• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.70-83
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• 2013

To widen prospect of villa as Korea traditional garden, the result of the research about constructional characteristics of Seogo-jeongsa and Sameun-jeong of Yeoju Lee family at Toero-ri, Miryang-si, Gyeongsangnam-do, Korea, is abstracted as below. Seogo-jeongsa(西皐精舍) and Sameun-jeong(三隱亭) was intended to practise retirement with sense of unity with the head residence, since Seogo-jeongsa was 340m far and sameun-jeong was 630m far away from head residence, which set within 1km. Although Seogo-jeongsa's basic prop, Sameun-jeong's timber, which are both from designer's pen name and head residence name, "Hangjae(恒齋)" and "Yongjae(庸齋)," and Hanseoam have each different exposure, it is homogeneous as space configurational side in order to optimize the gaze leading effect and appreciated domestic trees from the pond, which is center of the garden and the significant facility. Method of direction of Seogo-jeongsa's Hwalsudang(活水塘) and Sameunjeong's pond of Sameun-ji(三隱 池) gets attention by distinction. Especially, directing of 3 step water flow from behind to front and traditional pond method, called Bangji-Bangdo(方池方島), were very unique that any other place can be found. Also, the middle islet on the pond at both villa, which isn't more supper, but more for the symbolic molding that seek a stone pagoda(石假山), is more interesting directing method as considering the relationship of the 3 stone pagoda imageries on the surface of Ghwayukchon(果肉泉) At the same time, Seogo-jeongsa and Sameun-jeong shows very different characteristics from traditional villa that adopted both domestic trees and foreign trees. Particularly, it is extremely exceptional case to plant vigorous needleleaf tree, such as Chamaecyparis pisifera, C. obtusa, Pinus bungeana, P. palustris, Sciadopitys verticillata, Metasequoia glyptostroboides and Cedrus deodara, on Sameun-jeong. Moreover, adopting foreign wild needleleaf trees for landscaping trees, such as a Torreya nucifera, Taxus cuspidata, P. parviflora, and foreign landsacping trees, such as P. bungeana, Cryptomeria japonica and C. obtusa tells planting trend of the late Joseon dysnasty era. Also, as we can know from 2 Jipgyeong(集景), which is 'Seogo-jabyoung 17 young(西皐雜詠十七詠)', and 'Sameun-jeong 12 Gyoung(三隱亭十二景)' which are set on both villa, the intend to expand the garden area is strongly shown by the natural forest directing. As a result, Seogo-jeongsa and Sameun-jeong, located at Toero-li Miryang, are sharing the traditional Joseon dynasty era's custom, such as space and visual composition; however, it is different and attractive garden remains as a point of view of water directing, stone pagodas, and adopting foreign landscaping trees.

• Journal of Ginseng Culture
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• v.6
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• pp.35-50
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• 2024

"Culture refers to the behavioral and lifestyle patterns that a society has shared and transmitted within the community over a long period. Ginseng, frequently encountered in the daily life of Koreans through tools, crafts, folklore, and poetry, holds a deep place in the behavioral and lifestyle patterns of the Korean people. Ginseng, engraved in everyday objects, crafts, and poems, is symbolic in our culture as a representation of longevity and well-being. Ginseng elegantly depicted on ceramics serves as a symbol of longevity along with aesthetic beauty. The common inclusion of ginseng in ritual items in mountain deity beliefs, particularly represented by the 'Bullocho' (不老草) ginseng, reflects a strong belief in the mystical qualities of ginseng associated with longevity and prosperity. The incorporation of ginseng into commonly used everyday tools such as rice cakes, dining tables, decorations, matches, and fans suggests that ginseng was considered a talisman symbolizing health and longevity, kept close as a wish for good fortune. Rice cakes, often presented at ceremonies like ancestral rites, 60th-anniversary celebrations, weddings, and birthdays, had ginseng patterns carved into them as a way for our ancestors to inscribe the spirit and health-symbolizing ginseng onto the food. In family communities, ginseng patterns are frequently found on utensils related to eating, such as chopsticks, spoons, tea cups, and trays. Among the various folklore related to ginseng being passed down, the most prevalent are anecdotes illustrating its efficacy. Ginseng, gifted and exchanged as a symbol of gratitude in letters and poems, goes beyond being a mere medicinal herb to embody friendship and blessings. The symbolism of ginseng, as revealed in everyday objects, artworks, poems, and letters, can be summarized as follows: 1. In folklore and legends, ginseng symbolized filial piety offered to parents. 2. It represented gratitude sent to respected teachers and close friends. 3. Ginseng depicted on daily objects and artworks not only showcased aesthetics but also played a magical role in symbolizing longevity and well-being. Ginseng patterns on items like rice cake molds and dining tables embody the spirit of a caring community, wishing for longevity and prosperity."

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.72-84
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• 2010

This study was attempted in order to offer basic data for implementing and applying Samjonseokjo(三尊石造), which is one of traditional stone construction method, by confirming how the constructive principle is expressed such as proportional beauty, which is contained in the modeling of Triad of Buddha Carved on Rock that was formed in the period of the Three States, centering on Triad of Buddha Carved on Rock in Susan. The summarized findings are as follows. 1. As a result of analyzing size and proportion of totally 17 of Triad of Buddha Carved on Rock, the average total height in Bonjonbul(本尊佛) was 2.96m. Right Hyeopsi(右挾侍) was 2.19m. Left Hyeopsi(左挾侍) was 2.16m. The height ratio according to this was 100:75:75, thereby having shown the relationship of left-right symmetrical balance. The area ratio in left-right Hyeopsi was 13.4:13.7, thereby the two area having been evenly matched. 2. The Triad of Buddha Carved on Rock in Seosan is carved on Inam(印岩) rock after crossing over Sambulgyo bridge of the Yonghyeon valley. Left direction was measured with $S47^{\circ}E$ in an angle of direction. This is judged to target an image change and an aesthetic sense in a Buddhist statue according to direction of sunlight while blocking worshipers' dazzling. 3. As for iconic characteristics of Buddha Carved on Rock in Seosan, there is even Hyeopsi in Bangasang(半跏像) and Bongjiboju(捧持寶珠) type Bosangipsang. In the face of Samjon composition in left-right asymmetry, the unification is indicated while the same line and shape are repeated. Thus, the stably visual balance is being shown. 4. In case of Triad of Buddha Carved on Rock in Seosan, total height in Bonjonbul, left Hyeopsi, and right Hyeopsi was 2.80m, 1.66m, and 1.70m, respectively. Height ratio in left-right Hyeopsibul was 0.60:0.62, thereby having been almost equal. On the other hand, the area ratio was 28.8:25.2, thereby having shown bigger difference. The area ratio on a plane was grasped to come closer to Samjae aesthetic proportion. 5. The axial angle of centering on Gwangbae was 84:46:50, thereby having been close to right angle. On the other hand, the axial angle ratio of centering on Yeonhwajwa(蓮華坐: lotus position) was measured to be 135:25:20, thereby having shown the form of inequilateral triangle close to obtuse angle. Accordingly, the upper part and the lower part of Triad of Buddha Carved on Rock in Susan are taking the stably proportional sense in the middle of maintaining the corresponding relationship through angular proportion of inequilateral triangle in right angle and obtuse angle. 6. The distance ratio in the upper half was 0.51:0.36:0.38. On the other hand, the distance ratio in the lower half was 0.53 : 0.33 : 0.27. Thus, the up-down and left-right symmetrical balance is being formed while showing the image closer to inequilateral triangle. 7. As a result of examining relationship of Samjae-mi(三才美) targeting Triad of Buddha Carved on Rock in Susan, the angular ratio was shown to be more notable that forms the area ratio or triangular form rather than length ratio. The inequilateral triangle, which is formed centering on Gwangbae(光背) in the upper part and Yeonhwajwa(lotus position) in the lower part, is becoming very importantly internal motive of doubling the constructive beauty among Samjae, no less than the mutually height and area ratio in Samjonbul.

• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.74-100
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• 2022

The purpose of this study was to investigate the characteristics of Chinese seowons and to obtain data based on the characteristics of waterscapes unique to Korean seowons. The conclusion of this study from the results of investigation and analysis of the location, water system, and design characteristics of 10 representative traditional seowons in China including Yuelu Seowon(嶽麓書院) conducted based on literature research and field observation is as follows. The water system of Chinese seowons is dualized into an inner and an outer water system, and in general, two and a maximum of three water bodies are superimposed on the outside. The locations of seowons are classified into five types: Four double-sided round water type sites, three converted face water type sites, one three-sided round water type site, a four-sided round water type, and a waterproofing type(依山傍水型). Therefore, compared to the typical Korean seowon facing water in the front and a mountain in the back(背山面水型), the Chinese seowons showed a highly hydrophilic property. The water shapes of the external water system were meandering(46.0%), mooring(36.0%), and broad and irregular(9.0%). In addition, water conception(水態) were streams(31.8%), rivers(27.3%), springs(13.6%), falls(9.1%), lakes(4.5%) and ponds(4.5%), in that order. As for waterscapes of the water system inside the seowon, there were seven in Akrok Seowon and four in Mansong Seowon, indicating a comparatively higher number of waterscapes. Since the 27 detailed waterscapes in 10 seowons that were the subject of the study were classified into six types including ponds and half-moon ponds, they appeared to be more diverse than the Korean seowon. It is noteworthy that in the interior waterscape of the traditional Chinese seowon, the ritualistic order, where at least one half-moon pond or square pond(方池) was arranged, is well displayed. In particular, the half-moon pond(伴池), which is difficult to find in Korean seowon, was found to be a representative waterscape element, accounting for 42.8%. If the square pond of Nanxi Seowon based on Zhu Xi's poem 「Gwanseoyugam(觀書有感)」 is also treated as a square-shaped half-moon pond, the proportion of half-moon ponds in the waterscape will be as high as 50%. The pond shapes consisted of 28% square, 24% each for free curve and round shape, 20% for semi-moon shape, and 3.8% for mountain stream type. This seems to differ greatly from the square-shaped Korean seowon. On the other hand, there were a total of 10 types of structures related to the waterscape inside the Chinese seowon: 11(26.8%) pavilion and bridge sites, five gate room sites(牌坊: 16.5%), four gate and tower sites(樓, 1.4%), two Jae sites(齋, 6.2%), and one site each(3.1%) of Heon(軒), Sa(祠), Dae(臺), and Gak(閣). In particular, the pavilions inside seowon were classified into three types: landscape pavilion(景觀亭 27.2%), tombstone pavilion(碑亭, 18.2%), and banquet pavilion(宴集亭, 54.5%). In general, it was confirmed that the half-moon pond with a pedestal bridge, and the pavilion were the major components with a high degree of connection that dominate the waterscape inside the Chinese seowon.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.

• Korean journal of applied entomology
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• v.54 no.2
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• pp.99-109
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• 2015

Insecticidal and antifeeding activities of 29 commercialized eco-friendly organic products for managing plant diseases and insect pests against Plutella xylostella larvae, Spodoptera exigua larvae, Frankliniella occidentalis adults, and Myzus persicae adults were tested using spraying and leaf dipping bioassays under laboratory conditions. Products containing 60% Sophora extract (EOIS) and mixtures (EOISm) with Sophora extract, Stemona japonica extract, Melia azedarach extract, and Nepeta cataria extract as well as mixtures (EOISc) with Sophora extract, Chenopodium ambrosioides extract, and Melia azedarach extract as active ingredients showed strong insecticidal activity at recommended concentration against P. xylostella larvae. At half concentration, their insecticidal activities were decreased under 50%. The EOIS gave good insecticidal activity against S. exigua larvae and also showed 85% and 95% insecticidal activity at 24 and 48 hours after treatment to F. occidentalis adults, respectively. For M. persicae adults, EOISm and mixtures (EOIR) containing rape seed extract, neem extract, and castar oil produced 93% and 68% insecticidal activity, but their activities did not be increased at double concentration. EOISm only showed 100% contact toxicity against M. persicae adults exposed to dipping leaves. Interestingly, the insecticidal activity of EOIR and EOICi (citronella oil and derris extract) against M. persicae adults was increased with exposed time and concentration. In addition, EOICe (cedar oil), EOIS, EOISm, EOISc, EOIM (microorganism), EOIR, EOIPe (plant extract), and EOIT (tea tree extract) gave strong antifeeding activity against S. exigua and P. xylostella larvae. EOIB, EOIBs, EOIM, EOICi, and EOIMc showed above 70% antifeeding activity to the lepidopteran larvae. These results indicate that mixtures containing 2 to 3 plant extracts with Sophora extract show good activities against insect pests, although the difference of insecticidal and antifeeding activities was produced depending on both a tested insect species and an active ingredient or concentration.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.22 no.4
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• pp.187-198
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• 2017

Dissolved and particulate organic carbon concentrations and fluxes were measured and estimated for the Yeongsan River during 2006~2015. The dissolved organic carbon (DOC) concentrations ranged from 2.49 to $4.39mg{\cdot}C/L$ with a variance of 30.1% (${\sigma}_x/\bar{x}$), and showed a simple correlation to algal bloom and precipitation. The particulate organic carbon (POC) concentrations had gradually decreased from 6.68 to $0.19mg{\cdot}C/L$ for 10 years, and changed definitely with weir construction in 2011. Based on the relationships between POC and suspended particulate matters and between POC and chlorophyll-a, we found out that the distinct variation of the origin and composition of POC was caused by stagnation and screening effect of the dammed river. The total organic carbon (TOC) concentrations dropped to 52.3% (from 8.26 to $3.94mg{\cdot}C/L$) as the POC concentrations diminished to more than 94.8% after weir construction, in which the DOC forms up to 90.9%. The fluxes of TOC, based on the relationship between the annual TOC concentration and the discharge of Yeongsan dike sluice, were $2.56{\sim}19.41{\times}10^9g{\cdot}C/yr$, and showed a great deal of variability in 2011. Since then the TOC flux dropped to $5.40{\times}10^9$ (2011~2015) from $14.54{\times}10^9g{\cdot}C/yr$ (2006~2010). These results suggest that the weirs trapped annually $1.83{\times}10^9g{\cdot}C$ on a river bed, but released in great levels of dissolved organic form at their exits.

• Journal of the Korean Society of Food Science and Nutrition
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• v.42 no.2
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• pp.262-267
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• 2013

The purpose of this research is to minimize the loss of nutrients in carrots (Daucus carota var. sativa). A protopectinase was used to enzymatically macerated and separate cells without damage. The enzyme modification group's collection rate was 81% (residue rate 19%), while the grinding process group's collection rate was 56% (residue rate 44%)-an over 20% of collection rate difference. Thus we predicted a big difference in transference number after the process and wastage. In comparing ingredient changes in the enzyme modification group versus the grinding process group, the content of ${\beta}$-carotene (the carrot's main ingredient) showed a change in protection factor (PF) ($2.2{\pm}0.2$ PF, $1.4{\pm}0.4$ PF, respectively), total polyphenol content ($89{\pm}3.42{\mu}g/g$, $64{\pm}4.16{\mu}g/g$, respectively), and total flavonoid content ($68{\pm}2.73{\mu}g/g$, $41{\pm}3.26{\mu}g/g$, respectively). Thus we confirmed that nutrient destruction, due to cell membrane preservation, occurred less often in the enzyme modification process than the mechanical grinding process group. We also measured DPPH radical scavenging activity, hydroxyl radical scavenging activity, and nitrite scavenging activity. DPPH radical scavenging activity was $87{\pm}0.29%$ and $74{\pm}1.56%$ in the enzymatic modification group compared to the mechanical grinding process group, respectively. Hydroxyl radical scavenging activity was $44{\pm}0.49%$ and $32{\pm}0.48%$ in the enzymatic modification group compared to the mechanical grinding process group, respectively. Nitrite scavenging activity was $59{\pm}0.53%$ and $46{\pm}0.62%$ in the enzymatic modification group compared to the mechanical grinding process group, respectively. Our results show that cell membrane preservation, via the protopectinase enzyme process, decreases the loss of nutrients and still preserves inherent antioxidants.

• Journal of the Korean Society of Radiology
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• v.6 no.5
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• pp.365-371
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• 2012

The radiation therapy treatment technique is developed from 3D-CRT, IMRT to Tomotherapy. and these three technique was most widely using methods. We find out a comparison normal tissue doses and tumor dose of 3D-CRT, IMRT(Linac Based), and Tomotherapy on Head and Neck Cancer. We achieved radiological image used the Human model phantom (Anthropomorphic Phantom) and it was taken CT simulation (Slice Thickness : 3mm) and GTV was nasopharngeal region and PTV(including set-up margin) was GTV plus 2mm area. and transfer those images to the radiation planning system (3D-CRT - ADAC-Pinnacle3, Tomotherapy - Tomotherapy Hi-Art System). The prescription dose was 7020 cGy and measuring PTV's dose and nomal tissue (parotid gland, oral cavity, spinal cord). The PTV's doses was Tomotherapy, Linac Based - IMRT, 3D-CRT was 6923 cGy, 6901 cGy and 6718 cGy its dose value was meet TCP because its value was up to the 95% based on 7020 cGy, Nomal tissue (parotid gland, oral cavity, spinal cord) was 1966 cGy(Tomotherapy), 2405 cGy(IMRT), 2468 cGy(3D-CRT)[parotid gland], 2991 cGy(Tomotherapy), 3062 cGy(IMRT), 3684 cGy (3D-CRT)[oral cavity], 1768 cGy(Tomotherapy), 2151 cGy(IMRT), 4031 cGy(3D-CRT)[spinal cord] its value did not exceeded NTCP. All the treatment techniques are equated with tumor and nomal tissue doses. The 3D-CRT was worse than other techniques on dose distribution, but it is reasonable in terms of TCP and NTCP baseline Tomotherapy, IMRT -dose distribution was relatively superior- was hard to therapy to claustrophobic patients and patients with respiratory failure. Particularly, in case on Tomotherapy, it take MVCT before treatment so dose measurement will be unnecessary radiation exposure to patients. Conclusion, Tomotherapy was the best treatment technique and 2nd was IMRT, and 3rd 3D-CRT. But applicable differently depending on the the patient's condition even though dose not matter.

• Pediatric Infection and Vaccine
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• v.17 no.2
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• pp.148-155
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• 2010

Purpose : The purpose of this study was to investigate clinical features and culture-positive rates according to the involved lung in adolescent pulmonary tuberculosis (TB). Methods : We retrospectively reviewed the medical records of adolescents who ranged in age from 10 to 20 years and who had been hospitalized with a diagnosis of TB at Kwangju Christian Hospital from 2000 to 2008. Results : Sixty-six patients were identified with pulmonary TB: median age 16.82 years; 48.5% males. Among them, 90.9% of patients were between 15 and 20 years of age. Most patients presented with multiple symptoms, and the most common included cough (74.2%), sputum (60.6%), fever (39.5%), and night sweating (18.2%). Sputum samples were smear-positive in 28 (42.4%), culture-positive in 40 (60.6%), and PCR-positive in 46 (69.7%). The most common radiological patterns included cavitation in 18 (27.3%), pleural effusion in 18 (27.3%), lymphadenopathy in 10 (15.2%), and tuberculoma in 5 (7.6%). The prevalence of smear, culture, and PCR positive rates increased as the number of involved lobes increased (P<0.05, P<0.01, P<0.05). The median treatment duration was 7 months. Twelve patients (18.2%) had lower lung field TB (Group A) and forty-four patients (66.7%) had other areas involving TB, except for Group A (Group B), and ten patients (15.1%) had only TB pleurisy (Group C). The difference of clinical characteristics and culture rates between group A and group B was not significant. Conclusion : Pulmonary TB toward late adolescence is increasing. We need to pay more attention to lower lung field TB, which is difficult to detect with specific radiographic findings.