be an important source of informations based on which a breeding programme can be designed to exploit some of the economic characters of tamaraw.

현대 남성 예복의 패턴과 봉제기술 연구 (A Study of Modern Men's Formal Wear Patterns and Sewing Technique)

  • 임현주;김정희;조효숙
    • 복식
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    • 제60권10호
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    • pp.28-46
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    • 2010
  • Variety and individuality are characteristic of consumer in modern society. For the necessity of new designed men's formal suit is on the rise with advance of party culture and change of wedding style. In addition to growing numbers of Korean grooms are getting more interested in make themselves well-groomed on the wedding ceremony. The purpose of this study is to develop the men's formal suit pattern for right fit and better style for Korean grooms. In order to find out how to modify their fit, comparison among the existing patterns was necessary. In this study we proposed new patterns of men's formal suit, a morning coat, a tail coat, tuxedoes, director's suit, three-peaces suit, navy blazer. Considering the results of this study, developed patterns were altered to fit better and to smarter. They were well graded in waistline position, shoulder shape, back princess line shape. Also they were best to move around sleeve and bodice. And the developed patterns were altered to make armhole narrower to make bodice length shorter, to make bodice slimmer. The researcher's pattern's were made up into garments using wool 100%, silk 100%. According to verify the improvements and grade better in both appearance and comport, it will be to take the lead men's formal dress culture and expand the base of popular consume for men's formal wear.

창덕궁 희정당(熙政堂) 창살문양을 활용한 신한복 코트 디자인 개발 (A Development of Shinhanbok Coat Design Using Lattice Window Pattern of Huijeongdang, Changdeokgung Palace)

  • 홍수진;김은정;배수정
    • 패션비즈니스
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    • 제24권3호
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    • pp.121-137
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    • 2020
  • This thesis makes it an aim to develop designs of Shinhanbok coats interpreting and applying the formative structure of the lattice window pattern in Huijeongdang of the Changdeokgung palace, one of the best architecture in Chosun dynasty. Literature review about the history and characteristics of the window of Huijeongdang of the Changdeokgung palace was performed on the basis of the internet resources and papers, and the examples of the fashion design applying the lattice window patterns were analyzed. Then, three style Shinhanbok coats were designed and presented with making use of 6 kind of lattice window patterns as its motif. The coats were designed in flexible size, attempting to clad any kind of body size and shapes. Design 1 drawn from Wanjasal, Tisal, Design 2 drawn from Ajasal, Yongjasal, Tisal, design 3 drawn from Bitsal, Jungjasal. In conclusion, lattice window patterns of the traditional beauty highlighted in view of modern times might be suggested as the motif for expressing the proportion with balance and rhythm with stability. The division of the space with the line was tried with the technique of the bias cutting, stitching and taping with the design of simplicity signified in the aesthetics of the vacant space in addition to its ornamental effects. Thus, this study would like to contribute to the popularity of the Shinhanbok outlined in modern application and unique taste through the study and applications of the traditional lattice window pattern of Korea.

한국 진도견의 안과질환에 관한 연구 (A Survey of Ophthalmic Diseases in Korean Jindo dogs)

  • 서강문;장광호;정종태;연성찬;이계웅;남치주
    • 한국임상수의학회지
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    • 제18권3호
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    • pp.215-225
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    • 2001
  • This study presented the results of ophthalmic examinations performed on 545 Korean Jindo dogs. The most prevalent ocular variation within normal limits was hyoid vessel remnant (12.7%) and prominence of lens suture was also noticed (1.7%). The most common ocular diseases were retinal scars (6.8%), focal cataract (4.6%) and persistent pupillary membrane (4.2%). Inherited ocular diseases found in this study were persistent pupillary membrane (4.2%), persistent hyperplastic primary vitreous (0.6%), retinal dysplasia (0.6%), entropion (0.4%) and progressive retinal atrophy (0.4%). The prevalence of ocular diseases was higher in Male than in Female and proportionately higher in the older dogs. The most prevalence was shown in white coat color dogs. The fundus color changes according to the age was not related in coat colors and shown same pattern.

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칡소 모색별 피부세포 배양 시 Estrogen 과 Testosterone 첨가가 Melanogenesis 관련 유전자의 발현에 미치는 영향 (The Effect Estrogen and Testosterone on the Expression of Melanogenesis-related Genes in Korean Brindle Cattle)

  • 서희경;이지혜;김상환;이호준;윤종택
    • 한국수정란이식학회지
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    • 제33권3호
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    • pp.107-117
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    • 2018
  • The purpose of this study is to expression pattern of melanogenesis associate genes on cultured melanocyte layer cells in Korean Brindle Cattle(Dark, Brindle and Yellow) were analyzed to evaluate the effects of sex hormones on the control of melanogenesis pathways. Korean Brindle Cattle(Dark, Brindle and Yellow) melanocyte in the skin cells was collected. after the addition of estrogen and testosterone, the culture was analyzed for expression of cell activity and melanin genes for 72 hours. For the analysis of estrogen in different coat color other than the melanogenesis-related genes it is increasingly yellow showed low expression. in particular, the cells of the brindle coat color is low active and expression of genes. However, the testosterone was low, the expression of cell activity inhibiting MMP-2. the expression of melanin genes actually showed a tendency to increase gradually, which is testosterone compared with the estrogen to be considered that affect the skin cell layer brindle coat color. In this study, stimulation with estrogen triggered the inhibition of MC1R of the melanocyte in brindle coat color, but testosterone is induced MC1R in melanocyte. Therefore, considered the eumelanin or phaeomelanin activation are controlled caused by differential expression of sex hormones on melanocyte in Korean Brindle Cattle.

아프리카 직물 문양을 응용한 니트디자인 -컬러 니트 자카드를 응용하여- (Knit Design by Applying African Textile Pattern -Focused on Color Knit Jacquard-)

  • 유경민;김영주;이연희
    • 한국의류학회지
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    • 제31권9_10
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    • pp.1475-1486
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    • 2007
  • This study aims to develop knitted ware design to meet desire to express diversity in the modern fashion design so that we designed knitted ware by applying african geometric pattern and color to suggest new knitted ware design. We collect data about african texture pattern through technical books, publications, internet, and preceding research and visit and investigate the African museum. We investigate knitted Jacquard texture through preceding research and collect sample and data which is insufficient in the data source. The conclusions in this study are summarized as follows: First, African textile pattern is formulated with animism based on their religious view of art for a basis and African regards nature like animal and plant as a motive and interprets nature in the so that they can create symbolized geometric features that constitute African texture pattern. Those patterns is composed of extremely geometric figures so that they we fit to apply for color jacquad knit design. Second, color knitted jacquad can be distinguished by knitting method and status of knitting as 7 kinds of techniques such as Nomal, Bird'eye, Floating, Tubular, Ladder's back, Blister, Transfer Jacquard, and as a result of preceding research and knitting texture directly, jacquard technique makes different texture under same condition like consistent spinning rate and same crochet hook. Third, Bird'eye Jacquard used generally to make knitted ware and Ladder's back Jacquard, Tubular Jacquard used to make knitted ware light are fit to apply them to 7GG and 12GG machines. We design a cloak as a outer garment, a coat shaped like one-piece dress and a coat with hood by using Tubular Jacquard which can make thick texture and design a jacket, a skirt and a one-piece dress by using Bird'eye Jacquard. we make a light and flimsy one-piece dress by using Ladder's back Jacquard. Fourth, we apply the contrast of $4{\sim}6$ color and line and the contrast of texture and raw material to jacquard in order to emphasize texture property and visual property.

아시아 Kaftan양식에 관한 연구 (A Study on the Kaftan Style in Asia)

  • 오춘자
    • 복식
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    • 제35권
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    • pp.45-66
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    • 1997
  • This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.

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