• Korean Journal of Soil Science and Fertilizer
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• v.6 no.2
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• pp.115-127
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• 1973

Leaf discoloration of IR667 lines (tropical) and leading locals (temperate) in fields was classified according to the probable causes and nutritional disorder due to soil reduction in 1972 was investigated. 1. The causes of leaf discoloration in IR667 were low air temperature, soil reduction, seed born, insect bite, nitrogen depression, overdose pesticide, strong wind, early senescence and unknown one. 2. Leaf discoloration due to soil reduction which has been called Sageumbyeong by famers, was caused by the heavy application of $Ca(OH)_2$, compost and poor drainage followed by Zn and K deficiency and Fe toxicity. 3. About 30 days after transplanting deficiency concentration of K and Zn in leaf blade appears to be less than 2.0% and 20ppm respectively, and greater than 200ppm, 500ppm, and 1.0% respectively for toxicity or excess of Fe, Mn and Ca. and in the shoot 2.4% for K, 30ppm for Zn and 800ppm for Fe. The value of K/Ca should be greaterthan 2.0 for health. 4. When plants were damaged by soil reduction the contents of N, P, Ca, Mg, Fe, Mn, Na in shoot were increased and those of K, Zn, Si were decreased. 5. IR667 lines show in shoot higher content of N, P, Ca, Mg, Si, Na, and lower content K, Zn, Fe, Mn and lower root activity than local leading varietles in either healthy or disieased case, indicating IR667 lines are likely more suseptible to soil reduction damage. 6. Normal soil was less than 6.5 of pH and greater than -50 mv of Eh, but pH of problem soil was ranged from 6.7 to 7.4 and Eh from -100 to -190. 7. The root activity (${\alpha}$-naphthylamine oxidation) decreased at early stage of soil redudtion damage, then increased with severity and at the end it decreased again, but IR667 lines showed always lower root activity than local ones.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.21-29
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• 2023

The Northern Song Dynasty, the heyday of cultural and artistic achievements, brought significant changes to the history of gardens in China. The developments and contemplations that had evolved during the previous Tang Dynasty became intertwined with literature, painting, and art, leading to garden being perceived as works of art. In particular, the emergence of Su Shi(蘇軾) that permeated literature and art during the Northern Song Dynasty, had an impact beyond individual garden creation, influencing the development of public gardens and the diversification of garden. His long exile periods served as an opportunity to understand and reflect the local culture and characteristics, influencing the development of the garden. This study focuses on the ideology of Su Shi(蘇軾) that managed various gardens, examining the relationship between his exlie life and ideology. To do so, the study examines the form of the literati's gardens managed by Su Shi(蘇軾), with a particular emphasis on the Baiheju(白鶴居) garden in Huizhou, revealing the following characteristics and values. First, Su Shi(蘇軾), who was proficient in the Three Houses: Confucianism, Buddhism, and Taoism, combined his philosophy and unique perspective techniques with the location and composition elements of Baiheju(白鶴居) to enjoy the landscape. Although the ancient residence has a simple form, it possesses expansiveness through the combination of internal and external views. The interior is designed to be perceived as a single space, but it allows overlapping experiences of space and simultaneous appreciation of different sceneries. On the other hand, the spatial layout incorporates a hierarchical order to establish a sense of order. Second, the garden reflects the local characteristics, featuring numerous tropical plants and presenting vibrant and contrasting colors with structures. The planting forms embrace the concept of "huosei seikou" (活色生香) to enhance the color harmoniously. Additionally, the garden incorporates the poet's spiritual world, projecting it onto the garden as a contemplative place for spiritual nourishment and exploration of the ideal realm. For the pursuit of serenity and profound contemplation, the selected plantings are simple yet distinctive, providing rhythm and depth to the garden space. Third, Baiheju(白鶴居) has undergone changes over the years, but fundamentally, the form and elements of the garden shaped by Su Shi(蘇軾)'s descendants persist, confirming its heritage value.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.306-329
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• 2024

Established in 1909, the Imperial Museum was the forerunner of Korean museums, and its collection formed the foundation of today's National Museum of Korea. However, when the Imperial Museum was first established in Changgyeonggung Palace, a zoo and botanical garden were created in addition to the museum. From 1911 onward, these three facilities were collectively referred to as Changgyeongwon Park. The zoo and botanical garden remained at Changgyeongwon when the museum was relocated in 1938, as did some of the items from the collection of the Yi Royal Household Museum. Among them were palanquins used by the royal family and folk items such as armor, as well as taxidermized birds. These stuffed birds were displayed in the corridor of Myeongjeongjeon Hall in Changgyeongwon, and were also displayed in the specimen hall at the back of Myeongjeongjeon Hall. The stuffed birds in particular should prompt a reconsideration of the nature of the Imperial Museum (Yi Royal Household Museum). The museum had been known as a prominent art museum, mainly collecting masterpieces of ceramics (such as Goryeo celadon), Buddhist sculptures, and paintings. However, this character seems to have been just one aspect of the museum. Along with the zoo, which housed live animals, and the botanical garden, which included greenhouses for tropical plants, the museum also featured specimens like taxidermy, suggesting that its initial aim, from a museological perspective, was to be a more comprehensive museum. Notably, Shimogoriyama Seiichi, who managed the general affairs of the museum, collected and cataloged Korean avian specimens from 1908 to 1917. This suggests that the zoo and botanical garden were not merely for entertainment purposes, but also served a museological purpose. However, the Imperial Museum (Yi Royal Household Museum) lacked the essential research and educational functions necessary for a museum, beyond its collecting and exhibition roles. For instance, although specimens of stuffed Korean birds were collected, they were not thoroughly researched. This indicates that while the museum's collection was acquired from a museological perspective, it did not advance into more specialized research. This study aims to examine how the characteristics of the Yi Royal Household Museum have evolved by analyzing the inventory of the museum's collections and the list of Korean bird specimens it held.