• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.84-94
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• 2013

This study scrutinizes the titles of serial poems on Japanese Apricot, which have lucid characters on season and time changes, having been appreciated and recited by the scholars in the Choseon Dynasty era and analyses the records of Zhang zi(1153~1235), a writer in Song(宋) Dynasty in China, having presented the objects harmonizing perfectly with Japanese Apricot. The results of this study categorizes the objects of Japanese Apricot appreciation and establishes the landscape characteristics on Japanese Apricot appreciation affiliated with as follows. First, the objects of Japanese Apricot appreciation are categorized into 'form of blossoms', 'natural feature(景物)', 'place of tree planting', 'the picturesque scene(景色)' and 'behavior'. Second, the scholars regarded the single trees whose branches are grotesque as the objects of appreciation and enjoyed them. They preferred white and single petal Japanese Apricot and admired red Japanese Apricot which has Taoism images. Third, they admired pines and camelias which represent fidelity and strength and valued Japanese Apricot with cranes which remind themselves of solitary scholars. Fourth, they appreciated the images of Japanese Apricot reflected on the water, and the poetically inspiring atmosphere where the trees are planted by the window. Fifth, the moon and snow were crucial weather conditions for appreciating. cold weather and time from night to dawn were ideally suited for enjoying. Sixth, they enjoyed blossoms in various fashions like bottling(甁梅), potting(盆梅), green-housing(龕梅), searching(龕梅) and black-and-white painting(墨梅) with a view to seeing blossoms earlier than the usual flowering time. Moreover, they used paper drapes, bead curtains, mirrors and ice lamps for active appreciation. They also listened to the sound of Piri(wind) and Geomungo(string), played go and drew tea with noble and elegant beauties when they enjoyed Japanese Apricot. The scholars influenced by the neo-Confucianism, which contemplates the objects, attached the specific sentiments like memories, grieves, dreams and farewells to Japanese Apricot and appreciated them. As stated above the scholars enjoyed the landscape including the picturesque scene like climate-weather, time-season and human behaviors not to mention the physical beauty of Japanese Apricot themselves and objects in company with Japanese Apricot including animals and plants.

• Journal of Korean Home Economics Education Association
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• v.30 no.3
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• pp.67-90
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• 2018

The purpose of this study was to develop and apply the practical problem-based teaching·learning process plan for 'interacting with neighbors' of home economics subject. The plan consisting of 3 lessons has been developed and implemented according to the ADDIE model. Various activity materials (7 student's activity sheets, 3 reading texts, 1 homework sheet, 3 sets of ppt, 6 videos, and 3 teacher's reading texts) as well as questionnaire were developed for the 3-session lessons. The plans were implemented by the researcher to 204 freshmen, 8 classes, of C middle school in Seoul during september, 2017. The result, of students' lower level of actual participation in interacting with neighbors comparing to their interests in, supported the need of this study. Students were satisfied with the whole 3-lessons in the aspects such as beneficial usage of the contents in their daily life and in building the sense of community, as well as adequacy of materials and activities. Students also reported that they would highly aware to the importance of interacting with neighbors and to practice the contents learned from the lessons in daily life at community. They had an opportunity to reflect one's own attitude to neighbors and recommended to teach it to other schools, too. It can be concluded that the teaching·learning process plan for 'interacting with neighbors' would raise students' housing values living together and attain the overall objective and achievement standards of 2015 home economics middle school curriculum.

• Journal of the Korean Society of International Agriculture
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• v.30 no.4
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• pp.257-268
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• 2018

Recently, the international standardization of ISO in the field of Oriental Herbal Medicine has been progressing rapidly under the direction of China's promotion. China's intention to promote international standardization is to extend its influence to the world and beyond the domestic market. The Oriental medicine system in East Asia has similar roots in academic terms, but the medicines that can be supplied and received in each country are different and have developed independently. The international standardization of medicinal herbs is expected to function in a direction that weakens such differentiation and independence. From a commercial point of view, international standardization is no different from creating evaluation criteria for oriental medicinal products, and it is expected that its potential impact on domestic and overseas markets and producers will be large. In particular, the international standardization centered on China can lead to favorable evaluation criteria for China, which may further negatively affect the market competitiveness of domestic raw materials, which have been pushed back by Chinese manufacturers. If the domestic production base is weakened, not only will the farmers suffer but the supply and demand of raw materials will also be manipulated, safety management control will be reduced, and the development of oriental herbal products using domestic raw materials will be hurt. Therefore, in the promotion of international standardization, it is necessary not only to reflect the value of Korean herbal medicine but also to provide strategic responses to protect the domestic production base. However, in the case of recent initiatives, there is no precedent in analyzing influence on the production partners and the related industries. In addition, there are few related papers and reports on the subject, so the publicity process has not been done sufficiently. In response to this, this study will examine the countermeasures against the international standardization of herbal medicines through reviewing its present status and evaluating the agenda of the Korean initiative.

• (The)Study of the Eastern Classic
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• no.72
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• pp.67-95
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• 2018

Gyeong-san(經山) Jeong Won-yong(鄭元容, 1783~1873) passed the state examination in 1802(純祖 2), and he has been in office for about 70 years. Jeong Won-yong with excellent administrative ability, he was an important figure in the Sedo politics, and was recognized by many writers for his outstanding writings. Nevertheless, his research results are small. This paper studyed his literary theories as a preliminary to look at Jeong Won-yong's literature in general After examining the features of Jeong Won-yong, there were three main aspects. First, Jeong Won-yong had a negative view of imitation. In particular, he stressed that he should oppose the attitude of unconditionally following Go-in(古人) without considering his capabilities and express his intention. Second, Jeong Won-yong pursued Jin-ui(眞意) when he wrote a poem. He thought rather than think that it is important to decorate a poem, it is important that emotion is exposed to the poem in a natural way. And he tried to unfold his individuality in the poem without copying others. Because if he imitate someone else when he write a poem, it is hard to express his thinking. His negative view of imitation and he pursued Jin-ui(眞意) are closely related. Lastly, Jeong Won-yong considered records important. Jeong Won-yong's record spirit is deeply related to his government service life. Jeong Won-yong who had been in government service all his life, hoped his experience would help manage the country. That's why he thought records were very important. And through this recording behavior, he wanted to get help later on. So it seems that he left a vast works.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.

• The Korean Journal of Air & Space Law and Policy
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• v.29 no.1
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• pp.127-160
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• 2014

The UN COPUOS was established in 1959 as a permanent committee of the UN General Assembly with the aims to promote international cooperation in peaceful uses of outer space, to formulate space-related programmes within the UN, to encourage research and dissemination of information on space, and to study legal problems arising from the outer space activities. Its members have been enlarged from 24 members in 1959 to 76 in 2014. The Legal Subcommittee, which has been established under COPUOS in 1962 to deal with legal problems associated with space activities, through its first three decades of work has set up a framework of international space law: the five treaties and agreements - namely the Outer Space Treaty, Rescue Agreement, Liability Convention, Registration Convention, Moon Agreement - and the five declarations and legal principles. However, some sceptical views on this legal framework has been expressed, concerning the applicability of existing international space law to practical issues and new kinds of emerging space activities. UNISPACE III, which took place in 1999, served as a momentum to revitalize the discussions of the legal issues faced by the international community in outer space activities. The agenda of the Legal Subcommittee is currently structured into three categories: regular items, single issue/items, and items considered under a multi-year workplan. The regular items, which deal with basic legal issues, include definition and delimitation of outer space, status and application of the five UN treaties on outer space, and national legislation relevant to the peaceful exploration and use of outer space. The single issues/items, which are decided upon the preceding year, are discussed only for one year in the plenary unless renewed. They include items related to the use of nuclear power sources in outer space and to the space debris mitigation. The agenda items considered under a multi-year work plan are discussed in working group. Items under this category deal with non-legally binding UN instruments on outer space and international mechanism for cooperation. In recent years, the Subcommittee has made some progress on agenda items related to nuclear power sources, space debris, and international cooperation by means of establishing non-legally binding instruments, or soft law. The Republic of Korea became the member state of COPUOS in 2001, after rotating seats every two years with Cuba and Peru since 1994. Korea's joining of COPUOS seems to be late, in considering that some countries with hardly any space activity, such Chad, Sierra Leone, Kenya, Lebanon, Cameroon, joined COPUOS as early as 1960s and 1970s and contributed to the drafting of the aforementioned treaties, declarations, and legal principles. Given the difficulties to conclude a treaty and un urgency to regulate newly emerging space activities, Legal Subcommittee now focuses its effort on developing soft law such as resolutions and guideline to be adopted by UN General Assembly. In order to have its own practices reflected in the international practices, one of the constituent elements of international customary law, Korea should analyse its technical capability, policy, and law related to outer space activities and participate actively in the formation process of the soft law.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.20-49
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• 2009

This paper explores the Korean royal tombs steles such as monumental steles and tombstone marks (神道碑, 表石) that are broadly fallen into the following three periods ; the 15~16th centuries, 17th~18th centuries, and 19th century. As a result, the royal tombs steles were built, unlike the private custom, on the heirs to the King's intentions. During the 15~17th centuries the construction and reconstruction of the monumental steles took place. In the late Joseon period, monumental steles had been replaced with a number of tombstone marks were built to appeal to the king's calligraphy carved on stone for the first time. During the Great Empire Han(大韓帝國) when the Joseon state was upgraded the empire, Emperors Gojong and Sunjong devoted to honor ancestors by rebuilding royal tombstone mark. Based on these periodical trends, it would not be exaggerated that the history of establishing the royal tombs steles formed in late Joseon. The type of royal tombs monuments originated from those of the Three Kingdoms era, a shapeless form, the new stele type of the Tang Dynasty (唐碑) has influenced on the building of monuments of the Unified Silla and Buddhist honorable monuments (塔碑) of the Goryeo Dynasty. From the 15th century, successive kings have wished to express the predecessors's achievements, nevertheless, the officials opposed it because the affairs of the King legacy (國史) were all recorded, so there is no need to establish the tombs steles. Although its lack of quantity, each Heonneung and Jereung monumental steles rebuilt in 1695 and 1744 respectively, is valuable to show the royal sculpture of the late Joseon period. Since the 15th century, the construction of the royal tombs monumental steles has been interrupted, the tombstone marks (boulders) with simpler format began to be erected within the tomb precincts. The Yeoneung tombstone mark(寧陵表石), built in 1682, shows the first magnificent scale and delicate sculpture technique. Many tombstone marks were erected since the 1740s on a large scale, largely caused by King Yeongjo's announce to the honorific business for the predecessors. Thanks to King Yeongjo's such appealing effort, over 20 pieces of tombstone marks were established during his reign. The fact that his handwritten calligraphic works first carved on tombstones was a remarkable phenomenon had never been appeared before. Since the 18th century, a double-slab high above the roof(加?石) and rectangular basement of the stele have been accepted as a typical format of the tombstone marks. In front of the stele, generally seal script calligraphic works after a Tang dynasty calligrapher Li Yangbing(李陽氷)'s brushwork were engraved. In 1897 when King Gojong declared the Empire, these tombstone marks were once again produced in large amounts. Because he tried to find the legitimacy of the Empire in the history of the Joseon dynasty and its four founding fathers in creating the monuments both of the front and back sides by carving his in-person-calligraphy as a ruler representing his symbolic authority. The tombstone marks made during this period, show an abstract sculpture features with the awkward techniques, and long and slim strokes. As mentioned above, the construction of monumental steles and tombstone marks is a historical and remarkable phenonenon to reveal the royal funeral custom, sculpture techniques, and successive kings' efforts to honor the royal predecessors.