• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.56-73
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• 2017

The purpose of this study is to categorize the lotus patterns of traditional Korean fabrics. This study collected 169 fabrics of Korean lotus flower patterns and then made a list of era, configuration of pattern, type of artifact, findspot and holding institutions. It analyzes the characteristics of 251 kinds of lotus woven on 169 Korean fabrics, 251 kinds of lotus on 169 fabrics divided into Realistic Type, Design Type, and Abstract Type. They consist of 213 kinds of Design Type(84.8%), 21 kinds of Realistic Type(8.4%), and 17 kinds of Abstract Type(6.8%). The largest part of lotus patterns is Design Type. Design Types are subdivided into 14 types. This result contrasted with the conclusion of the research paper about peony patterns in Traditional Korean Textiles. The largest part of peony patterns was Realistic Types. Realistic Types of lotus patterns in Korean textiles are subdivided into 6 types. Korea has more diverse forms and a higher ratio of Realistic Types than China and this can be interpreted to reflect that there is a tendency in Korea to prefer natural patterns. Besides abstract Types are subdivided into 3 types. When the lotus flower patterns of Korea and China are categorized and similar types are compared, there are some unique patterns that appear only in Korea or China. Not only that, similar types display differences in pattern arrangement methods and portrayal among the two countries. If such study results are utilized, they can be grounds for distinguishing the production area of lotus flower textile fabrics when they are newly excavated in the future.

• Journal of People, Plants, and Environment
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• v.22 no.4
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• pp.375-384
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• 2019

The purpose of this study was to look into the influence of the junior florist training course on self-esteem of children in low-income families at the community child care center. Accordingly, the program was carried out by dividing 46 children into two groups from June 2 to August 30, 2017. The program was designed into 12 sessions of floral arrangement classes, followed by the certification test. For the program, this study set 11 flower forms focusing on line, surface, and mass arrangements as the basic forms of the western flower arrangements. For the certification test, this study had the participants take the junior florist course implemented by the Korea Ggotggozi Daegyeong Association. Seventy four percent of the total participants in this program acquired a Junior Florist Certificate. As a result, self-esteem of the experimental group significantly improved (p=.000). By items of self-esteem, the experimental group showed significant changes in social self-esteem (p=.002), familial self-esteem (p=.016), and academic self-esteem (p=.031). General self-esteem did not show a statistically significant difference, but there was an improvement by 1.9%, and this study found that there was a 5.4% change on average in social, familial, and academic self-esteem. By gender, it was found that both male (p=.003), and female participants (p=.013) showed a significant change. By grade, there were significant changes in both the lower grades (p=.014), and higher grades (p=.003).

• Korean Journal of Breeding Science
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• v.43 no.6
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• pp.559-563
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• 2011

Cymbidium 'Purple Star' (Miake 'Pieta' ${\times}$ 'Allstar Mariane') was developed from a cross between hybrids at the National Institute of Horticultural & Herbal Science (NIHHS), Rural Development Administration (RDA) in 2008. A cross was made between purple colored flower C. Miake 'Pieta' as maternal line and dark pink colored flower, C. 'Allstar Mariane' as paternal line in 1995. The seed germination, cultivation, selection, and characteristic trials were conducted from 1996 to 2002. The line was named as Wongyo 'F1-21' and phenotype was characterized in 2007 as a new cultivar. The 'Purple Star' has dark purple basal color (RHS, GP186A) on both of sepal and petal with red lip (RHS, RP59A). 'Purple Star' has about 10.7 flowers per flower stalk and flower size of 7.6 cm. General appearance of petals and sepals is slightly incurved shape. The plant size is intermediate having erect peduncle. Blooming is started from the late of January (mid-winter) under optimal culture condition. Leaf attitude and twisting is erect and weak respectively. This hybrid has attractive floral arrangement, long flower stalk (78.4 cm) and vigorous growth. 'Purple Star' has a great potential for exporting to Chinese market.

• Horticultural Science & Technology
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• v.29 no.6
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• pp.651-654
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• 2011

Cymbidium 'Orange Bowl' (Lucky Rainbow 'Randevous' ${\times}$ 'Eastern Star') was developed from a cross between hybrids at the National Institute of Horticultural & Herbal Science, Rural Development Administration in 2006. A cross was made between the pink colored flower C. Lucky Rainbow 'Randevous' as maternal line and pure yellow colored flower, C. 'Eastern Star' as paternal line in 1995. The seed germination, cultivation, selection, and characteristic trials were conducted from 1996 to 2006. The line was named as Wongyo F1-18 and phenotype was characterized in 2006 as a new 'Orange Bowl'. The 'Orange Bowl' has having light yellow basal color (RHS, YO21D) and orange line (RHS, OR30B) on both of sepal and petal with red lip (RHS, OR30B). 'Orange Bowl' has about 10.9 flowers per flower stalk and flower size of 7.4 cm. General appearance of the petals and sepals is slightly incurved shape. The plant size is intermediate having erect peduncle. Blooming is started from the late of January (mid winter) under optimal culture condition. Leaf attitude and twisting is half- erect and very weak respectively. This hybrid has attractive floral arrangement, long flower stalk (71.8 cm) and vigorous growth. We expect that 'Orange bowl' has a great potential for exporting to Chinese market.

• FLOWER RESEARCH JOURNAL
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• v.17 no.2
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• pp.121-127
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• 2009

This study was conducted to improve commercial quality of a cut spray chrysanthemum 'Gama' bred in Korea by foliar application of daminozide (DMZ), suppressing excessive elongation of peduncle caused by high temperature in summer season production. Applications were made at three floral bud developmental stages (I, II, and III), and concentrations used were 0, 500, 1000, and $2000mg{\cdot}L^{-1}$. Both cut flower length and peduncle length showed the greatest suppression of elongation by DMZ treatments at stage II. DMZ also gradually reduced values of those in a concentration-dependant manner. Stem thickness and flower diameter reduced compared to control as DMZ was sprayed at later stage and those two characteristics decreased in a concentration-dependant manner. The number of paralleled flowers neighboring apical part of whole plant showed the best results at stage I and II. As for DMZ concentration, those increased effectively at $500-1,000mg{\cdot}L^{-1}$. Among all combinations, $1,000mg{\cdot}L^{-1}$ DMZ at stage II recorded the most paralleled flowers and showed 24.2% increment as compared to control. The number of fully expanded flowers and total floral buds also showed the highest values using $1,000mg{\cdot}L^{-1}$ DMZ at stage II than the other treatments. In cut spray chrysanthemum cultivar 'Gama' bred in Korea, foliar-spraying with $1,000mg{\cdot}L^{-1}$ DMZ at stage II most effectively suppressed excessive peduncle elongation, parallelled flower cluster arrangement, and increased the number of flowers in summer. However, this combination affected negatively the other commercial qualities, reducing cut flower length, stem thickness, and flower diameter. Therefore, we recommended that foliar-spraying stage and DMZ concentration was stage I and $1,000mg{\cdot}L^{-1}$, respectively, in a practical culture for 'Gama'.

• Journal of Bio-Environment Control
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• v.19 no.4
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• pp.223-228
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• 2010

This experiment was conducted to select optimal cultivars of long leaf vase life for flower arrangements among 21 Hosta cultivars that were selected based on their ornamental value. As a result of the investigation, the cultivar with the longest leaf vase life was 'June' with 29 days record. The cultivars with a more than 10 days record were 'Remember Me', H. lancifolia var. grandiflora, 'Grand Marquee', 'Dress Blue', 'Blue Dimples', 'Frosted Dimples', 'Birchwood Park's Gold', 'Krossa Regal', and 'Paradise Power'. These 10 cultivars had a high chlorophyll content, and had low chlorophyll content changes over time and were high in water absorption. The 10 selected cultivars had equal characteristics of increase in chlorophyll content within a certain period of time. These cultivars have a longer vase life when compared to others. This indicates the potential to develop better materials be use with flower arrangements.

• 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.

• The Korean Fashion and Textile Research Journal
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• v.15 no.6
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• pp.886-898
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• 2013

This study explores the types, shapes and changes of the court dance garments of mudong[child court dancer] and yeoryeong[female court dancer] for court dances such as Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang, and Choehwamu, and the arrangement of colors in their garments. The conclusion of the study is as follows: First, the type of garments of mudong varied according to the type of dance, role of mudong and passage of time. In all four jeongjae's, hongpo[red robe] and baekjilheukseonjungdaneui[white under garment trimmed in black] were commonly found. Second, the dress of yeoryeong in the Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang and Choehwamu was that of other yeoryeong, which was basically comprised of hwagwan[flower headdress], hwangchosam[yellow robe], hongchosang[red skirt] and sudae[embroidered belt]. Third, the color schemes of the court dance garments used in Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang and Choehwamu revealed that the color arrangement of sangsaeng [mutual generation] of the Ohaeng[Five Elements] scheme were favored in the garments of mudong and yeoryeong. The dress of mudong is characterized by sangsaeng between top and bottom, and between total and part, while the color scheme of the outer and inner was sanggeuk[mutual overcoming]. As for yeoryeong, the color arrangement was of sangsaeng in top and bottom, outer and inner, and total and part, but in the five-colored hansam[sleeve extension], both sangsaeng and sanggeuk were found.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.142-155
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• 2005

This study shows historical Gagye(가계) The process of change and Characteristics through analysis on the old documents, related papers, and visual data, and represents its meaning in Korean Clothing history through analysis on originality of Korean Gagye(가계) style. Gagye(가계) is the cubic hair style which add other accessories on hair and is divided into two; Gagye(가계) and Chegye(체계) according to its material, role, and function. And Korean Gagye(가계) has been transformed suited to the times and showed various features according to pattern, wearing, and decoration aspect. In its style aspect, Korean Gagye(가계) style shows Hwangye type, Sseugae type, Gogye type, Dagye type, and Braided & coiled hair type. Each shows historical features. In its Wearing aspect, Gagye(가계) style shows Wearing ornamental hairpin on the head, Wearing Rag Ribbon on the head, and Attaching (Detaching) Wearing. And in its Decoration aspect, Gagye(가계) style shows decoration with accessories, one with flower arrangement, and one with shaking.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.3
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• pp.69-83
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• 2013

Clothes show not just the different social status of people, but the ideology and value of former society through pattern, colour, materials, shapes, etc. The purpose of this article is to fill the academic blank of this part by researching the pattern of fabric design in Jing Pai(Beiing style) and Hai Pai(Shanghai style) cheong-sam during the period of the Republic of China. The contrastive analysis of regional pattern between Jing Pai and Hai Pai cheong-sam expect to provide the theoretical basis for the former fashion designers and scholars. There are three approaches in the article: Data collection method, comparison method and Combining theory with practice method as film. Regarding components of pattern, both Jing Pai and Hai Pai cheong-sam have mostly single or composite pattern like plants. Further the most of Jing Pai cheong-sam pattern is traditional flower pattern. But Haipai cheong-sam patterns have some western flower pattern. Beside that, it have some geometry pattern. Regarding arrangement of the pattern, both cheong-sams have scattered dot style, the border style, and pictures style. But continuous type of Jing Pai cheong-sam is less while Hai Pai cheong-sam is the most. Comparing Jing Pai cheong-sam color of patterns in "Moment in Peking" is unadorned and types are simple as chinese traditional clothes; However, "In the Mood for Love" introduces us various material colors, new types of patterns and extraneous characteristic geometry patterns of Hai Pai cheong-sam. Generally speaking, the main characteristic of Jing Pai cheong-sam is traditional and conservatism. It keeps Chinese traditional pattern and culture to the most extent. However, Hai Pai cheong-sam are confluent and open with absorbed external culture and techniques which are endowed new artistic color.