• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.57-65
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• 2012

This work attempted to study the properties of expression of ground, the composition of outlook and the implications of the connotative symbolic scenery throughout investigating the properties of expression content and method of the scenery, outlook, viewpoint, natural features for each drawing and intention of making 4 old maps, which had been made in the period of the Great Korean Empire and had been called 'Wansan-dohyoung(完山圖形),' 'Jogyeongdan- bigak-jaesil-dohyoung(肇慶壇碑閣齋室圖形),' 'Jeonju-geonjisan-dohyoung(全州乾止山圖形)' and 'Jogyeongmyo-gyounggijeon-dohyoung(肇慶廟慶基殿圖形),' and analyzing the correlation between their drawings. For this aim, observatory investigation by using a map, on-spot investigation, analysis involving the satellite images and internet were carried out with literature review simultaneously. The result of investigation could be sum up as follows. Gyounggijeon(1410), Jogyeongmyo(1771) and Jogyeongdan(1899), where are the core space to lay the historically firm foundation for securing the fact Jeonju is the home of the Royal Family of Joseon, had been built, fixed and extended for giving legitimacy to the Joseon Dynasty and a part of strengthening of royal authority. And these had played an important role of spiritual mainstay from early in the Joseon Dynasty to the era of the Great Korean Empire and had been managed and maintained continuously. It is grasped that the 4 maps consist of Sanhyuoungdo(山形圖; a kind of a mountain map), which is the map for showing a burial place of Lee Han(李翰), the founder of the Joseon Dynasty, and its auxiliary drawings and these had been drawn intensively to justify dignity and authority of the Imperial Family and the Emperor after the name of country was renamed the Great Korean Empire as a part of national undertaking. In detail, Wansan-doghyoung is the key map for announcing the existence of Jogyeong-myo, Gyounggijeon and Jogyeongdan in Jeonju and informing their locations and Geonjisan-dohyoung is the map of divination based on topography for highlighting the geomantic justification of the founder's mausoleum. Jogyeongdan-bigak-jaesil-dohyooung is the partial map detailing for Geonjisan-dohyoung. Jeonju-geonjisan-dohyoung and Jogyeongmyo-gyounggijeon-dohyoung had employed the binary reduced scale and the bird-eye view method and in the above maps, Geonji Mountain is the main mountain and these maps make an exaggeration of the main geographical features, centering Wangjabong and Euimyoso, unlike the real geographical features. Also, the other main geographical features, which are found in the burial place, are expressed in detail by changing the view. In the point of view of 1 set being consisted of 4 maps, 'Wansan-dohyoung' has the property not only as Gunhyoundo, which Gun and Hyoun mean a unit of the administrative district, respectively and Gynhyoundo is a kind of the map for recording their locations, but also as the map of showing their locations. On the other side, 'Jogyoungmyogyounggijeondohyoung' is a kind of lay-out drawing as a partially detailed map. In addition, it has been found out that 'Jeonju-geonjisan-dohyoung' and 'Jogyeongdan-bigak-jaesil-dohyoung' is not only Pungsu- hyounggukdo having the function of Sanhyoungdo but also a detail drawing. On the base of these properties, it is considered that the functionality as a serial map had been strengthened, unlike the existing old maps.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.76-89
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• 2012

This study aimed at carrying out a semantic interpretation of the core Design language that seemed to influence deeply in the creation of the ChwuiseokJeong wonlim of Gochang. Especially, this paper aimed at inferring how the spiritual culture of seclusion of the 16th century influenced the creation of the wonlim by understanding the metaphor and symbolism by grasping the transmission meaning and reception meaning of the creators and the people concerned with keywords like Eunil(隱逸: seclusion), Chwuiseok(醉石), and Chilseongam(七星巖). 'Building up a wall' was intentionally carried out in order to represent 'Seven Stars(The Big Dipper)' inside of the wonlim. This is a kind of two-dimensional 'enframement', and a result of active creation of a meaningful landscape. From Chilseongam that was created by assembling, we presumed that Kyung-Hee Kim, Nohgye(蘆溪), the creator showed the recognition and thoughts of astronomy as a Confucian scholar that the ChwuiseokJeong Wonlim where he secluded is the center of the universe. The interpretation of words in Nohgyezip, an anthology, showed that the articles and writtings of Nohgye, his decsendants, and the people of ChwuiseokJeong included alcohols, Chwuiseok, Yeon-Myung Do, and Yuli(栗里) where Do secluded; this means that Nohgye ranked himself with Do because Nohgye also lived in peace by drinking alcohols and enjoying nature like Do did. 'Drinking' was what expressed the mind of Nohgye who wanted to be free and have the joy of enjoying mountains, water, and their landscape like Do did. In other words, 'Drinking' is the symbol of freedom that makes him forget himself and equate himself with nature. These are the representation, imitation, and mimesis of respecting Yeon-Myung Do. As the alegory of 'speaking something with other things' suggested, it is possible to read 'Chwuiseok', came from the story of Yeon-Myung Do, in multiple ways; it superficially points out 'a rock on which he laid when he was drinking', but it also can be interpreted as 'an object' that made him forget his personal troubles. In addition, it means freewill protecting unselfish mind with the spiritual aberration of drinking, 'Chwui(醉)', mentally; also, it can be interpreted metaphorically and broadly as a tool that makes Nohgye reach to the state of nature by the satisfied mind of Yeon-Myung Do. 'Chwuiseok' was a design language that showed the situation of Nohgye by comparing his mind with the mind of Yeon-Myung Do from the Confucian point of view, and a kind of behavioral mimesis based on his respect to Do and 'aesthetic representation of objective reality.' It is not coincidental that this mimesis was shown in the engraved words on Chwuiseok and the creation of ChwuiseokJeong that has the same name with Chwuiseok in Korea and China.

• Journal of Korean Society of Forest Science
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• v.101 no.1
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• pp.7-19
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• 2012

After having announced legislation for threatened or endangered species on the List of Endangered and Threatened Wildlife and Plants in 2005, the Korea Ministry of Environment proposed (in June 2011) amending the list, thereby delisting or reclassifying endangered species using new quantitative criteria for two levels (I and II), as well as status reviews. The new legislation included 40 species remained in their original endangered status, but 19 species were delisted, 5 species were proposed as candidates for delisting, 29 species were given a new endangered listing, and 3 species were proposed for an endangered listing in Korea. We assessed the threatened status of 98 plants using the IUCN Red List Criteria (version 3.1) at the global level, and compared the Ministry's revised criteria with the IUCN Red List Criteria and ESA criteria used in the USA. Most species proposed by the Ministry do not qualify as threatened and one of the major difficulties found in applying IUCN Red List Criteria at the global scale was a lack of knowledge on the status of species at broader geographic scales and the perceived difficulty this causes. Under the current classification process, many endangered species, such as Abeliophyllum distichum, Leontice microrhyncha, Echinosophora koreensis, Leontopodium coreanum, Iris odaesanensis, and Corylopsis coreana at global level were excluded here. Knowledge gaps and uncertainties mean that the number of taxa at high risk of extinction may be substantially greater than is currently understood. Due to a lack of information on its taxonomic status, currently there is controversy over the Red List status of Physocarpus insularis. Also, Caragana koreana, which was an invalidly published name, should be excluded here. Although the Korea Ministry of Environment insisted this procedure was conducted by applying the modified IUCN threat categories and definitions, this evaluation has been carried out based only on subjective views and misapplication of the IUCN Red List Criteria. The current listings by the Korea Ministry of Environment should be challenged. We suggest that broad species concepts on endemic species are applied and also criteria that adequately address the proper quantitative knowledge should be used. It is suggested that the highest priorities for the Red List should be given to endemic species at least in the Korean peninsula first at global scale.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.64-87
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• 2020

Copper trihydroxychloride (atacamite, botallackite, paratacamite, etc.), the first green pigment used in Mogao Grotto's mural paintings of China, has been known as "copper green", "green salt", and "salt green", etc. and has been used as an important green pigment with malachite. At first, the natural mineral atacamite was employed, but after the Five Dynasties (907~960 CE), synthetic copper trihydroxychloride was primarily used. In Chinese literature, copper green, green salt, and salt green are recorded as being made via reaction with copper powder, Gwangmyeongyeom (natural sodium chloride), and Yosa (natural ammonium chloride), and the prepared material was analyzed to be copper trihydroxychloride. Copper trihydroxychloride pigment was not found in paintings prior to the Joseon Dynasty (1392~1910 CE) in Korea. In analysis of the green pigments used in paintings and the architectural paintworks in the Joseon Dynasty, copper trihydroxychloride was also shown to have been used as an important green pigment with malachite (Seokrok). In particular, the proportion of copper trihydroxychloride use was high in Buddhist paintings, shamanic paintings, and dancheongs (decorative coloring on wooden buildings). Some of these turned out to be synthetic copper trihydroxychloride, but it is unclear whether the rest of them are synthetic or natural pigments due to a lack of analyzed data. From literature and painting analyses, the pigment name of copper trihydroxychloride in the Joseon Dynasty turns out to be Hayeob, a dark green pigment. It is believed to have first been prepared by learning from China in the early Joseon period (early 15^th century) and its use continued until the late 19^th century with imported Chinese pigment. Round or oval particles with a dark core of copper trihydroxychloride which were used in Chinese literature were similar to the synthetic copper trihydroxychloride pigments used in the Joseon Dynasty and Chinese paintings. Therefore, the synthetic copper trihydroxychloride pigments of Korea and China are believed to have been prepared in a similar way.

• Journal of The Korean Society of Grassland and Forage Science
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• v.34 no.1
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• pp.26-32
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• 2014

'Dahan' (Avena sativa L.), a winter oat cultivar for forage use, was developed by the breeding team at the Department of Rice and Winter Cereal Crop, National Institute Crop Science (NICS), Rural Development Administration (RDA) in 2011. It was derived from an original cross between $F_1$[Sprinter/73625] and 'Gwiri26'. Subsequent generations followed by the cross were handled in bulk and pedigree selection programs at Suwon. A line, 'SO99027-GB-B-113-4-4-3', was selected for cold tolerance and good agronomic characteristics and as a line name of 'Gwiri75'. The line 'Gwiri75' was subsequently evaluated for cold tolerance and forage yield during 3 years in four region such as Yesan, Iksan, Kimjae, and Jeju, from 2009 to 2011 and finally named as 'Dahan'. Though similar in heading date to the check cultivar Samhan, 'Dahan' had tall plant length and lodging resistance. It's average forage dry matter yield harvested at milk-ripe stage was 15.6 ton $ha^{-1}$, compared with 14.1 ton $ha^{-1}$ of check cultivar. Cultivar 'Dahan' was lower to the check cultivar 'Samhan' in protein content (8.4% and 9.9%, respectively), while it was superior to the check cultivar in total digestible nutrients (TDN) (60.8% and 59.3%, respectively), and in TDN yield $ha^{-1}$ (9.5 ton and 8.4 ton, respectively). Fall sowing of 'Dahan' is recommended only in the areas where daily minimum mean temperatures are averaged higher than $-7^{\circ}C$ in January, and excluded in mountain area where frost damage is presumable.

• Korean Journal of Food Science and Technology
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• v.45 no.1
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• pp.97-103
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• 2013

Pine bark extract is made from the bark of Pinus densiflora which naturally contains occurring phytochemicals such as phenolic compounds. PineXol$^{(R)}$ from products of pine bark extract is sold under the brand name. The aim of this study was to evaluate the total phenol, total flavonoids contents and antioxidant activity of the PineXol$^{(R)}$ as well as to assess the lipid accumulation during adipogenesis of 3T3-L1 cells. Our results demonstrate that the total phenolic and flavonoids contents of the PineXol$^{(R)}$ were $717.40{\pm}6.86$ GAE mg/mL and $54.44{\pm}0.01$ RE mg/mL, respectively. The antioxidative activities of the PineXol$^{(R)}$ were significantly increased in a dose dependent manner on DPPH (1,1-Diphenyl-2-picryl hydrazyl) radical scavenging, ABTS (2,2'-Azino-bis(3-ethylbenzothiazoline-6-sulfonic acid) diammonium salt) radical scavenging, FRAP (ferric reducing antioxidant power) activity, reducing power, nitrite radical scavenging activity and ORAC (Oxygen radical absorbance capacity) value. In addition, the PineXol$^{(R)}$ inhibited the adipocyte differentiation of 3T3-L1 preadipocytes. Exposure to 200 ${\mu}g/mL$, PineXol$^{(R)}$ significantly reduced lipid accumulation (~80%) in 3T3-L1 cells compared to control cells.

• Horticultural Science & Technology
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• v.19 no.1
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• pp.60-65
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• 2001

'Shinil' pear cultivar (Pyrus pyrifolia Nakai) which was originated in a cross between 'Shinko' (non-patented, released in 1941) and 'Hosui' (non-patented, released in 1972) in 1978 was released as a middle season harvest variety. Its usual picking time coincided with 'Chuseok' season which is one of the most famous national holiday in Korea. The fruit showed high soluble solids content and good appearance. The cultivar was preliminarily selected in 1991, and its regional adaptability was evaluated in the name of 'Wonkyo Na-13' at 9 sites for four years from 1992, and finally selected and named in 1995. 'Shinil' is medium in tree vigor like 'Hosui' and spreading in tree habit as 'Niitaka', a leading cultivar in Korea, and consistently very productive. It has high resistance to black rot caused by Alternaria kikuchiana and pear necrotic spot caused by pear necrotic spot virus. Its full bloom is one day earlier than that of 'Niitaka' cultivar and harvest time is September 25 at Suwon area which is 3 days later than that of 'Hosui'. Fruit is round in shape with a deep medium stalk cavity and medium calyx basin and has attractive light yellow brown skin color. The fruit weight ranges between 300 and 400 g, which is similar to 'Chojuro', 'Shinko', and 'Hosui'. Soluble solid content is approximately at the level of 13-14 Brix, which is higher than that of 'Chojuro'. The flesh is cream-white, very juicy, and light grit with soft and fine texture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.87-96
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• 2012

This study aimed at empirically identifying how the cultural phenomena of localisation and attachment are implemented through Mohyeonjeong and Supodae at Gajo-myeon, Geochang-gun, Gyeongnam. 'Daehakdong', the name of the place where the Mohyeon-jeong and Supodae is located, has a meaning of the place where Geong-Pil Kim(金宏弼) the Hanhwondang(寒暄堂), one of the 5 eastern sages, and Yeo-Chang Jeong(鄭汝昌) the Ildu tought Neo-Confucianism. In addition, in case of Mt. Odo(1,134m) embracing the garden, the meaning of Odo is the five virtues in Confucianism, so we can see that Confucianism was strong in that area. The meaning of 'Mohyeon(慕賢)', "missing and thinking of sages", reflects the emotion of attachment to the place where people pay a tribute to the memory of Seon-Saeng Yang the Hwondu, one of the 5 eastern sages and the creator of Neo-Confucianism in Kyeongnam, and Suk-Ryang Choi(崔淑梁) the ancestors Pyeongchon. In addition, Odojae(吾道齋), Kijeok monument to pay a tribute to the memory of Pyeongchon, the persimmon tree symbolizing Hanhwondang, and Jidongam(志同巖) standing in front of Mohyeon pavillion represent the united wills of the above 3 people to show their Dohak(道學) spirit by practicing it, and also a reiterated expression of attachment to the place. 'Hwonduyangseonsaeng janggujiso' and 'Pyeongchonchoigong ganghakjiso(坪村崔公講學地所)' engraved on the rock of Myeongso Supodae where they gave a lecture of Neo-Confucianism to local Confucianists for many years and enjoyed nature make us to identify the intrinsic meaning of the location that was inherited in the memory of people. Along with this, most of the content of poetry, restoration records, and Sangryang articles are filled with the content reminding of the historical meaning and origin of Mohyeon-jeong and Supodae, so we can see from this that the place had the spatial meaning of Jangsujiso(藏修之所), 'the place of lecturing and communicating' and respecting ancient sages. This spatial tradition is the result of positive attachment to the place, and Mohyeon-jeong and Supodae is the place where the attachment to the place was made spontaneously througth the localisation. To sum it up, Mohyeon-jeong and Supodae was the place of attachment where one paid a tribute to the memory of ancient sages, and Mohyeonjeong and Supodae rocks were the representative examples of the localisation to show the meaning of the place by implication. Studying the process of attachment and localisation of the place does not only enable us to infer the genuine form of the traditional memorial space and park, but also to reproduce the place with the modern concept.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.37-50
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• 2016

Recognizing the problem of fallacy in geographical name of Changokbyeong(蒼玉屛), assumption has been made on the location of Changokbyeong through literature research on antique maps, ancient paintings, and old prose, through field survey on rock inscriptions and landscape characteristics, and through interviews with local people. Furthermore, Baegyeonwa, the Cuckoo Hut, and Iyangjung(二養亭), an annex to the cottage, both of which were managed by Saahm Park Soon(思菴 朴淳), the Subject of Jouissance, were studied in depth with emphasis on the spatial structure as well as special features of the area as a garden. The major findings are as follows: Changokbyeong is a spatial threshold that imparts a sense of unity with Okbyeng seowon(玉屛書院) and indeed Changokbyeong is presumed to have been the frontal river terrace of Okbyeng seowon according to the analysis of antique maps and rock inscriptions. This ancient location and the Ogari Stone Wall, the present day Changokbyeong, are only 460m away so that both areas are considered as falling under the influence of Changokbyeong landscape. The expression "Changokbyeong Geupsangeum(蒼玉屛及散襟)" written in an old prose tells us that the high rock wall with Sangeumdae inscribed on the rock might be the rock wall of Changokbyeong. In addition, while not a single rock inscription has been found on the Ogari Stone Wall, 11 rock inscriptions designed and ordered by Saahm Park Soon, the Subject of Jouissance, are found on every corner of the high rock wall standing in front of Okbyeng seowon, 8 of those 11 being place names and recitative poems(known as Jeyeongsi: 題詠詩) in close formation resembling the handwritings in a little notebook. This provides a strong evidence for assuming the location of Changokbyeong to be the frontal river terrace of Okbyeng seowon. The "Songgyun Jeoljo Suwol Jeongshin(松筠節調 水月精神)" rock inscription on Changokbyeong should be considered as the stamping ground and as the symbolic language of Changokbyeong that bears the high character and nobility of the Subject of Jouissance, Saahm Park Soon. The inscription should also be recognized as the handwritings of Wooahm Song Si-Yeol(尤庵 宋時烈) correcting the misconceptions that persisted until today. Meanwhile, the garden remains of Saahm's Changokbyeong are composed of four sites: Sangeumdae-Sugyeongdae-Cheonghakdae-Baekhakdae from the left. At the back of Sangeumdae, there is the original house, the Baegyeonwa(拜鵑窩), and on the fantastically shaped stone wall at the left of Baekhakdae, there is the annex, the Iyangjung, together creating a landscape composition that overlooks the splendor of the Ogari Stone Wall. The Iyangjung is located on the highest spot to the left of the four sites, and it is believed to have been a little outhouse and library for Saahm which remains to the present day as a place where Saahm's character can be felt. The drinking plates[窪樽] made of rock that are affectionately arranged on the broad flat rock in front of Iyangjung is part of the garden remains that reflects the artistic taste of Saahm regarding the drinking culture at the time.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.98-109
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• 2017

The results of this study attempting to graft to the space by cognizing and categorizing the characteristic of the under-toned private property to the tablets of the Zhuozhengyuan are as follows. The tablet of Zhuozhengyuan was typed into three groups. In the A group, the frequency of artificial elements including the top, ship, and head was high, and the main emphasis was on the elegance and integrity spirit that the Sunbi(classical scholar) had to have. It has a characteristic of good architects such as pavilion and Nu(樓) is included and as it is adjacent to the water surface the one side of the building is integrated to the water surface. The B group is characterized mainly by the fact that the scenery is portrayed through the climatic factors including rain, wind, and snow, or the scene atmosphere and it is located at the top of the summit which is good for viewing the scenery. In the C group, plant elements such as lotus, magnolia, plum, and bamboo appeared frequently, and various buildings such as pavilion, Kwan(館), Gak(閣) and Dang(堂) belong to this structure. The structure has the characteristic of integrating directly with the water surface or putting the terrace between and scattering throughout the whole garden. Furthermore, this study identified area characteristics based on the frequency of the tablet type. In the west area, Group A is mostly distributed and the humor and concept implied in the tablet, combined with the shape and location of the scenery, viewpoint of the viewer, and the composition of the landscape, improved the orderliness of the space, which led to expand the scope of the enjoyment to the entire space. Meanwhile, in the middle area, tablets of Group C are mostly distributed, and the unique characteristics and shapes of the woody plants that were used as the name of the tablet were connected with various buildings including pavilion, Dang, Kuan, and Gak, improving the unique identity of the space and forming connection with the world of ideas through unity and independence.