• Cross-Cultural Studies
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• v.44
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• pp.211-237
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• 2016

This paper seeks to explore the new relationship between music and poetry established in the beginning of the Modern Era. This was a period when reading silently was the dominant culture rather than reading aloud and orality was limited due to the emergence of literacy and print culture. A poet sensitive to the characteristics of the period, $Mallarm{\acute{e}}$ created his own concept of music and new creative principles of poetry from it. We analyze his "Divigation" and letters, in particular, the "Crisis of vers", "Music and Literature", "Mystery in the letters", and "About the book." Firstly, $Mallarm{\acute{e}}$ connects music with the mystery and the sacred: the mystery surrounds the music and the music is oriented with the sacred. The sanctity is that of the human race and has existed within humans since the beginning. Transposing the characteristics of this music to the poetry is his first creative principle of poetry. However, $Mallarm{\acute{e}}$ called music a totality of relationships that exist between objects without reducing the dimension to only the instruments or the sound. His definition is abstract, regarding music as a complete rhythm, the atmosphere and the air. Secondly, we have the question of how to realize music in a poem. As the music is surrounded by the mystery, $Mallarm{\acute{e}}$ can transpose the sacred to a poem in mysterious ways. This leads to his second principle of poetry: make a poem as a structure. In other words, 'musically', based on the disappearance of real objects and the initiative of the poet, he created a structure with only the words. We can create an acoustic structure but $Mallarm{\acute{e}}$ created a visible structure to overcome the incompleteness of the sound of a word in the diffusion of print culture. In this manner, the use of silence as much as sound and the use of visual as much as aural components were introduced in poetry as important motifs and the essentials of creation. This new relationship between poetry and music and the creative principles drawn from it appear to be the areas to which attention should be focused in the research of poetry.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.329-358
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• 2005

The Three storied Stone pagoda in Gameunsa Temple site, one of the early staged stone pagodas, has been known as a standard for Silla stone pagodas. A stone pagoda is not only a stone art work and but also a stone structure. Most studies and investigation of the stone pagoda has done mainly based on style and chronological research according to an art historical view. However, there is not an attempt to research the stone pagoda as a stone architecture. Most Korean experts at the stone pagoda has art history in their background. Engineers who can understand the structure of the stone pagoda are very limited. More architectural and engineering approach is need to research not only art historial understanding but also safety as a structure. We can find many technical know-how from our ancestors who made stone pagodas. 1. To reduce any deformation such as relaxation and sinking of BuJae which is caused by a heavy load, the BuJae (consist of a foundation stone and lower stereobates) should be enlarged. 2. A special construction method for connection between Myonsuk and Tangjoo was invented. This unique method is not used any longer after the Three storied Stone pagoda in Gameunsa Temple site. 3. The upper BuJae and the lower BuJae are missed each other by making a difference of Okgaesuk and Okgaebatchim in size. It is done for a distribution of perpendicular load and a prevention for relaxation of BuJae. 4. The center of gravity in the BuJae is located to the center of the stone pagoda by trimming the upper surface of the Okgaebatchim into a convex shape. The man who made stone pagodas had excellent knowledge on the engineering and techniques to understand the structure of the stone pagodas. We can confirm it as follows: the enlarged BuJae, dislocated connection between upper Bujae and lower BuJae, and moving the center of gravity close to the center of the stone pagoda.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.5
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• pp.80-89
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• 2022

In order to solve the limitations of horizontal thermal environment improvement, this study compared the thermal environment of the indoor and outdoor of a building in summer according to the presence or absence of a green curtain, a vertical greening method. In the summer of 2021, the air temperature, relative humidity, wind speed, and shortwave and longwave radiation were measured at a central point inside a building and the grass field outside of the building to determine the human thermal sensation index, PET and UTCI. As a result, the green curtain showed an average 1.6℃ cooler air temperature during the daytime, but it did not have an effect at night. For relative humidity, it showed higher humidity indoors by an average of 5.6% and 1.0% during the daytime and at night, respectively. Wind speed was 1.4-1.8 ms^-1 and 1.4-1.5 ms^-1 higher outdoors on average during the daytime and at night, respectively, showing a high value outdoors regardless of whether a green curtain was installed. The green curtain showed an average indoor mean radiant temperature reduction effect of 4.7℃ during the daytime, but it did not have an effect at night. In PET and UTCI, the green curtain reduced the indoor PET by about a 1/3 level, an average of 2.1℃, and the indoor UTCI by about a 1/6 level, an average of 1.1℃, during the daytime. However, no effects appeared in PET and UTCI at night. For landscape planning, a green curtain can effectively modify the thermal environment during the daytime in summer.

• Bulletin of the Society of Naval Architects of Korea
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• v.61 no.1
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• pp.16-29
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• 2024

2014년 4월 18일 오전 8시 48분경 전라남도 병풍도 인근 해역에서 세월호는 전복된 후 침몰하였다. 사고 당시 이 배에는 승객 443명과 선원 및 승무원 33명 모두 476명이 타고 있었고, 이 중 미수습자 5명을 포함하여304명이 생명을 잃었다. 그 동안 공식적인 사고원인 규명활동이 꾸준히 진행되어 이 사고의 원인을 규명하기 위한 조사가 네 차례 있었다. 하지만 아직까지 사고 원인이 무엇인지 명쾌하게 밝혀지지 않고 있다. 이 글에서는 먼저 그동안 있었던 네 차례의 공식적인 세월호 사고원인 규명활동을 정리하였다. 가장 먼저 사고원인 규명활동을 전개한 해양안전심판원 특별조사부는 2014년 사고 직후부터 그해 12월까지 활동하였다. 특별조사부 최종보고서에는 화물의 과적과 평형수 적재 부족으로 인한 선박복원성 기준 미달, 타각의 대각도 조타와 장시간 유지로 인한 부적절한 조타, 화물의 부실한 고박으로 인한 화물의 이동, 수밀문의 관리 부실로 인한 조기 침수와 비상대피장소(muster station)로의 승객대피 조치 미이행을 사고의 원인으로 들고 있다. 2015년 3월부터 2016년 6월까지 활동한 4·16세월호참사 특별조사위원회(특조위)는 '4·16 세월호 참사 특별 조사위원회 청산 백서'만을 간행하고 최종보고서를 제출하지 못한 채 활동을 종료하였다. 세월호 선체조사위원회(선조위)는 2017년 4월부터 2018년 8월까지 활동하였다. 선조위는 세월호 사고원인 규명을 위한 다른 기구에 비해 위원의 구성도 균형이 있었고, 직권사건 위주의 조사방법도 적절하였다. 또한 조타기와 조타 과실 여부, 급선회 항적 및 횡경사와 핀안정기의 물리적 손상에 관한 용역을 국내 여러 기관에 발주하였다. 뿐만 아니라 다양한 해양사고 원인규명 용역에 참여한 실적이 있는 영국의 기술용역회사인 Brookes Bell에 급선회와 빠른 침몰의 원인 조사를 요청하였다. 아울러 세계에서 가장 활발히 수조실험을 수행하고 있는 상업 연구소인 네덜란드의 MARIN에 수조시험과 시뮬레이션도 의뢰하였다. 하지만 아쉽게도 선조위는 서로 다른 사고 원인을 주장하는 두 권의 종합보고서를 간행하였다. 종합보고서로 '내인설' 종합보고서[6]는 타기 솔레노이드 밸브의 고착으로 시작된 급선회를 사고의 직접 원인으로 지목하고 있다. 하지만 '열린안' 종합보고서[7]에서는 수중체와의 충돌을 직접적인 사고 원인으로 밝히고 있다. 마지막으로 가습기살균제 사건과 4·16세월호 참사 특별조사위원회(사참위)가 2019년 3월부터 2022년 9월까지 활동하였다. 사참위는 위원으로 조선해양공학과 항해학 전문가가 포함되어 있지 않아 세월호의 사고원인 규명활동을 효과적으로 수행하기에는 적절하지 못하였다. 사참위는 주로 조타장치 고장에 따른 세월호 전타 선회현상 검증, 세월호 변형 손상부의 확인 및 원인 조사와 세월호 횡경사 원인과 침수과정 분석을 직권 과제로 추진하였다. 또한 네덜란드 MARIN에 자유항주시험을 추가로 의뢰하였으며, 핀란드의 NAPA group에도 복원성 계산과 침수해석을 의뢰하였다. 사참위는 선조위의 두 가지 사고원인에 대해 '내인설'의 솔레노이드 밸브 고착은 사고원인일 가능성이 매우 낮고, '열린안'의 수중체와의 충돌 시나리오는 근거가 부족함을 확인하였다. 이상에서 정리한 바와 같이 규명활동이 진행됨에 따라 사고원인이 수렴되어야 함에도 불구하고 아직까지 원인을 시원하게 밝히지 못하고 있다. 이 글에서는 사고원인 규명활동을 수행한 네 개 기구의 구성과 활동 내용을 비교하고, 사고조사 위원회의 바람직한 구성과 위원회의 운영 방법을 제시하고 있다. 또한 Brookes Bell 보고서에 수록된 출항 당시의 흘수에 근거한 배수량과 선미 램프의 폐쇄 전후의 횡경사각으로부터 도출한 GoM도 소개하고 있다. 아울러 출항 당시의 GoM값으로 추정한 사고 당시의 GoM값도 소개하고 있고, 수중체와의 충돌 시나리오를 후보 사고 시나리오에서 제외시켜야 할 이유도 열거하고 있다. 끝으로 해양사고 원인규명 활동이 보다 과학적으로 그리고 보다 합리적으로 이루어질 수 있기 위해 그리고 우리 사회의 안전문화 제고를 위한 몇 가지의 방안을 제시하고 있다. 또한 세월호 사고로 치른, 아직도 치르고 있는 희생을 딛고 해양안전문화가 한 걸음 더 나아가기 위해서는 세월호 사고의 원인을 반드시 규명해야 한다는 말씀으로 글을 마무리하고 있다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.24-36
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• 2014

The result of the research conducted for the purpose of investigating the semantic value and the layout of the Cheongryu Gugok of Dorimsa Valley, which exhibits a high level of completeness and scenic preservation value among the three gugoks distributed in the area around Mt. Dongak of Gogseong is as follows.4) The area around Cheongryu Gugok shows a case where the gugok culture, which has been enjoyed as a model of the Neo-Confucianism culture and bedrock scenery, such as waterfall, riverside, pond, and flatland, following the beautiful valley, has been actually substituted, and is an outstanding scenery site as stated in a local map of Gokseong-hyeon in 1872 as "Samnam Jeil Amban Gyeryu Cheongryu-dong(三南第一巖盤溪流 淸流洞: Cheongryu-dong, the best rock mooring in the Samnam area)." Cheongryu Gugok, which is differentiated through the seasonal scenery and epigrams established on both land route and waterway, was probably established by the lead of Sun-tae Jeong(丁舜泰, ?~1916) and Byeong-sun Cho(曺秉順, 1876~1921) before 1916 during the Japanese colonization period. However, based on the fact that a number of Janggugiso of ancient sages, such as political activists, Buddhist leaders, and Neo-Confucian scholars, have been established, it is presumed to have been utilized as a hermit site and scenery site visited by masters from long ago. Cheongryu Gugok, which is formed on the rock floor of the bed rock of Dorimsa Valley, is formed in a total length of 1.2km and average gok(曲) length of 149m on a mountain type stream, which appears to be shorter compared to other gugoks in Korea. The rock writings of the three gugoks in Mt. Dongak, such as Cheongryu Gugok, which was the only one verified in the Jeonnam area, total 165 in number, which is determined to be the assembly place for the highest number of rock writings in the nation. In particular, a result of analyzing the rock writings in Cheongryu Gugok totaling 112 places showed 49pieces(43.8%) with the meaning of 'moral training' in epigram, 21pieces (18.8%) of human life, 16pieces(14.2%) of seasonal scenery, and 12pieces(10.6%) of Janggugiso such as Jangguchur, and the ratio occupied by poem verses appeared to be six cases(3.6%). Sweyeonmun(鎖烟門), which was the first gok of land route, and Jesiinganbyeolyucheon(除是人間別有天) which was the ninth gok of the waterway, corresponds to the Hongdanyeonse(虹斷烟鎖) of the first gok and Jesiinganbyeolyucheon of the ninth gok established in Jaecheon, Chungbuk by Se-hwa Park(朴世和, 1834~1910), which is inferred to be the name of Gugok having the same origin. In addition, the Daeeunbyeong(大隱屛) of the sixth gok. of land route corresponds to the Chu Hsi's Wuyi-Gugok of the seventh gok, which is acknowledged as the basis for Gugok Wollim, and the rock writings and stonework of 'Amseojae(巖棲齋)' and 'Pogyeongjae(抱經齋)' between the seventh gok and eighth gok is a trace comparable with Wuyi Jeongsa(武夷精舍) placed below Wuyi Gugok Eunbyeon-bong, which is understood to be the activity base of Cheongryu-dong of the Giho Sarim(畿湖士林). The rock writings in the Mt. Dongak area, including famous sayings by masters such as Sunsaeuhje(鮮史御帝, Emperor Gojong), Bogahyowoo(保家孝友, Emperor Gojong), Manchunmungywol(萬川明月, King Joengjo), Biryeobudong(非禮不動, Chongzhen Emperor of the Ming Dynasty)', Samusa(思無邪, Euijong of the Ming Dynasty), Baksechungpwoong(百世淸風, Chu Hsi), and Chungryususuk-Dongakpungkyung(淸流水石 動樂風景, Heungseon Daewongun) can be said to be a repository of semantic symbolic cultural scenery, instead of only expressing Confucian aesthetics. In addition, Cheongryu Gugok is noticeable with its feature as a cluster of cultural scenery of the three religions of Confucian-Buddhism-Taoism, where the Confucianism value system, Buddhist concept, and Taoist concept co-exists for mind training and cultivation. Cheongryu Gugok has a semantic feature and spatial character as a basis for history and cultural struggle for the Anti-Japan spirit that has been conceived during the process of establishing and utilizing the spirit of the learning, loyalty for the Emperor and expulsion of barbarians, and inspiration of Anti-Japan force, by inheriting the sense of Dotong(道統) of Neo-Confucianism by the Confucian scholar class at the end of the Joseon era that is represented by Ik-hyun Choi(崔益鉉, 1833~1906), Woo Jeon(田愚, 1841~1922), Woo-man Gi(奇宇萬, 1846~1916), Byung-sun Song(宋秉璿, 1836~1905), and Hyeon Hwang(黃玹, 1855~1910).

• Korean Journal of Environmental Agriculture
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• v.32 no.3
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• pp.214-223
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• 2013

BACKGROUND: This study focused on the development of an analytical method about dichlorprop (DCPP; 2-(2,4-dichlorophenoxy)propionic acid) which is a plant growth regulator, a synthetic auxin for agricultural commodities. DCPP prevents falling of fruits during their growth periods. However, the overdose of DCPP caused the unwanted maturing time and reduce the safe storage period. If we take fruits with exceeding maximum residue limits, it could be harmful. Therefore, this study presented the analytical method of DCPP in agricultural commodities for the nation-wide pesticide residues monitoring program of the Ministry of Food and Drug Safety. METHODS AND RESULTS: We adopted the analytical method for DCPP in agricultural commodities by gas chromatograph in cooperated with Electron Capture Detector(ECD). Sample extraction and purification by ion-associated partition method were applied, then quantitation was done by GC/ECD with DB-17, a moderate polarity column under the temperature-rising condition with nitrogen as a carrier gas and split-less mode. Standard calibration curve presented linearity with the correlation coefficient ($r^2$) > 0.9998, analysed from 0.1 to 2.0 mg/L concentration. Limit of quantitation in agricultural commodities represents 0.05 mg/kg, and average recoveries ranged from 78.8 to 102.2%. The repeatability of measurements expressed as coefficient of variation (CV %) was less than 9.5% in 0.05, 0.10, and 0.50 mg/kg. CONCLUSION(S): Our newly improved analytical method for DCPP residues in agricultural commodities was applicable to the nation-wide pesticide residues monitoring program with the acceptable level of sensitivity, repeatability and reproducibility.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.26-44
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• 2017

Regarded as Korea's traditional pond, Gungnamj Pond was surmised to be "Gungnamji" due to its geological positioning in the south of Hwajisan (花枝山) and relics of the Gwanbuk-ri (官北里) suspected of being components to the historical records of Muwang (武王)'s pond of The Chronicles of the Three States [三國史記] and Sabi Palace, respectively, yet was subjected to a restoration following a designation to national historic site. This study is focused on the distortion of authenticity identified in the course of the "Gungnamji Pond" restoration and the invention of tradition, whose summarized conclusions are as follows. 1. Once called Maraebangjuk (마래방죽), or Macheonji (馬川池) Pond, Gungnamji Pond was existent in the form of a low-level swamp of vast area encompassing 30,000 pyeong during the Japanese colonial period. Hong, Sa-jun, who played a leading role in the restoration of "Gungnamji Pond," said that even during the 1940s, the remains of the island and stone facilities suspected of being the relics of Gungnamji Pond of the Baekje period were found, and that the traces of forming a royal palace and garden were discovered on top of them. Hong, Sa-jun also expressed an opinion of establishing a parallel between "Gungnamji Pond" and "Maraebangjuk" in connection with a 'tale of Seodong [薯童說話]' in the aftermath of the detached palace of Hwajisan, which ultimately operated as a theoretical ground for the restoration of Gungnamj Pond. Assessing through Hong, Sa-jun's sketch, the form and scale of Maraebangjuk were visible, of which the form was in close proximity to that photographed during the Japanese colonial period. 2. The minimized restoration of Gungnamji Pond faced deterrence for the land redevelopment project implemented in the 1960s, and the remainder of the land size is an attestment. The fundamental problem manifest in the restoration of Gungnamji Pond numerously attempted from 1964 through 1967 was the failure of basing the restorative work in the archaeological facts yet in the perspective of the latest generations, ultimately yielding a replication of Hyangwonji Pond of Gyeongbok Palace. More specifically, the methodologies employed in setting an island and a pavilion within a pond, or bridging an island with a land evidenced as to how Gungnamji Pond was modeled after Hyangwonji Pond of Gyeongbok Palace. Furthermore, Chihyanggyo (醉香橋) Bridge referenced in the designing of the bridge was hardly conceived as a form indigenous to the Joseon Dynasty, whose motivation and idea of the misguided restoration design at the time all the more devaluated Gungnamji Pond. Such an utterly pure replication of the design widely known as an ingredient for the traditional landscape was purposive towards the aesthetic symbolism and preference retained by Gyeongbok Palace, which was intended to entitle Gungnamji Pond to a physical status of the value in par with that of Gyeongbok Palace. 3. For its detachment to the authenticity as a historical site since its origin, Gungnamji Pond represented distortions of the landscape beauty and tradition even through the restorative process. The restorative process for such a historical monument, devoid of constructive use and certain of distortion, maintains extreme intimacy with the nationalistic cultural policy promoted by the Park, Jeong-hee regime through the 1960s and 1970s. In the context of the "manipulated discussions of tradition," the Park's cultural policy transformed the citizens' recollection into an idealized form of the past, further magnifying it at best. Consequently, many of the historical sites emerged as fancy and grand as they possibly could beyond their status quo across the nation, and "Gungnamji Pond" was a victim to this monopolistic government-led cultural policy incrementally sweeping away with new buildings and structures instituted regardless of their original space, and hence, their value.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.106-115
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• 2011

This study, based on (edited in 18th century), analysed the landscape system and cultural landscape elements of Yuhoidang(Hageowon 何去園) Garden in Musu-dong, Daejeon, and the findings are as in the following. YuHoidang(Gwon Yijin 權以鎭) managed Hageowon Garden in Musu-dong, located on the southern branch of Mt. Bomun, to realize his utopia. The completion of Hageowon Garden was only possible due to his installation of a variety of facilities in family gravesite on the hill behind his house: Shimyoso(Samgeunjeongsa 三近精舍, in 1707), Naboji(納汚池, in 1713), Banhwanwon(in 1714) and expended exterior space(in 1727). With regard to the landscape system of the village, the main range of mountains consists of Mt. Daedun, Mt. Odae and Mt. Bomun. The main high mountain of the three is Mt. Bomun, where 'Blue Dragon' hill branches off on the east side(Eungbong), 'White Tiger' in the west(Cheongeun and Sajeong) and Ansan(inner mountain) in the south. The landscape system is featured by 'mountains in back and rivers in front'. The river in the south-west, with its source in Mt. Juryun is called as the 'Stream of outer perfect spot', while the 'Stream of inner perfect spot' rises from Eungbong, passing through the east part of the village into the south-western direction. Banhwanwon Garden(盤桓園) was created with the stream in the east and natural bedrocks, and its landscape elements includes Naboji, Hwalsudam, Gosudae, Sumi Waterfall, Dogyeong(path of peach trees), Odeeokdae(platform with persimmon trees), Maeryong(Japanese apricot tree), springs and observatories. An expanded version of Banhwanwon was Hageowon garden, where a series of 'water-trees-stone' including streams, four ponds, five observation platforms, three bamboo forests and Chukgyeongwon(縮景園) of an artificial hill gives the origin forest a scenic atmosphere. When it comes to semantics landscape elements, there are (1) Yuhoidang to cherish the memory of a deceased parents, (2) Naboji for family unification, (3) Gosudae to keep fidelity, (4) Odeokdae to collect virtue and wisdom, (5) Sumi Waterfall to aspire to be a man of noble character, (6) Yocheondae for auspicious life, (7) Sumanheon and Gigungjae to be in pursuit of hermitic life, (8) Hwalsudam for development of family and study, (9) Mongjeong to repay favor of ancestors, (10) Seokgasan, a symbol of secluded life, (11) Hageowon to enjoy guarding graves in retired life. The spatial composition of Hageowon was realized through (1) Yuhoidang's inside gardens(Naboji, Jucheondang, Odeokdae, Dogyeong, Back yard garden and others) (2) Sumanheon(收漫軒) Byeolup or Yuhoidang's back yard gardens (Seokyeonji, Yocheondae, Sumanheon, Baegyeongdae, Amseokwon and others) (3) Chukgyeongwon of the artificial hill(which is also the east garden of Sumanheon, being composed of Hwalsudam, Sumi Waterfall and Gasan or 12 mountaintops) (4) the scenic spots for unifying Confucianism, Buddhism and Taoism are Cemetry garden in the back hill of the village, the temple of Yeogyeongam, Sansinkak(ancestral ritual place of folk religion) and Geoeopjae(family school). On top of that, Chagyeongwon Garden(借景園) commands a panoramic distant view of nature's changing beauty through the seasons.

• Journal of Food Hygiene and Safety
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• v.37 no.2
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• pp.39-45
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• 2022

This study aimed to investigate the validation and modify the analytical method to determine quercetin-3-𝑜-gentiobioside and isoquercitrin in Abelmoschus esculentus L. Moench for the standardization of ingredients in development of functional health products. The analytical method was validated based on the ICH (International Conference for Harmonization) guidelines to verify the reliability and validity there of on the specificity, linearity, accuracy, precision, detection limit and quantification limit. For the HPLC analysis method, the peak retention time of the index component of the standard solution and the peak retention time of the index component of A. esculentus L. Moench powder sample were consistent with the spectra thereof, confirming the specificity. The calibration curves of quercetin-3-𝑜-gentiobioside and isoquercitrin showed a linearity with a near-one correlation coefficient (0.9999 and 0.9999), indicating the high suitability thereof for the analysis. A. esculentus L. Moench powder sample of a known concentration were prepared with low, medium, and high concentrations of standard substances and were calculated for the precision and accuracy. The precision of quercetin-3-𝑜-gentiobioside and isoquercitrin was confirmed for intra-day and daily. As a result, the intra-day precision was found to be 0.50-1.48% and 0.77-2.87%, and the daily precision to be 0.07-3.37% and 0.58-1.37%, implying an excellent precision at level below 5%. As a result of accuracy measurement, the intra-day accuracy of quercetin-3-𝑜-gentiobioside and isoquercitrin was found to be 104.87-109.64% and the daily accuracy thereof was found to be 106.85-109.06%, reflecting high level of accuracy. The detection limits of quercetin-3-𝑜-gentiobioside and isoquercitrin were 0.24 ㎍/mL and 0.16 ㎍/mL, respectively, whereas the quantitation limits were 0.71 ㎍/mL and 0.49 ㎍/mL, confirming that detection was valid at the low concentrations as well. From the analysis, the established analytical method was proven to be excellent with high level of results from the verification on the specificity, linearity, precision, accuracy, detection limit and quantitation limit thereof. In addition, as a result of analyzing the content of A. esculentus L. Moench powder samples using a validated analytical method, quercetin-3-𝑜-gentiobioside was analyzed to contain 1.49±0.01 mg/dry weight g, while isoquercitrin contained 1.39±0.01 mg/dry weight g. The study was conducted to verify that the simultaneous analysis on quercetin-3-𝑜-gentiobioside and isoquercitrin, the indicators of A. esculentus L. Moench, is a scientifically reliable and suitable analytical method.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.1-13
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• 2022

This paper examined the history and development of Gyeongbokgung Palace's back garden based on historical materials and drawings such as Joseon Ilgi(Diaries of Joseon Dynasty), Joseon Wangjo Sillok(the Annals of the Joseon Dynasty), Doseongdaejido(the Great Map of Seoul), Bukgwoldohyeong(Drawing Plan of the Northern Palace), the Bukgung Palace Restoration Plan, Restoration Planning of Gyeongbokgung Palace and the following results were derived. First, it was confirmed that the Back Garden of Gyeongbokgung Palace was famous for its great location since the Goryeo Dynasty, and that it was named Namkyeong at that time and was a place where a shrine was built, and that castles and palaces were already built during the Goryeo Dynasty under the influence of Fengshui-Docham(風水圖讖) and Zhouli·Kaogongji(周禮考工記). Although the back garden of Gyeongbokgung Palace in the early Joseon Dynasty stayed out of the limelight as a back garden for the palace, it has a place value as a living space for the head of the state from King Gojong to the present. Second, in order to clearly identify the boundaries of back garden, through literature such as map of Doseongdo (Map of the Capital), La Coree, Gyeongmudae Area, Japanese Geography Custom Compendium, Korean Photo Album, JoseonGeonchukdoJip(The Illustration Book of Joseon Construction), Urban Planning Survey of Gyeongseong, it was confirmed that the current Blue House area outside Sinmumun Gate was built outside the precincts of Gyeongbokgung Palace. It was found that the area devastated through the Japanese Invasion of Korea in 1592, was used as a space where public corporations were combined through the process of reconstruction during the King Gojong period. In Japanese colonial era, the place value as a back garden of the primary palace was damaged, as the palace buildings of the back garden was relocated or destroyed, but after liberation, it was used as the presidential residence and restored the place value of the ruler. Third, in the back garden of Gyeongbokgung Palace, spatial changes proceeded through the Japanese Invasion and Japanese colonial era. The place with the greatest geographical change was Gyeongnongjae area, where the residence of the Japanese Government-General of Korea was built, and there were frequent changes in the use of the land. On the other hand, the current Gyeongmudae area, the forests next to the small garden, and the forests of Baekak were preserved in the form of traditional forests. To clarify this, 1:1200 floor plan of inner Gyeongmudae residence and satellite images were overlapped based on Sinmumun Gate, and as a result, it was confirmed that the water path originating from Baekak still exists today and the forest area did not change. Fourth, in the areas where the traditional forest landscape was inherited, the functional changes in the topography were little, and major old-age colonies are maintained. The old trees identified in this area were indicator tree species with historical value. Representatively, Pinus densiflora for. multicaulis Uyeki, located in Nokjiwon Garden, is presumed to have been preserved as one of Pinus densiflora for. multicaulis Uyeki planted next to Yongmundang, and has a historicality that has been used as a photo zone at dinners for heads of state and important guests. Lastly, in order to continuously preserve and manage the value of Gyeongbokgung Palace in Blue House, it is urgent to clarify the space value through excavation of historical materials in Japanese colonial era and establish a hierarchy of garden archaeology by era. In addition, the basis for preserving the historical landscape from the Joseon Dynasty to the modern era from Gyeongbokgung Palace should not damage the area of the old giant trees, which has been perpetuated since the past, and a follow-up study is needed to investigate all the forests in Blue House.