• Korean Journal of Medicinal Crop Science
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• v.13 no.6
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• pp.255-260
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• 2005

For selecting a new candidate as functional material, this study was conducted on in vitro antioxidant activity and total phenol content of methanol and water extracts prepared from two Mentha species (M viridis L. (M spicata L.) and Mentha piperita L, Extracts of M. viridis showed more efficient scavenging activity on superoxide and DPPH ${({\alpha},{\alpha}-diphenyl-{\beta}-picrylhydrazyl)}$ radical and inhibitory activity on oxidation of human low density lipoprotein (LDL) induced by $CuSO_4$ and auto-oxidation of linoleic acid than those of M piprita. Methanol extract $(65.88%{\sim}77.59%)$ and water extract $(37.69%{\sim}87.21%)$ of M. viridis also exhibited more potent inhibitory activity on LDL oxidation than that of ${{\alpha}-tocopherol\;(28.37%{\sim}66.54%)}$ at ${1{\sim}100\;{\mu}g/ml}$ of final concentration. The total phenol contents of methanol extract and water extract of Mviridis (17.95% & 10.18%, respectively) as tannic acid equivalent were higher than those of M piperita (15.44% & 9.19%). But the yields of methanol and water extracts of M. viridis (13.3 % & 13.5%) were lower than those of M. piperita (14.1 % & 14.6%). The results implies that the extracts from M. viridis (spicata) is more useful material for industrialization as functional food than those from M. piperita.

• Korean Journal of Medicinal Crop Science
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• v.13 no.6
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• pp.261-267
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• 2005

Alcohol metabolizing and antioxidant activity of Mentha species were investigated in rat liver. Fifty six Sprague Dawley rats were randomly divided into seven groups such as normal (ethanol excluded), negative control (40% ethanol (10 g/kg of body weight/day) fed), positive control (1 g Silymarin/kg of body weight/day with ethanol fed), two Mentha viridis extracts (0.2 g & 1 g M. viridis methanol ext./kg of body weight/day with ethanol fed) and two M piperita extracts (0.2 g & 1 g M. piperita methanol ext./kg of body weight/day with ethanol fed) groups. After 2 weeks, rats were sacrificed under ether. The activities of alcohol dehydrogenase (ADH), aldehyde dehydrogenase (ALDH), catalase (CAT), manganese superoxide dismutase (Mn-SOD), glutathione peroxidase (GAH-px) and the content ofthiobarbituric acid reactive substance (TBARS) in the rat livers and the activity of glutamate pyruvate transferase (GPT) in serum were evaluated. From the analyses, 1 g M. viridis and 0.2 g M. piperita administrated groups showed higher ADH and ALDH activity than the other groups. Groups fed with 0.2 g and 1 g M. viridis ext. and 0.2 g M. piperita ext. showed higher CAT activity than the other groups. All the Mentha extract fed groups exhibited more effective in recovering Mn-SOD, GSH-px and GPT acitivities to a similar degree of normal group. TBARS contents of two M. viridis ext. fed group and 0.2 g M. piperita ext. fed group were higher than those of the other groups. M. viridis extract fed groups showed more effective in CAT and Mn-SOD activities than M. piperita extract groups at p < 0.05. Finally, it is concluded that both Mentha species have alcohol metabolizing and antioxidant activity and M viridis is more effective than M. piperita.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.190-205
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• 2016

Buddhist stupas, which are a symbolic architecture of Buddhism and enshrine the Jinsinsari of Buddha, were reinvented as stone stupas appropriate for the natural soil of Korea from existing wooden stupas around the 7th century after the introduction of Buddhism. Later, the construction of a stone stupa was expanded to local areas from the central area around the 9th century; thus, stone stupas of more diverse local colors were built in a nationwide scale, and today it is called a "country of stone stupas". While focusing on the stylistic interchanges between stone stupas, which were established in each region in accordance with the localization of the establishment of stone stupas that was begun actively from the 9th century, this paper selected several cases of stone stupas among about 50 stone stupas in the Gangwondo-region. First, the study compared the stone stupas and Buddhist priest tower of Seollimwonji, Jinjeonsaji, and Geodonsaji, which are located at the same temple site as the current Buddhist priest tower, from among typical Silla style stupas that match the 9 stone stupas in the Gangwon-do region. This is because stylistic interchanges were possible while there were mutually organic relationships between Buddhist statues such as stone stupas, Buddhist priest towers, stone lanterns, and Buddhist pedestals, which used the same stone material along with the expansion of Buddhism to local areas in accordance with the spread of Zen Buddhism in the 9th century. Second, a comparison was made of the stylistic similarities between the Woljeongsa Palgakgucheong (eight sides nine-storied) stone stupa and the Sinboksaji Samcheung (three-storied) stone stupa, which are totally different in regard to the number of stories and the flat form. These two stone stupas are representative Goryeo stone stupas. The Woljeongsa stone stupa is a Goguryeo-oriented stone stupa with many sided multiple stories whereas the Sinboksaji stone stupa has been known as an early case of the insertion of the support of Tapsin in each story. Although the two stone stupas may look very different, but through close investigation it was confirmed that there were many stylistic interchanges between them and not only the seated stone Buddha statue in the cylinder jewel case in front of the stupa but also the stone stupa established by the same master. Consequently, this paper aimed not merely to mention the simple patterns of stone stupas, but, further, to trace the interchange in patterns in accordance with the construction period based on those patterns.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.273-280
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• 2021

GangAm Song Sungyong (1913~1999) was from Gimje, Jeollabuk-do. And he is a calligrapher from the last Confucian scholar of the 20th century and a writer of poetry, calligraphy, and painting. While wearing a topcoat and hanbok for the rest of his life, he approached the study, thought, and calligraphy art of Yoo Jae Song Kimyeon and Kojae Lee Byungeun from the perspective of 'GucheSinyong'. And he kept the philosophical subjectivity that tries to maintain character and a right mind. It was based on 'Guche', which is a faithful succession to the reverence of the old. When I was young, I practiced Mibul and Dong Kichang with Gu Yangsun as the center, and Hwang Jeonggyeon, Hanye, Oh Heejae, and Sojeon typefaces were grafted together during the national exhibition. Then, in 1965 (age 53), he moved to Jeonju, and learned several typefaces such as Chusa typeface on his own, creating a Gangam typeface without any obstacles. And he created 'Sinyong' with Windy Bamboo painting, which embodied strange and unconventional meanings. In addition, he re-established his identity by reexamining the fundamental spirit and natural aesthetics of calligraphy, and based on this, he greatly contributed to expanding the aesthetics of modern calligraphy and painting art by pursuing an aesthetic that explores novelty. In particular, Windy Bamboo painting has strong abstraction based on the principle of 'drawing the will'. And, in terms of discipline, the ethical aesthetic of Express Tao with pictures (畵以載道), which expresses the high level of elegance of observing small things in a big way, based on deep research on the logic of things and fulfilling human nature. By implementing it, Tao and Art become one. The Jeonbuk calligraphy group achieved the greatest prosperity in the Gangam era, and at the end of the 20th century, it entered a period of revival as it established itself as the central calligraphy group of Korean calligraphy.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.2
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• pp.94-102
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• 2023

The Florence Charter, established in 1981 by the ICOMOS-IFLA International Commission on Historic Gardens, considered the historic garden as a plant-dominated architectural composition, a perpetual balance between the artist and the artisan's desire to remain unaltered in perpetuity. Trees, the main component of the garden, require continuous management as they repeat their creation and calling according to the cycle of the seasons and accordingly, it is suggested that management to maintain the appearance of trees in Korean palaces was an indispensable element. Although it is an important matter to historically verify the tree management techniques of the palaces of the past, research has been difficult due to the absence of historical records and the disconnection of life due to the Japanese colonial period. In addition, according to the view that trees were not generally managed in the palace, research on palace tree management techniques has not been conducted so far. Therefore, this study aimed to examine whether or not the tree management of the palaces was performed in the past through expert interviews based on photographs taken in modern times. With the identification of tree species and pruning through in-depth interviews with experts using photographs taken in the modern period, the results are as follows. First, it was found that the shapes of trees and leaves could be identified through photographs and by observing the phenomena caused by planting and pruning, it was possible to estimate whether or not the tree management was implemented in the modern palace. Second, as a result of in-depth interviews with 8 experts in 4 fields, it was possible to determine the tree species and pruning status, purpose, and method. There was no significant difference in opinions between groups, and the evidence was clearly presented. Third, the type of management of trees in the palace was mainly found to be determination of the types of tree, removal of hazardous factors of trees, and management of lower vegetation and through the photographs of Jondeokjeong and Gwanwanjeong, it was confirmed that the trees were managed even before the Japanese colonial era, considering the time of filming. Based on the photographs taken, it was possible to estimate whether the trees were managed before the Japanese colonial period through expert interviews. However, it could not be clarified due to lack of historical materials as to whether it was carried out on its own according to the circumstances of the times or by the Japanese Empire. Still, in this study, evidence was obtained to refute the view that trees of the palace were not managed in the past through the collected data. Expert opinions supporting this view were collected to make the conclusion. In addition, based on the general theory of pruning, an empirical review of expert opinions was conducted to secure the reliability of the research results.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.22-43
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• 2023

This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.4-19
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• 2014

In Joseon dynasty, Gongsin-Gyoseo(Royal Edicts rewarding meritorious vassals) was issued for the reward of the contribution to the specific event of the nation. The family decided as vassals succeeded this Gongsin-Gyoseo as the family treasure to later generations. When one happened to lose this caused by an unavoidable situation such as war in this process, there were a few cases of reissuing of Gongsin-gyoseo by the nation. The confirmative reissued Gongsin-gyoseo among Gongsin-gyoseo that descended down by now are three pieces which is Park dongnyang Hoseong Gongsin-Gyoseo, Gu goeng Jeongsa Gongsin-Gyoseo, and Park jung Jeongsa Gongsin-Gyoseo. This research considered the form and mounting about these three pieces. It was indicated that the reissued Gongsin-Gyoseo was produced following the same form with the original Gongsin-Gyoseo, that is pyeongchul(moving to next lines) and daedu (writing one or two letters ahead compared to the first letter) and so on. But, it was indicated that the change of the position of the vassals in the reissued time was reflected compared to position of the original Gongsin-Gyoseo. In case of Jeonsa Gongsin-Gyoseo, it was indicated that it was 'Wonjongdaewang-whi' since the original Gongsin-Gyoseo was 'Jeongwongun-bu' and the reissued time he became the father of King Injo. Also, it was confirmed that the case of deprivation because of conspiracy such as 'Kim jajeom, Kim ryeon, Sim kiwon, Sim kisung' was produced as the original document and deleted with black ink stick. It was newly confirmed while the original Gongsin-Gyoseo was produced by a designated writer from the nation, the reissuance was written by a writer from the family of the vassals. Since the mounting of Gongsin-Gyoseo could be changed according to the favor and technique of the craftsman participated in the practical production such as Baezeopjang and economical situation of the country supplying the material, the mounting of these three Gongsin-Gyoseo should be different from the original mounting, especially because of the loss of the original by the Manchu war of 1636. The comparison result of Gongsin-Gyoseo produced in the same period with the original issued one in the record of the related Uigwe (a collection of documents from the Joseon Dynasty), the reissued one seems to be larger in the form or ratio of the mounting compared to the first issued one. First of all, the width of Byunah was expanded as twice bigger, center and both side Hoejang also was bigger as over 2cm, and the below Hoejang was expanded as 10cm, and the ratio of the upper Hoejang and the below Hoejang was wider as 1.5 times and the reissuance was 1:1 ratio. The bisect of upper shaft in Park dongnyang Hoseong Gongsin-Gyoseo is assumed as the form of an equilateral triangle, not a half-moon shape of the present, and Gu goeng and Park jung Jeongsa Gongsin-Gyoseo will be the form whose bisection form is same but the size is smaller. Chuksu is confirmed that the size is not changed significantly. Osaekdahoe can be assumed that the width was smaller compared to the first issued one. The 3 pieces of the reissued versions provide the clue of the verification for the form of the mounting of Bosa Gongsin-Gyoseo in the same production period. In the situation that the mounting of the production time was not confirmed among the currently descended Bosa Gongsin-Gyoseo, they can be very important materials.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.45-86
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• 2020

In this article, the "modernization of the tradition" constructed on the cultural politics and the way in which it appropriated in the korean theatre in the 1970s were analyzed. It is trying to reveal its implications. It is also a work to critically review the aspects of self-censorship in the korean theatre in the 70s. To that end, we looked at the theatre company Minye Theatre, which preoccupied the traditional discussions in the 1970s by creating national dramas. Until now, the evaluation of the theatre company Minye Theatre in the 1970s has focused on the achievement on the directing of Heo Gyu, who promoted the succession and transformation of tradition. However, the traditional ideology constructed in the state-led cultural politics in the 70s and the way in which it was operated cannot be evaluated only in terms of artistic achievement. The ideology of tradition is selected according to the selective criteria of the subject to appropriate tradition. What's important is that certain objects are excluded, discarded, re-elected, re-interpreted and re-recognized in the selection process of selected traditional ideology. This is the situation in the '70s, when tradition was constantly re-recognized amid differences between the decadent and the disorder that were then designated as non-cultural, and led to a new way of appropriate. The nation-led traditional discussion of the '70s legalized the tradition with stable values, one of the its way was the national literary and artistic support. Under the banner of modernization of tradition, theatre company Minye preoccupied the discussions on the tradition and presented folk drama as a new theatre. As an alternative to the crisis of korean theatre at the time, the Minye chose the method of inheriting and transforming tradition. It is noteworthy that Heo Gyu, the representative director of the theatre company Minye, recognized the succession and transformation of traditional performance as both a calling and an experiment. For Heo Gyu, tradition was accepted as an irresistible stable value and an unquestionable calling, and as a result, his performance, filled with excessive traditional practices, became overambitious, especially when it failed to reflect the present-here reality, the repeated use of traditional expression tools resulted in skilled craftsmanship, not artistic creation. The traditional ideology of the 70s unfolds in a new aspect of appropriation in the 80s. In 1986, Son Jin-Cheok, Kim Seong-nyeo, and Yoon Mun-sik, who were key members of the theatre company Minye Theatre, left the theatre to create the theatre company Michu, and secured popularity through Madangnori(popular folk yard theatre). Son Jin-Cheok's Madangnori is overbearing through satire and humor. It gained popularity by criticizing and mocking state power. On the other hand, not only the form of traditional performance, but also the university-centered Madanggeuk movement, which appropriated on the spirit of resistance from the people to its traditional values, has rapidly grown. In the field of traditional discussions of the 70s, Madanggeuk was self-born through appropriation in which the spirit of resistance of the people is used as a traditional value. Madanggeuk as well as Michu that achieved the popularization of Madangnori cannot be discussed solely by the artistic achievement of the modernization of tradition. Critics of korean theatre in response to state-led traditional discussions in the 70s was focused only on the qualitative achievement of performing arts based on artistry. I am very sorry for that. As a result, the popular resistance of the Madanggeuk and the Madangnori were established in the 'difference' with the traditions of the theatre company Minye Theatre. Theatre company Minye Theatre was an opportunity for the modernization of tradition, but the fact that it did not continuously produce significant differences. This is the meaning and limitation of the "tradition" of the theatre company Minye Theatre in the history of korean theatre in the 1970s.