• (The)Study of the Eastern Classic
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• no.73
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• pp.35-63
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• 2018

The intellectuals of the Joseon Dynasty were Yangban Sadaebu who had knowledge based on Confucianism(Neo-Confucianism), enjoyed cultural powers by expressing their knowledge in words or writing, and entered government posts to guide society with such knowledge or included some pre-officials. Sisa(Poem Society) was a major place of knowledge transmission to acquire and impart knowledge of creating Chinese poems that traditional intellectuals of the Joseon Dynasty possessed. Seocheonmaehwasa(西泉梅花社) was a group of writers from the late Joseon Dynasty gathered together based on the commonality of kinship and political iniquity although they were different factions like Nam'in and Soron, and they enjoyed apricot blossoms and wrote poems there. Seocheonmaehwasa(西泉梅花社) was basically the meeting making poems. They improved their creative abilities with creating poems. Seocheonmaehwasa(西泉梅花社) was a major place of knowledge transmission to acquire and impart knowledge of creating Chinese poems that traditional intellectuals of the Joseon Dynasty possessed.

• 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.

• (The)Study of the Eastern Classic
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• no.49
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• pp.225-260
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• 2012

The poetry of Haseo Jo Gyeong is first characterized by its fantasy content with mysterious and strange beings such as mountain wizards, gods of flowers, ghosts, Jujos and dragons. Such works imply the huge gap between his political ideal of Neo-Confucianism and the reality of society and are expressions of his resulting sorrow. Of course, he did not just look at reality pessimistically. Like other Neo-Confucianism scholars, he used the symbol of "spring" in his poems, which indicates that he did have optimistic belief in the world in spite of despair. In his poems, the symbol of "spring" implies the political world where the noble man grabbed the power and the sinister groups were extracted or the world where the political ethics of Neo-Confucianism was implemented. His works depicting the essence of natural objects, mountains, and rivers exhibit the characteristics of his poetry more clearly. He described the law of the universe behind natural objects and the vibrant aspects of natural objects by depicting their movements in a clear and sharp manner. Unlike the old Neo-Confucianism scholars that often created poems on the topic of acquirement of natural law and nature, he expanded his poetic world in a direction of revealing the secrets of objects. His works describing the spirit of mountains and rivers are especially noteworthy in that they implied a life attitude of moving forward in an deteriorating world bravely by manifesting strong and dynamic power. Paying attention to the secrets of natural objects, Haseo displayed his life ideal in richer ways by painting the new forms of ume flowers. Unlike the old ume flowers poems in the past, his ume flowers poems present ume flowers as ascetics that obtained truth, men of virtue that inspired contemporary people, or retired gentlemen that revealed the profound secrets of nature. While it is unique that he manifested the forms of ume flowers in ascetics and men of virtue while perceiving the dark reality of society, it is more noteworthy that he described ume flowers as the beings revealing the profound secrets of nature. It was the expression of his yearning for an innocent personality and his fear for losing the personality, clearly depicting a human form of his ego. He created a more human and realistic personality ideal by embracing the contemporary thinking based on the profound secrets of nature in his Dohak poetry[道學詩], which is a significant achievement in that it showed new changes to Dohak poetry in the 18th century.

• Landscaping Tree
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• s.117
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• pp.27-30
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• 2010

3월에 잎보다 꽃을 먼저 피우는 매실나무는 이른 봄 우리의 가슴을 설레게 하는 매화의 연분홍색 아름다움은 예로부터 군자의 기상이요, 선비의 자태다. 수많은 선각자들이 글, 노래, 시, 그림 등 각양각색으로 매화를 칭송하고 아름다움을 묘사했지만 이들에 대한 우리 민족의 사랑은 영원할 것이다. 꽃을 매화, 열매를 매실이라고 식 약용으로 쓰이며 봄의 전령으로 우리를 기쁘게 하지만 이들 해치는 해충의 종류는 매실을 가해하는 과수해충을 포함하여 각종 해충 종은 무수히 많다. 이들 해충 중 중요한 몇몇 해충에 대하여 생리 생태 및 방제법을 간략하게 소개하고자 한다.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.16-33
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• 2012

Maehwa blossom(梅花) has been favoured in literary and artistic works in the East Asia as one of representing symbols of virtuous men's character. Maehwaseookdo(梅花書屋圖) is one of major forms of painting. This paper starts from the birth of Maehwaseookdo since it aims to examine the following points: its structural origin of the Gurimaehwachonsado(九里梅花村舍圖) style; how this style was distributed in Korea; process and features of Maegamdo(梅龕圖). The current academic world admits Maehwaseookdo is originated from an ancient story of Lim Po(林逋). Even though Maehwaseookdo and Lim Po story can be linked to a meaning of schoarly hermitage, ways to structure works are hard to compare paintings based on Lim Po story. While paintings related to Limpo story such as Banghakdo(放鶴圖) and Gwanmaedo(觀梅圖) depict a scholar(s) and a few Maehwa trees with cranes, Maehwaseookdo presents scholarly hermitage with a lot of Maehwa trees which encircle a house building. As other paintings related to Maehwa blossom were widely painted since the nationwide popularity of the theme of Maehwa, Maehwaseookdo was not drown throughout the whole period of time. Since Goryeo, Maehwa paintings including Sehansamu(歲寒三友), ordinary Maehwado as one of the Four Gentlemen's plants, and Tammaedo(探梅圖) which was based on ancient anecdote of Maeng Hoyeon. Maehwaseookdo, however, was created exclusively in the 19th century. In China a similar feature took place much earlier period which was in the 17th century. Accordingly we can assume that these patterns which paintings in particular styles were generated by particular cultural phenomena. The reason why Joseon's Maehwaseookdo works were painted exclusively in the 19th century was that Kim Jeonghee's party and Sin wi had acquaintanceship with Jang Sim(張深) who got work orders for Oh Sungyang(吳嵩梁). In these corresponding activities, two types of Maehwa paintings were exchanged. In China, scholars usually drew paintings in the type of Gurimaehwachonsado(九里梅花村舍圖) depicting scenic views of Guriju(九里洲) which was riverside area under the Mt. Buchun(富春山). This place surrounded by thousands and hundreds of Maehwa trees was where Oh Sungyang(吳嵩梁) was about to retire to hermitage in. In this repect, Joseon scholars painted Maegamdo(梅龕圖) depicting a scene of a shrine with Oh Sungyang(吳嵩梁)'s poetry books surrounded by Maehwa trees for paying tribute to the wall of Maehwa trees(Maebyeok(梅癖)). This seems to adapt the format of 'Manmae(萬梅)' which appeared in the type of Gurimaehwachonsado. One of the representing works of this, is painted or supervised by Sinwi. Paintings in two types with respective meanings were combined by which was estimated to be painted by Sin Wi, then it became a structural base of by Jang Sim(張深) This type of Maegamdo brought the popularity of Maewhoseookdo which once had another name of 'Manmaeseookdo(萬梅書屋圖)' by a group of scholars such as Jo Heeyong, in the 19th century. All things considered, this paper can be a sort of precedent phrase to find out the birth of Manmaeseookdo which was very popular in the late 19th century.

• Proceedings of the Korean Society of Environment and Ecology Conference
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• 2008.10a
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• pp.49-50
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• 2008

• KAPE Magazine
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• s.250
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• pp.10-11
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• 2017

이름 그대로 매화 향기가 그윽할 것 같은 매향리. 이곳엔 <대지목장>이 있다. 이곳 대표는 매향리가 고향인 농부로 벼 농사일만 하다가 1995년에 축산의 길을 선택한 <대지목장>의 대표인 지일진 대표가 있다. 소 9마리로 시작하여 현재 150마리를 사육하고 있는 그의 하루 일상을 둘러보고 그만의 축산 노하우를 살펴보자.

• Journal of the Korean Institute of Rural Architecture
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• v.10 no.4
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• pp.33-40
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• 2008

This paper aims to clarify the spatial form and functional transition of Korean traditional shop house in Maehwa marketplace, Uljin. The general form of Korean traditional shop house of Maehwa marketplace was the timbered house of the tin roof built in the 1960s. As the scale of a building being comparatively small-scale, building area is $60m^2$ and the yard was mainly made behind the building. When the spatial form of Korean traditional shop house is considered, the composition of 4 by 2 is most. And in the front of a building, the shop is located, and when the back of a building prepares a residence, integration of a sales function and a habitation function is seen. The shop of Korean traditional shop house is converted into living space by change of the function, and the position is the middle of a front of building. This is considered as what inherited the Korean lifestyle. And the last, Although it is not different from the appearance of the shop house of other areas, since there are few grades of the change in comparison, the extension situation of Korean traditional shop house is recognized as an example important for future research.

• Proceedings of the Korean Nuclear Society Conference
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• 1998.05b
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• pp.633-638
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• 1998

벼의 성장시기에 다른 대기중 삼중수소의 식물채내 흡수실험을 수행하였다. 투명한 아크릴로 만들어진 피폭상자(50x60x120cm)내의 피폭조건은 비록 같은양(18.5 MBq)의 HTO를 증발시키더라도 동일한 농도를 유지하는 것이 거의 불가능하였다. 벼꽃의 매화 직후부터 수확기까지 이삭의 생성시기별로 HTO에 피폭시킨 후 잎, 줄기 및 이삭으로 구분된 시료에서 피폭 후 시간별로 조직자유수의 삼중수소 농토를 측정하였다. 조직자유수의 삼중수소 농도는 이삭에서 가장 느리게 감소하였으나 조직결합수의 삼중수소 농도는 이삭 성장이 가장 왕성한 시기에 높게 측정되었다.

• Journal of The Korean Society of Grassland and Forage Science
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• v.11 no.2
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• pp.84-89
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• 1991

This experiment was carried out to determine the effects of oversowing and other seeding methods (oversowing+ raking, oversowing+ raking+compaction, tillage+ broadcasting+ compaction and tillage + drilling+ compaction) on growth, dry matter and crude protein yield of alfalfa (Medicago satiua L.). The results obtained are summarized as follows:1. Soil pH and soil properties were improved by tillage.2. Establishment of alfalfa was increased with raking and compaction, and more by tillage than by oversowing(P