• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.2
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• pp.318-335
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• 2010

This study is to enhance the competitiveness of the domestic cosmetic industry and provide basic materials needed for a design idea by analyzing perfume bottles designed by Rene Lalique. The methods of this study are documentary research and demonstrative research. The documentary research considered the theoretical background with a focus on related domestic and international literature, previous research, and Internet materials. The demonstrative research extracted photo materials of the bottle designs of Lalique from domestic and international web sites along with literature that classified them into shapes, colors, materials, and patterns that analyzed the general characteristics and chronologic changes. The results of this study are as follows. The curve-oriented shape was common and multi-colors were used more frequently than a single color in the 1910's. Colorless-transparent glass and a flower patterns were used frequently for materials and patterns, respectively. Lalique reflects this style in his bottle designs because the Art Nouveau effect in the 1910's. In the 1920's, curved and straight shapes had a similar percentage. The use of multi-colors and one type of glass bottle increased versus the 1910's. Similar to the 1910's, a flower pattern was used most frequently. This suggests that Lalique was influenced by the established Art Nouveau and was also interested in the Art Deco style, In the 1930's, an organic curved shape was common. Unlike the 1910's and 1920's, a single color was more common than multi-colors. The one type of glass bottle and a geometric pattern were common for materials and patterns, respectively. The Art Deco style was reflected in the bottle design of Lalique in the 1930's.

• Korean Journal of Plant Resources
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• v.15 no.2
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• pp.107-113
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• 2002

This study was performed to obtain the information on fruit set, propagation and flowering habits of the exotic ornamental bottle brush tree (Callistemon citrinus). Trees have fruit capsules for four years since the fruit set and they have enlarged for three years. While 2 and 3-year-old capsules have similar seeds in number and size, 1-year-old ones have fewer and smaller seeds. Most dried capsules open when they have 75％ relative water contents. Two year old seeds which they were dried at 30％ germinated better than others. Removal of capsule bearing twigs resulted in greatly increased subsequent flower numbers (an average of 14 flowers per tree) compared with twigs where seed capsule were allowed to remain. In cutting for propagation, semi-hard wood branches dipped in 100mgι$^{-1}$ IBA for 24 hours rooted at 86.4 ％ and had an average of 12.6 primary roots.

• Korean Journal of Organic Agriculture
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• v.25 no.4
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• pp.901-916
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• 2017

This study was conducted to evaluate natural plant extracts for methane gas reduction in ruminants. Rumen fluid was collected from cannulated Hanwoo cow ($450{\pm}30kg$) consuming 400 g/kg concentrate and 600 g/kg timothy. The 15 ml of mixture comparing McDougall's buffer and rumen fluid in the ratio 2 to 1, was dispensed anaerobically into 50 ml serum bottles. Rumen fluid contents were collected and in vitro fermentation prepared control (timothy, 300 mg), ginseng, balloon flower, yucca plant, camellia, tea plant and ogapi extracts were added at the level of 5% against 300 mg of timothy as a substrate (v/w) and incubated for 3, 6, 9, 12, 24, 48, and 72 h. In vitro pH values range 6.55~7.41, this range include rumen titration. The dry matter digestibility was not differ between all treatments and control. Total gas emission was significantly higher (p<0.05) in ginseng and balloon flower treatments on 24 h than in control. Carbon dioxide emission was not differ all treatments on 9 h than in control and significantly higher (p<0.05) yucca plant, camellia and tea plant treatments on 12 h than control. Methane emission was not differ all treatments on 6 h than in control. The rumen microbial growth rate was significantly higher (p<0.05) in ginseng, balloon flower on 12 h and significantly higher (p<0.05) in ginseng, yucca plant, tea plant and ogapi treatments on 24 h than in control. Total VFA was significantly higher (p<0.05) in tea plant and ogapi treatments on 12 h than in control and significantly higher (p<0.05) in ginseng, balloon flower treatments on 48 h than in control. Acetic acid was significantly lower (p<0.05) in ginseng and balloon flower treatments on 24 h than in control. Propionic acid was significantly higher (p<0.05) in ginseng and balloon flower treatments on 48 h than in control. As a results, sixth natural plant extracts had no significant effect dry matter digestibility and negative on rumen fermentation, but not effect methane reduction.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.154-169
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• 2019

This study attempts to shed light on the nature and purpose of the small melon-shaped celadon ewer that was found in the Sinan shipwreck, focusing on the fact that it has the shape of a ewer, yet could not really have served as a tea or liquor utensil given its small size and unusual shape. We analyzed the shape-related characteristics of other melon-shaped celadon ewers as well as this one; checked the use of similar items unearthed in China and Japan; examined the relevant literature, materials, and paintings; and arrived at the following conclusion. First, it was found that the small melon-shaped celadon ewer was one of a type that was first made in the Southern Song Period in China and continued to be made until the Yuan Period. The artifact displays some differences from many similar relics found in the same shipwreck, particularly its spout, lid, and handle. Second, research on the tea ceremonies and types of liquors prevalent during the Song and Yuan Periods of China, as well as the appearance of this ewer, suggest that it was unsuitable for use as a liquor utensil. Third, we looked at the relevant literature records, paintings, and relics unearthed in China and Japan in an attempt to determine its actual purpose. It is well known that the literati had a deep affection for stationery items, particularly water droppers, which were made in a variety of shapes during the Song Period of China and thereafter. According to literature dating from the Song and Ming Periods, it appears that melon- or ewer-shaped water droppers were used. Certain paintings from the Ming Period depict a small ewer, along with a water dropper, as a stationery item. Looking at paintings dating from medieval Japan, small ewer-shaped objects do not figure among the tea and liquor utensils depicted, whereas kettles with handles and hot water bottles do. Objects known as yeonjeok (a water dropper) were included among the items said to have been made in pottery kilns during medieval Japan. However, a book on flower arrangement of Japan dating from the fifteenth century shows a small ewer, with flowers in it, among the stationery items placed on a desk. Based on this detail, it is concluded that the small melon-shaped celadon ewer from the Sinan shipwreck might have been used as a flower bottle as well as a stationery item.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.85-110
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• 2022

This study investigates the production and use, development of Buncheongsagisang-gamunryongmunho, focusing on Buncheong Jar with dragon and cloud patterns(龍樽) in the early the Joseon Dynasty. The Buncheong Jar with dragon and cloud patterns(龍樽) which is the size of a large bottle as high as 50cm is a form of stability to have gorgeous decorativeness with the inlaid and stamped pattern. The Buncheongsagisanggamunryongmunho is the Buncheong Jar with dragon and cloud patterns(龍樽) used for Flower Vessels(花樽) at Royal Ritual in King Sejong(世宗) era. In the 1420s and 1430s, made in Premium ceramic factory of Sangju-mok, it is Blue and white porcelain in reference to dragon and cloud patterns in the Yuan and Ming Dynasties in aspects of shapes and patterns, to the inlaid Celadon in the period of Late Goryeo Dynasty in aspects of patterns, and to Joseon porcelain in aspects of shapes and decoration techniques. The Joseon Royal family found out the appropriateness of the founding of the dynasty and the base for the system of civilization from Ming dynasty, to follow Ming dynasty by choosing white porcelains as the King's vessel. Jars passed down from Emperor Ming served as a standard for Royal Ritual Jars, to use Blue and White Porcelain Jar with dragon and cloud patterns as Flower Vessels(花樽) and Liquor Vessels(酒樽) for ages. Consequently, the Buncheong Jar with dragon and cloud patterns(龍樽) as Royal Ritual Jar had been used till 1430's when Blue and white porcelain Jar with dragon and cloud patterns(靑花雲龍白磁酒海) was passed down from Emperor Ming, Xuande Emperor(宣德帝), only to lose its Meaning and Use as the Royal Jar with dragon and cloud patterns(龍樽) during the early Joseon Period gradually.