• Journal of Animal Science and Technology
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• v.50 no.3
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• pp.407-416
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• 2008

본 연구는 CaCl2 용액의 주사량이 품종별 암사슴의 뿔 발생 유도에 미치는 영향을 구명하기 위하여 꽃사슴, 레드디어 및 엘크 암컷 각 6두에 대해 30% CaCl2 용액의 주사량을 1ml?, 1.5ml? 및 2ml?의 3처리구로 나누어 전두골 좌, 우 양쪽 골막에 3월과 7월 두 차례 주사한 후 사슴뿔 발생 유도율, 사슴뿔 생산량, 발육성적을 조사하였다. 품종별 암사슴의 뿔 발생은 꽃사슴이 1ml? 처리구의 한 마리 한쪽에서만 발생하였고, 레드디어는 2ml? 처리구의 한 마리 한쪽에서만 유도되어 꽃사슴과 레드디어의 뿔 발생 유도율은 8.3%였다. 엘크 암사슴은 1ml? 처리구에서는 뿔 발생이 일어나지 않았으며, 1.5ml?와 2ml? 처리구에서는 모두 뿔 발생이 유도되어 유도율은 67%였다. 뿔 생산량은 꽃사슴의 경우 길이 21cm?이고 무게 70g 이었으며, 레드디어는 길이 18.5cm?에 무게 83g의 뿔을 생산하였다. 엘크는 3월 1.5ml? 처리구의 길이가 평균 34±3cm?이었고 무게는 526~1,008g이며, 2ml? 처리구는 길이가 평균 39±8cm?, 무게는 693~1,379g의 범위에 있었다. 엘크의 2ml? 처리구는 7월에 주사한 것이 뿔 길이와 뿔 생산량에서 3월의 것보다 적었다. 암사슴 뿔의 발육은 엘크의 경우 주사 후 20일경에 길이 0.5~1cm? 정도의 돌기로 자랐고, 40일까지는 유발된 상처와 함께 1~3cm?정도의 완만한 성장을 보였다. 본격적인 성장은 처리 후 60일경이 지나야 일어났고, 120일경에 절각을 하였을 때 뿔 길이는 28~44cm?의 범위에 있었다. 생산된 암사슴 뿔을 세로로 절단하였을 때 전체 길이의 위쪽 70%는 골화가 되지 않은 상태였다. 암사슴의 뿔 발생 유도는 번식성적에는 전혀 영향을 미치지 않았다. 봄에 처리한 사슴의 재생 뿔 발생은 불규칙하게 일어났고, 재생 뿔 발생률은 평균 45%였으며, 주기가 진행될수록 길이와 생산량은 줄어드는 경향을 보였다. 결론적으로 30% CaCl2 용액의 주사량을 조절하여 처리하면 꽃사슴, 레드디어 및 엘크의 암컷에서 뿔 발생을 유도할 수가 있으며, 엘크 암사슴의 뿔 발생 유도를 위한 최적 주사량은 1.5~2ml? 범위였다.

• Proceedings of the Plant Resources Society of Korea Conference
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• 2019.10a
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• pp.73-73
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• 2019

Angelica gigas Nakai (Korean danggui), a member of the Umbelliferae family, is a Korean traditional medicinal plant whose roots have been used for treating gynecological diseases. Transcriptomics is the study of the transcriptome, which is the complete set of RNA transcripts that are produced by the genome, using high-throughput methods, such as microarray analysis. In this study, transcriptome analysis of A.gigas Nakai was carried out. Transcriptome sequencing and assembly was carried out by using Illumina Hiseq 2500, Velvet and Oases. A total of 109,591,555 clean reads of A. gigas Nakai was obtained after trimming adaptors. The obtained reads were assembled with an average length of 1,154 bp, a maximum length of 13,166 bp, a minimum length of 200 pb, and N50 of 1,635 bp. Functional annotation and classification was performed using NCBI NR, InterprotScan, KOG, KEGG and GO. Candidate genes for phenylpropanoid biosynthesis were obtanied from A.gigas transcriptome and the genes and its proteins were confirmed through the NCBI homology BLAST searches, revealing high identity with other othologous genes and proteins from various plants pecies. In RNA sequencing analysis using an Illumina Next-Seq2500 sequencer, we identified a total 94,930 transcripts and annotated 71,281 transcripts, which provide basic information for further research in A.gigas Nakai. Our transcriptome data reveal that several differentially expressed genes related to flower color in A.gigas Nakai. The results of this research provide comprehensive information on the A.gigas Nakai genome and enhance our understanding of the flower color related gene pathways in this plant.

• Journal of the Korean Society of Costume
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• v.35
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• pp.325-341
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• 1997

One of the noticeable trends of female wear in 1990s is the Outwearization of Underwear as it is called 'Lingerie look' This trend meaned 'Exposure Fashion' raised splendidly its head to the whole stage of fashion destrying the tradional concept having divided the fashion between outwear and underwear by Madonna an Americal populer singer showed up in front of the audience wearing the corset-dress as a stage custome. This corset-dress which can not be recognised whether it is underwear or outwear has been diffused into the mass as a fashionable trend re-gardless of any reason; therefore discrimi-nation of wear by space by far that is underwear should have the sstandard telling between private and public sector has been gradually tumbled. By the way what has propelled desigers to introduce the style continuously having the underwear motive such as outwear almost as same as underwear or underwear worn on out-wear etc. and has made it a fashion trends? How do we accept this "Ligerie look'fashion" The rearch on vogue of outwearization of underwear started by the questions above can be summarized as the followings The division between the sprit and the ma-terial-economic shrinkage by the collapse of the bubble economy in the late of 20 century and expectation for the next century doubt by changes of international politics dynamics for the next century and increasement of psycho-logical tention by the environmental destruc-tion etc, has been extended to break the sense of value down These frustration of the tra-ditional values and dissatisfaction on the pres-ent have reflected on the fashion pursuing some more sensational style to increase the ex-posure of the body. The revolution of wearing bouncing the con-servatismhas outwardly expressed underwear of the private sector. Therefore the spatial concept of wear which for the public sec-tor has been fallen into pieces and has broken the wall of the concept fixed by outwear on underwear. in addition the stage costome for the popular people like Madonna has not been limited by the specularity any more and has been assimilated with the normal wear on the street to take the distinction for away. The circumstances of the late of 20 century pursuing sensation and making sex commer-cialized have accordance with the outweari-zation of underwear. there it is on the basis of Minimalist's dogmatism has been expressed the maximization of expoure in the pubric space to popularize bra pants(knickers) as outwear. The reaction on the attribute of hiding and shanding has brought 'See-Through fashion' with the transparent materials, The contemporary doubt recalling the mem-ory of the past has sublimated corset which was an instument of toture for women into Romanticism to introduce it to fashion with the development of a new material not to be a tool of any oppression and maltretment any longer. The popularization of outwear like underwear what's more has brought high quality of underwear. There it has called for the variety of materials such as knit demin and velvet etc, and has urged the famous designers to enlarge their working boundaries to underwear designs, Besides outwearization of underwear has been popular even in the Orient which has the con-servative opinions on exposure ; so changes of the thoughts can be seen among the establish-ment generation on exposure of the body. As the more high tech information publi-cized and the more technology and media digitalized the more expression being analog the pursue for the new in fashion with vision never been seen and even though it is imprac-tical the experimental designers have drived the freedom beyond the traditional roles of the previous century. Consequently outwearization of underwear may be viewd as a trial as an expression responded the contemporary background. This trend in my opinion will have been lasted for a while by being proliperlated among lasted for a while by being proliperlated among the pub-lic who has the century-end anxiety and doubt and expectation for the next century.

• Journal of Fashion Business
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• v.3 no.1
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• pp.65-80
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• 1999

In this study, the researcher studied the historical background and the traditional culture about dress and ornament of Yunnan Province of China. The Results of the study are as follows. 1. In the Past, Derung's dress was very simple due to the influence of various factors, such as geography and history. Men wore shorts and covered diagonally a piece of cloth from left shoulders to right armpits and tied up the two ends on chests. Women covered crisscross two pieces of cloth from both shoulders to knee. 2. Achang people's dress and adornment has its own unique characteristic. Generally, men wear Jackets with buttons down the front and black trousers. Unmarried men like to wear white turbans, while most of married men usually wear dark blue ones. Women usually wear tight-sleeve blouses with buttons down the front and skirts. Unmarried women wear the hair in braids coil them on the top of their heads. They wear short blouses and trousers. Married women wear their hair Into buns and like to entwine black or blue cloth into high trubans. They wear short blouses and knee-length straight skirts. Achang knife enjoys high reputation and has a long history and an exquisite workmanship. All the men like to wear it. 3. The dress and adornment of the Lahu nationality has both the characteristic of farming culture and the style of nomadic culture of early times. Men usually wear short shirts with round necks and buttons down the front, loose-legged trousers, turbans or dark blue cloth caps Women's dress and adornment can be categorized into two styles. One is black cloth gown with buttons diagonally on the right front and waist-length slits on both sides. The edges of fronts and cuffs are edged with Silver ornaments and lace. They also wear trousers. The other is short blouse with round neck and short opening on th right front, straight skirt and colourful leggings with embroidered patterns. 4. The Hani people, men and women, old and young, like black colour and are fond of wearing black clothes. Men usually wear shirts with buttons down the front and trousers, entwining their heads with black or white cloth. The elderly people wear calottes. Women wear cloth blouses, skirts and trousers or shorts. Slight differences exist in the clothing and adornments according to region, branch and age 5. Blang people's dyeing technique with an exquisite method has a long history. Men wear dark blue long sleeve shirts with round necks and buttons down the front or arranged diagonally on the front and loose-legged trousers. Elderly men wear big turbans wdress and adornment varies greatly in different regions. 6. The Lisu people culture of dress and adornment has some unique characteristics. The styles and colours of their dress and adornment differ slightly from place to place. In the Nujiang area, Women wear black velvet Jackets over blouses with buttons arranged diagonally on the right front and long pleated ramie skirts. Men usually wear wraparound ramie gowns, with center vent, made of fabrics alternated with white and black cross stripes. They also wear cloth waistbands and trohile youngsters keep their hair short. Women's users. In the Lushui area, the dress and adornment is similar to that in the Nujing region, but women wear aprons and trousers instead of skirts. 7. The Nu people dress and adornment is simple but elegant Women are proficient in ramie-weaving. Men usually wear gowns With overlapping necks, knee-length trousers and leggings. They like to wear their hair long and entwine dark blue or white turbans. Women wear black and red vests over blouses with buttons arranged diagonally on the right front and ankle-length skirts. They also wear their hair long, make it into braids, and entwine dark blue or colourful cloth turbans. 8. Pumi men usually wear ramie shirts With buttons arranged diagonally on the right front, loose trousers and white sheepskin vests. Some also wear overcoats made of "pulu". Women's dress and adornment varies in different areas. In the Lanping and Weixi regions, women wear white short blouses with buttons arranged diagonally on the front and dark brown embroidered vests. They also wear trousers and blue or black cloth turbans. In the Ninglang and Yongsheng regions, women wear hemmed blouses With buttons arranged diagonally on the right front and drape sheepskin capes. They also wear white pleated skirts and use broad colourful cloth as their waistbands.

• Journal of the Korean Society of Costume
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• v.36
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• Korean Journal of Weed Science
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• v.30 no.3
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• pp.191-198
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• 2010

The objective of this study was to find herbicidal compounds from seven different plant essential oils such as amyris (Amyris balsamifera), cajuput (Melaleuca cajeputi), geranium (Pelargonium graveolens), lavender (Lavendula spp.), mandarin (Citrus reticulata), pine (Pinus spp.) and rosemary (Rosmarius officinale), and determine their herbicidal activities. The in vitro herbicidal activity of cajuput essential oil was the highest among six essential oils ($GR_{50}$ value, $425{\mu}g\;g^{-1}$) and major chemical components in cajuput essential oil were eucalyptol (37.2%), ${\alpha}$-terpineol (11.6%), benzaldehyde (5.2%), linalool (4.1%), ${\alpha}$-pinene (2.5%) and ${\beta}$-pinene (2.4%), and their $GR_{50}$ values were 2,731, 500, 50, 372, 4,363, and $4,671{\mu}g\;g^{-1}$, respectively. Soil application of cajuput essential oil and benzaldehyde did not show any herbicidal activity at 80 kg $ha^{-1}$. When cajuput essential oil was applied to foliar at 80 kg $ha^{-1}$, narrow-leaved plants such as sorghum (Sorghum bicolar), barnyardgrass (Echinochloa crus-galli), and southern crabgrass (Digitaria ciliaris) were killed 100%, however, broad-leaved plants indian jointvetch (Aeschynomeme indica), velvet leaf (Abutilon theophrasti), cocklebur (Xanthium strumarium), Japanese morningglory (Calystegia japonica) were not killed, indicating the cajuput essential oil was effective to control narrow-leaved plants. Herbicidal activities of benzaldehyde at 80 kg $ha^{-1}$, to those plants were 20, 60 and 95%, respectively. Overall data showed that the herbicidal activity of cajuput essential oil was in part due to benzaldehyde.

• Korean Journal of Agricultural and Forest Meteorology
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• v.14 no.4
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• pp.254-259
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• 2012

Peeling damage of trees is usually caused by Cervidae such as deer, roe deer because of the lack of food in forests. However, it happens as part of the developing of antlers in Jeju Island when the roe deer try to remove the Velvet-the skin of the antlers. The research area is the Hannam experimental forest (400 m up to 500 m above sea level) of Korea Forest Research Institute in Jeju Island, and the survey was carried out along the 6 km long of forest road with 5 m width on both sides. Twenty five tree species (total 267 stands) are damaged by peeling; 18 (134 stands) deciduous broad-leaved species, 5 (71 stands) in evergreen broad-leaved species, 2 (62 stands) coniferous species. The most common damaged species are in order of Daphniphyllum macropodum, Cryptomeria japonica, Lindera erythrocarpa, Clerodendrum trichotomum, Zanthoxylum schinifolium. Mainly damaged trees are approximately 3~4 years old saplings, and they show the mean height $120.7{\pm}42.4cm$, diameter measured at 5 cm height $1.5{\pm}0.5cm$. The Lowest peeling beginning height is $22.1{\pm}10.1cm$, and the mean length of peeling is $27.5{\pm}10.6cm$. Once the peeling damage happens, the saplings are infected by fungi secondly, and are distorted or dead, therefore the future structure of warm-temperate forests could be in influenced in species. Warm-temperate forest landscape and species change related to the climate change is a rising issue in Jeju Island. However the changes caused by peeling damage also could be an important issue in the natural process of forest environment, afforestation, local nursery and sustainable forest management of Jeju Island.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1837-1847
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• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.220-237
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• 2021

This study carried out the conservation treatment for the mattress put on the bed, which is one of 4 items in National Folklore Cultural Heritage, the Red-lacquered Furniture with the inlaid mother-of-pearl design used by Empress Sunjeonghyo (presumed), after identifying the characteristics of the manufacturing techniques and the used materials. And the study intends to compare it with the mattress placed in the Daejojeong in the Changdeokgung Palace in order to identify the characteristics of mattresses domestically used during the 1920s and 1930s. From the analysis of the mattress presumably used by Empress Sunjeonghyo, it was identified that the mattress frame was made of pinaceous hemlock spruce while the webbing and twine in the structural parts were made of jute. The findings are as follows: the burlap had a filling material that was made of jute; the straw mat was made from Oryza; and, the rest of the filling material was cotton. Rayon was used for the top cover while cotton was used for the bottom. As a result of research on the materials and the inner structure, it was found that mattress was manufactured in the form of the upholstery style mainly found in chairs and day-beds in Western furniture. Based on analysis results, materials identical to the original were adopted during the conservation treatment. Next, the process of dismantling, cleaning, repair, reinforcement and assembling was conducted. During the dismantling process, the top cover was newly discovered and some letters (Yokohama, Kobe, and Joseon) were found in the burlap filling, but there was no trace which can clarify its maker or production place. dry cleaning was carried out on the structural parts, filling materials, and the cover, and then the repair and reinforcement were done, preserving the existing materials in the upholstery structure and using the same materials for conservation. The webbing in the structural parts was reinforced using materials identical to the original, and the twine was used for arranging and fixing the springs into wooden frames. For the damaged cotton cloth and burlap, reinforcement materials identical to the original were put over it and sown. For the damaged area of the top cover, reinforcement cloth was cut and then added inside and the damaged area was sown. Assembling was carried out in the reverse order of the dismantling. After the burlap identical to the original material was inserted into the areas in contact with the springs and then fastened, a filling pad, reinforcement cloth, a straw mat, cotton cloth, cotton felt, wide cotton cloth for protecting the cover, and the cover were layered and fastened with tacks. The two mattresses used by Empress Sunjeonghyo differed only by the period of production and followed the same Western upholstery style consisting of the frames, filling materials, and covers. During the conservation treatment process, a velvet cover was newly discovered and the traces of repair in the past were found. Furthermore, identifying straw mats, straw bags, and straws for filling material, this study confirmed changes in the materials used according to the production environment. In the future, it is expected to see changes in the conservation materials during the conservation treatment and manufacturing techniques used for chairs and sofas in the upholstery style belonging to the modern cultural artifacts.