• Journal of the Korean Society of Floral Art and Design
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• no.43
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• pp.123-138
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• 2020

This study found Flower Jewelry works in the monthly magazine specializing in flower decoration for nine years from 2011 to 2019. Based on the analysis of the type of expression, method of expression, type and number of plant materials used, and the type and number of non-plant materials used for the flower jewelry found, it was conducted to find out the trend of flower jewelry in Korea. By expression type, a total of 96 works were analyzed as 20.83% for headdresses, 57.29% for necklaces, 5.21% for earrings, 6.25% for lists, and 10.42% for other works(χ²=94.833, p<.001). According to the analysis of the frequency of use of expression techniques, headdresses, necklaces, and lists for each work were produced using five to six different expression techniques and earrings were produced using two to four expression techniques. Material coupling techniques 34.43%, flower and leaf utilization 30.17%, visual techniques 16.63%, collectivization techniques 14.12%, technical highlighting techniques 4.26%, and other 0.39% (χ²=455.222, p<.001). The most frequently used techniques were framing techniques 16.63% and knotting techniques 16.44%. Plant materials used in flower jewelry were found to be 22.61% for Phalaenopsis spp., 13.48% for Gomphrena globosa, 9.57% for Gloriosa rothschildiana, 7.39% for Epidendrum cinnabarinum, 6.96% for Chamelaucium uncinatum and 4.78% for Craspedia globosa (χ²=718.104, p<.001). In the case of branch, the most common was used with 70.00% of the Cornus walteri, and 10.00% of Actinidia arguta, Celastrus orbiculatus, and Salix pseudolasiogyne were used respectively (χ²=10.800, p=.013). In the case of foliage, 24.65% Aspidistra elatior, 24.62% Asparagus asparagoides, 11.54% Senecio rowleyanus, and 6.15% Ceropegia woodii (χ²=269.385, p<.001). In the case of berries, 44.44% of the fruits of the Smilax china, 33.33% of the Hypericum patulum, and 11.11% of the Phytolacca americana were found (χ²=11.444, p =.022). Non-planting materials used in the manufacture of flower jewelry were found to be 47.34% of 2mm aluminium wire, 33.73% of copper wire and 10.06% of 1mm aluminum wire (χ²=186.704, p<.001). The figure was 53.57% for pearls, 12.50% for ribbons, and 4.14% for spangles and feathers.

• Journal of the Korean Society of Floral Art and Design
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• no.41
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• pp.3-12
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• 2019

The purpose of this study was to investigate the effect of forest play activities on children's emotional vocabulary change. Forest play activities were conducted for 498 children aged 4 to 5 years old who visited the environmental training in G city for forest play activity for 1 hour. As a result, positive vocabulary was significantly improved from 0.95±0.78 before forest play to 1.15±1.21 after forest play(p=.003) and negative vocabulary was significantly decreased from 1.27±1.58 to 0.41±1.10(p=.000). In the case of male children, positive vocabulary was increased significantly from 0.96±0.82 to 1.36±1.24(p=.000), in the case of negative vocabulary, it decreased significantly from 1.42±1.74 to 0.55±1.30(p=.000). In the case of female children, negative vocabulary was significantly decreased from 1.12±1.37 to 0.26±0.26(p=.000), but the positive vocabulary increase was not significant(p=.851). As a result of age, for a 4-year-old children, positive vocabulary did not show significant difference between before and after forest play(p=.471), and negative vocabulary was significantly increased from 1.04 ± 1.42 before forest play to 0.41±1.16 after forest play(p=.000). For a 5-year-old children, positive vocabulary was increased significantly from 0.96±0.85 to 1.23±1.21(p=.001) and negative vocabulary was decreased significantly from 1.41±1.65 to 0.41±1.06(p=.000). As a result of this study, it was found that play activities using various natural objects in the forest were directly related to nature, resulting in positive vocabulary increase and negative vocabulary decrease.

• Korean Journal of Environmental Agriculture
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• v.36 no.3
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• pp.169-174
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• 2017

BACKGROUND:Kiwifruit growers build their vineyards using many windbreaks to protect their kiwifruit vines from defoliation injury by strong winds such as typhoon. In this study, we have compared fruit quality, budbreak rate and floral bud as affected by windbreaks. And also we surveyed several microclimate indices of kiwifruit orchard depending on the covering materials of arch-type windbreaks. METHODS AND RESULTS: Five different windbreak materials including polyethylene film (PE), blue- and white-colored nets were tested in pipe-framed archtype kiwifruit vineyards as the covering materials. Photosynthetically active radiation (PAR), annual mean temperature (AMT) and chill unit (CU) as well as fruit quality were compared among the covering materials. In all treatments, annual PAR was more than $400{\mu}mol\;m^{-2}s^{-1}$, in which kiwifruit leaf could reach its maximum photosynthesis, since the leaves were emerged. Annual mean temperature was greater in 0.1 mm-PE covering as much as $1-2^{\circ}C$ than other windbreaks. In CU calculated by three different models, all windbreaks showed more than 1400 CU that is fully fulfilled CU for kiwifruit rest completion. There were no difference in budbreak rate among the covering materials. Fruit weight was heavier in 0.1 mm-PE and white-net (4 mm) than other windbreaks. CONCLUSION: Regardless of the windbreak materials, the PAR quantity was enough for kiwifruit photosynthesis. And CU for kiwifruit rest completion was fully achieved in all treatments. However, with respect to fruit weight, quantity of PAR, and AMT, etc., It is highly recommended for kiwifruit growers to choose 0.1 mm-PE and white-net (4 mm) as for their windbreaks materials.

• Korean Journal of Agricultural Science
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• v.9 no.2
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• pp.484-493
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• 1982

This study was conducted to clarify the effects of daminozide (butanedioic acid mono-(2,2 - dimethylhydrazide)) sprayed 2 days be fore harvest and floral preservative solutions on longevity, quality and ethylene production of 'Georgia' cut lily for prolonging vase life and improving quality of cut lily flowers. And also the relation between ethylene production and flower senescence of cut lily was studied. 1. Lilies held in silver nitrate ($AgNO_3$) at 25 and 50 ppm were increased in solution uptake, fresh weight, and flower longevity. The solution of 2.5% sucrose+50 ppm $AgNO_3$+200 ppm aluminum sulfate+10 ppm 6-benzylamino purine prolonged vase life and improved quality of cut lily flowers. 2. Lilies sprayed with 500 ppm daminozide 2 days be fore harvest and then held in the preservative solution (5% sucrose+50 ppm $AgNO_3$+150ppm 8-hydroxyquinoline) after harvest were significantly increased in fresh weight and vase life as compared with non-sprayed (control) flowers. 3. Ethylene production from cut lily was increased by ethephon ((2-chloroethyl) phosphonic acid) treatment. The flowers producing a lot of ethylene, however, were senesced slowly instead of rapid wilting. 4. The preservative solution markedly reduced ethylene production of cut lily but prolonged vase life for only a few days. 5. These results suggest that ethylene be one of the most important factors promoting flower senescence of cut lily, but it be very difficult to prolong vase life remarkably by only inhibition of ethylene production in cut lily.

• Korean Journal of Food Science and Technology
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• v.49 no.3
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• pp.279-285
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• 2017

This study reviews the manufacturing characteristics of distilled liquor prepared using Saccharomyces cerevisiae 88-4 separated from traditional Nuruk. From analysis of soju mash (sool-dut) during the fermentation process, 17.2% of alcohol was detected in the final fermentation with succinic acid present at the highest level ($7,164.3{\pm}85.2ppm$). From the analysis of alcohol content in different distillation conditions, distillation condition No. 6 showed the lowest amount of alcohol ($29.6{\pm}0.0%$), whereas distillation condition No. 4 showed the highest amount ($59.9{\pm}0.1%$). N-propanol has been detected at the highest level in distilled liquor under conditions No. 1 and 4, each being $163.4{\pm}18.3$ and $174.0{\pm} 0.1ppm$, respectively. Isobutanol showed a tendency similar to n-propanol. Distilled liquor in conditions No. 1 and 4 has shown the highest acetaldehyde level, each being $303.4{\pm}4.5$ and $325.4{\pm}13.1ppm$, respectively. After distillation, 14 volatile substances were found in common, with isoamyl alcohol present at the highest levels in all the distilled liquors. Distillation conditions No. 3, 5, 6, and 7 have shown high levels of isobutanol that emits a banana-like fragrance and ethyl octanoate that emits a pleasant fruity and floral fragrance.

• The Korean Journal of Mycology
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• v.22 no.1
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• pp.62-99
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• 1994

The fungal flora of Korean wood-rotting fungi were studied for two years from March of 1990 to February of 1992. Fresh fungi were collected from national parks, local areas, and islands throughout the country. Fleshy fungi of the Aphyllophorales were identified through specimen examination and literature studies. Total 217 species and 1 variety were counted, among which Aleurodiscus cerussatus, Botryobasidium obtusisporum, Ceraceomyces cystidiatus, Erythricium hypnophilum, Grandinia crustosa, Grandinia spathulata, Hyphoderma praetermissum, Hyphoderma roseocremeum, Hypochnicium bombycinum, Hypochnicium detriticum, Hypochnicium lundellii, Laeticorticium roseum, Mycoacia fuscoatra, Peniophora incarnata, Phanerochaete avellanea, Phanerochaete filamentosa, Phanerochaete martelliana, Phlebia lilascens, and Trechispora vaga under the Corticiaceae, Chondrostereum purpureum and Cystostereum subabruptum under the Stereaceae, Tomentella pilosa under the Thelephoraceae, Asterostroma laxum, Hymenochaete cruenta, Hymenochaete fuliginosa, Hymenochaete tabacina, Inonotus radiatus, and Phellinus pomaceus under the Hymenochaetaceae, Antrodia crassa, Antrodia serialis, Ceriporia reticulata, Oligoporus balsameus, Oligoporus guttulatus, Oxyporus cuneatus, Rigidoporus microporus, and Trichaptum laricinum under the Polyporaceae, total 36 species were confirmed as unrecorded species to Korea and are registered here with Korean names and English descriptions.

• Journal of Life Science
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• v.21 no.2
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• pp.292-299
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• 2011

This study compared volatile flavor profiles of 4 commercial vinegar beverages (Italian vinegar beverage (IVB), Japanese vinegar beverage (JVB), Japanese Yuzu-Ponz (JYP), and Korean white wine vinegar beverage (KWVB)). Flavor components of vinegar beverages (VBs) were determined using SPME/GC/MSD. The profiles of VBs were as follows; IVB (11 acids, 17 esters, 10 alcohols, 8 aldehydes, 3 terpenes, 4 aromatic hydrocarbons, 9 ketones), JVB (7 acids, 8 esters, 9 alcohols, 7 aldehydes, 13 terpenes, 7 aromatic hydrocarbons, 1 ketones, 3 miscellaneous compounds), JYP (3 acids, 12 esters, 8 alcohols, 7 aldehydes, 63 terpenes, 6 aromatic hydrocarbons, 2 ketones, 5 miscellaneous compounds), KWVB (10 acids, 10 esters, 9 alcohols, 8 aldehydes, 2 terpenes, 5 aromatic hydrocarbons, 4 ketones, 2 miscellaneous compounds). IVB and JVB showed similar flavor compositions (acids, ketones and esters in particular), whereas major components in JYP and KWVB were terpenes (79.6%) and acids (81.0%), respectively. Five compounds including 2-phenylethyl acetate (floral, fruity, sweet odor), 2-phenylethanol (floral, rose odor), vitispirane (fruity odor), geranylacetone (fragrant odor) and acetic acid were identified as major components in balsamic vinegar beverages.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.23-36
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• 2010

The purpose of this study is to infer the aspects and significance of Musa basjoo of latter part of Chosun Dynasty by analyzing the planting tendency and planting location of Musa basjoos drawn in total 77 old paintings and the characteristics of the paintings where Musa basjoos appeared, while trying to understand symbolic meanings of floral languages as well as the images and significance of Musa basjoos which appeared in the prose and poetry of Chosun Dynasty, and the results are as follows; With its floral languages of 'waiting', 'parting' and 'beauty', Musa basjoo represented the wealth and resuscitation and it aroused the elegance of hermits in its Taoistic sense. And it also represented 'the unworldliness to get out of transient human affairs' in its Buddhistic sense. Musa basjoos which appeared in 'Garden Custom Painting(庭園雅集圖)', 'Gosa Figure Painting(故事人物圖)' and 'Gyehoe Painting(契會圖)' is considered a device to increase the unworldly atmosphere of gardens and to dignify the elegant meetings of scholars, reflected by the high appearance frequencies of cranes and deer. And it seems that the meaning of Musa basjoo in certain paintings like 'Life-time Paintings(平生圖)', 'Castle City Painting(盛市圖), and 'Cultivating and Weaving Painting(耕織圖)' is an aspiration for wealth and prosperity, and the Musa basjoos planted in temples are considered to have symbolic meanings of aspiration for 'Salvation through Belief' as well as a unworldly meaning which reminds the transiency of human affairs. In addition, the expected effect of experiencing 'the sound of rain falling on the leaves of Musa basjoo' has been pursued, which can be confirmed by the fact that Firmiana simlex with wide leaves similar to Musa basjoo can be frequently spotted near the houses. Meanwhile, Musa basjoos seem to have been planted mainly in front garden or side garden around detached house and Musa basjoos inside the houses seem to have been planted mainly in right side when viewed from the entrance, in relation with the location of bedrooms where it is easier to hear the sounds from the right side of the environment. And the paintings where Musa basjoos appear with strange rocks and bizarre stones among other things have greater part of all the paintings, which is considered a kind of intentional landscaping and a product of mixed materials for elegant appreciation. And the major characters of the painting were involved in the activities of scholars such as arts, and the activities of minor characters were greatly related to their everyday lives. Musa basjoo of Chosun Dynasty in $17^{th}$ and $18^{th}$ century was one of the symbols necessary for description of gardens. And it provided the images of rainy scenes together with scholar culture which had a meaning of self-discipline, and it is assumed that the planting of Musa basjoo with the spirit of cease lessen deavor of a new leaf pushing up the tree and the spirit of resuscitation had the same trace of wheels in the city space of our country as the decline of scholar culture of Chosun Dynasty.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.139-161
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• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• Korean Journal of Heritage: History & Science
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• v.44 no.3
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• pp.164-177
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• 2011

This study aims to examine the traditional living space to reflect the environment-friendly design methods and principles of reestablishment. To do so, this study carried on a related literature study and field survey. The traditional living space in terms of the environmental friendliness is reflected on site selection and space composition, and utilization of natural energy and natural materials. Focused on the Kwangajeong in Yangdong Village, this study is to identify eco-friendly techniques on the traditional living space. As a result, it shows that Kwangajeong with the side of the southeast in site selection had been considered in aspect of environmental control such as sunshine and solar radiation. Also building construction techniques had been used to minimize the variation of terrain. In aspect of environmental conservation, Kwangajeong had structurally arranged the gate, an inner yard and an inner floor to allow good ventilation. In aspect of space composition, Kwangajeong with the emphasis of scenic view had utilized the methods that attract external landscape through the control of its fences. Environment-friendly techniques and control principles in traditional space had been developed by a long experience through the long periods and the traditional techniques suitable for local climate and local environment have been developed. The technical development of these techniques to resolve the global environmental and energy issues and create a more pleasant living environment of human beings might be critical.