• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.168-182
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• 2014

Several Sungsi Gardens were built up in Old West Village during the period of the Joseon Dynasty. Most of them were painted as True-View landscape painting. This study aims at examining original locations of representative gardens of the Old West Village by empirical investigation of related True-View landscape paintings. It seeks to demonstrate the garden landscape in True-View landscape painting by utilizing ArcGIS, 3D topographic modeling to observe geographical locations and landscape more realistically. After forming 3D topographic modeling of estimated locations of the gardens, location of objects at composition of 3D modeling similar to True-View landscape painting was found by shifting viewpoints. And by overlapping the cadastral map on the modeling, we could verify the current lot number of the garden sites. The interpretation of processes and results are as follows. In the early stage, Chungpunggye garden was built at the very end of Mt. InWang valley. The site is hidden from the outside, and appeared as 'Enclosed Landscape'. In the middle stage, Chunghuigak garden was built between Okryu-dong valley and the surrounding ridge. It appeared as 'Semi-Opened Landscape'. In the late stage, Seowon garden was built at the highest level of the ridge among the research areas. It appeared as 'Prospective Landscape'. In the last period, Songsukwon garden, was built at a point of contact of the ridge end and surrounding residential area. So it appeared as 'Opened Landscape' to the town. In other words, the location, landscape and social function of the gardens in Old West Village had been gradually opened in Joseon Dynasty.

• Applied Biological Chemistry
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• v.51 no.4
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• pp.316-320
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• 2008

Ten compounds, (+)-pinoresinol (1), (-)-balanophonin (2), gallicin (3), vanillin (4), 4-hydroxybenzaldehyde (5), coniferaldehyde (6), betulinic acid (7), ursolic acid (8), 5-hydroxymethyl furfural (9), and malic acid (10), were isolated from a EtOAc-soluble fraction of the seeds of Cornus officinalis. The structures of these compounds were elucidated by spectroscopic methods as well as by comparison with reported values. Compounds 1, 2, and 4-7 were isolated from this species for the first time. All the isolates (1-10) were subjected to an in vitro bioassay to evaluate their inhibitory activity against advanced glycation end products (AGEs) formation. Among these, compounds 2 and 3 showed the significant inhibitory activity on AGEs formation with $IC_{50}$ values of 27.81 and 18.04${\mu}M$, respectively.

• Journal for History of Mathematics
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• v.22 no.3
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• pp.1-30
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• 2009

Frege's logicism has been frequently regarded as a development in number theory which succeeded to the so called arithmetization of analysis in the late 19th century. But it is not easy for us to accept this opinion if we carefully examine his actual works on real analysis. So it has been often argued that his logicism was just a philosophical program which had not contact with any contemporary mathematical practices. In this paper I will show that these two opinions are all ill-founded ones which are due to the misunderstanding of the theoretical place of Frege's logicism in the context of contemporary mathematical practices. Firstly, I will carefully examine Cantorian definition of real numbers and Frege's critiques of it. On the basis of this, I will show that Frege's aim was to produce the purely logical definition of ratios of quantities. Secondly, I will consider the mathematical background of Frege's logicism. On the basis of this, I will show that his standpoint in real analysis was much subtler than what we used to expect. On the one hand, unlike Weierstrass and Cantor, Frege wanted to get such real analysis that could be universally applicable. On the other hand, unlike most mathematicians who insisted on the traditional conceptions, he would not depend upon any geometrical considerations in establishing real analysis. Thirdly, I will argue that Frege regarded these two aspects - the independence from geometry and the universal applicability - as those which characterized logic itself and, by logicism, arithmetic itself. And I will show that his conception of real numbers as ratios of quantities stemmed from his methodological maxim according to which the nature of numbers should be explained by the common roles they played in various contexts to which they applied, and that he thought that the universal applicability of numbers could not be adequately explicated without such an explanation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.1-18
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• 2011

This study has been examined characteristics of Yeoju Lee family, rich group at Miryang in the middle of the Joseon Dynasty, around Geumsidang(今是堂) Lee Gwang-jin remains as a cultural landscape appeared in pictures, poetry, and a strange story. Geumsidang Lee Gwang-jin returned to his old home abandoned the middle government post after the death of Moonjeong queen in socially confused stage and tried to manage an annex to a Geumsidang located in Baekgok of Eungchun riverside, and Geumsidang he managed was affected by his teacher and uncle Wolyoun Lee Tae of a view of nature, filial behavior, and nature management etc. Also, 'Painting of 12 landscapes to Geumsidang' is landscape painting with the actual view not like the '8 landscapes of So-Sang' or '8 landscapes of Sa-Si' which is abstract landscape and Lee Gyeong-hong drew 12 landscapes of Geumsidang that includes Angbong(鶯峰: nightingale peak), Yongdu mountain(龍頭山), Mubong Buddhist temple(舞鳳寺), Maam mountain(馬巖山), Wolyeon-dae(月淵臺), Saindang village(舍人堂村), Youngnam-ru(嶺南樓), Miryang eubseong(密陽邑城), Eyeonso(梨淵沼: pear tree deep water), Yullim(栗林: chestnut tree forest), Miryang river(密陽江), Sammundong fields(沙門野), land and government office owned by Yeoju Lee family as landscape objects. 'Poems of 12 landscapes to Geumsidang' by Lee Yong-gu 11th sons of Lee Gwang-jin was written based on 'Painting of 12 landscapes to Geumsidang', and sang for time, season, and changes of the weather. All 12 poems are all a quatrain with seven Chinese characters in each line consisted of all 28 words, but does not match completely with shown elements in pictures because it is not a simple description of pictures but it is recreated by writer's personality. Therefore these painting shows not only th meaning of filial behavior but also village owned by Yeoju Lee family rich group in Miryang, and these poem recreated the pictures by changing as certain scenic spot with the object of enforcing territory of Yeoju Lee family.

• The Journal of Art Theory & Practice
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• no.16
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• pp.201-224
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• 2013

The tradition of the representative art style in the Sinosphere, Shanshui hua, expresses the traditional representation of the harmony and principle of the universe. This tradition is reflected in the Chinese garden. These Chinese gardens were precisely the three-dimension representations of Shanshui hua, a visual form of abstract expression of the oriental philosophical thinking. This research determines and draws attention to the vestiges of the reflection of Shanshui hua in the European gardens through visual art and culture. It will also approach the two subjects, Shanshui hua and garden, from a transcultural view to integrally analyze visual art. The appearance of Anglo-Chinese gardens, reflecting Shanshui hua, foreshowed a big change in traditional European gardens. This is a concrete example of the transcultural phenomenon. This has formed the typical naturally curved English gardens in the gardening history. This also divided these English gardens completely from the symmetrical, geometrical French gardens. This study considers the influence and the reverberation of Shanshui hua reflected on European gardens in the European culture. The cultural exchange of European and Chinese styles in the 18th century left an impact on the European gardening style history. Finally, this study analyzes the origin of these Anglo-Chinese gardens and its content to approach it with a transcultural view as a research methodology.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.255-262
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• 2023

In the early 20th century, Yeomjae Song Tae-hoe (念齋 宋泰會, 1872-1941), a disciple and onetime adopted son of teacher Song Su-myeon(宋修勉, 1847-1916), moved to Gochang and laid the foundation for Gochang calligraphy and painting, and it can be seen that a full-fledged flow began. Yeomjae Song Tae-hoe was a scholar and calligrapher of the late Joseon Dynasty and modern period from Hwasun, Jeollanam-do. He is a person who created the foundation of Gochang calligraphy and painting while working as an educator in Chinese literature, calligraphy, and painting, mainly in his hometown of Hwasun and Gochang, while engaging in creative activities. He was intelligent from a young age and showed an extraordinary talent for calligraphy. At the age of 16, he passed the Jinsa exam (童蒙進士) and became the youngest student to study at Sungkyunkwan. He was active by holding exhibitions nationwide based in Gochang and Jeonju, and was also an educator who fostered younger students by establishing Gochang High School (currently, Gochang Middle and High School) to cultivate national spirit and history. Yeomjae drew strong and healthy landscape paintings under the absolute influence of the painting style of Saho Song Su-myeon, and dealt with various materials of southern school literati paintings such as flowers and birds and four plants. In particular, he is a representative calligrapher who encompasses the early modern era and the modern era in that he expressed his interest in new cultural artifacts as well as the realization of a modern-oriented realistic landscape based on Korean natural beauty. He laid the foundation for modern and contemporary calligraphy and painting. Goam Lee Eung-no (顧菴 李應魯, 1904-1989), a world-renowned painter, learned the basics of ink painting from Yeomjae in his late teens.However, compared to his various artistic and social activities, it is regrettable that he is limited and evaluated as a local writer.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.5
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• pp.13-21
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• 2014

This study generated regression models to quantify storage and annual uptake of carbon from five native landscape tree species through a direct harvesting method, and established essential information to estimate carbon reduction effects from urban greenspaces. Tree species for the study included the Chionanthus retusus, Prunus armeniaca, Abies holophylla, Cornus officinalis, and Taxus cuspidata, which are usually planted in cities of middle Korea, but for which no information on carbon reduction is available. Ten tree individuals for each species were sampled reflecting various stem diameter sizes at a given interval. The study measured biomass for each part including the roots of sample trees to compute total carbon storage per tree. The annual carbon uptake per tree was quantified by analyzing the radial growth rates of stem samples at breast height or ground level. Regression models were developed using diameter at breast height (dbh) or ground level (dg) as an independent variable to easily estimate storage and annual uptake of carbon per tree for each species. All the regression models showed high fitness with $r^2$ values of 0.92~0.99. Storage and annual uptake of carbon from a tree with dbh of 10 cm were greatest with C. retusus (20.0 kg and 5.9 kg/yr, respectively), followed by P. armeniaca (17.5 kg and 4.5 kg/yr) and A. holophylla (13.2kg and 1.8 kg/yr) in order. A C. officinalis tree and T. cuspidata tree with dg of 10 cm stored 9.3 and 6.3 kg of carbon and annually sequestered 3.2 and 0.6 kg, respectively. The above-mentioned carbon storage equaled the amount of carbon emitted from gasoline consumption of about 23~35 L for C. retusus, P. armeniaca, and A. holophylla, and 11~16 L for C. officinalis and T. cuspidata. A tree with the diameter size of 10 cm annually offset carbon emissions from gasoline use of about 6~10 L for C. retusus, P. armeniaca, and C. officinalis, and 1~3 L for A. holophylla and T. cuspidata. The study breaks new ground to easily quantify biomass and carbon reduction for the tree species by overcoming difficulties in direct cutting and root digging of urban landscape trees.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• Proceedings of the Korea Contents Association Conference
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• 2003.11a
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• pp.497-502
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• 2003

자연에 대한 동경은 미와 삶과 근본에 대한 동경이 되어왔다. 자연을 배제한 아름다움을 추구하는 것은 아주 어려운 일이라고 할 수 있을 것이다. 그 중에서도 산이란 동양인들의 깊은 내면에서 찾아볼 수 있는, 심오한 곳으로 여겨져 왔으며, 일찍이 산에 대한 표현과 상상은 동양인들의 지성과 과학을 넘어서서 존재해 왔다. 본 작품에서는 산수를 가장 정확하게 표현할 수 있는 부감을 시점으로 택하고, 그 과정에서 생략된 공간감을 3차원의 공간은 해체와 종합이라는 작업을 통해 다시 한 번 새로운 공간으로 탄생하게 된다. 구조적인 특성과 함께 불규칙적인 움직임들을 다시 규칙적으로 보이게 하는 것이 착시와 표현에 의한 것이 아니고, 오히려 인간 내부에 있는 동경이 공간과 시간의 만남을 통해서 능동적으로 보게 하는 것이다. 이와 같은 작업을 통해서 공간이 한 차원이나, 고정된 틀 안에 묶여지는 것이 아니고 새로운 공간의 창출을 구성해 볼 수 있다는 것을 확인하고자 하는 것이 본 작업의 토대라 하겠다.

• Journal for History of Mathematics
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• v.22 no.3
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• pp.45-60
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• 2009

Mathematical thinking can be symbolized by the external signs, and these signs determine in reverse the form of mathematical thinking. Each symbol - a symbol in algebra, a symbol in analysis, and a diagram which verifies syllogism - reflects the diverse characteristic of cogitation in mathematics and perfirms a heuristic function.