• Title/Summary/Keyword: floral pattern

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The Panax ginseng Flowering Locus T Shows Age Specific Expression Pattern in Ginseng and Increases Root Length in Transgenic Arabidopsis

  • Mohanan, Padmanaban;Myagmarav, Davajargal;Zhang, Dabing;Kim, Yu-Jin;Yang, Deok-Chun
    • Proceedings of the Plant Resources Society of Korea Conference
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    • 2018.04a
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    • pp.17-17
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    • 2018
  • Panax ginseng Meyer is a perennial medicinal plant, the roots of which has been used in the traditional formulations in Oriental countries. To understand its floral transition, we isolated Flowering Locus T (FT) from ginseng, the bioinformatics analysis of PgFT has revealed a considerable homology to the higher plants, with the essential amino acids for FT function are conserved. The phylogenetic analysis has shown that the PgFT is belonged to the shrub classes of plants and closest kin to Jatropha curcas FT. The expression profiling from juvenile (2-year-old) were abundant in leaves as well as in root and was concentrated in the secondary leaflet and stem bottom in adult (4-year-old) ginseng plant tissues, moreover PgFT transcript displayed photoperiod dependent oscillation. The ectopic expression of PgFT in Arabidopsis thaliana, exhibit precocious flowering and several floral pathway integrators were up-regulated, interestingly their root length was increased in the transgenic seedlings. Therefore, we could conclude that PgFT encodes a florigen that acts as a key regulator in the flowering pathway in ginseng and hypothesize that, it might involve in the underground organ development as well. We believe our finding could provoke future studies on the physiology and development in P. ginseng.

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Expression Pattern of S RNase Gene Promoter in Various Floral Tissues of Lycopersicon peruvianum (일시적 발현을 통한 토마토 S RNase gene promoter의 발현 양상)

  • CHUNG, Il Sun;SHIN Dong Ill;CHUNG, Il Kyung
    • Korean Journal of Plant Tissue Culture
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    • v.25 no.4
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    • pp.237-243
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    • 1998
  • To understand the tissue specific expression pattern of S RNase genes associated with self-incompatibility in L. peruvianum, two promoter regions of $S_{11}$ and $S_{12}$ RNase genes were compared. Homologous sequences between two S RNase gene promoters were found within 300 bp upstream of transcription start site. Moreover short direct repeat sequences within $S_{11}$ RNase gene promoter existed in the vicinity of 350-500 bp upstream of transcription start site. To identify whether the unique promoter sequences of $S_{11}$ RNase gene confer the tissue specific expression, six deletion fragments for $S_{11}$ genomic gene promoter constructed by PCR were fused to $\beta$-glucuronidase gene, and introduced into various tissues of L. peruvianum by microprojectile bombardment. Transient expression assays indicated that $S_{11}$ RNase gene promoter contained the positive and negative regulatory sequences, which can control the floral tissue-specific expression in L. peruvianum.

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On the Application of the Islamic Patterns to the Textile Design (이슬람 예술에 표현된 패턴 특징과 텍스타일디자인에의 활용)

  • 김희선
    • 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.

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Material Characteristics and Conservation Treatment for Floral Wall in Lee Sang-beom's House and Atelier (이상범 가옥 및 화실 내 꽃담의 재료학적 특성과 보존처리)

  • Kim, So-Jin;Han, Min-Su;Lee, Won-Dong;Han, Byoung-Il
    • Journal of Conservation Science
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    • v.27 no.3
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    • pp.313-322
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    • 2011
  • The floral wall of Lee Sang-beom's House and Atelier, which is No. 171 of the Registrated Cultural Heritage was conserved. In addition, materials characteristics and manufacturing technique have revealed through the scientific analysis. As a result of the analysis, samples were divided into three sections; the support layer that is made from block bricks, the paint layer and the cement mortar layer on the paint layer for the reinforcement of the construction. The higher layer lies, the finer grains it has. Furthermore, a little it was generated a small quantity of pores and calcium carbonates ($CaCO_3$) generated due to aeration of cement mortar. The patterns of letters, animals and plants pattern were expressed in the paint layer by relief and openwork. The results of qualitative analysis of the pigments of the paint layer were detected components of carbon black (C), Fe oxide ($Fe_2O_3$) and oyster shell white ($CaCO_3$, or quicklime). On the other hands, as the conservation of the floral wall, stainless frames were set up for the structural stability, the cement mortar were removed from the surface and the partly damaged and cracked areas were filled with KSE Filler A, B.

Relationships between preferences of sensibility expression factors for utilized fabrics and preferences of fashion images (패션소재의 감성표현요소 선호도와 패션이미지 선호도의 관련성)

  • Kim, Yeo Won;Park, Yong;Choi, Jong Myoung
    • The Research Journal of the Costume Culture
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    • v.24 no.1
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    • pp.27-40
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    • 2016
  • This study investigated the preference of sensibility expression factors regarding fashion materials, such as the color, pattern and texture of fabric. Moreover, this study analyzed the relationship between the preference of sensibility expression factors and the preference of fashion images by identifying the preference of fashion images. The survey subjects were 312 women ranging in age from 20 to 40 years old. This study utilized a questionnaire as a measurement tool. First, this study performed a factorial analysis on the preference of sensibility expression factors of fashion materials. In regards to color preference, this study considered color depth such as light tone color, moderate tone color, dark tone color and vivid tone color. In regards to pattern preference, this study examined: geometric pattern, floral pattern, animal skins pattern, check pattern and symbolical pattern. In regard to preference of the texture, this study assessed: roughness, luster, flatness and lightness. Second, this study performed a factorial analysis on the preference of fashion images. This study examined five factors: dignity, uniqueness, femininity, activity and simplicity. Third, this study analyzed the effects of the preference of sensibility expression factors of fashion materials on the preference of fashion images. As a result, the color preference was related to the image preference associated with dignity, femininity and simplicity, whereas the pattern preference was related to the images of uniqueness, femininity, activity and simplicity. Moreover, the preference of texture image was related to the images of dignity, uniqueness, femininity and activity.

Intragenic Control of Expression of a Rice MADS Box Gene OsMADS1

  • Jeon, Jong-Seong;Lee, Sichul;An, Gynheung
    • 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.

Contemporary Scarf Design influenced by William Morris

  • Yoon, Da-Rae;Sung, Youn-Soon;Oh, Kyung-Wha
    • International Journal of Human Ecology
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    • v.8 no.2
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    • pp.107-125
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    • 2007
  • In human history, scarf has acted not only as a protection for body but also as a symbolization of class. Today, scarf has become a whole field in fashion and an important accessory to express individuality in fashion. Hence, like other fashion item, it is very important to develop exclusive design for scarf by analyzing the current fashion trend. In this research, we have designed a scarf textile, accordance with the contemporary design trend, applying the floral pattern, designed by William Morris who was an artist considered as the founder of the 1800s arts and crafts movement. We selected four trend themes, "Salon de Archives", "Eco Tech", "Profound Nature", and "Neo Aristo" for the design of 2007/2008 Fall/Winter. The flower motifs in Pimpernel Wallpaper, Honeysuckle textile design, Acanthus Wallpaper, Garden tulip wallpaper, Evenlode printed cotton, Trellis Wallpaper, and Chrysanthemum Wallpaper, by William Morris who expressed an image of environment friendly and nature reversion, applied to develop new creative scarf through design after modifying and rearranging these flower patterns. After the pattern was drawn by hand, adjusting of color and repeating of the design was done with DTP (Digital Textile Printing). Through this research, the researchers hopes to be of assistance to the development of national scarf brand design, and to the recapturing of textile industry that once played a important role in Koreans economic development.

Development of Wooden Products Design Applying Traditional Floral Pattern in Korea Buddhist Temple (사찰의 꽃살문을 응용(應用)한 목제품 디자인 개발)

  • Lee, Jong-Soo;Kim, Chung-Ho
    • Journal of the Korea Furniture Society
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    • v.24 no.4
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    • pp.400-407
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    • 2013
  • 21C modern society is a time when enough design to dominate the world, a unique design is required new in all aspects. In addition, there is a religion to the best of Zen art. In our cultural heritage with a ethnicity unique unparalleled in the world, and a new recognition of traditional culture and identity of its own in our country, lattice door flower temple the beauty of Korea in the way you tell, it was modernized by interpreting a new one to utilize as a design element of a wood lattice door flower temple. In this study, to re-appear in openwork having regard to the symbolism of pattern and shape of the lattice door flower temple molding properties were highlighted, change the part of the motif, repeated the curve geometric has been designed to simplify as. As a result, it is possible to present the possibility of a design element that can design a traditional Korean is reinterpreted Modern thereby simplify the repetitive element of the related art, for a new aesthetic changes unique. Design Development of wood with a Buddhist temple flower lattice modern re-interpretation, it suits while a strong indication Korea imagery and expressed a variety of needs and personality to the design elements that are competitive in the world the cage, and design of wood, various studies competitive on to be applied to each field is required.

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Analysis of the Motifs on Traditional Cultural Goods in Seoul and Kwang-Ju (전통 문화상품에 나타난 문양 분석 - 서울 지역과 광주 지역을 중심으로 -)

  • Choi, Seung-Youn;Lee, Mi-Sook;Shin, Youn-Sook
    • Journal of the Korean Home Economics Association
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    • v.44 no.1 s.215
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    • pp.101-113
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    • 2006
  • The purpose of this study was to investigate and compare the characteristics of the motifs on cultural goods in In-Sa-Dong Street, Seoul, with those in Art Street, City Hall, Kwang-ju. For this study, 607 cultural goods were collected from the two cities: 265 in Seoul and 342 in Kwang-ju. Total cultural goods were classified by accessories, decoration pieces, stationery and ceramics and were studied by repetition patterns, motifs types, representative techniques, and representative types. The results were as follows. First, for repetition patterns of motifs, there were 219 simple repetition patterns in Seoul, and 289 in Kwang-ju, and 46 compound repetition patterns in Seoul, and 53 in Kwang-ju. The ratio of simple repetition pattern was higher than that of compound repetition pattern in both cities. Second, for motif types, floral, animal, letter, and graphic motifs were used far more frequently than any other motif types. Third, for representative techniques, embroidery was far more frequently used than any other representative techniques. Metallic crafts, chil-bo and paper techniques were also favored. Fourth, for representative types, realistic types were more common than abstract types.

Study of the Characteristics of Dot Pattern Designs in Modern Fashion (현대패션에 나타난 도트문양의 표면유형과 특성에 관한 연구)

  • Kim, Sun-Young
    • Journal of the Korean Society of Costume
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    • v.59 no.4
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    • pp.41-53
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    • 2009
  • This study analyzed expression types of dot patterns and derived out inherent characteristics to provide fundamental resources for advancement of high value added creative designs. As a result of the study, Firstly, the circular motive was used to form silhouettes or as a symbol of a decoration. Secondly, a simple form and color dot pattern was used to create one side, or a circular shaped accessory was used to be recognized as a construction line or a decoration line. Thirdly, textile printing is mainly used but handicraft and decorative images were used to add vitality through piece technique, embroidery, collage, cut-out, patch work, etc. Fourthly, different circular motives were integrated, partitioned and duplicated for abstract geometrical images. Fifthly, variations were added by mixing different dot patterns that are arranged regularly and irregularly in different sizes and gaps creating compounded designs with handicraft touches, different angles or on top of each other. Sixthly, hybrid images were created with rearrangement of dot patterns and by adding floral shapes, stripes or other abstract and geometrical shapes. Such various and creative attempts construct new formative beauty in fashion design and I believe that it can establish the development of unique images that satisfies the taste of today's consumers.