• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.196-219
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• 2019

According to the Samguk Yusa, the nine-story wooden pagoda at Hwangnyongsa Temple was built by a Baekje artisan named Abiji in 645. Until the temple was burnt down completely during the Mongol invasion of Korea in 1238, it was the greatest symbol of the spiritual culture of the Korean people at that time and played an important role in the development of Buddhist thought in the country for about 700 years. At present, the only remaining features of Hwangnyongsa Temple, which is now in ruins, are the pagoda's stylobate and several foundation stones. In the past, many researchers made diverse inferences concerning the restoration of the original structure and the overall architecture of the wooden pagoda at Hwangnyongsa Temple, based on written records and excavation data. However, this information, together with the remaining external structure of the pagoda site and the assumption that it was a simple wooden structure, actually suggest that it was a rectangular-shaped nine-story pagoda. It is assumed that such ideas were suggested at a time when there was a lack of relevant data and limited knowledge on the subject, as well as insufficient information about the technical lineage of the wooden pagoda at Hwangnyongsa Temple; therefore, these ideas should be revised in respect of the discovery of new data and an improved level of awareness about the structural features of large ancient Buddhist pagodas. This study focused on the necessity of raising awareness of the lineage and structure of the wooden pagoda at Hwangnyongsa Temple and gaining a broader understanding of the structural system of ancient Buddhist pagodas in East Asia. The study is based on a reanalysis of data about the site of the wooden pagoda obtained through research on the restoration of Hwangnyongsa Temple, which has been ongoing since 2005. It is estimated that the wooden pagoda underwent at least two large-scale repairs between the Unified Silla and Goryeo periods, during which the size of the stylobate and the floor plan were changed and, accordingly, the upper structure was modified to a significant degree. Judging by the features discovered during excavation and investigation, traces relating to the nine-story wooden pagoda built during the Three Kingdoms Period include the earth on which the stylobate was built and the central pillar's supporting stone, which had been reinstalled using the rammed earth technique, as well as other foundation stones and stylobate stone materials that most probably date back to the ninth century or earlier. It seems that the foundation stones and stylobate stone materials were new when the reliquaries were enshrined again in the pagoda after the Unified Silla period, so the first story and upper structure would have been of a markedly different size to those of the original wooden pagoda. In addition, during the Goryeo period, these foundation stones were rearranged, and the cover stone was newly installed; therefore, the pagoda would seem to have undergone significant changes in size and structure compared to previous periods. Consequently, the actual structure of the original wooden pagoda at Hwangnyongsa Temple should be understood in terms of the changes in large Buddhist pagodas built in East Asia at that time, and the technical lineage should start with the large Buddhist pagodas of the Baekje dynasty, which were influenced by the Northern dynasty of China. Furthermore, based on the archeological data obtained from the analysis of the images of the nine-story rock-carved pagoda depicted on the Rock-carved Buddhas in Tapgok Valley at Namsan Mountain in Gyeongju, and the gilt-bronze rail fragments excavated from the lecture hall at the site of Hwangnyongsa Temple, the wooden pagoda would appear to have originally been an octagonal nine-story pagoda with a dual structure, rather than a simple rectangular wooden structure.

• Korean Journal of Psychosomatic Medicine
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• v.27 no.1
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• pp.50-59
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• 2019

Objectives : Many of the patients with type 2 diabetes are associated with sleep problems, and the rate of insomnia is known to be higher in the general population. The aims of this study were to know the frequency and clnical characteristics of insomnia, and related variables to insomnia in patients diagnosed with type 2 diabetes. Methods : For 99 patients from 18 to 80 years of age (65 males and 34 females) with type 2 diabetes, interviews were performed. Total sleep time and sleep latency was evaluated. Insomnia was evaluated using the Korean Version of the Insomnia Severity Index (ISI-K). Severity of depressive symptoms were evaluted using the Korean version of the Hamilton Depression Scale (K-HDRM). According to the cutoff score of 15.5 on the ISI-K, subjects were divided into the group of type 2 diabetics with insomnia (N=34) and those without insomnia (N=65) at first, and then statistically analyzed. Results : TInsomnia could be found in 34.34% of type 2 diabetics. Type 2 diabetics with insomnia had significantly more single or divorced (respectively 11.8%, p<0.05), higher total scores of the K-HDRS ($11.76{\pm}5.52$, p<0.001), shorter total sleep time ($5.35{\pm}2.00hours$, p<0.001), and longer sleep latency ($50.29{\pm}33.80minutes$, p<0.001). The all item scores of the ISI-K in type 2 diabetics with insomnia were significantly higher than those in type 2 diabetics without insomnia, that is, total ($18.38{\pm}2.69$), A1 (Initial insomnia) ($2.97{\pm}0.76$), A2 (Middle insomnia) ($3.06{\pm}0.69$), A3 (Terminal insomnia) ($2.76{\pm}0.61$), B (Satisfaction) ($3.18{\pm}0.72$), C (Interference) ($2.09{\pm}0.97$), D (Noticeability) ($2.12{\pm}1.09$) and E (Distress) ($2.21{\pm}0.81$) (respectively p<0.001). Variables associated with insomnia in type 2 diabetics were as following. Age had significant negative correlation with A3 items of the ISI-K (${\beta}=-0.241$, p<0.05). Total scores of the K-HDRS had significant positive correlation, while total sleep time had significant negative correlation with all items of the ISI-K (respectively p<0.05). Sleep latency had significant positive correlation with total,, A1, B and E item scores of the ISI-K (respectively p<0.05). Conclusions : Insomnia was found in about 1/3 of type 2 diabetics. According to the presence of insomnia, clinical characteristics including sleep quality as well as quantity seemed to be different. Because depression seemed to be correlated with insomnia, clinicians should pay attention to early detection and intervention of depression among type 2 diabetics.

• Microbiology and Biotechnology Letters
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• v.46 no.4
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• pp.360-371
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• 2018

Extracts and fractions of Anemarrhena asphodeloides Bunge were prepared and their physiological activities and components were analyzed. Antimicrobial activities of the ethyl acetate and aglycone fractions were $78{\mu}g/ml$ and $31{\mu}g/ml$, respectively, for Staphylococcus aureus and $156{\mu}g/ml$ and $125{\mu}g/ml$, respectively, for Pseudomonas aeruginosa. 1,1-Diphenyl-2-picrylhydrazyl free radical scavenging activities ($FSC_{50}$) of 50% ethanol extract, ethyl acetate fraction, and aglycone fraction of A. asphodeloides extracts were $146.2{\mu}g/ml$, $23.19{\mu}g/ml$, and $71.06{\mu}g/ml$, respectively. The total antioxidant capacity ($OSC_{50}$) in an $Fe^{3+}$-EDTA/hydrogen peroxide ($H_2O_2$) system were $17.5{\mu}g/ml$, $1.5{\mu}g/ml$, and $1.4{\mu}g/ml$, respectively. The cytoprotective effect (${\tau}_{50}$) in $^1O_2$-induced erythrocyte hemolysis was 181 min with $4{\mu}g/ml$ of the aglycone fraction. The ${\tau}_{50}$ of the aglycone fraction was approximately 4-times higher than that of (+)-${\alpha}$-tocopherol (${\tau}_{50}$, 41 min). Analysis of $H_2O_2$-induced damage of HaCaT cells revealed that the maximum cell viabilities for the 50% ethanol extract, ethyl acetate fraction, and aglycone fraction were 86.23%, 86.59%, and 89.70%, respectively. The aglycone fraction increased cell viability up to 11.53% at $1{\mu}g/ml$ compared to the positive control treated with $H_2O_2$. Analysis of ultraviolet B radiation-induced HaCaT cell damage revealed up to 41.77% decreased intracellular reactive oxygen species in the $2{\mu}g/ml$ aglycone fraction compared with the positive control treated with ultraviolet B radiation. The findings suggest that the extracts and fractions of A. asphodeloides Bunge have potential applications in the field of cosmetics as natural preservatives and antioxidants.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

• The Korean Journal of Nuclear Medicine Technology
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• v.23 no.1
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• pp.69-74
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• 2019

Purpose $^{18}F$-FDOPA using amino acid is particularly attractive for imaging of brain tumors because of the high uptake in tumor tissue and the low uptake in normal brain tissue. But, on the other hand, $^{18}F$-FDG is highly uptake in both tumor tissue and normal brain tissue. The purpose of study is to evaluate comparison of contrasts in $^{18}F$-FDOPA Brain PET/CT and $^{18}F$-FDG Brain PET/CT and to find out optimal scan time by analysis of variation in SUV with the passage of uptake time. Materials and Methods A region of interest of approximately $350mm^2$ at the center of the tumor and cerebellum in 12 patients ($51.4{\pm}12.8yrs$) who $^{18}F$-FDG Brain PET/CT and $^{18}F$-FDOPA Brain PET/CT were examined more than once each. The $SUV_{max}$ was measured, and the $SUV_{max}$ ratio (T/C ratio) of the tumor cerebellum was calculated. In the analysis of SUV, T/C ratio was calculated for each frame after dividing into 15 frames of 2 minutes each using List mode data in 25 patients ($49.{\pm}10.3yrs$). SPSS 21 was used to compare T/C ratio of $^{18}F$-FDOPA and T/C ratio of $^{18}F$-FDG. Results The T/C ratio of $^{18}F$-FDOPA Brain PET/CT was higher than the T/C ratio of $^{18}F$-FDG Brain, and show a significant difference according to a paired t-test(t=-5.214, p=0.000). As a result of analyzing changes in $SUV_{max}$ and T/C ratio, the peak point of $SUV_{max}$ was $5.6{\pm}2.9$ and appeared in the fourth frame (6 to 8 minutes), and the peak of T/C ratio also appeared in the fourth frame (6 to 8 minutes). Taking this into consideration and comparing the existing 10 to 30 minutes image and 6 to 26 minutes image, the $SUV_{max}$ and T/C ratio increased by 0.2 and 0.1 each, compared to the 10 to 30 minutes image for 6 to 26 minutes image. Conclusion From this study, $^{18}F$-FDOPA Brain PET/CT is effective when reading the image, because the T/C ratio of $^{18}F$-FDOPA Brain PET/CT was higher than T/C ratio of $^{18}F$-FDG Brain PET/CT. In addition, in the case of $^{18}F$-FDOPA Brain PET/CT, there was no difference between the existing 10 to 30 minutes image and 6 to 26 minutes image. Through continuous research, we can find possibility of shortening examination time in $^{18}F$-FDOPA Brain PET/CT. Also, we can help physician to accurate reading using additional scan data.

• Journal of the Korean Society of Radiology
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• v.13 no.3
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• pp.371-379
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• 2019

The purpose of this study was to investigate the effect of the change in the X-ray condition on the entrance surface dose (ESD) and dose area product (DAP) in the cine imaging of coronary angiography (CAG), and to analyze the usefulness of the condition change on the dose relation and image quality by measuring and analyzing the Signal to Noise Radio (SNR) and Contrast to Nois Ratio (CNR) of the angiographic images taken by the Image J program. Data were collected from 33 patients (24 males and 9 females) who underwent CAG at this hospital from November 2017 to March 2018. In terms of imaging condition and data acquisition, the ESD and DAP of group A with a high tube current of 397.2 mA and group B with a low tube current of 370.7 mA were retrospectively obtained for comparison and analysis. For the SNR and CNR measurement and analysis via Image J, the result values were derived by substituting the obtained data into the formula. The correlations among ESD and DAP according to the change in the imaging condition, SNR, and CNR were analyzed by using the SPSS statistical analysis software. The relationships of groups A and B, having a difference in the imaging condition, mA, with ESD ($A:483.5{\pm}60.1$; $B: 464.4{\pm}39.9$) and DAP ($A:84.3{\pm}10.7$; $B:81.5{\pm}7$) were not statistically significant (p>0.05). In the relationships with SNR and CNR based on Image J, the SNR ($5.451{\pm}0.529$) and CNR ($0.411{\pm}0.0432$) of the images obtained via the left coronary artery (LCA) imaging of group B showed differences of $0.475{\pm}0.096$ and $-0.048{\pm}0.0$, respectively, from the SNR ($4.976{\pm}0.433$) and CNR ($0.459{\pm}0.0431$) of the LCA of group A. However, the differences were not statistically significant (p<0.05). In the SNR and CNR obtained via the right coronary artery (RCA) imaging, the SNR ($4.731{\pm}0.773$) and CNR ($0.354{\pm}0.083$) of group A showed increased values of $1.491{\pm}0.405$ and $0.188{\pm}0.005$, respectively, from the SNR ($3.24{\pm}0.368$) and CNR ($0.166{\pm}0.033$) of group B. Among these, CNR was statistically significant (p<0.05). In the correlation analysis, statistically significant results were shown in SNR (LCA) and CNR (LCA); SNR (RCA) and CNR (RCA); ESD and DAP; ESD and sec; DAP and CNR (RCA); and DAP and sec (p<0.05). As a result of the analyses on the image quality evaluation and usefulness of the dose change, the SNR and CNR were increased in the RCA images of the CAG obtained by increasing the mA. Based on the result that CNR showed a statistically significant difference, it is believed that the contrast in the image quality can be further improved by increasing the mA in RCA imaging.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.4-31
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• 2018

It is difficult to ascertain exactly when the Hongjuupseong (Town Wall) was first constructed, due to it had undergone several times of repair and maintenance works since it was piled up newly in 1415, when the first year of the reign of King Munjong (the 5th King of the Joseon Dynasty). Parts of its walls were demolished during the Japanese occupation, leaving the wall as it is today. Hongseong region is also susceptible to historical earthquakes for geological reasons. There have been records of earthquakes, such as the ones in 1978 and 1979 having magnitudes of 5.0 and 4.0, respectively, which left part of the walls collapsed. Again, in 2010, heavy rainfall destroyed another part of the wall. The fortress walls of the Hongjuupseong comprise various rocks, types of facing, building methods, and filling materials, according to sections. Moreover, the remaining wall parts were reused in repair works, and characteristics of each period are reflected vertically in the wall. Therefore, based on the vertical distribution of the walls, the Hongjuupseong was divided into type I, type II, and type III, according to building types. The walls consist mainly of coarse-grained granites, but, clearly different types of rocks were used for varying types of walls. The bottom of the wall shows a mixed variety of rocks and natural and split stones, whereas the center is made up mostly of coarse-grained granites. For repairs, pink feldspar granites was used, but it was different from the rock variety utilized for Suguji and Joyangmun Gate. Deterioration types to the wall can be categorized into bulging, protrusion of stones, missing stones at the basement, separation of framework, fissure and fragmentation, basement instability, and structural deformation. Manually and light-wave measurements were used to check the amount and direction of behavior of the fortress walls. A manual measurement revealed the sections that were undergoing structural deformation. Compared with the result of the light-wave measurement, the two monitoring methods proved correlational. As a result, the two measuring methods can be used complementarily for the long-term conservation and management of the wall. Additionally, the measurement system must be maintained, managed, and improved for the stability of the Hongjuupseong. The measurement of Nammunji indicated continuing changes in behavior due to collapse and rainfall. It can be greatly presumed that accumulated changes over the long period reached the threshold due to concentrated rainfall and subsequent behavioral irregularities, leading to the walls' collapse. Based on the findings, suggestions of the six grades of management from 0 to 5 have been made, to manage the Hongjuupseong more effectively. The applied suggested grade system of 501.9 m (61.10%) was assessed to grade 1, 29.5 m (3.77%) to grade 2, 10.4 m (1.33%) to grade 3, 241.2 m (30.80%) and grade 4. The sections with grade 4 concentrated around the west of Honghwamun Gate and the east of the battlement, which must be monitored regularly in preparation for a potential emergency. The six-staged management grade system is cyclical, where after performing repair and maintenance works through a comprehensive stability review, the section returned to grade 0. It is necessary to monitor thoroughly and evaluate grades on a regular basis.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.5-37
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• 2004

A wooden coffin has been given academic attention in Kaya(伽倻), due to the place the stage of Samhan society appropriately in the development of ancient korea history. Special attention must be paid on Dohang-Ri(道項里) woden coffin, since it is expected to explain the origin of Arakaya(阿羅伽倻) in the region of southen korea peninsula. Dohang-Ri wooden coffin is become generally knowen two types, and complete its unique feature in Chin-Han(辰韓) and Byun-Han(弁韓). Recently the fact that Dohang-Ri wooden coffin is discovered only in the king tombs of Chang Won Daho-Ri(昌原茶戶里) and it is remarkable of political connection between Kuya-Kuk (狗邪國) and Anya-Kuk(安邪國). Various ironware unearth of Dohang-Ri has seen similar to that from Daho-Ri, but it has not bronze mirror be maid Chines, symbol with dignity of social position in the ruling ciass. It seems that political unit of Daho-Ri is advanced sociaity and central force than Dohang-Ri in the Byun-Han. The later of two century, I have a think about wooden coffin changes the wooden chamble of Dohang-Ri and Daho-Ri that it go out of sight at AD.2 century. Becouse of possitive achaelogical sites has not confirm, it request radical interpretaion. I inference to accordingly to the it appearance connected of the wars between the eight country of southen regins in korea peninsula at the first half of AD.3 cencury. Exactly, the politial units of Dohang-Ri and Daho-Ri has concentration of trade in Racdong river(洛東江) and Nam river(南江) water system and that give form to coexistence system of economic and political mutuality.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.14-26
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• 2011

Imdaejeong Wonlim is located on the verge of Sangsa Village in Sapyeong-ri, Daepyeong-myeon, Hwasun-gun Gyeongsangnam-do toward Northwest. It was planned by Sa-ae, Minjuhyeon in 1862 on the basis of Gobanwon built by Nam Eongi in 16th century against the backdrop of Mt. Bongjeong and facing Sapyeong Stream. As water flows from west to east in the shape of crane, this area is a propitious site standing for prosperity and happiness. This area shows a distinct feature of Wonlim surrounding the Imdaejeong with multi layers as consisting of 5 districts - front yard where landmark stone with engraved letters of 'Janggujiso of Master Sa-ea' and junipers are harmoniously arranged, internal garden of upper pavilion ranging from a pavilion to square pond with a little island in the middle, Sugyeongwon of under pavilionu consisting of 2 ponds with a painting of three taoist hermits, forest of Mt. Bonggeong and external garden including Sapyeong Stream and farmland. According to documentation and the results of on-site investigation, it is certainly proved that Imdaejeong Wonlim was motivated by Byeoseo Wonlim which realized the idea of 'going back to hometown after resignation' following the motives of Janggujiso, a hideout aimed to accomplish the ideology, 'training mind and fostering innate nature,' on the peaceful site surrounded by water and mountain, as well as motives of Sesimcheo(洗心處) to be unified with morality of Mother Nature, etc. In addition, it implies various imaginary landscapes such as Pihangji, Eupcheongdang, square pond with an island and painting of three Taoist hermits based on a notion that 'the further scent flies away, the fresher it becomes,' which is originated from Aelyeonseol(愛蓮說). In terms of technique of natural landscape treatment, divers techniques are found in Imdaejeong Wonlim such as distant view of Mt. Bongjeong, pulling view with an intention of transparent beauty of moonlight, circle view of natural and cultural sceneries on every side, borrowed scenary of pastoral rural life adopted as an opposite view, looked view of Sulyundaero, over looked view of pond, static view in pavilion and paths, close view of water space such as stream and pond, mushroom-and-umbrella like view of Imdaejeong, vista of pond surrounded by willows, imaginary view of engraved letters meaning 'widen knowledge by studying objectives' and selected view to comprise sunrise and sunset at the same time. In the beginning of construction, various plants seemed to be planted, albeit different from now, such as Ginkgo biloba, Phyllostachys spp., Salix spp., Pinus densiflora, Abies holophylla, Morus bombycis, Juglans mandschurica, Paulownia coreana, Prunus mume, Nelumbo nucifera, etc. Generally, it reflected dignity of Confucianism or beared aspect of semantic landscape implying Taoist taste and idea of Phoenix wishing a prosperity in the future. Furthermore, a diversity of planting methods were pursued for such as liner planting for the periphery of pond, bosquet planting and circle planting adopted around the pavilion, spot planting using green trees, solitary planting of monumentally planted Paulownia coreana and opposite planting presenting the Abies holophylla into yin and yang.