• Communications of Mathematical Education
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• v.25 no.2
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• pp.341-360
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• 2011

This paper deals with contents that Sang-Seol Lee contributed to the natural science in the 19th century Korea. Prof. Sung-Rae Park, the science historian, called Sang-Seol Lee Father of the Modern Mathematics education of Korea. Sang-Seol Lee wrote a manuscript Botany with a brush in late 19th century. Botany was transcribed from Science Primers: Botany (written by J. D. Hooker), which is translated into Chinese by Joseph Edkins in 1886. The existence of Sang-Seol Lee's book Botany was not known to Korean scientists before. In this paper, we study the contents of Botany and its original text. Also we analyze people's level of understanding Western sciences, especially botany at that time. In addition, we study authors of 16 Primers jar Western Knowledge. We study the contribution of mathematician Sang-Seol Lee to science education in the 19th century Korea.

• Journal of Ginseng Culture
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• v.1
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• pp.28-42
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• 2019

What is unknown about Leibniz (Gottfried Wilhelm Leibniz, 1646~1716), a great philosopher and mathematician, is that he inquired about ginseng. Why Leibniz, one of the leading figures of the Enlightenment, became interested in ginseng? This paper excavates Leibniz's references on ginseng in his vast amount of correspondences and traces the path of his personal life and cultural context where the question about ginseng arose. From the sixteenth century, Europe saw a notable growth of medical botany, due to the rediscovery of such Greek-texts as Materia Medica and the introduction of a variety of new plants from the New World. In the same context, ginseng, the renowned panacea of the Old World began to appear in a number of European travelogues. As an important part of mercantilistic projects, major scientific academies in Europe embarked on the researches of valuable foreign plants including ginseng. Leibniz visited such scientific academies as the Royal Society in London and $Acad{\acute{e}}mie$ royale des sciences in Paris, and envisioned to establish such scientific society in Germany. When Leibniz visited Rome, he began to form a close relationship with Jesuit missionaries. That opportunity amplified his intellectual curiosity about China and China's famous medicine, ginseng. He inquired about the properties of ginseng to Grimaldi and Bouvet who were the main figures in Jesuit China mission. This article demonstrates ginseng, the unnoticed subject in the Enlightenment, could be an important clue that interweaves the academic landscape, the interactions among the intellectuals, and the mercantilistic expansion of Europe in the late 17th century.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.2
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• pp.96-107
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• 2016

This study is an attempt to trace the origins of Korean botanical gardens prior to the construction of the botanical garden in Changgyeonggung Palace. We trace the time period during which Korean intellectuals first understood and appropriated botanical gardens based on accounts found in travel journals. These were written by members of delegations sent to Japan, Russia, and Great Britain and by students who had studied abroad, such as Tchi-Ho Yun and Kil-Chun Yu, during the open port period from 1876 to 1910. This study shows that the term "botanical garden" did not appear in any of the travel journals and the delegations did not show much interest in them until the 1880s. Japan had planned to introduce the different types of botanical gardens to the delegations from the Joseon Dynasty, but the delegations left no official records or related accounts regarding their visits. In contrast, members of delegations who were sent to Russia, Europe, and America after the 1890s began to pay attention to botanical gardens. They considered botanical gardens as a representative and essential part of Western culture and attempted to introduce them in Korea as essential tools for academic development as well as for enlightenment. Although many Korean intellectuals' opinions about the necessity of a botanical garden did not actually lead to its construction during the open port period, such a movement was significant in that it strengthened the botanical garden's image as a symbol of civilization. Apart from tracing the origins of the botanical gardens in Korea, this study serves as fundamental research material for understanding the establishment of the Changgyeongwon Botanical Garden in 1909.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.58-68
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• 2014

Christian Cay Lorenz Hirschfeld is often regarded as 'a father of landscape garden art.' He was an aesthetics professor and garden theoretician in the $18^{th}$ century. He put forth the most comprehensive garden theory book in five volumes between 1779 and 1785. His book, Theorie der Gartenkunst, was translated and widely circulated in his contemporary. The book, which dealt with diverse aspects of garden art such as history, design, material, and type, urged to promote the prevalence of landscape garden in European continents as well as in Germany. However, there have scarcely been discourses in the Hirschfeld's garden theory. This essay aims to review Hirschfeld's garden thoughts in his book critically and to reinterpret some issues in the contemporary landscape theory and practice. Hirschfeldian theory was the product of $18^{th}$ century German Enlightenment and romanticism. At that time, Nature was regarded as divine realm. There was a German affinity with natural world. The spread of reading culture and the fashion of travel literature were another background of the success of his garden literature. Several issues in Hirschfeld garden theory will discussed here. First, privileging garden art was the most significant contribution in his theory. He emphasized that garden art was the most advanced art form among all art genres. Second, garden art was grounded on the mimesis of nature. The ambiguous relationship between nature and art still existed in garden making. However, garden art can be flourished when utilizing the potency of nature in itself. Third, there was the association between the image and the idea in experiencing the garden. Some garden scenes stimulated the related emotional responses such as cheerful and merry, softly melancholic, romantic, solemn etc. Fourth, the movement was the essential aspect of garden art. Motion and emotion are come together in garden experience. To represent the landscape garden style in suitable way, the sketch or image seems to be preferable than the plans and views. Finally, garden art was composing of not only the physical space but also the spirit of place. He maintained the garden art as hortus moralis should be a social metaphor. Hirschfeldian garden theory has often been criticized as the lack of practical power and the old fashioned idea. However, his theory influenced on formulating the idea of public park in $19^{th}$ century. Moreover, there are still some visionary aspects of his theory such as the reevaluation of garden art, the emphasis of locality and the introduction of Mittelweg idea. Recently, gardening culture are prevalent in various realms of art and life. Hirschfeld's garden theory as humanistic landscape theory can provide us some insights in the contemporary practices.