• Journal of Digital Convergence
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• v.16 no.11
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• pp.447-454
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• 2018

The purpose of this study is to analyze the historical background and characteristics of pop art style and motif expressions in the works of artists by analyzing the theoretical study of pop art and analyze how the expression characteristics are applied to ceramic works. As a result of the analysis of the work, various images of everyday objects in popular culture are expressed in various ways such as bright and colorful colors, silk screen, lettering, photo montage, cartoon expression, object, collage, decoupage, It is believed that the art of ceramics will be created as a creative work that reinterprets the artistic value rather than reproducing the art based on the technique of pop art. I look forward to the development.

• Acta Via Serica
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• v.7 no.2
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• pp.153-178
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• 2022

This study analyzes the traces of East-West cultural exchange focusing on the palmette pattern expressed on Sassanid Persian and Silla Korean carpets. The results of the study are as follows. The palmette, which originated in ancient Egypt, is an imaginary flower made up of the transformation of a lotus, which combined with the Mesopotamian quadrant (四分法) and expanded to a four-leaf palmette and further to an eight-leaf palmette by applying the octant (八分法). The palmette, which was brought to Assyria, Achaemenid Persia, Parthia, Greece, and Rome, can be seen lavishly decorated with plant motifs characteristic of the region. Sassanid Persia inherited the tradition of the palmette pattern, which applied the quadrant and octant seen in several previous dynasties. On the one hand, it has evolved more splendidly by combining the twenty or twenty-one-leaf palmette and the traditional pearl-rounded pattern decoration of Sassanid Persia. These Sassanid Persian palmette patterns can be found through the palmette patterns depicted on the ceilings of the Dunhuang Grottoes located on the Silk Road. The palmette pattern of the Dunhuang Grottoes was expressed in the form of a fusion of Persian Zoroastrianism, Indian Buddhism, and indigenous religions. In the Tang Dynasty, it shows the typical palmette pattern of four and eight leaves in the medallion composition, which were mainly seen in Persian palmettes. The palmette pattern handed down to Silla can be found on a Silla carpet, estimated to be from around the 8th century, in the collection of Shoso-in (正倉院), Japan. The Silla carpet shows a unique Silla style using motifs such as peonies and young monks, which were popular in Silla while following the overall design of the Persian medallion.

• International Journal of Industrial Entomology and Biomaterials
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• v.47 no.1
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• pp.34-43
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• 2023

The eighteen (18) F₁ hybrid combinations were tested to identify potential combinations adaptable to type 1 climatic conditions in the Philippines. The six (6) bivoltine purelines (DMMMSU 108, DMMMSU 109, DMMMSU 110, DMMMSU 111, DMMMSU 113, and DMMMSU 119); and three (3) multivoltine purelines (DMMMSU 1000, DMMMSU 1007, and DMMMSU 1014), were crossed (multivoltine x bivoltine) in a mating plan. These were arranged in a Completely Randomized Design (CRD), replicated three times, and analyzed using Analysis of Variance (ANOVA). A test of significance was done using ANOVA across years and Tukey's Honest Significant Difference Test (HSD). The multiple trait evaluation index (EI) method was also used in the identification of potential F₁ hybrids. Three major phases were done: (1) parental rearing of multivoltine and bivoltine pure lines for breed multiplication; (2) hybridization process; and (3) evaluation of F₁ hybrids. Rearing evaluations were conducted for three consecutive years. Based from the three evaluations, 10 potential crosses were identified: DMMMSU MV-12, DMMMSU MV-11, DMMMSU MV-13, DMMMSU MV-16, DMMMSU MV-07, DMMMSU MV-14, DMMMSU MV-05, DMMMSU MV-09, DMMMSU MV-03, and DMMSU MV-10. The topmost combinations with the best economic and commercial characters and are consistently adaptable during two (2) cropping seasons were DMMMSU MV-07, DMMMSU MV-12, DMMMSU MV-05, DMMMSU MV-09 and DMMMSU MV-11. These newly-identified F₁ hybrids are considered potential breeds that could improve cocoon production.

• Research in Plant Disease
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• v.29 no.2
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• pp.137-144
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• 2023

Exserohilum turcicum is a fungus that causes northern corn leaf blight (NCLB) and has deleterious effects on maize production globally. Therefore, it is prudent to mitigate the effects of NCLB using genetic diversity. The objective of this research was to assess the severity of NCLB disease on the growth and yield of various maize genotypes. A randomized complete block design field experiment, replicated three times, was conducted to evaluate the effect of E. turcicum on 10 maize hybrids. Percent disease index, plant height, and leaf area were recorded at the silk stage. Cob weight, grain fresh weight, and grain yields were determined at harvest maturity. All measured parameters were significantly different (P<0.05) between the maize hybrids. Of the 10 genotypes, four (PAN 4R-528R, PAN 4R-728BR, PAN 3R-724BR, and P1788BR) were susceptible, five (DKC74-74BR, PAN 5R-582R, PAN 5R-890R, PAN 5R-854R, and PAN 5R-590R) were moderately susceptible, and one (DKC80-40BR) was moderately resistant. DKC80-40BR exhibited greater cob weight, while DKC74-74BR was superior in all other plant growth and yield components. Interestingly, although not significant (P>0.05) and high, maize growth and yield parameters had negative correlations with disease incidence, except for grain fresh weight. Therefore, DKC80-40BR may be selected for cultivation in areas prone to NCLB to reduce maize susceptibility to the disease, while DKC74-74BR may improve crop performance. These hybrids could be considered as potential sources of resistance or tolerance to NCLB for further validation by plant breeders.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.243-270
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• 2007

Linked pearls pattern expressed on textiles have no limited scale or shape when manufacturing, so they are free in expression. And from the design, material, and color we can analogize the social culture of that age. Oriental linked pearls pattern was started from the Sasanian Persia and introduced through the Silk Road, so it is closely connected with the East and the West culture. This study will consider from the 5th century to the 10th century; the mural costume of the West Central Asia, the ancient textiles excavated from the Sinjiang and Qinghai area of China, and the linked pearls pattern which are collected at Shosoin, Japan. And from this study, will concentrate on clarifying the linked pearls pattern's condition of the cultural exchange between the East and the West and it's structural variation process. The design of linked pearls pattern delivered to the East through the Silk Road is differed by area. For example, in the Western Pamir Plateau, where the ancient Sogdians mainly lived, the excavated linked pearls pattern's subject were deer or cassowary variated from the West Asian motif. But the ones excavated from Kucha Xingang had Chinese motifs added so they showed Chinese characters or Buddhist Bodhisattva image instead of Helios. Like this, the appearance of new patterns, which were accompanied by structural variations, gradually deviated from the standardized pattern of the Sasanian Persia. And this structural variation process has relations with the construction and arrangement method of various patterns of the after ages. The foliated floral Spray, which is placed at the lozenge space of linked pearls' space, had developed into ogival - shaped pattern (Neunghwamun). And the prevalence of geometrical structure pattern after the 10th century and the unfolding method of Tapjamun which is arranging unit pattern in order, are similar to the linked pearl pattern. In brief, linked pearls pattern accompanied by technical improvement let us understand the polished artistic code from its expression, and has importance in showing universal pattern beyond region and culture.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.5
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• pp.40-54
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• 2015

Tashkent Seoul Park was completed in June, 2014, following the signing of a sisterhood relationship between Seoul City and Tashkent, the capital of Uzbekistan in July, 2010. An open competition for the design of the park was held and, based on the design, the park was completed in June and open to the public in September, 2014. Tashkent Seoul Park is more than a public park in Tashkent. The focus was on making it a starting point for offering a new model for traditional parks of Korea built abroad. Korean gardens and parks built in overseas cities are not only a landscape space but also serve as an ambassador that promotes the culture of Korea to foreigners who are unfamiliar with Korean culture. Therefore, Tashkent Seoul Park was designed to reflect the beauty and uniqueness of Korean traditional landscaping to promote the image of Korea and Seoul. As such, the design and plan was focused on the best measures to make known Korean culture through a design that sets itself apart from the landscape of Uzbekistan. To date, Korean parks or Seoul parks that have been built overseas have focused on the re-enactment of gardens and parks during the Josun Dynasty era. But with the Tashkent Park, the process of the 170,000 people from Goryeo was also reflected onto the design so that the culture and sensibilities of old Goryeo could be felt as well. Korean traditional garden design elements for the representation of the Korean identity are taken from the pilot study. This design element includes not only that of Goryeo, but also the Josun Dynasty era to allow local people to experience a general Korean traditional garden. The traditional beauty and lyricism of Korea was presented to Central Asia through the park in Tashkent so that the citizens could feel the simple yet down-to-earth beauty of Korean aesthetics. As such, the spatial experience of story-telling in Seoul Park evolves from two points of view. First, it is a spatial experience from the perspective of the Goryeo period and of foreigners. It is a continuum of a landscape experience where one can trace the sentiments of Korea and a hometown in Korea by passing through lyrical and multi-faceted spatial structures. Second, it is an experience that evolves from the viewpoint of an outsider, including the Tashkent citizens. It allows visitors to read the various methods and attitudes in an unfamiliar landscape and terrain. Through a story-telling that is reminiscent of the Silk Road through which trade with East Asia took place, visitors can interact with Korean culture in the Korean Garden and throughout the process they can feel the very Korean sentiments. This park presents the latest example of a 'Korean Garden' formed overseas and thus presents a clue to understanding the representation pattern of the Korean aspects of Korean Gardens through a study on the design strategies.

• Fashion & Textile Research Journal
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• v.9 no.1
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• pp.24-34
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• 2007

The shroud of the Chosun dynasty period originally meant the new start in the next world. Its basic principle was to wear the best clothes or wedding garments during one's life. The white hemp cloth-shroud worn during this time was formed after the 20th century. In the beginning it started simply by imitating the shroud of the common people. However recently many aspects of the trade have deteriorated by the commercialism of the shroud traders. So this study focuses on the way of keeping traditions and making the shroud desirable. First, the shroud was made of the best materials such as silk, hemp cloth, ramie cloth and cotton cloth in the past. A thought that the shroud material must be white hemp cloth is the result from misunderstanding of the traditional shroud of the Chosun dynasty period. We can produce beautiful shrouds using natural materials without losing dignity and at diverse prices. Second, the shroud was produced not only to keep the dignity of a dead person but also to avoid wasting the original cloth. Third, The shroud has pursued diversity in classifying the traditional style or the basic style. It is possible to select the shroud flexibly according to one's sense of values or the way the tomb was made. These days, the Korean full-dress attire and Wonsam (Korean woman's ceremonial clothes) are the standardized form of the ready-made shroud. The man's Korean full-dress attire on sale is sewn in the wrong way and its shape looks more like the Wonsam. I offer diverse shrouds of the Chosun dynasty period, for example, the official uniform, hemp cloth upper garment, men's black upper garment, Korean full-dress attire, Korean overcoat, Wonsam, the long hood worn by a Korean woman and a woman's long upper garment, so that we can see the Korean originality and beauty through the different types of shrouds. Also, I adjusted a number of items, undergarments and other articles according to the price. As mentioned before this study helps to portray a desirable understanding of the culture of the shroud. So I corrected many problems of the present shroud and propose a new type of shroud based on tradition. Furthermore, I recommend a way of making use of the Hanbok which the man wears during his life, at the wedding ceremony or a his 60th birthday without buying a new shroud.

• Journal of Fashion Business
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• v.8 no.1
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• pp.16-33
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• 2004

Up to now, image of femme fatale has undergone constant transformation to be inherited and developed through various genres of movies. With few exceptions such cases have represented sensuality of women by costumes with the most distinctive and exaggerated sexuality. Temptresses in movies are mostly drawn as extravagant and gorgeous one or a gloomy and dreary woman. Such an image is reinforced with make-up, hair style, accessories, attitude and manner of talking. The movie 'Chicago' is a musical film that crosses the boundaries of reality and fantasy with dancing and singing. Its lighting, stage setting, powerful and sexy dancing augmented already exaggerated and sensual costumes. Following is the analysis of costumes for two heroines as images of femme fatale. Strong contrast of color among black, red and blue on see-through & stickingly tight body suit signifies liberal mind and arrogant charisma of Velma. The contrast, haughty gestures, cropped black hair and thick makeups represent sex appeal, aggressive image, and fearlessly determined character of femme fatale. Roxie wears decent dresses in front of public and gorgeous stage costume in fantasy to convey two images of bad girl and angel. Her body suit, showing off lustering materials and dazzling bead decoration, is rather loose but still displays her bodyline to emphasize sexiness for representation of desire in fantasy. Chastity and innocence are implied with the decency of dresses in reality. They were specially chosen to draw public sympathy and indicate cunning disguise of Roxy who desperately wants to realize her desire. These dauntless costumes, which sufficiently express inside aspirations of Velma and Roxie later denote open and realistic social yearning rather than fatal desire hidden behind sensual beauty. It doesn't exist as imperfect, unrealistic and socially disdainful ambition as the image of femme fatale of paintings and movies did before in history. Femme fatale is expressed with deep cleavage, silk dresses that explicitly display bodyline, sexiness of mesh stockings with garter belts. All of these won't be utilized as a negative tool to seduce and destroy someone anymore but rather, they should represent rightful and fair nature of humans such as men's curiosity who secretly steal a look at them or female sexuality that women spontaneously want to show off.

• Journal of the Korean Society of Costume
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• v.52 no.1
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• pp.129-143
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• 2002

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research, I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process. the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer. as Park Hang-chi liked to use the plaid patterns along with yam dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong. who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred. was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee. Rubina, and Haneza. In contrast. Lie Sang-bong. who used abstract patterns that do not give out meaning of the actual form of the pattern. rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo. and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly. in expressing the colors, SFAA designers were much more likely to choose achromatic colors. not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method. and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk. due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked. "While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette In terms of composition," which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs. and I hope that it can open up ways for new projects in the future.he future.

• Journal of Sericultural and Entomological Science
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• v.36 no.1
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• pp.8-25
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• 1994

The study was conducted to obtain the genetic information on heterosis and combining ability of the quantitative characters for F1 hybrid breeding in silkworms. Six parental varieties and each set of 30 diallel crosses in F1's were used as materials, and bred on the randomized complete block design with three replications. Fourteen characters were observed with the twenty samples in each tray. The data were analyzed for (1) heterosis and combining ability in F1 hybrid. The heterosis in the weight and the length of cocoon showed positively high at 24.51%, and 23.4%, respectively and the weight of the whole cocoon as well as the weight of the whole cocoon layer showed a siginificant heterosis ranging from 15.56% to 15.71% and from 17.14% to 19.01%, but the fifth and the total instar period showed negative heterosis. It was found that the combination between, C70XRomogua and N9 X Romogua showed highly a negative heterosis on the fifth instar period and for the cocoon weight. The female of N9+Sansuian and the male of Romogua X Sansurian have a high heterosis effect, on the cocoon shell weight, and Sansurian X Romogua(reciprocal) on the length and the weight of cocoon filament with no regard to sexuality. The significant maternal and cytoplasmic effect on heterosis of the cocoon weight and the cocoon shell weight were observed with the combinations, N9 X C5, N63 X C70 and on the length of the cocoon filament with the combinations, Sansurian X N63, Sansurian X C5, Sansurian X C70 and N9 X C70, N63 X C70 on the weight of cocoon filament. As mean squared of GCA, SCA and RCA were significant with these combining ability for all characters resulted from additive and non-additive altogether and there is a significant difference between reciprocals. Sansurian showed a negative GCA effect on the fifth and total larval duration, but the higher positive GCA effects took places with varieties N9 and C5 on the length, width, weight of cocoon, cocoon shell weight, percentage of cocoon shell weight, length and weight of cocoon filament, percentage of raw-silk with no regard to both generations and silkworm sexuality. The values of SCA between the cross combinations varied generation-wise and sex-wise. It was shown that SCA value for the fifth instar period was highly negative for Sansurian X C70, Romogua X C70, Sansurian X C5, Romogua X C5, but it was positive effect on the cocoon weight, cocoon shell weight with N9 X C5, and C70 X Sansurian, on the length of cocoon filament with N9 X C5, Romogua X Sansurian on the weight of cocoon filament between Romogua and N63 and on the percentage of raw-silk between the combination of Sansurian X Romoga.