• Fashion & Textile Research Journal
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• v.13 no.4
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• pp.461-471
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• 2011

Jewelry has recognized as a part of independent formative arts of fashion with the change modern man's cognition for the fashion. It is a great important section to express fashion image. So, many corporations design and develop the jewelry by themselves to maxmize their fashion image. Among the so many kinds of jewelry, especially the necklace is located beneath the face and linked as a part of fashion, so it frequently has showed in Fashion Collection. Like this Fashion and jewelry enact each other and share their esthetic features but, it is insufficient the study of fashion linked with the jewelry. In this study, we defined the words which is using confusedly according to jewelry forms what researched by others. In addition, we tend to study the effect of that the form, hue and character of materials of necklace that is expressed in fashion collection influence fashion image. The method of this study is comprised with precedent studies and analysis of necklace photos in fashion collection. For the analysis of data, we implement content analysis and statistical analysis using SPAW Statistics 18(frequency analysis, percentage, cross-tabulations, $X^2$-test). Because the hue and the form of necklace take a great role to make fashion image with the sense of its eyesight, its effective coordination go up the delicate feelings with the form, hue and quality of the fashion. Especially, the hue is the essential element of formative characteristics to express visual image. The necklace had coordinated more frequently in S/S than F/W, it means that more light and simple fashion let ornamental beauty could express by the necklace. So, it is very effective things that we predict the trend of fashion, then, coordinate with well-matched necklace.

• Journal of architectural history
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• v.14 no.4 s.44
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• pp.87-100
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• 2005

We have focused on the roof construction method of Urban Hanok in Bukchon, Seoul. The Urban Hanok, urban traditional housing type, had been evolved In modern context from 1930's to 1960's. We have confused Urban Hanok with traditional Hanok, because they have similar figures. But Urban Hanok have the characteristics as a result of the roof construction method. The purpose of this paper is to define Urban Hanok more concretely, thus we payed attention to the roof structure, specially to the comer that each roof structure meets. So we got some characteristics of the roof construction method of Urban Hanok in Bukchon. First, the roof construction methods of the roof are transformed at the corner parts, where three purlin structure and five purlin structure meet. The collision of the different roof structure has made a lot of types. Second, the roof slope of Urban Hanok is more gentle than traditional Hanok, that is caused by ornamental double eaves and awnings. Finally these characteristics are results of the compact lot size in urban neighborhood. The construction method is a inclusive word that contain materials, composition, ornament and social common sense. With the understanding on the roof construction method of Urban Hanok, we can define the identity and the value of Urban Hanok, And we can suggest the policy and the design guidelines for the reservation and rehabilitation for Urban Hanok of Bukchon, Seoul.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.3
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• pp.38-44
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• 2013

Karl Foerster had the most significant influence on the establishment of the German garden culture. From the viewpoint of planting design, in particular, he greatly contributed to the selection of new materials and the distribution of gardens. Therefore it is worth re-exploring his garden in that he triggered the use of natural planting that is widely used these days and already used ornamental grasses in his garden designs. This study aimed to review Foerster's garden to understand his planting design methods and their historical significance. The results suggest: Firstly, in spatial structure he designed sunken gardens influenced by the climate and triggered the use of natural planting by applying naturally open meadow, ferns and grasses. Secondly, in terms of the use of materials, he pointed out the necessity to use perennial plants. He bred perennial plants that the general public could easily grow and that were resistant against cold and created show gardens to demonstrate the characteristics of the plants and possible combination methods to the public. Thirdly, in terms of the aesthetical principles of his planting design, he focuses on colors and seasons and was interested in blue, yellow and white colors. In doing so, he developed new varieties such as Delphinium, Rudbeckia and Phlox. He emphasized the necessity of seven seasons, which served as the ancestor of contemporary winter gardens.

• Journal of the Korean Society of Costume
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• v.18
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• pp.211-223
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• 1992

The results of the researches in the wig and the Boyo are as follows. The wig is to be classified into Bu, Pyun, Chah, Cheh, and kwik, Bu is an ornamental hairpin used by the empress, and it is decorated with Boyo. Pyun is a wig made of braided hair. Chah is made of Bal which is put together by its lenath, and it was also called Picheh or Pisuck. It is made, one by one, of hair of the convicts and the low-class people. 초도 has a meaning of toupee, and it is used to look beautiful with its thick black hair. Kwik is a wig made of hair as if it is weaved out of thread, and it is rounded with a wire. In ancient times, it was also called chah, Pi, or Pi People wore different wigs according to their class and the use, in order of Bu, Pyun, and Chah. There are remains of the Han Dynasty. Boyo, just like the wig, was originally a custom of the northern nomadic tribes which had been introduced to the later Han Dynasty. It is also called Cho Song and has a different meaning from the Boyo attached to a crown before the Han Dynasty. It became much more beautiful in the Which in period. Boyo gained its popularity by the women in Tang Dynasty, which is due to the influence by the customs of the western Ho tribe. The name of hairstyling using wigs in each period, and things such as hair, black thread, lignum, and paper were used as materials. Since the wig had differed according to the disparity in social standing it was prohibited to the general public, but it became in style later on. Wig also becomes popular in central Asia and gained its properity in the Tang Dynasty which is greatly influenced by the western countries. It is said in the records that the kobal Style had been exceedingly in fashion from the Ju to the Chung Dynasty, and the remains of the Han and Song Dynasty were found. times, it was also called chah, Pr, or period, and things such as hair, black thread, lignum, and paper were used as materials. Since the wig had differed according to the disparity in social standing, it was prohibited to the general public, but it became in style later on. Wig also becomes popular in central Asia and gained its prosperity in the Tang Dynasty which is greatly influenced by the western countries. It is said in the records that the kobal Style had been exceedingly in fashion from the Ju to the Chung Dynasty, and the remains of the Han and Song Dynasty were found.

• Journal of Fashion Business
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• v.6 no.5
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• pp.48-58
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• 2002

The purpose of this study is to analyze four separate elements-sublime beauty, elegant beauty, mysticism, ornament-which appeared in materials, patterns, colors, silhouettes, details, and accessories, laying stress on luxurious, brilliant, mysterious feelings on Gorgeous Images appeared as trend theme of modern fashion by mixing religious mysticism of the Byzantine Empire. Mysticism element is using the effect of splendid and gorgeous colors from the Orient rather than forms. And a philosophy of abundant colors in mosaics, which are seen in art forms such as architecture, paintings, etc., shows that it creates some visual rooms for religious spirits. Influenced by the fashion of the Greco-Roman style, the elegant beauty element is expressing abundant comfort and elegant feminine lines that are from creases, and it is also emphasizing natural beauty which seems to slip down by displaying the splendid images of Gorgeous as drapes that fit a body. Ornament element was reflecting an inspiration from the splendid and brilliant culture of religion in the Byzantine Age. Therefore, it was appeared as a style filling the whole with bulky silks, splendid ornamental materials embroidered in gold or silver thread, the complicated geometric patterns that are two-dimensional and dignified, and so on. It was decorated with crosses which represent Christianity as a motif, and also it emphasized the splendor of the Byzantine and dazzling splendid images of Gorgeous by using accessaries decorated with various jewels. The elements of sublime beauty are showing the beauty adding humble and majestic images to it as designs sought by spiritual values or intrinsic values. Those designs, so to speak, have pretense which does not allow to expose a body and plain pure feeling, so that they are showing some abstinent styles in a solemn atmosphere, with most details removed. We can say the Fashion Theme appearing in Modern Times is the result from representing by combining various factors of the times with formative beauty through creative works for aesthetic expression. The moderners are requiring new designs which is possible to meet their individualities, in addition to their outstanding fashion senses. From this point of view, a variety of textiles, patterns, and colors in the Byzantine have a great meaning to fulfill people's various desires as interesting elements.

• Archives of design research
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• v.14 no.3
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• pp.197-210
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• 2001

There are symbolicity and special meaning in the materials which are supposed to be used metalcraft from ancient to present. These are basical resources of hermeneutics and play a role as moaning elements. Generally, the precious Cold and Silver are mainly to be used with precious stone. But recently, ordinary materials like glass iron aluminum has begun to be used with them. Several artists are intentionally using them, and special skills which could be revealed by only the matherials are developing by them. In these skill, there are original material's texture and character of matter are looking like other matter. Well, special skills are adapted in these matters to magnify the possibility of expression, the originally codified meaning resources are disturbed. For example, The metal craft artist June Schwarcz is using the skills of electroforming, copper foiling, enameling, wire brush patina, fine wires fusing, etc. He is doing abstract forming and making various textures. And his works are very big size, and done by the skills of painting and sculpture. The outer form is very structural, special touches of the artists are heterogeneously mixed with the symbolic abstract expressionism color field. Further, there are mixed with Primitive original life atmosphere, Medieval ornamental aspect, Minimal, and Chaotic aspects. The meaning particles of these aspects are directly/indirectly joined but special skills and basic material languages are mixed together, the originally codified material language are disturbed. These disturbed material languages are becoming optically special effect and be illusion. It is making expressing way of tile metalcraft more fertile and be infinite.

• Journal of Korean Society of Forest Science
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• v.25 no.1
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• pp.73-79
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• 1975

The Koran native economic and ornamental trees consisting 12 species of 4 gymnosperm families and 3 strains, 6 varieties and 18 species of 12 angiosperm families were irradiated by X-and ${\gamma}$-ray at three different dose rates; 1) acute, 2) semi-acute, and 3) chronic irradiation in order to know their radiosensitivities and the radition effects on mutation induction. Different materials such as seeds, cuttings, scions and plants of the above trees were used in this study, depended upon tree. Most of the materials irradiated showed a high radiosensitivity. The LD-50 of conifer trees ranged from 1.2kR to 13.2kR, averaging 5.4kR which was remarkably higher than field crops. On the other hand the LD-50 dose of hard wood trees ranged from 7.0kR to 18.5kR, averaging 12.7kR. All the tested trees were classified into several categories based upon the relative radiosensitivity of each species which was measured at the dose of LD-50. Variegation was most common among the induced mutants. The other mutations were albino, chlorophyll deficiency, deformed leaf and fruits. It was noticeable that giant-leaf bud-sport mutants were induced in Chinese chestnut (Castanea bungeana) and yellow leaf bud-sport ones appeared in oriental arborvitae (Thuja orientalis).

• FLOWER RESEARCH JOURNAL
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• v.18 no.2
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• pp.125-135
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• 2010

To discover the main characteristics of Korean traditional flower arrangement, they were compared with different articles and old paintings used in royal court ceremonies. The primary research involved principle of design. The times periods used were the Joseon Dynasty era of Korea, the Ming era of China, and the Edo eras of Japan. The result, which shows both the similarities and differences, of the research is summarized as follows. The similarities were that they all respect the features of nature, and their image expresses their creator's thinking. There was one technique, called 'Suje', in which a part of the stem is coming out from one branch. Also, each three eras preferred flowering trees and ornamental trees more than annuals or foliage plants. one of the differences was that korea used a simple number of materials. The work had volume and appeared mild by using a soft curved line which was repetitive and massive. The Joseon Dynasty era advanced a sense of beauty with artistic symmetry and balance. The work seemed soft and natural because of the little change in blank space, with almost no angle of line. The form had a characteristic preference of being taller than the typical Japanese arrangement. It appeared simple, calm, and rustic by using only one kind of material. In contrast, the Chinese style was gorgeous and displayed volume in a non-symmetrical tripodal form, which incorporated various colors and materials. Also, they avoided processing the materials in order to emphasize the original beauty of nature. Chinese flower arts did not become formalized because they did not consider the formality seriously the formal. The Japanese style was also gorgeous because it incorporated various materials and angles. It included an extreme technique in which an artificial line divided the blank space delicately. The line was both strong and delicate in an established form. The restriction of the main branch gave a light feeling, as well as more strain as in a balance sense. The Japanese eras emphasized more the use of line and a sense of blank space.

• Korean Journal of Environmental Biology
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• v.24 no.4
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• pp.314-328
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• 2006

This study was attempted to investigate the flora of Seodaesan (903.7 m). The flora of Seodaesan was investigated from August in 2001 to October in 2003. Vascular plants of this area consist of total 465 taxa; 1 hybrid, 3 forma, 59 varieties, 402 species, 287 genera, 94 families. It corresponds to 11.4% of totally 4,071 taxa appeared in Korea. Useful plants of this area were investigated 388 taxa. It corresponds to 83.4 % of collected plants in this area under our study. Among the useful plants, there are 199 taxa of edible source, 186 taxa of pasture source, 162 taxa of medicinal source, 100 taxa of ornamental source, 20 taxa of timber, and 3 taxa of industrial raw materials. Korean endemic plants were composed 10 families, 11 genera, 12 species and totaling 12 taxa. Naturalized plants were composed 11 families, 18 genera, 22 species and totaling 22 taxa.

• Korean Journal of Plant Resources
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• v.33 no.4
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• pp.404-416
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• 2020

Studies on the preservation and propagation of tropical and subtropical plants are required, but the studies are insufficient in Korea. Since 2013, the Tropical Plant Resources Research Center has been collaborating on field research and publication to preserve plant diversity in Myanmar protected areas and Sagging areas in cooperation with Ministry of Natural Resources and Environment Conservation and the Myanmar Forest Research Institute. This study is to provide information on cooperative projects. As a result of the joint research between the Korea National Arboretum and Myanmar, in December 2018, the Korea National Arboretum Tropical Plant Resources Research Center is on display for conservation and education purposes with the 65 Myanmar useful materials and specimens of 326 kinds of plants and specimens that Myanmar Forest Research Institute donated. This donation is the first case of Myanmar's export of plant organisms to a foreign country, and as for the Korea National Arboretum, it is the second official case of introducing a mass plant from foreign governments. The study will also accelerate preservation biodiversity and propagation methods of tropical and subtropical plants as well as research on biodiversity conservation and industrial use.