• 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.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.2
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• pp.119-129
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• 1999

It may be said that ancient wild Chinese garden had been founded during Qin dynasty and completed through Han, Sui and Tang dynasties. At first used as hunting areas for kings, the ancient resort forests began to take forms of garden. They dug a pond in the garden and made a simulated mountains with the soil that came from the excavations for the pond and suc pavilions has Gyong, Ru, Gak etc. were built around the pond. The ponds were different in size from those in Korea, being of the lake-like size. they made three island in the pond, which were the islands of Taoist hermits with supernatural powers, called Bong-lae, Young-ju and Band-jang respectively. the traditional of making those islands began in the Qin era and were completed in the Han era, being descended to posterity as a traditional garden structure of 'three islands in one pond' garden style. Such style was brought to Korea and first appeared as Kung-Nam-Ji in Back-jae kingdom and then brought to Japan, becoming the tradition of constructing ponds from early Heian era. Those lake-like huge Chinese ponds constituted the core of ancient garden where various feasts took place. Such ponds were also placed at the center of the gardens and played the roles of feasting garden ponds. Through the above-mentioned studies of the ancient Chines garden, the origin of them and the influence of the ancient Chinese ponded garden upon those of Korea and Japan were investigated.

• Journal of Microbiology and Biotechnology
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• v.23 no.4
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• pp.539-544
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• 2013

The effects of culture depth (2-10 cm) and cell density on the growth rate and biomass productivity of Chlorella sp. XQ-200419 were investigated through the use of a self-designed open circular pond photobioreactor-imitation system. With increases in culture depths from 2 to 10 cm, the growth rate decreased significantly from 1.08 /d to 0.39 /d. However, the biomass productivity only increased slightly from 8.41 to 11.22 $g/m^2/d$. The biomass productivity (11.08 $g/m^2/d$) achieved in 4 cm culture with an initial $OD_{540}$ of 0.95 was similar to that achieved in 10 cm culture with an initial $OD_{540}$ of 0.5. In addition, the duration of maximal areal productivity at a 4 cm depth was prolonged from 1 to 4 days, a finding that was also similar to that of the culture at a 10 cm depth. In both cases, the initial areal biomass densities were identical. Based on these results and previous studies, it can be concluded that the influence of culture depth and cell density on areal biomass productivity is actually due to different areal biomass densities. Under suitable conditions, there are a range of optimal biomass densities, and areal biomass productivity reaches its maximum when the biomass density is within these optimal ranges. Otherwise, biomass productivity will decrease. Therefore, a key factor for high biomass productivity is to maintain an optimal biomass density.

• Journal of Microbiology and Biotechnology
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• v.21 no.7
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• pp.697-702
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• 2011

A strain of the cyanobacterium Arthrospira was isolated from Lake Chahannaoer in northern China and was characterized according to microscopic morphology, photosynthetic oxygen-evolving activity, growth rate, and nutritional profile. Compared with thermophilic Arthrospira species occurring naturally in tropical and subtropical lakes, this isolate is mesophilic and grows optimally at ${\sim}20^{\circ}C$. The total protein, fatty acid, phycocyanin, carotenoid, and chlorophyll a contents were 67.6, 6.1, 4.32, 0.29, and 0.76 grams per 100 grams of dry weight, respectively. The strain is rich in polyunsaturated fatty acids (PUFAs). An essential omega-3 fatty acid, docosahexaenoic acid (DHA), was detected, and ${\gamma}$-linolenic acid (GLA) and DHA accounted for 28.3% of the total fatty acid content. These features of this newly isolated strain make it potentially useful in commercial mass culture in local areas or as a biofuel feedstock. It is also an alternative resource for studying the metabolic PUFA pathways and mechanisms of cold stress tolerance in cyanobacteria.

• Journal of Microbiology and Biotechnology
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• v.25 no.12
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• pp.2116-2124
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• 2015

To understand the effects of physicochemical factors on nitrite transformation by microalgae, a lipid-rich Chlorella with high nitrite tolerance was cultured with 8 mmol/l sodium nitrite as sole nitrogen source under different conditions. The results showed that nitrite transformation was mainly dependent on the metabolic activities of algal cells rather than oxidation of nitrite by dissolved oxygen. Light intensity, temperature, pH, NaHCO₃ concentrations, and initial cell densities had significant effects on the rate of nitrite transformation. Single-factor experiments revealed that the optimum conditions for nitrite transformation were light intensity: 300 μmol/m²/s; temperature: 30℃ pH: 7-8; NaHCO₃ concentration: 2.0 g/l; and initial cell density: 0.15 g/l; and the highest nitrite transformation rate of 1.36 mmol/l/d was achieved. There was a positive correlation between nitrite transformation rate and the growth of Chlorella. The relationship between nitrite transformation rate (mg/l/d) and biomass productivity (g/l/d) could be described by the regression equation y = 61.3x (R² = 0.9665), meaning that 61.3 mg N element was assimilated by 1.0 g dry biomass on average, which indicated that the nitrite transformation is a process of consuming nitrite as nitrogen source by Chlorella. The results demonstrated that the Chlorella suspension was able to assimilate nitrite efficiently, which implied the feasibility of using flue gas for mass production of Chlorella without preliminary removal of NO_X.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.4
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• pp.113-124
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• 1999

The purpose of this study is to search into the relation between the chinese seclusion culture and the gentleman's gardens by means of the historical and aesthetic approach. The periodic limits of this study is from pre-Qin to Tand. For gentleman's gardens in Tang dynasty at once got out of the noble's gardens which had imitated the imperial gardens until Tang, and became the origin of the gardens of the literati appearing in post-Tang dynasty. The major findings are as follows : First, in pre-Qin period, the origin of the seclusion culture is classified as the metaphysical seclusion of Taoism and the physical seclusion of Confucianism. Although Pu, Yuan, and Uou which could be said the first step of the chinese gardens were inquired, the clear relation between the seclusion and them is not found. Second, during Qin-Han dynasty, the role of the gardens, as the settings of the seclusion, are comparatively minor, too. But uan Kuang-Han's garden considerably escaped from that of pre-Qin in the aspect of function, and it has the characteristics of recreation. Third, during Wei-Chin and Liu dynasty, two types of the seclusions emerged. One is the small seclusion, and the other the Great Seclusion. Though, as formerly, the contemporary gardens did not escaped from the imperial gardens, Shi Chong's garden can be the setting of the Court Seclusion. But the seven Righteous in Bamboos' and Tao Yuan-Ming's settings of the seclusion were real natural environments rather than gardens. Forth, in Tang dynasty, in spite of relatively low status, Bai Ju-Yi's theory of the middle Seclusion enabled gentlemen to make seclusion in sinecures unlike the court Seclusion. The theoretical background of the Middle Seclusion was Zen Buddhism and the State Examinations System and Bai Ju-Yi's private social position also had an important effect on it. In Tang dynasty, there being nobiliary gentleman's gardens, Bai Ju-Yi's garden, Lushan Caotangyuan, was the setting of the Middle Seclusion. It can be called a real gentleman's garden, for it is simple and small unlike the imperial gardens or the nobiliary gentleman's gardens.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.2
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• pp.104.2-104.2
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• 1997

Ji Cheng''''s great work on garden design theory, the ''''Yuanye'''', written in 1631 and originally published in 1634 is the first surviving treatise and most famous and comprehensive work on the suvject in the Chinese tradition. He constructed Dongdiyuan in Changzhou about 1623, Wuyuan in Yizheng in 1631, and Yingyuan in Yangzhou about 1634. But no poems and paintings written by him still exist, and none of his known gardens has survived. Therefore his design philosophy is able to be interpreted only by his work, Yuanye. This study aims at investigating the garden design theory in Yuanye. The results were summarized as follows. 1) Yuanye reflected the garden tastes of literati, and Ji Cheng endeavored to express the deas of literati painting into gardens. 2) The essence of the garden design theory is Xingzao, and Yindi, following the existing lie of the land, and Jiejing, to borrow from the scenery, are two major activities of Xingzao. 3) Ji Cheng''''s design theory build up on the basis of recognizing the existence of masters. 4) Yindi is the environmental and ecological planning and design method. This is the activity to reach the state of artistry through suitability. 5) Jiejing is not merely borrowing the landscape but the making use of scenery around the garden. And only the master has the skill in fitting in with the form of the land. 6) Ji Cheng pursuits the garden which will look like something naturally created though manmade. It is the goal of the Chinese traditional gardens and ideal situation. 7) Ji Cheng aims to unify the environment and landscape design dialectically into Xingzao.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.2
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• pp.117-134
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• 1997

Ji Cheng's great work on garden design theory, the 'Yuanye', written in 1631 and originally published in 1634 is the first surviving treatise and most famous and comprehensive work on the suvject in the Chinese tradition. He constructed Dongdiyuan in Changzhou about 1623, Wuyuan in Yizheng in 1631, and Yingyuan in Yangzhou about 1634. But no poems and paintings written by him still exist, and none of his known gardens has survived. Therefore his design philosophy is able to be interpreted only by his work, Yuanye. This study aims at investigating the garden design theory in Yuanye. The results were summarized as follows. 1) Yuanye reflected the garden tastes of literati, and Ji Cheng endeavored to express the deas of literati painting into gardens. 2) The essence of the garden design theory is Xingzao, and Yindi, following the existing lie of the land, and Jiejing, to borrow from the scenery, are two major activities of Xingzao. 3) Ji Cheng's design theory build up on the basis of recognizing the existence of masters. 4) Yindi is the environmental and ecological planning and design method. This is the activity to reach the state of artistry through suitability. 5) Jiejing is not merely borrowing the landscape but the making use of scenery around the garden. And only the master has the skill in fitting in with the form of the land. 6) Ji Cheng pursuits the garden which will look like something naturally created though manmade. It is the goal of the Chinese traditional gardens and ideal situation. 7) Ji Cheng aims to unify the environment and landscape design dialectically into Xingzao.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.130-138
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• 2014

This study aimed to grasp Feng Shui Geographical Thought appears in layout, Axial symmetry, hierarchical planning, spatial composition and hidden design techniques of Chinese Garden, that is "Xue effect", "Long-Sha effect" and "Shuikou effect", and to study on expression in Landscape Space. The Author selected the Chinese courtyard and the Nets Garden as the object to prove the Layout landscaping techniques; and selected Beijing in Ming and Qing Dynasties and the Forbidden City, A square design in Xuanwei as the object to prove the Axial Symmetrical and Hierarchical landscaping techniques, and also selected the Lingering G-arden and the Gentle Waves Pavilion, Humble Administrator's Garden in Suzhou, and Nanhu Park in Taian as the object to prove the Spatial Composition and Hidden design techniques. The methods of this article is combined Literature survey and Field survey with Case analysis to draw the conclusions as follows: First, "Xue effect" of Chinese Feng Shui Geographical Thought is suitable for the layout of Chinese courtyard and the Nets Garden in Suzhou; Second, "Long-Sha effect" is suitable for the urban planning of Beijing in Ming and Qing Dynasty, and the layout of the Forbidden City, by the city square design in Xuanwei, we can see that it is also suitable for Chinese modern landscape design; Third, "Shuikou effect" is appeared in the Spatial Composition and Hidden design techniques. All of these landscape design techniques are commonly used in China's modern landscape. It has been proved by the analysis of the Lingering Garden and the Gentle Waves Pavilion, Humble Administrator's Garden in Suzhou, and Nanhu Park in Taian.

• Bulletin of the Korean Chemical Society
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• v.34 no.5
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• pp.1541-1542
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• 2013