• 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.

• Publications of The Korean Astronomical Society
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• v.36 no.3
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• pp.79-95
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• 2021

This study aims to develop a restoration model of an armillary sphere of Tongcheon-ui (Pan-celestial Armillary Sphere) by referring to the records of Damheonseo (Hong Dae-Yong Anthology) and the artifact of an armillary sphere in the Korean Christian Museum of Soongsil University. Between 1760 and 1762, Hong, Dae-Yong (1731-1783) built Tongcheon-ui, with Na, Kyung-Jeok (1690-1762) designing the basic structure and Ann, Cheo-In (1710-1787) completing the assembly. The model in this study is a spherical body with a diameter of 510 mm. Tongcheon-ui operates the armillary sphere by transmitting the rotational power from the lantern clock. The armillary sphere is constructed in the fashion of a two-layer sphere: the outer one is Yukhab-ui that is fixed; and the inner one, Samsin-ui, is rotated around the polar axis. In the equatorial ring possessed by Samsin-ui, an ecliptic ring and a lunar-path ring are successively fixed and are tilted by 23.5° and 28.5° over the equatorial ring, respectively. A solar miniature attached to a 365-toothed inner gear on the ecliptic ring reproduces the annual motion of the Sun. A lunar miniature installed on a 114-toothed inner gear of the lunar-path ring can also replay the moon's orbital motion and phase change. By the set of 'a ratchet gear, a shaft and a spur gear' installed in the solstice-colure double-ring, the inner gears in the ecliptic ring and lunar-path ring can be rotated in the opposite direction to the rotation of Samsin-ui and then the solar and lunar miniatures can simulate their revolution over the period of a year and a month, respectively. In order to indicate the change of the moon phases, 27 pins were arranged in a uniform circle around the lunar-path ring, and the 29-toothed wheel is fixed under the solar miniature. At the center of the armillary sphere, an earth plate representing a world map is fixed horizontally. Tongcheon-ui is the armillary sphere clock developed by Confucian scholars in the late Joseon Dynasty, and the technical level at which astronomical clocks could be produced at the time is of a high standard.

• Journal of Korean Society of Forest Science
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• v.23 no.1
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• pp.29-33
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• 1974

U-Reuk, a laureate musician in the days of King Jin-Heung, Silla Dynasty, built the Eui Rim Reservoir about 1,400 years ago. This was one of the oldest man-made reservoir. The embankment of the reservoir collapsed by the clumsy artificial drainage on August 19, 1972 when the heavy rainfall of 462 mm/day caused a dangerous overflow of the reservoir. The result of the study on the mystic ancient embankment techniques are as follows: 1. Sandy loam derived from the weathering of granite which is the most widely distributed rock type in the area, was used in the embankment. Large size logs (embankment core) of 30-50 cm in diameter were buried lengthwise along the embankment. 2. The six stocks of Pinus densiflora, 3 stocks of Quercus acutissima, 1 stock of Quercus variabilis and 1 stock of Popolus maximowiczii, altogether 11 stocks are identified. Forest types in the nearby area during the days of the reservoir construction seem to be includde a considerable number of Pinus densiflora, Quercus and Populus species. 3. The angle of repose of the earth materials is taken into account during the embankment. On top of the embankment double layers of clay (20-30 cm indepth) were spread and consolidated. Layer of litter of 20-40 cm in deep covered on the clay layer of the embankment completely, and another layer of clay was consolidated over the litter. Finally, a layer of stones of 10-30 cm in diameter and clay (yellow soil layer) toped the embankment. 4. At the lower part of the embankment clay layer was thicker and became thinner as it goes upwards. At every layer, soil was consolidated and burned. When embankment was completed, it was covered evenly with heavy clay, and finally it was topped with general soil. 5. The heavy clay layer on the inner slope of the embankment showed gray phenomena and litter remained raw humus layer. The clay layer functioned as rubber in the water, and raw humus layer prevented water from seepages. Thus, the embankment was solidly built in this way. 6. The ancient embankment techniques used soils conveyed from nearby area taking the angle of repose into account. Once embankment was completed, clay and litter layers were added to have a plasticity and to withstand the water pressure. 7. It is an excellent technique that the reservoir was constructed with least labor for maximum effects while the recent embankment techniques requires a large amount of labor.