• Horticultural Science & Technology
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• v.34 no.6
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• pp.830-839
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• 2016

Germination of Hemerocallis seeds as influenced by cold stratification at $5^{\circ}C$ (CS) and maturity of seeds evaluated using X-ray imaging has not been well investigated. Seeds of H. lilioasphodelus, H. citrina, H. citrina 'April Flower', and H. minor collected from China and H. thunbergii collected from Korea were germinated at $20^{\circ}C$ without pre-temperature treatment, while H. hongdoensis, H. dumortieri, H. minor, and H. vespertina seeds were treated with CS. Harvesting 'Stella de Oro' capsules at 35-40 days after anthesis yielded mature seeds with well-developed embryo and cotyledons analyzed by X-ray images with a 92% germination in 17 days after sowing. Seeds of H. thunbergii and H. citrina germinated in less than 13 days without CS; two weeks of CS did not accelerate seed germination. Seeds of H. hongdoensis germinated in 24 days when seeds were stored at $25^{\circ}C$ without CS and in less than 27 days when cold stratified. Therefore, 'Stella de Oro' capsules should be harvested at 35-40 days after anthesis to harvest mature seeds. Cold stratification is not required to accelerate seed germination in the Hemerocallis taxa evaluated in this study.

• Journal of the Korean housing association
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• v.20 no.6
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• pp.67-76
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• 2009

As the needs of housing for the elderly has increased, many researches have been carried out and some housing projects for the elderly including nursing home began to be provided. Most researches have focused on the development of housing type or space layout and only several ones on interior design. The interior design in house influences physically or psychologically on the elderly who lives in. Also, the subject of them which examined the needs or preference for housing for the elderly were the middle-aged, not the aged. The purpose of the study was to examine the preferred characteristics of interior design in residential space by the elderly. The structured interview with 120 old persons who lived in Busan was carried out using by a questionnaire and 3D images. The elderly answered about the preferred interior style, color, lighting and interior finishes of each room in house, such as living room, master bedroom, kitchen, and bathroom. On the basis of the findings, the characteristics of interior design of each room in house which the elderly preferred were presented. In general, they preferred the mixed interior style with tradition and modem. Also, the reddish and purple interior color, flower or plant patterned wall finishes, and wood floor were preferred in living room and master bedroom by the elderly. The white interior color and one colored wall finishes without any pattern were preferred in kitchen and bathroom.

• Fashion & Textile Research Journal
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• v.21 no.5
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• pp.527-539
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• 2019

This study examined the Chinese style in the Vivienne Tam collection as well as explored diversity and modern interpretation of a Chinese style used in modern fashion. The study also investigated the concept and history of the Chinese style as well as analyzed the Chinese style in the collection based on a consideration of a Chinese element that is the basic structure with an understanding of Vivienne Tam and general collection themes. As a result of research, the Chinese style appeared in the Vivienne Tam collection was comprehensive with 43 Chinese elements including Animals, Flower & Grass among the Nature elements, Mythology Religion among the Figure elements, Historical Artifacts, Clothing, Oral Literature, Entertainment, Fine Arts. Technique, Folk holiday among Culture elements and Philosophy among Spirit elements, which accounted for 57.6% of the collection. The formative characteristics that included Chinese elements were extended, abstracted, distorted or transformed; in addition, some abstract elements were embodied into animals, images and certain particular forms to present a theme. In addition to two-dimensional method to print Chinese elements on fabric, they were also expressed as a three-dimensional texture or a silhouette, achieving clear and bold harmony. The aesthetic characteristic is a mixture of Eastern and Western way of thinking. Her costume has a political and historical meaning beyond the imitation of elements that represent the development of a pleasant and interesting design.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.61-70
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• 2021

This paper is intended to apply Mugunghwa, which is the official flower that symbolizes the country, to fashion cultural products to promote the identity and enhance the cultural value of South Korea. The purpose of this study is to increase the understanding and use of tradition. As for study methods, first, the range of uses for Mugunghwa were examined from diverse angles, second, images associated with modern senses that reflect trends were developed to create more value. Third, the role of a cultural ambassador was proposed by adding the image of Mugunghwa to fashion accessories and miscellaneous goods applicable to real life. This was carried out through theoretical and empirical studies, such as literature reviews and case study analysis, and as a result, 13 textile designs and 26 fashion cultural products were developed. It is hoped that the foregoing will enable the pursuit of new values of the image symbolizing the country and the forming a bond, and it is expected that the foregoing can provide opportunities to develop diverse national symbols, thereby enhancing the national image.

• Journal of Korean Medical classics
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• v.36 no.1
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• pp.17-32
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• 2023

Objectives : This paper investigates the background, meaning and origin of the descriptions of the Heart such as 'seven orifices', 'sanmao', 'saw-toothed four layered lines' that are unique to the diagram in the Donguibogam. Methods : First the Heart diagram of the Donguibogam was compared with other Zhangfu diagrams of the past. Materials related to unique features in the descriptions of the Heart in the Donguibogam were collected, against which descriptive features were analyzed. Results : Of the many unique features, the descriptive basis of the 'seven orifices' could be found in the Qixingban[七星板] as a physical entity reflecting basic anatomical knowledge. The 'sanmao', which is compared to the Santaixing[三台星], could be understood as a non-physical entity whose descriptive basis could be found in the Xinxuetu of the Xinching. It could be assumed that the 'saw-toothed four layered lines' are likened to the multi-layered petals or calyx of a lotus flower bud to describe the Pericardium, or to the multiple walls of a mountain fortress surrounding a palace to describe the Danzhong, which is the chest cavity. These features could be understood as results of spiritualism influence. Conclusions : It could be concluded that Heo Jun, in his attempt to describe the Heart in more detail than previous diagrams of the Zangfu, referenced popular texts and images based on anatomical knowledge of previous texts, added varied descriptions resulting in a new diagram with a completely different origin.

• Korean Journal of Plant Taxonomy
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• v.52 no.3
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• pp.144-155
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• 2022

Daphne kiusiana is an evergreen shrub with dense head-like umbels of white flowers distributed in southern Korea, Japan, China, and Taiwan. Plants in China and Taiwan are recognized as var. atrocaulis by having a dark purple stem, elliptic leaves, and persistent bracts. Recently, plants on Jejudo Island were segregated as a separate species, D. jejudoensis, given their elliptic leaves with an acuminate apex, a long hypanthium and sepals, and a glabrous hypanthium. Morphological variations of three closely related taxa, the D. kiusiana complex, were investigated across the distributional range to clarify the taxonomic delimitation of members of the complex. Twelve characters of the leaf and flower were measured from digitized herbarium specimens using the image analysis program ImageJ and were included in a morphometric analysis, the results of which indicate that the level of variation in the characters is very high. The results of a principal component analysis weakly separated D. jejudoensis from D. kiusiana according to their floral characteristics, such as a longer, glabrous hypanthium, and larger sepals. However, some individuals of D. kiusiana, particularly those from Bigeumdo Island, were included in D. jejudoensis. Recognition of D. kiusiana var. atrocaulis based on the leaf shape was not supported in the analysis, and D. jejudoensis may be recognized as a variety of D. kiusiana. Our morphometric analysis shows that digitized images of herbarium specimens could be useful and an additional method by which to investigate more diverse specimens.

• (The) Research of the performance art and culture
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• no.36
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• pp.725-750
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• 2018

Uigue(儀軌) is the report of court events, and its contents are very detailed and crucial as it is even called as the flower of written culture. Thus, many research theses about Uigue have been accumulated in academic circles so far, and easy books about Uigue targeting ordinary people have also been published. However, Uigue has not been used actively in educational circles yet. From now on, we should develop and induce ways to use Uigue actively in educational spots in order to let students who will lead our future have pride in our culture and know about the superiority of our court music culture. Especially when court music culture is taught in the sector of Korean traditional music education, it is beneficial to use Uigue. Since most of the court music repertory is slow and magnificent, if court music itself is exposed beforehand, it might give them an impression that it is "unexciting and boring". Therefore, this study gropes for teaching methods to 'show' court music culture first through various visual aids contained in Uigue. In other words, it examines how the instrument images, band images, dance images, or concert stages contained in Uigue can be used as teaching materials. Except for the materials selected in this article, there are plenty of teaching materials for court music culture in Uigue. Furthermore, it would be even better if not just Uigue but Oryeseo (五禮書), Akseo(樂書), Dobyeong(圖屛), and Gwanchan Akbo(樂譜) can be added to widen its range for more multilateral court music culture education. And if at the educational spots, showing classic court music culture is accompanied with listening to court music through various materials of court music and dance, we can expect even better educational effects from it.

• Journal of the Korean Society of Floral Art and Design
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• no.42
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• pp.117-132
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• 2020

The study aimed at trying to contribute to domestic floral designers by analyzing colors' images of 60 floral designs of British floral designers, Shane Connolly and Paula Pryke, as the basis for color scheme of floral space design. The result of color analysis, Shane Connolly uses colors in the frequency of color order of the GY>Y>RP>YR>P>P>PB and Paula Pryke uses colors in the frequency of color order of the GY>RP>P>YR,Y>G>PB. The result of coordinate analysis of hue, value, chrome, Shane Connolly's works showed high frequency in the YtoGY color, the middle and high of value and the middle and high of chrome. Paula Pryke's works showed high frequency in the GY color and PtoRP color, the wide areas of the 3.8 ~9 stages of value, and the middle and high of chrome. The result of adjective image scale, Shane Connolly's works were found to be in between soft and static adjective zone, and Paula Pryke's works were distributed in between soft and active zone.

• 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 Korean Society of Costume
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• v.66 no.8
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• pp.78-97
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• 2016

The purpose of this study is to develop textile pattern designs by utilizing the prototype of traditional culture extracted from cultural resources in order to establish a specialty strategy for local cultural contents. To achieve this, the study selected the Hyojaemunjado as source of Jeju traditional culture. Jeju's Hyojaemunjado is characterized mainly by the creative and unique formativeness of Jeju's character paintings. Character paintings often contained images related to the characters featured inside characters, or composed stroke with symbolic iconography. The main subjects of Hyojaemunjado were stories that alluded to the Confucian virtues. Therefore, the purpose of this study was to remind people of the real meaning of Shin(truth) by developing textile pattern designs, which borrows the tessellation technique for design, and the dominant characteristic of geometric abstraction. This study used theoretical research and empirical analysis. First, the study did the theatrical research on Hyojaemunjado based on literature and precedent studies, and then analyzed the style of expression and formativeness on the Shin character paintings through real analysis of Jeju's Hyojaemunjado kept in Jeju National University Museum. Second, based on the analysis of the style(three-tier composition) and formativeness of Hyojaemunjado, it analyzed the formativeness of the iconography about Shin, i.e. character types(semi cursive style, square style) drawn according to the symbolic meaning, palace, unknown flower, pheasant, tile fish and constellation. Based on analysis of the iconography, it stylized the motives that became available on the Archimedean tiling of tessellation, and then developed the textile pattern designs by arranging the iconographic motives with Platonic tiling and Semi-tiling. The reason why this study borrowed tessellation was to create various visual effects using the size of angle, symmetry and change and joint with simple figure.