• Journal of Animal Science and Technology
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• v.49 no.6
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• pp.711-718
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• 2007

Most cattle breeds have a coat color pattern that is characteristic for the breed. Korean cattle(Hanwoo) has a coat color ranging from yellowish brown to dark brown including a red coat color. Variation in the Hanwoo coat color is likely to be the effects of modified genes segregating within the Hanwoo breed. MC1R encoded by the Extension(E) locus was almost fixed with recessive red e allele in the Hanwoo, but other gene(s) might be affecting the variation of the Hanwoo coat color into yellowish to red brown. We have analyzed a segregation of coat color in the F2 families generated from two Hanwoo bulls(yellowish brown) mated to six F1 dams(black) derived from Hanwoo and Holstein crosses. Segregation of coat color in the offspring found a ratio of 1(yellowish brown) : 1(black) and this ratio indicates that a single gene may play a major role for the Hanwoo coat color. We further investigated SNPs in MC1R, ASIP and TYRP1 loci to determine genetic cause of the Hanwoo coat color. Several polymorphisms within ASIP intron 2 and TYRP1 exons were found but not conserved within the Hanwoo population. However, the segregation of the MC1R e allele was completely associated with the Hanwoo coat color. Based on this information, it is clear that the MC1R e allele is mainly responsible for the yellowish red Hanwoo coat color. Further study is warrant to identify possible genetic interaction between MC1R e allele and other coat color related gene(s) for the variation of Hanwoo coat color from yellowish brown to dark brown. (Key words : Hanwoo, Coat color, SNP, MC1R, ASIP, TYRP1)

• Journal of Life Science
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• v.19 no.6
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• pp.793-798
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• 2009

This study was undertaken to reveal the relationship between genetic variations and inheritance patterns and the development of a systemic white coat color frequently observed in Jeju horses. It was determined that the white coat color occurred in all basic coat colored (black, bay and chestnut) horses by combining the phenotype and MC1R genotypes. There were no polymorphisms found in Jeju horses tested for mutational loci in the KIT gene, which were previously reported as potential mutations of the congenital dominant white coat color in other horse breeds in heterogeneity. The horses that had the 4.6-kb duplication in the STX17 intron 6 specifically showed the depigmented white coat color. Based on observation and STX17 genotypes, this depigmented whitening is defined as 'Chongma' (whitening, progressive graying with age-Gray) in Jeju horses. Pedigrees showed that this is an autosomal dominant inheritance pattern distinct from the bovine albinism caused by an autosomal recessive passion eye color. Because the gray phenotype is generally not completely expressed early in Jeju horses, it often makes them indistinguishable from other horses. Further studies are recommended for classification between the gray coat color and its similar phenotypes, such as the roan with its mixed hair colors appearing since neonatal period, acquired white hairs on wounded skin by veterinary treatment, and vitiligo-like skin pigmentation. However, study results revealing the relationship between the gray phenotype and genetic background suggested that useful information may be provided in regards to molecular breeding of Jeju horses.

• Fashion & Textile Research Journal
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• v.6 no.2
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• pp.169-176
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• 2004

The clouds-shaped pattern is originated from Taoism, Buddhism, and Confucianism. It stands for good-luck, longevity and productivity. It has been used on its own or with other patterns since the ancient times. It also has various forms. It particularly was used more frequently than any other patterns as a typical good-luck pattern, representing auspiciousness, divine authority, and so on in Chosun dynasty. The pattern, according to its component parts, is classified as individual type and compound type, which is mixed with other patterns such as treasure pattern, plant pattern, letter pattern, or animal pattern. For both individual type and compound type, swastika-shaped cloud pattern was mostly used. For compound type, the pattern compounded of treasure pattern was extraordinarily used a lot. In terms of the arrangement, the most common arrangement methods were brick-shaped arrangement and dense type arrangement, the arrangement method that spreads the patterns all over the surface. Among the fabrics with clouds-shaped pattern, satin damask fabrics had the majority. Clouds-shaped pattern was used a lot in men's Po(coat), such as Dahnryoung, Jiknyoung, Chollik, etc. rather than in women's clothes. It was a typical pattern used in Dahnryoung, an official uniform that represented people in the highest class in Chosun dynasty. The divine power symbol of this pattern indicated the authority and dignity that the upper class people could have.

• Asian-Australasian Journal of Animal Sciences
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• v.8 no.2
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• pp.119-122
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• 1995

A total of 6 tamaraws were observed for determining coat color and measured for body conformation. Banding pattern of 4 blood proteins and 2 isozymes were analysed from the peripheral blood of two tamaraws. The coat colour of younger tamaraws were observed to be brown and adult was found to be complete black. The body weight, body length, withers height, head length, head width, horn length and tail length of adult male and female tamaraws were: 236 kg and 208 kg; 113.5 cm and 112.5 cm; 19.5 cm and 20 cm; 30.0 cm and 28.5 cm and 36.0 cm and 35.5 cm, respectively. The electrophoretic banding pattern, distance migrated and the allelic frequencies obtained in tamaraws were similar compared with that reported in swamp buffaloes. Although the sample size was very small, results of this study could be an important source of informations based on which a breeding programme can be designed to exploit some of the economic characters of tamaraw.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.28-46
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• 2010

Variety and individuality are characteristic of consumer in modern society. For the necessity of new designed men's formal suit is on the rise with advance of party culture and change of wedding style. In addition to growing numbers of Korean grooms are getting more interested in make themselves well-groomed on the wedding ceremony. The purpose of this study is to develop the men's formal suit pattern for right fit and better style for Korean grooms. In order to find out how to modify their fit, comparison among the existing patterns was necessary. In this study we proposed new patterns of men's formal suit, a morning coat, a tail coat, tuxedoes, director's suit, three-peaces suit, navy blazer. Considering the results of this study, developed patterns were altered to fit better and to smarter. They were well graded in waistline position, shoulder shape, back princess line shape. Also they were best to move around sleeve and bodice. And the developed patterns were altered to make armhole narrower to make bodice length shorter, to make bodice slimmer. The researcher's pattern's were made up into garments using wool 100%, silk 100%. According to verify the improvements and grade better in both appearance and comport, it will be to take the lead men's formal dress culture and expand the base of popular consume for men's formal wear.

• Journal of Fashion Business
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• v.24 no.3
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• pp.121-137
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• 2020

This thesis makes it an aim to develop designs of Shinhanbok coats interpreting and applying the formative structure of the lattice window pattern in Huijeongdang of the Changdeokgung palace, one of the best architecture in Chosun dynasty. Literature review about the history and characteristics of the window of Huijeongdang of the Changdeokgung palace was performed on the basis of the internet resources and papers, and the examples of the fashion design applying the lattice window patterns were analyzed. Then, three style Shinhanbok coats were designed and presented with making use of 6 kind of lattice window patterns as its motif. The coats were designed in flexible size, attempting to clad any kind of body size and shapes. Design 1 drawn from Wanjasal, Tisal, Design 2 drawn from Ajasal, Yongjasal, Tisal, design 3 drawn from Bitsal, Jungjasal. In conclusion, lattice window patterns of the traditional beauty highlighted in view of modern times might be suggested as the motif for expressing the proportion with balance and rhythm with stability. The division of the space with the line was tried with the technique of the bias cutting, stitching and taping with the design of simplicity signified in the aesthetics of the vacant space in addition to its ornamental effects. Thus, this study would like to contribute to the popularity of the Shinhanbok outlined in modern application and unique taste through the study and applications of the traditional lattice window pattern of Korea.

• Journal of Veterinary Clinics
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• v.18 no.3
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• pp.215-225
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• 2001

This study presented the results of ophthalmic examinations performed on 545 Korean Jindo dogs. The most prevalent ocular variation within normal limits was hyoid vessel remnant (12.7%) and prominence of lens suture was also noticed (1.7%). The most common ocular diseases were retinal scars (6.8%), focal cataract (4.6%) and persistent pupillary membrane (4.2%). Inherited ocular diseases found in this study were persistent pupillary membrane (4.2%), persistent hyperplastic primary vitreous (0.6%), retinal dysplasia (0.6%), entropion (0.4%) and progressive retinal atrophy (0.4%). The prevalence of ocular diseases was higher in Male than in Female and proportionately higher in the older dogs. The most prevalence was shown in white coat color dogs. The fundus color changes according to the age was not related in coat colors and shown same pattern.

• Journal of Embryo Transfer
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• v.33 no.3
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• pp.107-117
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• 2018

The purpose of this study is to expression pattern of melanogenesis associate genes on cultured melanocyte layer cells in Korean Brindle Cattle(Dark, Brindle and Yellow) were analyzed to evaluate the effects of sex hormones on the control of melanogenesis pathways. Korean Brindle Cattle(Dark, Brindle and Yellow) melanocyte in the skin cells was collected. after the addition of estrogen and testosterone, the culture was analyzed for expression of cell activity and melanin genes for 72 hours. For the analysis of estrogen in different coat color other than the melanogenesis-related genes it is increasingly yellow showed low expression. in particular, the cells of the brindle coat color is low active and expression of genes. However, the testosterone was low, the expression of cell activity inhibiting MMP-2. the expression of melanin genes actually showed a tendency to increase gradually, which is testosterone compared with the estrogen to be considered that affect the skin cell layer brindle coat color. In this study, stimulation with estrogen triggered the inhibition of MC1R of the melanocyte in brindle coat color, but testosterone is induced MC1R in melanocyte. Therefore, considered the eumelanin or phaeomelanin activation are controlled caused by differential expression of sex hormones on melanocyte in Korean Brindle Cattle.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.9_10
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• pp.1475-1486
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• 2007

This study aims to develop knitted ware design to meet desire to express diversity in the modern fashion design so that we designed knitted ware by applying african geometric pattern and color to suggest new knitted ware design. We collect data about african texture pattern through technical books, publications, internet, and preceding research and visit and investigate the African museum. We investigate knitted Jacquard texture through preceding research and collect sample and data which is insufficient in the data source. The conclusions in this study are summarized as follows: First, African textile pattern is formulated with animism based on their religious view of art for a basis and African regards nature like animal and plant as a motive and interprets nature in the so that they can create symbolized geometric features that constitute African texture pattern. Those patterns is composed of extremely geometric figures so that they we fit to apply for color jacquad knit design. Second, color knitted jacquad can be distinguished by knitting method and status of knitting as 7 kinds of techniques such as Nomal, Bird'eye, Floating, Tubular, Ladder's back, Blister, Transfer Jacquard, and as a result of preceding research and knitting texture directly, jacquard technique makes different texture under same condition like consistent spinning rate and same crochet hook. Third, Bird'eye Jacquard used generally to make knitted ware and Ladder's back Jacquard, Tubular Jacquard used to make knitted ware light are fit to apply them to 7GG and 12GG machines. We design a cloak as a outer garment, a coat shaped like one-piece dress and a coat with hood by using Tubular Jacquard which can make thick texture and design a jacket, a skirt and a one-piece dress by using Bird'eye Jacquard. we make a light and flimsy one-piece dress by using Ladder's back Jacquard. Fourth, we apply the contrast of $4{\sim}6$ color and line and the contrast of texture and raw material to jacquard in order to emphasize texture property and visual property.

• Journal of the Korean Society of Costume
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• v.35
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.