• Sim-seong Yeon-gu
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• v.26 no.1
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• pp.67-88
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• 2011

Pungsu is an ancient logic that systemizes geography based on the Yin-Yang and The Five Elements Principle. It is defined as the unique and highly systemized ancient Eastern art of selecting auspicious sites and arranging harmonious structures such as graves, houses, and cities on them by evaluating the surrounding landscape and cosmological directions. Pungsu helps allegedly one improve life by receiving vital energy(Shengqi, 生氣)-energy flow that flows under the ground. It is traditional belief that the living lead their lives on the ground, indirectly receiving the energy coming out of the ground, whereas the dead are buried under the ground, allowing them to directly absorb energy from the ground, which makes Shengqi the dead receive bigger and more obvious than that the living receive. This energy absorbed by the dead from the ground was believed to be passed on to their descendants. This phenomenon is called "Induction of vital energy between Ancestors and Descendants". People searched for the sites which were believed to contain rich and positive vital energy flow. They also tried to bury their ancestors under such sites hoping to receive the Shengqi coming from underground which they believed would help them thrive and prosper. The efforts to locate the sites which have the most vital energy, auspicious sites or "Bright Yard(明堂)", are easily observed in Asia including China and Korea. The ultimate goal of searching for auspicious sites lies in human(whether alive or dead) receiving vital energy from the nature to enjoy happy lives. In choosing a place to live or to bury their dead ancestors, people tried to understand the energy flow of the site considering the factors related with mountain, water, and direction. If we take a closer look into the methods of finding auspicious sites, we can see that people have tried to see the outer conditions of lands, mountains and waters within the perfect harmony if possible. Auspicious site or Bright Yard is the site with those elements in perfect order and harmony, that is, it is the place which derives the most vital energy from the best order and harmony of nature. As this shows, an auspicious site symbolizes totality-the Self, and it seems to be projected to the land. It is believed to be an attempt that the reason why we try to find auspicious sites to internalize the totality that we projected to the outer world. Therefore, this auspicious site is what our foremost values, symbol of the Self, such as harmony, equilibrium, perfection, and uniqueness are reflected to the land. Through the process of finding such a site, we try to gain totality of psyche.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.

• Korean journal of food and cookery science
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• v.11 no.4
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• pp.356-361
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• 1995

This study was conducted to know the quality of marketed green teas which were devided into high, middle and low grade according to the price. we examined the content of water, ash, total nitrogen, tannin, caffeine, chlorophyll and color value and did sensory evaluation. The results were as follows: 1) The content of water was 2.17-3.67％ and content of ash was 4.50-5.17％, there were no significant difference in each grade. 2) The content of total nitrogen was 4.38％ in high grade, 4.60％ in middle grade and 4.68％ in low grade. 3) The content of tannin was 11.09％ in high grade, 14.22％ in middle grade and 14.44％ in low grade, middle and low grade were significantly higher than high grade. 4) The nitrogen rate to tannin (N/T) was 39.5％ in high grade, 32.6％ in middle grade and 32.70％ in low grade, N/T rate of high grade was significantly highest than others. 5) The content of caffeine is 1.78％ in high grade, 1.32％ in middle grade and 0.92％ in low grade, high and middle grade were significantly higher than low grade. 6) The content of total chlorophyll is 297.37 mg％ in high grade, 192.89 mg％ in middle grade and 204.79 mg％ in low grade, chlorophyll a was 69.23 mg％ in high grade, 51.99 mg％ in middle grade and 63.42 mg％ in low grade, and chlorophyll b was 228.47 mg％ in high grade, 131.21 mg％ in middle grade and 141.63 mg％ in low grade. 7) Yellow value of high and middle grade were significantly higher than low grade, but blue and red value were no significant diffrence in groups. 8) In sensory evaluation, appearance, taste, odor of high grade were better than others and total score was 15.25 in high grade, 12.97 in middle grade and 9.80 in low grade. 9) Price had a positive correlation with caffeine, appearance and taste, but a negative correlation with tannine. NT rate had a negative correlation with tannine, but a positive correlation with caffeine.

• Asian Journal of Turfgrass Science
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• v.9 no.4
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• pp.293-316
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• 1995

Nitrogen fertilization and cutting practice were studied on turfgrasses and cover plants to investigate the possibility of maintaining green color during the growing season. Research also involved the effect of the nitrogen on a few morphological characteristics of leaf performance elements which might give an information to coloration and life-span of turf leaves. Treatments in the first experiment undertaken on pot included one N level: 350kgN /ha applied as compound fertilizer in split applications of one-half in mid-May and the rest both in late June and August, and four spring-summer cuts: late May, late June, late July and late August. The soil filled in pot a moderately well-drained sandy loam. In the second experiment(field observation) leaf length and width, inflorescence and flowering, and color performance were also investigated. With nitrogen fertilizer applied on turfs, desirable turf color was maintained during a period of poor coloration in specific seasons such as mid-summer for cool season grasses and late fall for warm season grasses comparing to the non-treatment. However, this was not stimulated by cutting treatment to nitrogen status existed. Cutting effect on coloration was more remarkable in both Korean lawngrass and Manilagrass than in cool season turfgrasses such as Italian rye-grass, perennial ryegrass and tall fescue. Especially down-slide of leaf color in cool season turfgrasses could he detected in mid-summer /early fall season ranging up to mid-September. In early November as well as mid-September, Italian ryegrass, perennial ryegrass and tall fes-cue retained a high level of green color as followed by nitrogen application and cutting treatment, and little detectable variation of leaf color notation between cool season turfgrasses was obtained. However, Korean la'vngrass and Manilagrass failed to retain the green color until early November. Color notations in cool season turfgrasses investigated early November on the final date of the experiment ranged from 5 GY 3/1 to 4/8 in 'Ramultra' Italian ryegrass, 'Reveile' perennial ryegrass and 'Arid' tall fescue, but those in Zoysiagrasses were 7.5 YR 4/8 in Korean lawngrass and 2.5 y 5 /6 in Manilagrass. Life-span of leaves was shorter in Italian ryegrass, perennial ryegrass and tall fescue than in beth Korean lawngrass and Manilagrass with and without nitrogen application. In general, leaves appeared in early May had a long life-span than those appeared in late April or mid-June. Nitrogen application significantly prolonged the green color retaining period in perennial ryegrass, Italian ryegrass, Korean lawngrass and Manilagrass, and this was contrasted with the fact that there was no prolonged life-span of leaves emerging in early May and mid-June in tall fescue. SPAD reading values in 48 turfs and cover plants investigated in the field trial were increasing until late June and again decreasing till September. Increasing trends of reading value could be observed in the middle of October in most of grasses. On the other hand, clovers and reed canarygrasses did not restore their color values even in October. Color differences between inter-varieties, and inter-species occurred during the growing season under the field condition implicated that selection of species and /or cultivars for mixture should be taken into consideration. In Munsell color notation investigated in the final date in the middle of November, 32 cultivars belonged under the category of 5 GY and 10 cultivars under the category of 7.5 GY. This was implying that most of cool season turfs and cover plants grown in the center zone of Korean Peninsula which are able to utilize for landscape use can bear their reasonable green color by early or mid-November when properly managed. The applicable possibilities of SPAD readings and Munsell color notation to determine the color status of turfgrasses and cover plants used in this study were discussed.

• Journal of the Korean earth science society
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• v.42 no.3
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• pp.311-324
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• 2021

Recently, ten geosites have been considered in Hwaseong for endorsement as national geoparks, including the Jebudo, Gojeongri Dinosaur Egg Fossils, and Ueumdo geosites. The Jebudo geosite in the southern part of the Seoul metropolitan area has great potential for development as a new geoscience educational site because it has geological, geographical (landscape), and ecological significance. In this study, we described the geological characteristics through field surveys in the Jebudo geosite. We evaluated its potential as a geo-education site based on comparative analysis with other geosites in Hwaseong Geopark. In addition, we reviewed the practical effect of field education at geosites on the essential concepts and critical competence-oriented education emphasized in the current 2015 revised science curriculum. The Jebudo Geosite is geologically diverse, with various metamorphic rocks belonging to the Precambrian Seosan Group, such as quartzite, schist, and phyllite. Various geological structures, such as clastic dikes, faults, joints, foliation, and schistosity have also been recorded. Moreover, coastal geological features have been observed, including depositional landforms (gravel and sand beaches, dunes, and mudflats), sedimentary structures (ripples), erosional landforms (sea cliffs, sea caves, and sea stacks), and sea parting. The Jebudo geosite has considerable value as a new geo-education site with geological and geomorphological distinction from the Gojeongri Dinosaur Egg Fossils and Ueumdo geosites. The Jebudo geosite also has opportunities for geo-education and geo-tourism, such as mudflat experiences and infrastructures, such as coastal trails and viewing points. This geosite can help develop diverse geo-education programs that improve key competencies in the science curriculum, such as critical thinking, inquiry, and problem-solving. Furthermore, by conducting optimized geo-education focused on the characteristics of each geosite, the following can be established: (1) the expansion of learning space from school to geopark, (2) the improvement of understanding of specific content elements and linkage between essential concepts, and (3) the extension of the education scope throughout the earth system. There will be positive impacts on communication, participation, and lifelong learning skills through geopark education.

• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.4-29
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• 2015

To protect cultural heritages from damage and destruction, evaluating the crime prevention environments is considered extremely important. This study analyzed the crime patterns related to cultural heritages, classified the crime environments by their types, and deduced the elements of the CPTED(Crime Prevention Through Environment Design), aiming to present the indices for evaluating the crime prevention environments. The results of this study can be summarized as follows. First, the crimes related to cultural heritages that must be prevented were identified as the night time trespassing and arson. According to the results of the analysis of external environments based on crime actions, the crime prevention environments of cultural heritages were classified into 10 types. Second, the important evaluation principles of the cultural heritage CPTED were the access control, surveillance reinforcement and the surrounding environment. Third, the access control that cover the internal region, boundary, external region and surroundings were classified into 22 indices. The surveillance reinforcement covers natural, organized and mechanical surveillance with 21 indices. Fourth, the applicability of the CPTED evaluation index was presented according to the types of the cultural crime prevention environments. The results confirmed that the maximum 43 indices were applicable to the seowon(lecture hall), hyanggyo(Confucian school), and gwana(district government office), and the minimum 10 indices, to the ramparts. Finally, the 43 indices were applied to Donam Seowon to validate their applicability. The results confirmed that most of the indices were applicable with the partial supplements. The evaluation index presented in this study is likely to contribute to studies in the cultural heritage CPTED field and to the protection of cultural heritages. Furthermore, this study is considered significant because it unleashed continuous concerns on and developments of CPTED. However, as the field survey to validate the applicability of the indices was limited to only one type, it may require further objective verification such as through an expert's examination of the validity and applicability of the evaluation index. In addition, to accommodate the index in related policies and systems, more precise verifications of the indices by type are considered necessary.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.148-173
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• 2012

The rear garden in Donggwol Palace which shared with the Changdeok Palace and the Changgyeong Palace is the salient places of technology and idea reflected the phases of the times of the Joseon Dynasty, so it is certainly one of the best Korean garden cultures. The rear garden in Donggwol which was not only the secret garden for the rest of royal family but also used as symbolic places for the various ceremonies and training its human resources has been considerably destroyed through the period of Japanese colonial rule. Thus the rear garden areas at north of Changkyung Palace were entirely transformed and a few territory from Juhabru(宙合樓) to Ongnyucheon(玉流川) keep up its surviving as the rear garden. The area of Jondeokjeong(尊德亭) which become subject on this studies from among these was constructed as flower garden after development of Ongnyucheon. The areas of Simchujeong(深秋亭), Cheoknoedang(滌惱堂), Pyemwoosa(?愚?), Mangchunjeong(望春亭), Chunhyagak(天香閣), Chungsimjeong(淸心亭) around Jondeokjeong, were situated among the beautiful scenery with the flowers and ponds. But there are only Jondeokjeong and Pyemwoosa at this moment, and the other pavilions was destroyed and transformed. For these reasons, in this studies, the formative purposes were investigated through analysing water elements, planting, ornaments and so on. According to these reasons, historical records and realities of garden construction of five pavilions : Simchujeong, Mangchunjeong, Cheoknoedang, Chunhyagak, Chungyeongak(淸燕閣) were considered to give authenticity to the restoration and reorganization as well as to accumulate basic knowledge about the conservation of environment surrounded garden architectures. These pavilions appeared at Gunggwolgi(宮闕志) and Joseonwangzosilok(朝鮮王朝實), but their names were not appeared at Donggwoldo(東闕圖). So they were ascertained through all of literatures on Donggwol Palace. Cheoknoedang and Simchujeong among these buildings could be found out as the existed buildings and the uncertain building at the northwest of Jondeokjeong was estimated as the name to Chunhyagak or Mangchunjeong. And the hypothesis that the wall surrounding Taichungmoon(太淸門) should be belong to Chungyeongak was supported. In addition, the area which did not known in connection with name and use on northeast at the Changdeok Palace, and had regarded as an impasses in the studies of Donggwoldo and the rear garden in Donggwol Palace, but the historical records of using by Yeonsangun(燕山君) and Sukjong(肅宗) were discovered at this study. And it could be uncovered that the obscure spatial space was a separate house only for king and he enjoyed play there unnoticing to others belong to palace.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.175-183
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• 2021

Gongjae Yoon DuSeo(1668~1715), from Haenam in the late Joseon Dynasty, is a scholar-born painter who was active during King Sukjong. He is the person who created the foundation as a pioneer of realist paintings in the late Joseon period during the transition from the middle to the latter period. He was born in Namin's prestigious family, but he ended his career as part of a partisan fight and immersed himself in painting and learning. 18C, the beginning of the late Joseon Dynasty, was a period when Silhak emerged and the Jinkyung era opened with awareness of nationalism. At this time, by incorporating the Silhak thought into the art world, the real reformed aesthetic consciousness was demonstrated to pioneer common people's customs, the application of Western painting methods, the pursuit of realist techniques, and the introduction of Namjongmuninhwa. His view of painting, who thoroughly learned the old things and pursued change, must have both the form and spirit that he can achieve 'HwaDo' only when it has the science of 'learning and knowledge' and the technical elements of 'practice and quality' emphasized. He has worked in a variety of reconciliations. In particular, portrait paintings are characterized by ihyeongsasin's realistic expressions of aesthetics. His masterpiece, 「Self-portrait」, excels in extreme-realistic depiction and innovation in composition, and stands out with an unconventional experimentation spirit that expresses his mind and thoughts in a painting with a sense of resentment. His landscape paintings combine to express the form as it is and mental notions, and beautifully embodied Do as a form, thus achieving ihyeongmido, which reached the level of'joyfulness forgotten even the heart of joy'. On the other hand, the generalization of the common people using various common people's lives as the subject of an open-mindedness aimed at gaining the facts of ihyeongsajin, a passive protest against corrupt power and an expression of a spirit of love. Since then, his painting style has been passed down from generation to generation to his eldest son Yoon Deok-hee and his grandson Yoon Yong, leading the change and revival of calligraphy art in the late Joseon Dynasty.

• Korean Journal of Environment and Ecology
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• v.34 no.6
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• pp.589-600
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• 2020

Effective conservation and management of protected areas require monitoring the settlement of invasive alien species and reducing their dispersion capacity. We simulated the potential distribution of invasive alien plant species (IAPS) using three representative species distribution models (Bioclim, GLM, and MaxEnt) based on the IAPS distribution in the forest genetic resource reserve (2,274ha) in Uljin-gun, Korea. We then selected the realistic and suitable species distribution model that reflects the local region and ecological management characteristics based on the simulation results. The simulation predicted the tendency of the IAPS distributed along the linear landscape elements, such as roads, and including some forest harvested area. The statistical comparison of the prediction and accuracy of each model tested in this study showed that the GLM and MaxEnt models generally had high performance and accuracy compared to the Bioclim model. The Bioclim model calculated the largest potential distribution area, followed by GLM and MaxEnt in that order. The Phenomenological review of the simulation results showed that the sample size more significantly affected the GLM and Bioclim models, while the MaxEnt model was the most consistent regardless of the sample size. The optimal model overall for predicting the distribution of IAPS among the three models was the MaxEnt model. The model selection approach based on detailed flora distribution data presented in this study is expected to be useful for efficiently managing the conservation areas and identifying the realistic and precise species distribution model reflecting local characteristics.

• Journal of Bio-Environment Control
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• v.31 no.1
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• pp.67-76
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• 2022

This study aimed to determine the photosynthesis and growth characteristics of Peucedanum japonicum T. grown under aquaponics in a plant factory (AP) by comparing those grown under hydroponic cultivation system (HP). The AP system raised 30 fishes at a density of 10.6 kg·m^-3 in a 367.5 L tank, and at HP, nutrient solution was controlled with EC 1.3 dS·m^-1 and pH 6.5. The pH level ranged from 4.0 to 7.1 for the AP system and 4.0 to 7.4 for the HP system. The pH level in the AP began to decrease with an increase in nitrate nitrogen (NO₃-N) and lasted bellower than pH 5.5 for 15-67 DAT. It was found that ammonium nitrogen (NH₄-N) continued to increase even under low pH conditions. EC was maintained at 1.3 to 1.5 dS·m^-1 in both systems. The concentration of major mineral elements in the fish tank was higher than that of the hydroponics, except for K and Mg. There was no significant difference in the photosynthesis characteristics, but the PIABS parameters were 30.4% lower in the AP compared to the HP at the 34DAT and 12.0% lower at the 74DAT. There was no significant difference in the growth characteristics, but the petiole length was 56% longer in the leaf grown under the AP system. While there was no significant difference in the fresh and dry weights of leaf and root, the leaf area ratio was 36.43% higher in the AP system. All the integrated results suggest that aquaponics is a highly-sustainable farming to safely produce food by recycling agricultural by-products, and to produce Peucedanum japonicum as much as hydroponics under a proper fish density and pH level.