• The Korean Journal of Ecology
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• 제14권4호
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• pp.415-433
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• 1991

Seasonal variation in size and number of floral structures was examined in two massachusetts populations of chelidonium major, a self-compatible herb. All floral charcters except for anther number per flower declind significantly during a 3 week period. However, temporal patterns were not identical among characters or between popolations. The result indicate that floral characters varied in conjunction with flower diameter,but that the pattern of changes in floral characters in response to environments may not be easy to predict. Principal components analysis was conducted to environments may not be easy to predict. principal compenents analysis was conducted tl identify the functional relationship among floral male function, and female function, respectively, perhaps reflecting the functional distinction of floral characters. Based on this pattern, the relative allocation to sexual structures within flowers was examined: male allocation was relatively greater than female allocation eary or in the middle of flowering season, depending upon populations. Temporalvariation in relative allocation within flowers was not independent of seed tield components:; different combinations of the size and number of floral characters were correlated with different seed yield components, for example, either seed size or number per fruit, during a season. in particular, allocations to attractive and male structures were highly correlated with mean seed weight only earlier in the season. These result provide some evidence that flowering phenolgy is an important comportant to be considered in the study of sexual allocation.

• International Journal of Human Ecology
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• 제8권2호
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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.

• 복식
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• 제59권10호
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• pp.10-21
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• 2009

The shape of floral pattern in the period of Rococo are a pots, a flower and ribbon style, a flower and a stripe style, a lace style and a scene style etc, and also in that time an apperance of softness of curved line, delicacy and smoth line, irregular and unrestraint line, motive of tiny and extra ordinarily, little bunch of flowers, and stripe style was a feature. The style of presentation were a presentation of fixed style such effect as lace, and a presentation of realistically style emphasized a massiveness and a cubic effect, and also used a natural color, and the presentation of abstract expressed like imagined anything and fancied. Weaving expressed delicate, brilliant, fantastic, and an atmosphere with elegant. embroidery was expressed in creation with emphasized in reality. Printing was fantastic with exotic in development of chintz due to effection of orient. The based on a salon civilization, the refind beauty of taste of royalty gave a refinded feeling with over affectionate in preference with a softness of curved line, and a motive of tiny and extra ordinarily. The classical beauty of elegant was realistic in being concentrated on building up blance and homony. The natural beauty of romantic was in being devoted the theme with soft and fantastic.

• 한국기계가공학회지
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• 제17권4호
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• pp.143-149
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• 2018

A cable tray is a fixture to support and protect electrical and communication cables. In this study, a roll-forming analysis is conducted to produce an all-in-one cable tray. The number of process stands is calculated using an empirical formula. By applying bending methods to the design of the roll flower pattern, the final process stands and forming angles are determined. The shape and stress variations in the cable tray are modeled and observed by roll forming analysis using LS-DYNA Software. The width of the side rail and the maximum stress on all stands does not exceed the reference values. The forming machine and rolls are manufactured based on the results of the roll forming analysis. In addition, all-in-one cable trays satisfy the National Electrical Manufacturers Association standards when they are manufactured according to this design.

• 패션비즈니스
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• 제11권6호
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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 Forest and Environmental Science
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• 제38권4호
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• pp.275-283
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• 2022

A study was designed to investigate the pattern of sexual dimorphism in a plantation of Garcinia kola. Twenty trees were randomly selected for the study and have been observed to flower regularly. A total of 100 inflorescence were randomly collected from the crown of each tree and 500 flowers randomly assessed within the period of four (4) flowering seasons. Floral sex assessment was done visually and with a hand magnifying lens; floral morphometric measurements (i.e. pedicel and perianth length and breadth), inflorescence length, and breadth) was taken using a veneer caliper; number of flowers per inflorescence and inflorescence per twig was counted; while, data analysis was conducted on excel using analysis of variance and pairwise t-test comparison. Four floral sexes were identified in the G. kola plantation studied which were unisexual male flowers, unisexual female flowers, cosexual unisexual male flowers, and cosexual hermaphrodite flowers. Three tree sexes were identified viz: inconstant male, invariant female, and cosexual trees. The plantation was significantly sexually dimorphic in floral sex and phenotypic traits (i.e. pedicel and perianth size), and as well as sexually dimorphic in tree sex and reproductive phenotypic traits (i.e. inflorescence size, number of inflorescences per twig, and number of flower bud per inflorescence). The sexual system of the plantation was therefore trioecious with features suggestive of evolving dioecy through the gynodioecious pathway.

• 화훼연구
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• 제17권1호
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• pp.15-22
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• 2009

무안 회산지 백련꽃의 재배와 개화 조절에 필요한 자료를 얻기 위하여 2008년 4월 20일과 5월 4일에 각각 비대근경과 종자를 용기에 식재하여 비가림 재배 관리한 후 동년 9월 4일에 근경생장 유형과 개화 특성을 조사하였다. 주근경이 분지된 것은 실생의 경우 10%, 비대근경은 15%였다. 주근경의 마디 수는 개화된 것은 14개 이상이었으며, 개화가 되지 않은 것은 11마디 이하였다. 실생 번식한 것은 모두 개화되지 않았으며, 비대근경을 식재한 것은 80%가 개화되었다. 첫 번째 꽃은 7월 말과 8월 초에 피었으며, 4.0~4.4개의 꽃이 피었다. 첫 번째 꽃대는 주근경이 분지되지 않은 것의 경우 8.8번째 마디에서, 주근경이 분지된 것은 8.0번째 마디에서 출현되었다. 화경이 지상부에 출현된 후 개화까지는 16일이 소요되었다. 백색의 꽃은 높이 15.3 cm, 폭 28.2 cm 크기로 수명은 3.3일이었으며, 생체중은 29.2 g이었다. 이상의 결과로부터 무안 백련꽃의 개화를 시키기 위해서는 근경의 비대가 시작되기 이전에 주 근경의 마디를 8마디 이상 생장시켜야 함을 알 수 있었다.

• 화훼연구
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• 제18권4호
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• pp.256-260
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• 2010

본 연구는 직삽 양액재배에 의한 '신마'품종의 절화품질 향상시키고자 양액 pH조정 비료종류와 모수포 관리 및 지베렐린처리 효과를 알아보기 위해 실시하였다. 모수포 관리에 따른 절화장은 무처리(관행) 103 cm에 비해 모수포관리(온도,일장) 처리가 114 cm로 가장 컸고, 꽃잎수도 무처리(관행) 259개/송이에 비해 모수포관리(온도, 일장) 처리가 298개로 가장 많았고, 절화중은 모수포관리(온도,일장) 처리가 102g/본 가장 무겁게 나타났다. 엽록소(SPAD-value)는 영양관리(몰비아 500배)처리가 57.2로 가장 높게 나타났다. 지베렐린처리 농도와 살포시기에 따른 절화장은 무처리(관행) 103 cm에 비해 지베렐린 1,000배 개화 60일전 처리가 121 cm로 가장 컸고, 꽃잎수도 무처리(관행) 259개/송이에 비해 지베렐린 500배로 개화60일전 처리가 308개로 가장 많았고, 절화중은 2,000배 개화60일전 처리가 110.7 g/본 가장 무겁게 나타났다. 하지만 꽃목길이는 관행(무처리) 3.5 cm에 비해 500배 개화45일전 처리 10.4 cm와 1,000배 개화45일전 처리가 9.7 cm로 도장하는 경향이었다.

• 건축역사연구
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• 제25권6호
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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.

• 복식
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• 제63권5호
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• pp.115-131
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• 2013

Dries Van Noten, one of the Antwerp Six, focused on recreating traditional attire from each region to complex contemporary attire and has shown designs that interpreted ethnic image in contemporary perspective from his very first collection. He has positioned himself as a designer with creative expression of ethnic image through broad use of various patterns. This paper analyze the use of pattern in Dries Van Noten's designs by season and item, and reflects on the characteristics of pattern use and influence on fashion image. Total of 887 clothing items were collected from Noten's collections on the Internet. Through analysis of frequency and percentage and cross tab of expression techniques, types, patterns of each motif, and classifications of print combinations, it was shown that Noten has applied six aesthetic rules in the use of pattern design. Pattern played the most significant role in his design. It was possible to achieve the balance of ethnic image and modern image with the mix of flower and abstract motives. Overall pattern was mostly used for practical purpose: border patterns and spaced patterns played a vital role in rendering uniqueness. Noten exhibited unity and variation in combining prints. He expressed the beauty of Oriental style by inserting solid color blocks in between patterns and decorations along trim lines.