• Journal of the Korean Society of Tobacco Science
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• v.17 no.2
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• pp.114-119
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• 1995

Cultivars of Nicotiana tabacum L. normally have pink flowers, but the flue-cured tobacco mutant line, BU 8832-85, had white flower. The mutant line was crossed with five normal varieties of KF 109, NC 82, TC 499, NC 567 and Coker 176. All Fl plants showed pink flower. The progenies of F2 generations were segregated with the phenotypic ratio 9 : 3 : 4 with pink, varigated(a recombinant type) and white flower, respectively. Test-cross populations showed 1 : 1 : 2 ratios. These results showed that the white flower character was controlled by two recessive genes. The genes were designated as FFCC for pink and ffcc for white flower. The recessive gene ff was epistatic to C and c. Therefore, white flower had a recessive epistasis gene.

• 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.

• Plant Resources
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• v.8 no.3
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• pp.235-243
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• 2005

The purpose of this research is to establish basic database on Cornus kousa by way of investigation, analysis and comparison of characteristics of leaf and flower, then fostering good cultivar on each morphological characteristics - leaf length, leaf width, petiole length, left lateral vein, right lateral vein. Leaf length and leaf width in Mt. Jiri shows big tendency which is 83.5 mm, 52.4 mm each in comparison with the whole mean of 72.5 mm, 41.2 mm, whereas populations of Suwon and Mt. Halla has leaf length of 66.0 mm, 65.7 mm - 9.8%, 10.4% lower value in comparison with seven mean population; leaf width is 38.4 mm, 35.3 mm - 7.3%, 16.7% lower than whole mean and shows lowest tendency among seven selected populations. Long width of flower and short width of flower in Boeun shows big tendency which is 99.9mm, 96.5 mm each in comparison with the whole mean of 76.0 mm, 73.6 mm, whereas populations of Mt. Halla has 50.1 mm, 48.2 mm which shows lowest tendency. On petal length, petal width and length of flower petiole, Boeun populations have bigger and Mt. Halla shows little tendency. The measurement result of flower colors on each population by using Spectrum Color Mater shows followings: populations of Mt. Duckyoo and Mt. Halla shows lower lightness than any other populations, but wholly shows higher lightness which is refers brightness in seven selected populations. Thus it shows peculiarities of white flower color.

• Journal of the Korean Society of Tobacco Science
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• v.14 no.1
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• pp.12-23
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• 1992

This experiment was conducted to determine the optimum dosage of gamma rays for inducing artificial mutation of several mutant characters in the flue-cured tobacco. 1) In Hicks and BY 104, the gammarays irradiation has no significantly different effect on seed germination from the control. However, the average dosage for 50% growth inhibition was 25-30kr for all the varieties tested, which inhibition 46-52% and 43-57% of the seedling growths for Hicks and BY 104, respectively. 2) A mutant line 83H-5 was selected from Hicks by irradiation gamma ray at the level of 30kr. It has white flower, more resistance to bacterial wilt, Pssudomonas solanacearum, lower plant and stalk height, narrower leaf width, larger leaf shape index(lento width) and later days to flower when compared with the original variety Hicks. 3) White flower was recessive to pink flower in F, and Br (F1 X Hicks) progenies. F2 population of the cross gave segregation ratio of 3 pink flower:1 white flower, and B, (F1 X 83H-5) Population gave 1:1 ratio. Results showed that the white flower character is governed by a single recessive gene.

• Journal of Fashion Business
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• v.11 no.6
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• pp.139-156
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• 2007

The purpose of this study is to analyze the aesthetic characteristics of traditional Korean patterns appearing on fashion collections from 1990 to 2005. Traditional Korean patterns have been used as an important element to express a Korean image since the 1990s. Frequently used patterns included several kinds of geometric patterns, plant patterns(flower, peony, Four Gracious Plants), and Chinese character patterns. Specifically, since the 2000s, animal patterns such as tiger, Chinese phoenix, and giraffe which were not often used, plant patterns such as arabesque, peony, and flower, and a variety of Chinese character patterns appeared. For the expression techniques, while embroidery and printing was often used in the 1990s, they became varied into printing, beading, embroidery, gold and silver leaf, and hand painting after 2000 as a result of designers' active attempts. The aesthetic characteristics of fashion design with its focus on traditional patterns were analyzed. First, Chinese character patterns and phoenix pattern which were mainly used for a court suit, and show the excellence and unique originality of Korean culture. Second, traditional Korean patterns directly and indirectly imply symbolistic significance of lucky sign and illustrate the use of various lucky sign patterns. Third, traditional Korean patterns such as arabesque or peony were expressed by colorful embroidery to add decorative beauty. Finally, traditional Korean patterns reflect a naturalistic worldview and are completed finished as the design.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.2
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• pp.244-255
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• 2023

Patterns abstractly depicting flowing water with Chinese characters such as gong, wan(man), or wang continued endlessly and curved water patterns began appearing on textiles during the Song Dynasty. Though Song curved water patterns encompassed poetic sentiments such as "falling flowers and flowing water," the meaning faded with time, and these patterns were depicted in backgrounds with flowers added to brocade (Geum-sang-cheom-hwa). During the Ming and Qing Dynasties, combinations of diverse patterns, including flowers, butterflies, dragons, and auspicious treasures became fashionable, rather than the gong- and wan-shaped curved water patterns. Likewise, during the Joseon Dynasty, curved water patterns were preferred as background rather than as primary patterns. They were overlaid with flowers and clouds. The overlaid flower patterns included four-season flower patterns (17th-18th centuries), round flower patterns (19th century), and large flower patterns (20th century), which were identical to flower patterns fashionable at the time and arranged at intervals on complex curved water pattern backgrounds. In contrast, simple Ruyi types were more numerous than the four-Ruyi types fashionable at the time with regard to cloud patterns. Added here were Taiji (great ultimate symbol) or crane patterns, thus seeking to depict diverse auspicious Ruyi such as wish fulfillment and longevity.

• Horticultural Science & Technology
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• v.30 no.5
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• pp.613-616
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• 2012

The new Cymbidium variety 'Pink Glory' (Palace Court 'Jacky' ${\times}$ Lucky Rainbow 'Saint Rapine') was developed at the National Institute of Horticultural & Herbal Science, Rural Development Administration in 2006. A cross was made in 1995 between C. Palace Court 'Jacky' with a medium sized bright pink colored flowers, and C. Lucky Rainbow 'Saint Rapine' with pink colored flowers. In 1999, one line was selected based on the flower color, leaf shape, flower stalk, and vigorous growth. Evaluation and selection trials were conducted from 2000 to 2004. 'Pink Glory' has a light pink sepal (RHS, RPN66D), red lip (R52B) and a leaf length of 87.5 cm. The average number of flowers on each peduncle was 20.5 and the flower diameter was 8.6 cm. The general impression of petals and sepals showed some incurved and some spreading. 'Pink Glory' has a vigorous growth character and a rounded flower shape. It has an adequate peduncle height (66.5 cm) compared to leaf length (87.5 cm) and starts to bloom in late January under optimal cultural conditions.

• 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 architectural history
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• v.25 no.6
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• pp.81-88
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• 2016

The purpose of this study is to inquire original design and character of dancheong in Yeongnamnu P avilion which features unusual portraits of twisting dragons and four heavenly creatures. Its artistic value and originality can be found in the portraits of four heavenly creatures which are painted on the interior seonjayeon(fan shape rafter) and in the unique design of crossbeam meoricho(flower decorations on each side of pillars). Yeongnamnu's crossbeam meoricho is janggu-meoricho type(meoricho with hourglass figure) with full-shape lotus and half-shape flower decorations. And it can be said that, dragon portrait painted on the border of lotus and flower decorations in green and yellow is a very unique style of dancheong, for the reason that it has scarcely been used before and ever since. The portrait of four heavenly creatures painted on each corner of seonjayeon is also found to be unique in design, for the reason that the design has rarely been used throughout history, with only two exceptions in mural tombs of Goguryeo and folding screen in Injeongjeon Hall of Changdeokgung P alace. With its unique and authentic feature along with its rarity in number, the portrait of four heavenly creatures painted on Yeongnamnu can be considered as quite symbolic and important.

• Korean Institute of Interior Design Journal
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• no.39
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• pp.28-36
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• 2003

The yardstick of value has transformed into personal and sensitive one after it went through an Industrial society. The space in the society of sensitivity is defined by a semiotic character rather than as a physical object aimed at satisfying basic desire. Through this character, space makes a meaning and comes to exist an exchanging productive place. Environmental transformation is demanding further ample sensitive expression. In connection with the above, this thesis aims to identify the characteristics of sensitive and human-centered approach and systematize the analogy analysis which is applied to the interior space, classified by elements by introducing the concept of analogic inference in the field of rhetoric and through a diverse genres. As an approach, this thesis is entitled the analogic inference of the field of rhetoric to various art genres, and as a analogic interpretation genre, this thesis Is subdivided it into the fields of literature, image, fashion, flower art, and visual design, and study the analysis of analogic inference as a means of materializing storied space through the connection literature with design.