• Journal of the Korean Society of Floral Art and Design
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• no.44
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• pp.101-121
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• 2021

The flower, a symbol of beauty representing beauty, exists as an aesthetic object throughout the history of mankind, and is one of the motifs most often used in plastic art. In this way, flower art is an art that embodies a form based on the theme of flowers. The flowers played a role in expressing human happiness and love by harmonizing beautifully with each other in shape and color. The flower pattern containing this symbolism is beautiful and excellent in decoration, and is applied not only to household goods, but also to art and fashion. The flower pattern is the most preferred pattern among patterns, and it is widely used regardless of the four seasons by changing the color according to the color and flowering time, and it is effective in stimulating the symbolism and psychological sense of humans, so it is used in design in various fields. In this study, the flower pattern, which is a symbol of beauty representing beauty and the motif of art, has been traditionally used in Korea, and is still loved in fashion and art even in modern times. We hoped to be active, and through this study, we tried to develop our own unique flower pattern and lay the groundwork for it to be commercialized.

• Journal of the Korean association of regional geographers
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• v.3 no.2
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• pp.227-253
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• 1997

Twenty-first century will be in the era of culture and art as postmodernims progresses, therefore, geography which is is traditionally concerned with regional study needs to deeply study the culture of region. Regional symbols are clue to identify regional culture which is environments of symbolic space. Especially the study of urban culture come to the needs of times with occurring global city, urban symbols make clear urban culture and urban identity. The aim of this paper is to analyze urban symbols, that is urban songs, urban birds, urban trees, urban flowers to study urban culture in korean cities, urban symbols make clear urban spatial environment which is natural and human, and then, urban symbols make clear urban identity. The analytical results of lyrics of urban songs in the 76 cities of korea include names of mountain, river, sea and place, the names of mountain and river make clear urban identies which is natural and human characteristics, it is environment of symbolic space which brings unity, one body. Especially it is environment of symbolic space which comprise fung-soo(風水) aspects, place names well represent symbolic space. The analytical results of symbolic things, that is urban birds, urban trees, urban flowers in the 78 cities of korea indicate they are gain and gain established, they are also our environments of symbolic space which is curtual settlings of our life, but they are imported not native species but foreign species which have not environment of symbolic space. The results of this paper implicate urban symols should review. because urban symbols fit to our natural and human environments of symbolic space.

• 한국상하수도협회지
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• s.25
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• pp.22-25
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• 2009

충주를 상징하는 꽃은 국화다. 국화는 여러 개의 꽃잎이 모여서 하나의 큰 꽃잎을 이루는 대표적인 두상화(頭狀花)다. 수많은 꽃잎이 한 송이 꽃을 이루는 묘미, 그것이 바로 충주시 수자원본부라고 할 수 있다. 각자 맡은 분야에서 시민을 위해 봉사하는 그 곳, 충주시 수자원본부를 찾아가 보았다.

• Korean Journal of Ecology and Environment
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• v.46 no.3
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• pp.419-428
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• 2013

We identified the diversity, geographical distribution, ecological characteristics of birds, trees, and flowers species designated as local government symbols as a means for understanding public awareness on biodiversity. A total of 114 species including 48 birds, 40 flowers, 36 tree species belonging to 40 orders 59 families 90 genus were designated as natural symbols. Pica pica (L.) in birds, Rhododendron schlippenbachii Maxim. among flowers, have also been designated as symbols. The tree Ginkgo biloba L. was designated with the highest frequency. Local governments located coastal area were selected bird species of the Laridae family and the tree species Camellia japonica L., of Pinaceae as their natural symbols. In contrast, local governments located inland have designated resident bird species such as P. pica and Columba rupestris (Pallas) and flower species from the Ericaceae as natural symbols widely distributed and easily observed throughout South Korea. However, many local governments have designated the same species as a natural symbol based on their size color and public appeal and popularity. The information about the popular species and their ecological traits are useful for establishing the criteria as flagship or iconic species selection and their roles in habitat conservation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.2
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• pp.30-39
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• 2019

In this study, 27 representative plants with symbolism and appreciation were extracted from 68 plants collected in Li Yu (1611-1680)'s monograph named 'Xianqingouji Zhongzhibu'. The interpretations were as follows. First, symbolism of plants could be summarized as 1) Li Yu thought that Paeonia suffruticosa was called 'the king of flowers', not only because of its beauty, but also because of its upright character. The only flower that could compete against Paeonia suffruticosa was Paeonia lactiflora Pall.. This flower was called 'the flower prime minister' by common people. But Li Yu thought that Paeonia lactiflora Pall. should also be included in the feudal princes. 2) Prunus persica and Camellia japonica were compared to 'beautiful cheeks', and Malus spectabilis (Ait.)Borkh, Jasminum sambac, Rosa multiflora var. platyphylla, Narcissus tazetta, Papaver rhoeas were compared to 'beautiful women', expressing his love for flowers. 3) Li Yu called Nelumbo nucifera a 'gentleman in flowers' and Buxus sinica Rehd. et Wils. Cheng a 'gentleman in trees'. On the contrary, Daphne odora was compared to 'villain in flowers'. 4) Ilex integra was compared to a hermit, and Campsis grandiflora was compared to an immortal. Second, appreciation of plants could be organized by 1) Appreciation of plants required assistive tools. When going to suburb to enjoy the scenery, tents needed to be prepared. Paper screens should be used to appreciate Prunus mume in the courtyard so as to gain more elegant. Li Yu also proposed that ornamental objects should be properly placed near Orchidaceae so as to gain more elegant. 2）Li Yu took Lagerstroemia indica and Prunus armeniaca L. as examples to interpret that plants were as perceptive as animals and human beings. 3) Li Yu took Salix pierotii and Albizia julibrissin as examples to interpret that people should communicate with plants through five senses to produce resonance. And took Nelumbo nucifera and Rosa rugosa to emphasize the ornamental and practical value of plants. 4) Plants were metaphored sth. similar to them. An interesting example was Celosia cristata L. which was more like an auspicious cloud in the sky than the crest on the cock's head. To sum up, Li Yu personified plants and thought that people should communicate with plants by multi-sensory world when appreciating plants. Through this, it fully showed his love for plants. Meanwhile, Li Yu's symbolism and appreciation of plants, to some extent, reflected the elegant life of literati in the early Qing Dynasty.

• Journal of agriculture & life science
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• v.46 no.2
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• pp.75-82
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• 2012

This is a study on the flower pattern artwork of the west wall of the Jagyeongjeon in Gyeongbokgung to find out the type of plants and flowers represented and their symbolism. The research was conducted from July 2010 to March 2011 and the artwork classified on the basis of its horticultural traits. A number was assigned to each pattern for analysis: No. 1 is Prunus mume, No. 2 is Prunus persica, No. 3 is Paeonia suffruticosa, No. 4 is Punica granatum, No. 5 and 6 is Dendranthema grandiflora, No. 7 is Rhododendron mucronu and No. 8 is Phyllostachys bambusoides. These 8 flower patterns symbolize longevity and fecundity and their presense around the Jagyeongjeon helped to bestow good fortune on the royal family so that they might live long lives and bear many children. 4 artworks symbolize longevity, 2 artworks symbolize integrity and 1 artwork symbolizes wealth and happiness. There is also symbolism of the need to have constancy in a royal household even during secular change. Out of the 8 artworks, the imagery of a bird and a moon is represented only once, but the image of a butterfly is represented five times in the surrounding elements. The bird and butterfly symbolise freedom and happiness from free love. Women in the palace are like a butterfly wanted to be like love as a freedom and have a free and open relationship like a butterfly. But a harmonious relationship between the royal family wanted to have a symbolic meaning that could be seen of the symbolistic. Based on the "Yangwhasorok"only plants with the highest values, from the 1st and 2nd grades, were used in the artwork of the west wall of the Jagyeongjeon.

• 프린팅코리아
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• v.11 no.9
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• pp.86-91
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• 2012

월드컵과 함께 자구촌 최대의 스포츠 축제로 꼽히는 올림픽에는 여러 가지 상징이 활용된다. 대회 개막을 알리는 성화는 폐막까지 불꽃을 피우고, 심볼인 오륜기는 기간 내내 모든 경기장에 나부끼며, 각 경기의 수상자에게는 증표로 메달이 수여된다. 그리고 경기장을 비롯해 눈길이 갈 만한 대부분의 장소에는 엠블럼과 마스코트, 포스터가 오가는 이의 눈길을 사로잡는다. 1세기를 넘긴 올림픽의 역사만큼 포스터, 엠블럼, 마스코트도 변화무쌍한 진화를 해왔다. 올림픽 인쇄물의 꽃이라 할 수 있는 포스터를 통해 116년 올림픽의 역사를 되짚어본다.

• Landscaping Tree
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• s.86
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• pp.10-13
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• 2005

한국에서는 예로부터 한국 원산이나 중국 원산의 장미가 재배되었는데, 19세기 후반부터는 미국$\cdot$유럽으로부터 서양 장미가 들어와 다채로운 원예종의 장미를 재배$\cdot$관상할 수 있게 되었다. 장미는 꽃의 여왕이라는 별명으로 항상 우리에게 즐거움과 기쁨을 주는 상징의 꽃으로 여겨지며 지금도 사랑하는 이에게 장미꽃 선물은 당신을 향한 증표로 세계인의 사랑을 독차지하고 있다. 장미는 사랑으로, 추억으로 아름다움으로 영원한 향기를 낼 것 같은 신비로움으로 우리의 마음을 전달해 주는 영혼의 꽃이다. 오늘날 장미는 야생종 사이의 잡종이거나 그 개량종으로, 예로부터 주로 향료용$\cdot$약용으로 재배되어 오다가 중세 이후에 관상용으로 개량하여 재배하게 된 원예종이다. 서양에서는 주로 향료용$\cdot$의약용$\cdot$장식용으로 재배되어 온 것과는 달리, 동양에서는 주로 관상용으로 재배되었다. 중국에서는 장춘화(Rosa chinensis;nina rose) 등의 장미가 재배되어 왔으며, 고대중국 회화에도 장미가 많이 그려져 있다. 한국에서도 예로부터 장미가 주로 관상용으로 재배되어 온 것으로 여겨지고 있다. 즉, 조선 세조 때 편찬된 원예서$\ll$양화소록(養花小錄)$\gg$에는 장미는 자태가 아름답고 아담하다고 하였으며, 또 가우(佳友)라 하여 화목 9 등품제 가운데 5등에 놓고 있다. 이처럼의 우리의 사랑을 받고 있는 장미에 피해를 주는 몇몇 해충 종에 대해서 생태 및 방제법을 소개하고자 한다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.160-171
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• 2018

This study aims to find an original form of temple flower decoration patterns, considering floral lattice pattern as a view element composing temple landscape. To that end, we analyzed and interpreted the form and symbol expressed in the floral lattice pattern at Nahanjeon of Seonghyel Temple at Yeongju, Gyeongsangbukdo. The front side of Nahanjeon windows shows a sculpture with 176 pure patterns in a form where two squares are in sequence. The basic concept of main front door (the inner gate of Nahanjeon) frames is considered the design language of lotus pond that symbolizes "square land" in traditional gardens. The four leaf clover and arrowhead are water plants discovered in areas nearby ponds, which are a realistic expression conforming to the water ecology of lotus pond. The lotus, which is the most important plant at the main front door, indicates purity, a non-stained state, and the world of the lotus sanctuary, which is the land of blissful happiness in Buddhism. The lotus expressed in the floral lattice pattern is spread in a diverse form, containing the features of creation and destruction, showing the landscape character of the "One Body of Buddha and Lotus". The expression of flying birds such as kingfishers and egrets is an ecologically aesthetic idea to infuse dynamism and vitality into a seemingly static aquatic ecosystem. The floral lattice pattern contains lotus pond scenery showing symbiosis of animals(i.e., dragons, frogs, crabs, fishes, egrets, wild geese, and kingfishers) and plants(i.e., four leaf clovers and arrowheads), which are symbols of relief faith for longevity, wealth, preciousness, and many sons. The pattern is not just an ecological aesthetic expression but a holistic harmony of ecological components such as growth and disappearance of lotus and its leaves, fitting habitats, symbiosis, and food chain.

• 농업기술회보
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• v.46 no.1
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• pp.36-37
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• 2009

크리스마스를 상징하는 화려한 포인세티아는 겨울철의 대표적인 분화이다. 포인세티아 수요는 매년 괄목할 만한 성장을 하여 겨울 꽃시장의 주요 상품으로서 자리 매김을 하고 있지만 그동안 외국 품종에 대한 높은 로열티 지불로 화훼농가 경영에 큰 부담이 되었다. 농촌진흥청에서는 포인세티아 신품종을 육성, 보급하여 로열티 경감과 화훼농가의 안정적인 소득 증대를 위해 노력하고 있다. 포인세티아는 단일성 식물로 보통 자연일장이 줄어드는 10월부터 이듬해 3월 중순까지 꽃눈을 형성한다. 이 시기는 일장단축과 함께 온도도 영향을 미치며 일장조절에 의한 연중출하가 가능하다. 겨울철 출하를 목표로 재배중인 포인세티아는 적정 온도유지, 환기에 의한 습도관리, 병해충 방제 등 환경관리에 특별히 유의해야 한다.