• Journal of the Korean Society of Costume
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• v.44
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• pp.57-75
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• 1999

The purpose of this study is to infer the shape and change as auspicious symbolic meaning and figures of a peony pattern. For this study. I analyzed the example of a peony pattern, which is traditional Chinese pattern appeared on a ceramic and textile. The results of this study are as following. First, a peony has particular title, such as 'the king of flowers' and 'the most beautiful woman in country and the smell in heaven' originated in a verse of a poet at Dang's Dynasty. It is reputed to be the best of all flowers, representing beauty, and a beauty. Second, the basic meaning of a peony pattern used as auspicious pattern is prosperity and it has various meanings of it's similar kind through several auspicious objects and combination. Also, it was used for the purpose of adequating the desire of man's blessing mentality. Third, four kinds of characteristics of a peony pattern are as following. 1) A peony pattern has similar shape with 'Bosanghwamoon', which was used as a pattern at formerly period of peony flowers. It was used as realistic shape gave vividness to the characteristic of peony on the shape of 'Bosanghwamoon'. 2) 8-petaled, unique leaves and veins were described in detail by vivid sketching shape of real peony flower. 3) Laying stress on the characteristics of peony flower, which is large and magnificent, several folds petals were described abundantly by exaggerated shape or a shape of big honeycomb. And unique leaves were described realistically on these. 4) It was also expressed peculiar characteristic of peony flower composed of several pieces by weakened design shape.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.101-116
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• 2010

In this study, the subjects are the expression methods and compositions of peony patterns in Chinese textiles. This study represents the peony patterns which are from Tang Dynasty to the Qing Dynasty, the research subjects are the peony patterns in fabric, except the peony patterns which are expressed by gold foil, embroidery and kesi. The objects of this study are 72 pieces of peony patterns. We sketched the configuration details of peony patterns through the Illustrator program. Analyze and classify the configuration accurately. Based on the 72 pieces of peony patterns, expression methods and compositions of the peony pattern are as following, firstly, we classified peony patterns into three categories, based on expression methods, as realistic shape, pattern shape and shape. Among these 72 fabric relics, there most of realistic shape 42 pieces(58.3%), pattern shape 25 pieces(34.7%), and shape 5 pieces(7.0%). Secondly, in the realistic shape peony, the most of pattern has petal accumulate as grape- shaped. This type is found in almost every Dynasty and was used regularly in the eras of Song and Ming Dynasty. In the era of Ming Dynasty, by using petals like the curly mushroom, Yeongji(靈芝), the pattern of symbolizing longevity was habitually used. The U-shaped flower pattern (type E) and the pattern of emphasizing the veins of petals are found only in the remains of the era of Qing Dynasty. Thirdly, in the pattern shaped peony, the most of pattern has some petals which are separated(type C). Fourthly, we classified peony patterns into four categories, based on compositions, as individual branch form, floral branch form, cluster branch form and floral nest form. Among these 72 fabric relics, there most of individual branch form 33 pieces(45.8%), floral branch form 18 pieces(25.0%), cluster branch form 13 pieces(18.1%), floral nest form 8 pieces(11.1%).

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.1-10
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• 2010

The purposes of this study are to review the Chinese traditional patterns and to apply one of them, the Peony Blossom pattern into modern textile designs for fashion For this purpose, first, the categories and symbolic meanings of the patterns existing in the Chinese traditional clothing from literature were reviewed. Second, the Peony Blossom patterns of Chinese traditional patterns from literature were reviewed and selected one of them, Third, authors applied the Peony Blossom pattern to creative textile design which would fit to appetite of people lived in modern society. The results were as follows: The patterns of Chinese traditional clothing could be classified as animal pattern, plant pattern, nature pattern, character pattern, lucky token pattern, geometric pattern and so on. All these patterns contained individual symbolic meaning, which varied according the different wearers. Moreover, it endows a peony blossom pattern of Chinese traditional patterns with modern style and purposes the textile design. The theme of the design is "Luxuriant Outing" with the concept of "Dream in Fantasy". The design target is the female born in the 1980's, that is, the target population between 20 and 30 years old. In addition, it is designed for the romantic one-piece. This paper perceives the national spirit revealed in the Chinese traditional patterns and designs with the combination of traditional culture and modernized technique of expression.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.13-28
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• 2012

This study examines history of Korean peony patterns and characteristics of peony patterns on the fabric. It is classified according to expression methods, and it analyzes the characteristics of 71 kinds of peony woven on 66 Korean fabrics. First, it was observed that 38 of the 66 studied fabrics (57.6%) were relics from the 17th century, and from this it can be deduced that the peony patterns began to appear regularly around the latter half of the 16th century and were used habitually in the 17th century. Second, 71 kinds on 66 fabrics can be divided into Real Type, Design Type, and Abstraction Type according to expression methods. Among these types, 49 kinds of them are Real Types (69.0%), forming the greatest part and 19 kinds belonging to the Design Type (26.8%), and lastly, 3 kinds were under the Abstraction Type (4.2%). In particular, peony patterns of Design Types and Abstraction Types from the 17th century and from the 19th century to the 20th century were more prevalent, compared with those before the 16th century or the 18th century. Third, Real Types shown on the Korean fabrics are subdivided into 9 types, and the Real Type A among them, which describes to be as real as possible, is 12 kinds, the largest number of them. Therefore, real and natural pattern of peony is the favorite type in Korea, while rather emphasized pattern of peony is the more preferred pattern in China. And also Design Types are subdivided into 6 types again; There are 6 kinds of design type A, the largest part of Design Types. Patterns of Design Type A are most similar to real peony flowers, but more simplified than the Real Type A. This result also contrasted with the trend in China, where the Design Type C, expressed petals in detail was the favored pattern. Fourth, 9 kinds of unique types are found in Korean fabrics, especially Real Type M has not been shown on Chinese fabrics. Real type M, consisting of two parts, inner and outer, where two curve lines between two parts appear as antennas of a butterfly.

• Korean Journal of Plant Resources
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• v.31 no.6
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• pp.641-651
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• 2018

Floral scents and metabolites from cut flowers of 14 peony cultivars (Paeonia lactiflora Pall.) were analyzed to discriminate different cultivars and to compare the Korean cultivar with the other cut peonies imported to Korea using electronic nose (E-nose) and Fourier transform infrared (FT-IR) spectroscopy combined with multivariate analysis, respectively. Principal component analysis (PCA) and discriminant function analysis (DFA) dendrogram of peony floral scents were not precisely same but there were 3 groups including same cultivars. PCA and partial least squares-discriminant analysis (PLS-DA) dendrograms of peony metabolites showed that different cut peony cultivars were clustered into two major groups including same cultivars. Fragrance pattern of Korean 'Taebaek' was classified to same group with 'Jubilee' on the PCA and DFA results and its metabolite pattern was clearly discriminated by the PCA and PLS-DA compared to the other cultivars. These results show that the 14 peony cut flowers could be discriminated corresponding to their chemical relationship and the metabolic profile of Korean 'Taebaek' has distinctive characteristics. Furthermore, we suggest that these results could be used as the preliminary data for breeding new cut peony cultivars and for improving the availability of Korean cut peony in cosmetic industry.

• Korean Journal of Pharmacognosy
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• v.1 no.3
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• pp.81-92
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• 1970

So far, the cultivated peony is known to be originated from an indigenous species, Paeonia albiflora $P_{ALLAS}$ var. trichocarpa $B_{UNGE}$ (PAT). In this study, these two species were morphologically examined in the external and internal feature and in the pattern of callus formation by tissue culture. Also, they were compared with another indigenous species, P. japonica $M_{IYABE}$ et $T_{AKEDA}$ var. pilosa $N_{AKAI}$ (PJ), which were regarded as being scarcely related to them. The root of the cultivated peony is massive consisting with several storage roots, each of them is a hypotrophic and fusiform. The root of PAT consists of several storage roots, each of them is branching and slender. And the storage root of PJ is short, bended buried horizontally, protruding a number of corpulent lateral root. The secondary xylem of the cultivated peony is small clusters of vessels and xylem fibres are arranged in scalariform and among these cluster, single vessel is joined, but that of PAT is small clusters of vessels are arranged in separate scalariform but are not connected with each other and that of PJ is vessels and xylem fibers are grouped together in elongated clusters that radiate outward from the center. Protoxylem of the cultivated peony is surrounded by four large metaxylem, but that of PAT and PJ by seven. On the other hand, the callus formation patterns of these peonies were different; the cultivated peony callus is formed in an orderly fashion by the mammalate meristematic cell groups, PAT callus is in disorder by the meristematic cells arranged in linear, and PJ callus is in order by the meristematic cells arranged in linear. By the comparison of three different plants in the anatomical appearance and the callus formation pattern, it is evident that the cultivated peony is not derived from PAT.

• Journal of the Korean Society of Costume
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• v.9
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• pp.89-106
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• 1985

The peony patterns represent one of decorative designs with their fortunate and auspicious implications. The pattern emerged first from T'ang Dynasty, flourished during the periods of Sung and $Y\ddot{u}an$ in China, and then was introduced to Korea and Japan. For the purpose of systematizing the development of the pattern, this thesis is about the process of formation and various changes in peony patterns. It examines in general the literatures and the craft works, such as textiles, lacquer wares, chinas and porcelains, and metals. The characteristics of peony patterns are dealt respectively in this study about T'ang, Sung, $Y\ddot{u}an$, Ming and Ch'ing Dynasties of China, Shila, Korea, Chosun, of Korea, and Nara, Haian, Kamakura, Muromachi, MomoYama, Aedo of Japan.

• Current Research on Agriculture and Life Sciences
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• v.14
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• pp.15-28
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• 1996

The effective components of the peony cultivar, Euseongjagyag and Youngcheonjagyag, which were the major cultivars of peony in Kyeongbuk area, were determined with HPLC and TLC. The paeoniflorin content in the root of Euseongjagyag were more than that of Youngcheonjagyag. The root of Euseongjagyag contained much albiflorin and Youngcheonjagyag contained much oxypaeoniflorin in comparision with albiflorin and oxypaeoniflorin contents in both cultivars of peony. Paeoniflorin contents in accordance with peony prodution regions were ranged from 2.15% to 4.08%, and paeoniflorin content of local cultivar of Euseong and that of Geochang were approximatly the same but that of Youngcheon was the lowest. Paeoniflorin content in the 18 accessions of peony cultivar which were collected from Kyeongbuk area and harvested on November 1993, were ranged from 1.41% to 5.30%. The 18 accessions of peony were classified with the HPLC chromatogram pattern of peony root extract into the three groups which composed with Euseong peony group(9 accessions), Youngcheon peony group (4 accessions) and Punggi standard peony group(5 accessions). High content of paeoniflorin WaS contained in peony root harvested in May and November. but low content of paeoniflorin was contained in peony root harvested in March and September.

• Journal of Fashion Business
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• v.11 no.6
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• pp.139-156
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• 2007

The purpose of this study is to analyze the aesthetic characteristics of traditional Korean patterns appearing on fashion collections from 1990 to 2005. Traditional Korean patterns have been used as an important element to express a Korean image since the 1990s. Frequently used patterns included several kinds of geometric patterns, plant patterns(flower, peony, Four Gracious Plants), and Chinese character patterns. Specifically, since the 2000s, animal patterns such as tiger, Chinese phoenix, and giraffe which were not often used, plant patterns such as arabesque, peony, and flower, and a variety of Chinese character patterns appeared. For the expression techniques, while embroidery and printing was often used in the 1990s, they became varied into printing, beading, embroidery, gold and silver leaf, and hand painting after 2000 as a result of designers' active attempts. The aesthetic characteristics of fashion design with its focus on traditional patterns were analyzed. First, Chinese character patterns and phoenix pattern which were mainly used for a court suit, and show the excellence and unique originality of Korean culture. Second, traditional Korean patterns directly and indirectly imply symbolistic significance of lucky sign and illustrate the use of various lucky sign patterns. Third, traditional Korean patterns such as arabesque or peony were expressed by colorful embroidery to add decorative beauty. Finally, traditional Korean patterns reflect a naturalistic worldview and are completed finished as the design.

• 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.