• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.6
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• pp.1177-1192
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• 2023

This study aims to expand the scope of use for relics by applying the patterns and characteristics of embroidered fabric pieces, such as gold foil, excavated from the Mireuksa Temple Site in Iksan for fashion products. The artifact was a ra decorated with flower and vine patterns, embroidery using gold and red thread, and the unique stitching of Baekje. The pattern was reconstructed, as the embroidery was not well-preserved. This study used two types of gold-foil techniques: laser-cut and stone-stamp gold foil. Considering practicality, the gloss, toughness, custom production possibility, and design implementation were emphasized. The form of the laser-cut gold foil could be transformed; however, a recognition problem with the machine increased the thickness of the stitching. It was used for half-finished goods and commercial casual fashion. The stone-stamp gold foil was finely implemented, but the design was difficult to change. It was used for half-finished silk fabric for making hanbok po and lattice-patterned silk skirts. Applying the developed gold foil to suitable clothing can further enhance the effect.

• 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.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.139-161
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• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• Journal of Forest and Environmental Science
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• v.33 no.3
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• pp.161-171
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• 2017

Global environmental changes have the capacity to make dramatic alterations to floral and faunal composition, and elucidation of the mechanism is important for predicting its outcomes. Studies on global climate change have traditionally focused on statistical summaries within relatively wide scales of spatial and temporal changes, and less attention has been paid to variability in microclimates across spatial and temporal scales. Microclimate is a suite of climatic conditions measured in local areas near the earth's surface. Environmental variables in microclimatic scale can be critical for the ecology of organisms inhabiting there. Here we examine the effect of spatial and temporal changes in microclimates on those of carabid beetle communities in Hyangnobong, Korea. We found that climatic variables and the patterns of annual changes in carabid beetle communities differed among sites even within the single mountain system. Our results indicate the importance of temporal survey of communities at local scales, which is expected to reveal an additional fraction of variation in communities and underlying processes that has been overlooked in studies of global community patterns and changes.

• The Research Journal of the Costume Culture
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• v.22 no.6
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• pp.873-889
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• 2014

The goals of this study are to analyze how fashion professionals' attitudes toward Grunge style have changed since the 1990s and to compare aesthetic features of 1990s Grunge style and the style since 2000. By searching Vogue and Women's Wear Daily articles from 1992 to 2014 according to the keyword "Grunge", three collections from the 1990s and 59 collections since 2000 were selected for analysis. Although Grunge collections of the 1990s were harshly criticized by critics and retailers as ugly, the more recent collections have been highly praised for both design and profitability. The common aesthetic features of Grunge style in the 1990s and beyond include loose silhouettes, mix-and-match layerings, plaid patterns, floral prints, and striped patterns. However, Grunge style since 2000 has new features such as ornate fabrics, handcrafted details, a formal and dressy look, and faux plaid flannel shirts in chiffon or organza. These features give the style a more luxurious, feminine, and refined appearance. The results of this study indicate that Grunge style of the 1990s changed high fashion beauty standards and today's designers and consumers prefer to mix various styles to create new ones. They typically do not consider the original spirit or identities of the varied styles.

• International Journal of Costume and Fashion
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• v.5 no.2
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• pp.55-67
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• 2005

The purpose of this study is to document an unidentified velvet fabric which is located in the Museum. The investigation was conducted by analyzing color, weaving technique. pattern of the study object. To identify the origin of the object, many references about color trends, construction methods and patterns were accessed. Two comparative objects which were dating from 1600 to 1699 in the Museum of F.I.T. were selected since they are similar to the study object. The results of this study can be summarized as follows; (1) The type of this study object is 'cut and voided velvet'. It is obtained establishing the motif as areas of cut pile so as to form a pattern, while leaving other areas of the grounded weave without pile. Two flowers and two tulips with S curved stems are composed as one unit in the vertical direction. (2) The colors used in this study object. which are ivory, smoke blue, medium orange, and yellow. are part of a new trend color in the $17^{th}$ century. (3) The vertical undulating stripe patterns are also of significance in this fabric. They seemed to be contemporary with the serpentine line which was common since the $15^{th}$ century and the vertical stripes pattern which appeared from the $16^{th}$ century. (4) The stylized tulip patterns of this study object began to appear in the early $17^{th}$ century. The stems and leaves of this patterns are less sinuous than the floral motifs of the later $17^{th}$ century. Therefore, the study object is dated to early in $17^{th}$ century because of the color combination. stripes. stylized tulips, leaves. and stems are showing the characteristics of this period.

• Korean Journal of Food Science and Technology
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• v.33 no.5
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• pp.529-533
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• 2001

This study was carried out to characterize aroma of semi-fermented teas made traditionally in Korea temple. These teas had favorable floral aroma. The extraction of aroma compounds was accomplished by a simultaneous distillation and extraction method using a Likens and Nickerson's extraction apparatus. The concentrated extract was analyzed and identified by GC and GC-MSD. The main aroma components of these teas were 3-methylbutanal, 2-methylbutanal, (E)-2-hexenal, phenylacetaldehyde, 2-phenyl ethanol, geraniol, ${\beta}-ionone$ and nerolidol. Particularly, the concentration of phenylacetaldehyde was much higher concentration in semi-fermented teas than in green tea prepared from same place. The GC patterns of the aroma components in the semi-fermented teas were slightly different, though they were prepared in same place.

• Molecules and Cells
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• v.42 no.5
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• pp.406-417
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• 2019

RICE FLOWERING LOCUS T 1 (RFT1) is a major florigen that functions to induce reproductive development in the shoot apical meristem (SAM). To further our study of RFT1, we overexpressed the gene and examined the expression patterns of major regulatory genes during floral transition and inflorescence development. Overexpression induced extremely early flowering in the transgenics, and a majority of those calli directly formed spikelets with a few spikelets, thus bypassing normal vegetative development. FRUITFULL (FUL)-clade genes OsMADS14, OsMADS15, and OsMADS18 were highly induced in the RFT1-expressing meristems. OsMADS34 was also induced in the meristems. This indicated that RFT1 promotes the expression of major regulatory genes that are important for inflorescence development. RFT1 overexpression also induced SEPALLATA (SEP)-clade genes OsMADS1, OsMADS5, and OsMADS7 in the greening calli before floral transition occurred. This suggested their possible roles at the early reproductive stages. We found it interesting that expression of OsFD1 as well as OsFD2 and OsFD3 was strongly increased in the RFT1-expressing calli and spikelets. At a low frequency, those calli produced plants with a few leaves that generated a panicle with a small number of spikelets. In the transgenic leaves, the FUL-clade genes and OsMADS34 were induced, but SEP-clade gene expression was not increased. This indicated that OsMADS14, OsMADS15, OsMADS18, and OsMADS34 act immediately downstream of RFT1.

• ALGAE
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• v.19 no.2
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• pp.115-122
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• 2004

The epilithic algal communities on the artificial substrata (unglazed ceramic tiles) were investigated from 5th July to 24th July 1999 with two or three days intervals for elucidating the effects of the experimental acidification. They were harvested inside the mesocosm with and without the acid treatment on Togyo reservoir within the Civilian Passage Restriction Line near Demilitarized Zone (DMZ) in Korea. After the colonization of epilithic algal community, their standing crops revealed different patterns outside and inside the mesocosm. However the time lapse of 5 days was observed on the inside with acid treatment. The dominant species were different: Achnanthes minutissima was outside but Coenochloris polycocca was inside and inside with acid treatment. The differences in floral composition were also found. Achnanthes minutissima which has been the most important species in the colonization by the epilithic algal community of the mesocosm was less important at the lower pH. Coenochloris polycocca is a species well adapted to low pH.

• Journal of Conservation Science
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• v.5 no.2 s.6
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• pp.15-24
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• 1996

Th)s study was carried out of the historical characters and textile coservations for Mrs. Danha Lee's Wonsam. As the textile material was silk, dry cleaning method was suggested. The solvents for dry cleaning were n-hexane, n-decane, and benzene. During the second cleaning process, the dry soap(HI-TECH, 120:1, volume ratio) was added to the mixed solvents. The reaction's temparature was $20^{\circ}C$, and the reaction's time was 30 minuutes. It seemed to be a gift for hot from the Royal Family because of the attachment of pheonlx hungbae. This wonsam was decorated symmetrically by gold weaving yarn, the basic fabric was green silk satin with glorius letters and floral patterns. It was made on the 17th C and the oldest thing among them.