• 한국조경학회지
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• 제25권2호
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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.

• 한국조경학회지
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• 제22권4호
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• pp.23-36
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• 1995

This study aims at scrutinizing the etymological meanings and literal usages of the term Gyung perse so as to clarify the traditional concepts formualted in the northeastern Asian countries. Related classical dictionaries and literatures in Korea and China were consulted intensively. Strictly speaking, the compound word gyung-gwan(景觀) composed of gyung(景:seen objects) and gwan(觀:seeing) in terms of word formation is not the synonym of the English term Landscpe. The Chinese character Gyung(景) composed of the character il(日:the Sun) and the character gyung(京:royal palace or capital city) originally indicated a brilliant and beautiful view of the capital city seen in a clear and bright daylight. Thereafter this ideographic letter had been used to indicate an unusual view which is aesthetically and can be used as a typical landscape schema or a model. Due to intrinsic nature of this kind of view, the meanings of gyung had been extended connotativelly as well as denotativelly: the meaning worthy of note in terms of landscape studies ar l) visible object which places some physical and psychological distance from the observer; 2)the scene or the backdrop of a theater, 3)a defined vista. With these in mind, meanings and usages of related terms as Kwung(光:light or bright), Pung(風:wind or fresh). Chi(致:fine), Mul(物:object or world), Gae (槪:general), Seung(勝:outstanding or surpassing), Saek(色:color or colorful), which had produced diversified and delicate connotations through compounding with the etymon Gyung, were reviewed.

• 한국전통조경학회지
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• 제40권3호
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• pp.57-66
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• 2022

2003년 경상남도 사천시 선진리 251번지 및 256-1번지에서 측천문자가 새겨진 신라시대 비문이 발견된 이후, 경남문화재연구원과 곽승훈, 김창겸 등 국내연구자들이 비문에 대한 해석을 시도한 바 있다. 그러나 비문에 등장하는 측천문자의 기원과 이두식 표현의 해석 대해서는 이설이 존재한다. 본 연구에서는 이 비석이 7세기 후반에서 8세기 중반에 신라 임금이 진주·사천 일대에서 순시 및 불교 활동에 참여한 것을 기념하기 위해 세운 것으로, 비문의 주인공은 남부 지방을 순시한 적 있는 성덕왕일 가능성이 높은 것으로 추정하였다. 또한 인명으로 해석되어 온 "상요언(上了言)"의 경우 료(了)와 같은 조사가 인명에 사용되지 않는 원칙을 고려할 경우, 인명으로 이해하기보다는 동사와 조사로 구성된 이두식 표기로 해석하야 한다고 본다. 『무구정광대다라니경』과 같은 종교서적은 아니지만, 측천문자가 사용된 이유는 화엄종 사상을 받아들이는 과정에서 신라 왕실이 측천무후 시대의 불경을 접하게 된 것이 화엄종의 발흥과 밀접한 관련이 있기 때문이다. 이 과정에서 측천문자를 익히고 사용한 것으로 보인다.

• 건축역사연구
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• 제10권1호
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• pp.9-23
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• 2001

This study is for the Kyungduk-Dan(as a altar of Milsung-Daegun) and The Manun-Jae the characteristics(lay out and planning, window patterns, structure, materials) of the the Korean traditional house during the modern era. Before Manun-Jae was used for the house. The Kyungduck-Dan was constructed in August according to the Lunar Calender in 1927. The Manun-Jae(house for Ki-hun Kang, millionaire ) was completed in 1924. Modern Architectures brought to Korea with the bricks, the tiles, the flash doors, the plate grasses, the brass hardwares. These architectural material was used in positive. During the construction of Manun-Jae in 1924, it happened the architectural exchage among a korean, a chinese and a japanese constructor. Though using the air exhaust valve at the kitchen of Ukyung-Kak( old Anchae), it could be assume that the modern convenience and the improvement of residential environments was considered at that period during the construction of Manun-Jae. That construction was elected with the brick($222mm{\times}106mm{\times}50mm$), the chinese colored tile and plate glass such a modem materials. The new shape of the korean lattice window and the wooden flash-door with glass was used. In Ukyung-Kak, the Chan-Maru(service space) and the kitchen such as a service space or concise utility zone was organically connected. Especially, considered the domesitic activity and circulation, the western kitchen sink and the Chan-Maru(service space) was rationally placed. At the Manun-Jae and the Kyungduck-Dan, the architectural characteristic is that the new shape of windows was used. The lattice window at the Ondol room of Ukyung-Kak, was rgadually added the plate glass and the wood plate. The lattice window with the grid shape at kitchen of that building was adapted japanese grid lattice window in korea at that period. It is the sample that korean traditional house was typically influenced from the japanese resident culture. The Manun-Jae and the Kyungduck-Dan as the modern house kept the form of korean traditional architecture, and was partially adapted a modern characteristic space and modern architectural materials. During the japanese occupancy, these residence can be showed the transition in formally.

• 원예과학기술지
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• 제30권6호
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• pp.617-625
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• 2012

Tree peony is a traditional famous flower of China, and plays an important role in Chinese traditional culture. But the floral scent of tree peony in vivo is little known. In this study, in order to explore the floral composition of tree peony, floral volatiles of six cultivars, including Paeonia suffruticosa 'Zhaofen' (ZF), P. suffruticosa 'Luoyanghong' (LYH), P. ostii 'Fengdanbai' (FDB), P. ${\times}$ lemonei 'High noon' (HN), P. ${\times}$ lemonei 'Renown' (R), and P. rockii 'Gaoyuanshenghuo' (GYSH) were collected by dynamic headspace and then identified by Automated Thermal Desorption-Gas Chromatography/Mass Spectometry. The results showed that floral fragrances of the six cultivars were qualitatively and quantitatively distinct. A total of 105 volatiles involving ten categories were detected. But not all volatile categories were emitted from these cultivars. The six peony cultivars emitted some shared compounds and peculiar compounds. The total released amounts of volatiles emitted from six cultivars were found significantly different, which was greatest for 'GYSH'. The most abundant volatile compounds detected from 'ZF', 'LYH', 'FDB', 'HN', 'R', and 'GYSH' were respectively ${\alpha}$-pinene, 2,3-dihydroxy propanal, 3-methyl-1-butanol, 2-ethyl-1-hexanol, acetic acid 1-methylethyl ester, and 5-ethyl-2,2,3-trimethyl heptane. This result may contribute to exploring the biosynthesis and emission mechanism of floral scent in tree peony.

• 한국전통조경학회지
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• 제37권1호
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• pp.23-32
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• 2019

창덕궁 후원의 경관요소로서 현판과 주련을 인문학적으로 해석한 연구가 많았으나 중국인 관람객의 경관인식을 실증 연구한 사례는 없었다. 따라서 본 연구의 목적은 실증연구를 통해 중국인 관람객들이 창덕궁 후원에 있는 현판과 주련을 얼마만큼 주목을 하는가, 주목을 한다면, 얼마만큼 이해하는가, 현판과 주련이 얼마나 도움이 되는가, 그리고 부용지와 옥류천 권역에서 경관인식 차이가 있는가를 알아보는 것이다. 결과는 다음과 같이 요약된다. 첫째, 중국인 관람객의 97.5%가 창덕궁 후원의 현판을 읽었으며, 이는 대부분의 중국인 관람객이 한자 기호에 대해 익숙하기 때문에 현판과 주련에 대한 인식이 높다는 것을 확인할 수 있었다. 둘째, '현판과 주련에 대한 이해도'가 유의한 값(0.00 < 0.05)으로 나타났으며 평균값이 3.39 > 2.97로 현판이 주련보다는 이해도가 더 높다는 것을 확인할 수 있었다. 마찬가지로 '전체 경관을 해석에 있어서 현판과 주련에 대한 도움'이 유의한 값(0.00 < 0.05)으로 나타났고 평균값이 3.85 > 3.37로 현판은 주련에 비해 더 도움이 된다는 것을 알 수 있었다. 셋째, 부용지와 옥류천 권역의 현판과 주련에 대한 인지도 차이를 검정한 결과 부용지 권역의 부용정, 옥류천 권역의 소요정 현판은 주변 경관과 관계가 있다는 것을 알 수 있었다. 이에 대한 상관성을 알아보기 위하여 실제 인터뷰를 실시한 결과, 관람객들이(4인) 공통적으로 제시한 것은 현판과 주련에 대한 이해도는 자신의 교육 배경, 직장, 경험과 밀접한 관련이 있다고 응답했다. 그 외에 응답자는 경관 감상할 때 있어서 해설사의 역할이 중요하다고 강조했다.

• 한국농촌건축학회논문집
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• 제7권1호
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• pp.61-72
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• 2005

The dwelling transformations of Xiao-He-Long town have been begun with China Economy Policy in 1904. The characteristics of change progress are as follows ; 1. As with pine tree living for a thousand years and increasing profits nearby Yian-Ji-Shi, Xiao-He-Long town as rural district has changed in appearance. 2. In accordance with improvement of rural life after China Reformation and Open Economy policy, residents have a tendency to secure a minimal house site area $400{\sim}500m^2$, and a spacious house which is able to consist barns for farming. 3. Dwelling plan type If Korean-Chinese consists of 'whetongjib, 6 module of Korean traditional unit. 'Whetongjib' has undergone with a corridor attached in porch, main entrance from south to north. 4. Construction materials as structural members bring about a change as result of influencing economic profits nearby Yian-Ji-Shi.

• 한국농촌건축학회논문집
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• 제7권1호
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• pp.112-120
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• 2005

The object of this study is one of the traditional houses about Siheyuan(courtyard house) which is one of the most remarkable types of dwelling in China. The purpose of this paper is to examine and analyse the formation process of the Siheyuan. Its organizational formation process are based on historical and natural-geographical background. With the passage of time this house developed into one of the Chinese house style. The technique of Siheyuan's spatial composition goes so far back in the New Stone Age. The relics of this are the colony layout, the system of four sides, the layout type of a palace, the picture of lacquered ware, the picture of brick, the earthenware of house type, the painting of cave, the paintings of painters and others.

• Structural Engineering and Mechanics
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• 제90권5호
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• pp.447-458
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• 2024

This study investigated the influence of scale ratio and vertical load on the seismic performance of Puzuo joints in traditional Chinese timber structures. Three low-cyclic reversed loading tests were conducted on three scaled specimens of Bujian Puzuo in Yingxian Wooden Pagoda. This study focused on the deformation patterns and analyzed seismic performance under varying scale ratios and vertical loads. The results indicated that the slip and rotational deformations of Bujian Puzuo were the primary deformations. The scale of the specimen did not affect the layer where the maximum interlayer slip occurred, but it did decrease the proportion of slip deformation. Conversely, the reducing vertical load caused the layer with the maximum slippage and the position of the damaged Dou components to shift upward, and the proportion of slip deformation increased. When the vertical load was decreased by 3.7 times, the maximum horizontal bearing capacity under positive and negative loadings, initial stiffness, and energy dissipation of the specimen decreased by approximately 60%, 58.79%, 69.62%, and 57.93%, respectively. The horizontal bearing capacity under positive loading and energy dissipation of the specimen increased by 35.63% and 131.54%, when the specimen scale was doubled and the vertical load was increased by 15 times.

• 한국전통조경학회지
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• 제38권1호
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• pp.132-141
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• 2020

본 연구는 세계적 유산 가치를 지닌 제주도 돌문화경관자원에 대한 기초적 조사로써 다양한 제주 향토자원의 우수성과 앞으로의 보전 및 관리를 위한 기초적 자료 제공에 궁극적 목적이 있다. 제주 돌문화자원의 경관적 특성을 도출하고자 문헌연구와 함께 현장조사를 실시하였고, 돌문화자원에 대한 인식 및 이미지 분석을 위해 설문조사를 병행하였다. 이에 한·중국인이 가지는 있는 제주돌문화경관의 인식에 대하여 고찰하고자 한다. 연구 결과, 제주의 대표적 향토자원은 돌이고, 그것의 큰 특징은 자연성으로 조사되었다. 그리고 돌문화자원의 이미지에 있어 "조화로운", "매력적인", "자연스러운" 이미지를 높게 평가하였고, 밭담을 "아름다운", 돌하르방을 "친근한" 등으로 인식하고 있었다. 그리고 한·중인이 가장 선호하는 돌문화자원은 밭담과 돌하르방 순으로 조사되었으며, 선호도에는 서로 차이가 존재하였다.