• Korean journal of food and cookery science
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• v.14 no.5
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• pp.566-576
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• 1998

Food habits and Korean food utilization patterns were surveyed from 188 Koreans residing in New Zealand and Malaysia by using a questionnaire. Forty seven percent of the respondents answered that Korean food should be succeeded as its traditional form. Most subjects had strong pride for Korean traditional food. Kimchi was the most frequently consumed side dish followed by Chigaes (stew), broiled meat, Tubu (bean curd), broiled fish, Tangs (soup), and Noodles. While Kimchies were prepared by the respondents themselves, Doenjang and Kochujang were sent from the relatives in Korea or purchased from the market. The changes in food consumption pattern after emigration depended on the availability of food items in residing country. Korean style meal (cooked rice and side dishes) was eaten by 51% respondents for breakfast and by 78.2% for supper. Ramyon was the most frequently consumed instant food. Eating out frequency was much higher in the residents in Malaysia than the ones in New Zealand. This study showed that Koreans residing in foreign countries have the consciousness trying to succeed Korean traditional food culture, and their food consumption pattern partly depends on food availability and socio-cultural properties of the residing country.

• Journal of the Korean Society of Food Culture
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• v.5 no.1
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• pp.59-75
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• 1990

The tzeam is the one of steaming cook that boiled the main material of poultry. meat and the sub-material of vegetables. It is always setted on the main-table in above seven chup ban sang and also kyoja sang. In this thesis, according to the kinds of tzeam in the main material of poultry, meat was to analysis reference frequency to them the materials, the measuring unit of materials, the terms of cooking and kitchen utensil by 47 books published in Korea from 1420 to 1987. 1. It was 37 kinds of tzeam in the main material of poultry, meat. 2. Materials were classified into the main-material, sub-materials, seasioning and decorations. 3. There were 43 kinds of measuring units, of them 18 kinds were for volume, 12 kinds were for quantity, 4 kinds were for length and the rest measuring units were 9 kinds. 4. There were 26 kinds of kitchen utensil for cooking. They were mainly used a hab 1 rice ball with lids, and castles (cast iron castle). 5. There were 27 kinds of cooking terms. The terms of them, 11 kinds were for heating methods, 16 terms of them were for the cutting process.

• Korean Journal of Environment and Ecology
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• v.27 no.4
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• pp.487-497
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• 2013

This study was conducted to suggest vegetation management plan for Gugok landscape maintenance and improvement by deducing the vegetation landscape factors inherent in Yongha Gugok and understanding vegetation structure through the investigate of existing vegetation and plant community structure of Yongha valley in Woraksan National Park. There were broad and flat rocks, natural layered stones, clear water, light stones, stream, valleys, waterfalls, Pinus densiflora and Acer pseudosieboldianum as a result of deducing natural factors on poetry. There were P. densiflora and A. pseudosieboldianum appeared as one of main vegetation landscape elements. The actual vegetation analysis results were as followed. The natural vegetation occupied 67.5% and it was classified as P. densiflora community, Quercus variabilis community, Q. variabilis-P. densiflora community, Q. variabilis-Q. serrata community, Q. serrata community, Q. mongolica community, Q. mongolica-P. densiflora community, Deciduous broad-leaved tree community. The artificial vegetation(18.7%) was classified as Q. serrata community-Larix kaempferi community, Q. mongolica- Castanea crenata community, L. kaempferi community, L. kaempferi-C. crenata community, fruticeta, L. kaempferi-Q. mongolica community. The grassland area(2.0%) was classified as Miscanthus sinensis community, Phragmites communis community, and other areas were classified as landscape tree planting area, farm, orchard, residential area. The representative vegetation were P. densiflora community, Q. variabilis-Q. serrata community, L. kaempferi community, Deciduous broad-leaved tree community in Yongha Gugok. The species diversity index of Shannon was 0.6274~0.9908 on the whole. Yongha Gugok, as a symbol of succession on confucianism and reverence for nature, should be preserved natural valley landscape being clean and wijungchuksa at the end of Joseon Dynasty and Japanese Colonial era. In this historical and cultural Gugok, vegetation landscape management plan is needed to landscape maintenance with P. densiflora community, density control with L. kaempferi community. And it is considered when natural disasters and artificial damages happened, P. densiflora-oriented vegetation restoration plan should be applied in order to restore.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.36-59
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• 2021

This study infers the origin and production period of the , which is in the Onyang folk museum, through analysis and interpretation of the Haeju Palgyeong and exploration of the landscapes and traditions contained in the painting. The first collection of landscapes to Haeju was identified as Haeju Palgyeong by Ku Sa-meng (1531-1604). Yoo Man-ju, writing in 1782, referred to it as Go-palgyeong in 『Heumyeong』 while Haeju Palgyeong was defined as Geum-palgyeong (今八景), which is the Haeju Palgyeong in the earliest period confirmed by literature. is 'Boating on the Nam river (南江泛舟)', 'Lotus viewing at Buyongdang (芙蓉賞蓮)', 'Foot washing at Gwangseokcheon (廣石濯足)', 'Seokbyul at Haeunkyo (泣川送客)', 'Fishing at Haeunjeong (東亭釣魚)' and 'Sea view at Namsan( 南山望海)', and the final two contain a picture that contains 'Viewing the moon at Yeonghaeru (瀛海玩月)' and 'Writing contest and Archery at Baeklimjeong (栢林觀德)' The Suyang Chaemi(首陽採薇), Shingwang-jeoljeol (神光霽雪), and Jiseong falls (池城瀑布) of Gopalgyeong, which were excluded from Haeju Palgyeong, are all landscapes unfolding as a grand site of Suyangsan Mountain. is a result of the reorganization of Seunggyeong centered on Eupchi (邑治), away from the Suyangsan area. It has emerged as a seunggyeong of Haeju. The elaborateness of trying to contain the detailed prizes representing Haeju, such as the specialty sake of Haeju, is revealed. Most of the landscapes depicted in are historic and outstanding spots in Haemok, but the scenes of life related to daily life are properly arranged. In addition, Foot washing (濯足), Fishing(釣魚), Doing laundry (漂母), Lotus viewing (賞蓮), Sending guests (送客), Drinking (飮酒), sea viewing (望海), Moon viewing (玩月), Archery (射藝), Poetry (詩作), Drinking tea (飮茶), and Dancing (歌舞) are of various styles. Compared with the Gopalgyeongs, Haeju Palgyeong did not take into account the distribution of landscapes in the four seasons, and the small-sized view was also broken. When considering the time of the construction of Haeunjeong and the deterioration of Yeonghhoeru, it is believed that was produced in the early- to mid-18th century. is considered to be a painting that contributed to strengthening the sense of intimacy with the local people and promoting the pride of Haeju by showing the representative scenery of Haeju, such as scenic spots and customs, away from the ideal utopia.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.32-45
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• 2014

In this study, the characteristics of Mongsimjae in Namwon-si, Jeollabuk-do have been researched focusing on the writings engraved in huge stones and rocks of pavilion standing beside a lotus pond and its formative languages in the garden has been interpreted as follows. Name of pavilion(堂號) Mongsimjae(夢心齋) includes a classical scholar's spirit, refusing to serve two kings and homecoming after resignation from a government office(歸去來) of Songam(松菴) Park Moonsu(朴門壽), an ancestor who has brought to the Juksan(竹山) Park's family again. A pavilion standing beside a lotus pond(蓮塘) built in the reception garden is a gardening facility symbolizing 'Yeondang(蓮堂)' Park Dongsik(朴東式) who built Mongsimjae. The bamboo hill connected to the backyard seems to be relevant to 'Juksan', the family clan of Mongsimjae's owner and this kinds of intention can be found in the bamboos in the outer garden naturally led to inside the garden through the flower beds. The purpose for the western arrangement of the main building and gate contrary to the 'chukjwamihyaug'(丑坐未向; a direction toward to the south-southwest) of the prospect of Sarangchae(guesthouse) is interpreted to naturally attract people's eyes to the pavilion standing beside a lotus pond and to mitigate the sense of closure resulting from the huge stones located in the reception garden. Also the writing engraved in the three huge stones, 'Jonsimdae(存心臺)', implies that it is a place where was selected with heart by Juksan Park family who settled down in Homsil, Namwon after 'Haengchon(杏村) Park Jaryang(朴子良)' in Yiphyangjo(入鄕祖), Namwon and 'Jeongwa(靖窩)' is interpreted as a signature representing that it is the most comfortable house where Jeongwa Park Haechang(朴海昌: 1876~1933), the third owner of Mongsimjae, has lived. The pavilion standing beside a lotus pond of the 'Bangjibangdo(方池方島; square pond and square island)' type has no lotus for now and waterside cornerstones roughly piled with broken stones naturally mitigate the slope. There are two water inflows gathering rainwater in the reception garden other than the water inflow of valley and the upper-side water inflow was built using a high waterfall method. The middle island cut into a square was designed to use in two ways, as 'island' or 'steppingstone', according to the water level and the old name of the pavilion standing beside a lotus pond was revealed as 'Cheonundam(天雲潭)' from the engraved writing located in the side of the middle island. In addition, 'Imni(臨履)', engraved writing in the finishing stone of waterside by citing a line of 'Sigyeong(詩經)', implies 'Be a upright classical scholar who pays close attention to one's own behaviors' and 'Jeongchuk(渟?)' is interpreted as a message that desires the eternal staying of the Juksan Park family's wealth. Ultimately, the writings engraved in the huge stones and rocks of the pavilion standing beside a lotus pond are interpreted as a symbol language that wishes the heaven protects and maintains the wealth of the Juksan Park family who is the owner of Mongsimjae.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.48-65
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• 2018

The authors of this paper aim to make a record of the construction process, its symbolic meaning, and the changes in the status of the landscape plants at the Pasanseodang according to the Report on the Pasanseodang written by Park Gyu-hyun in 1874. First, the construction of Samgahun Pavilion, which is located in Myo-ri, Habin-myun, Dalsung-gun, Daegu, took about 90 years and spanned the lifetimes of Park Sungsoo, an 11th-generation descendant of Park Paengnyun (1417~1456) through to Park Kyuhyun, a 14th-generation descendant. It was called the shape of dragon, with its head facing the tail (回龍顧尾形), in feng shui. Second, the village of Pahwoe was founded in 1769, the 45th year of the reign of King Yeongjo, by Park Sungsoo for the purpose of socializing with his friends at his thatched home, and was named after his own courtesy name (Samgahun). Park Kwangseok, the second son of Park Sungsoo, built the sarangchae in 1826 and the anchae in 1869 after his marriage (in 1783). Then, Park Kyuhyun, the grandson of Park Kwangseok, built the pond and planted it with lotus flowers, and built the Hayeopjeong in 1874. The Pasanseodang, as the precursor of the Hayeopjeong, may be related with the name of the hillside region behind Samgahun. Third, a quadrangular-shaped pond with a length of 21m and a width of 15m was also built and planted with lotus flowers. In the center of the pond is a small round island that reflects the world view of the Chosun dynasty, i.e. that the sky is round and the landmass is quadrangular. Meanwhile, the name of the Hayeopjeon reflects the value system of aristocrats who lived a life of leisure and artistic indulgence. They called the eastern room "Yeeyeonhun" (怡燕軒) and the western room "Mongyangjae" (蒙養齋), names which embody their wishes for a good life as a member of the nobility and a bright future for one's descendants. Fourth, in Confucian terms, the authors infer the points of view reflected in the kinds of trees that were planted according to Confucian norms (pine tree, lotus, bamboo), the living philosophy of sustainability (willow), the ideology of seclusion and the search for peace of mind (bamboo), and relief efforts for the poor and a life of practicality (chestnut, oak, wild walnut, lacquer). The authors assert that this way of planting trees was a highly effective design feature of landscape architecture that drew on the locational and symbolic significance of the Seodang. Fifth, the majority of the trees that were initially planted withered and were replaced with different species, except for the locust and lotus, at this point. Nevertheless, a review of the process of construction, symbolic meaning, and original architectural landscape of the Samgahun is of value in demonstrating the extended symbolic meaning of their descendants in terms of the practical loss of the function of the Seodang, the values of Feng Sui (red in the east, white in the west, based on the principles of Feng Sui), the function of repelling evils spirits (kalopanax, trifoliate orange), aesthetic and practical values (sweetbrier, apricot, pear, peach, and oriental oak trees), and the prosperity of the family and the timeless value of honest poverty (silk, crape myrtle, and yew trees).

• The Critical Review of Religion and Culture
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• no.32
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• pp.257-287
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• 2017

It seems to be quite an ambitious endeavor to trace back the translation history of Catholic Vulgate Bible from Latin language to Asian languages since 16th century. I try to bring out the translation(translative) procedure of Latin Bible to the Chinese Version, which is eventually come up (and the latter)to the Korean Version. It has been supported and funded by the National Research Foundation of Korea. This task has a three-year plan. For the first step(operation), I examined and searched the European situation of the Vulgate Bible in the Catholic Church, i.e. the ritual use of Vulgate Bible in the Mass and the religious retreat. The liturgical texts, to begin with, were analysed to disclose how the Vulgate Bible was reflected in them. The Lectionary and the Evangeliary were the typical ones. The structure or the formation system of the Lectionaries for Mass was based on the liturgical year cycle. From this point, the Vulgate Bible was rooted in the religious life of European Catholics after the Council of Trent which had proclaimed the Vulgate to be authentic source of the Revelation, therefore, to be respected as the only authoritative Bible. How did the Catholic Church use the Vulgate Bible out of the context and the boundary (sphere) of liturgy? The Meditation guide books for the purpose of instructing the religious retreat was published and (diffused) circulated among the priests, the religious persons and even the laymen. In those books also were included (found) the citation, the interpretation and the commentaries of the Vulgate Bible. The most of the devotees in Europe read the biblical phrases out of the meditation guide books. There are still remained the unsolved problems of how to understand (for understanding) the actual aspect of the Vulgate Bible in the European Catholic Church. All the Biblical verses were translated into French and included in the meditation guide books published in France. What did the Holy See think the French translation of the Vulgate Bible? Unfortunately, there were not found the Vatican Decrees about the European translation of the Vulgate Bible. The relationship between the Vulgate Bible and the Meditation guide (Those) will be much important for the study of Chinese translation of it. The search for the Decrees and the researches on it and the European and the non-European translations of the Vulgate Bible will be a continuous task for me as well as the other researchers on these subjects in the future.

• The Critical Review of Religion and Culture
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• no.32
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• pp.186-218
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• 2017

The ritual food is one of the indispensable elements in rituals of Korean folk beliefs. This is ascertained by the fact that a very simple ritual cannot be practiced and performed even without offering a bowl of water. In this regard, it is properly claimed that food is an essential medium of communications between man and gods if they spiritually meet and communicate each other by way of various rituals in Korean folk beliefs. It is possible to point out Gut, the typical ritual of Korean Shamanism as an example of serving the ritual foods among Korean folk beliefs. One of the striking phenomena in Gut(Korean Shamanism's rituals) is various ritual foods on the tables for Gut. There is no Gut performances without offering ritual foods, and the ritual food in Gut practices is more than just food offering to the gods. Moreover the ritual food tells that what kind of Gut it is and for what purpose it is performed, for whom it is set up. And even the invited gods of Musok are disclosed according to the ritual food in Gut. Also some parts of Musok's worldview are appeared and actualized through the ritual food in Gut. In this sense the ritual food in Gut is one of the important channels for understanding Gut and Musok, and one of the explanation systems about Musok. Even if recognized the importance of the ritual food in Gut, it still has not been draw proper attentions to deserving its importance in the researches on Musok and Gut. Upon the critical reviews on such tendencies of the previous studies this paper tries to clarify the characteristics and significances of the ritual food in Gut by examining the Jinjuk Gut in Seoul area as an case study. On the basis of this examination, the ritual food in Gut comes up to be one of the important paths to understanding Gut and Musok as an explanatory system on Musok in general.

• Korean Journal of Heritage: History & Science
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• v.44 no.3
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• pp.18-43
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• 2011

The results of study on planting and cultivate of Hong Man-Seon(1643~1715)'s 'Salimkyungjae(The Economy of Forest)' the first summative textbook of agricultural skill of South Korea, are as follows. First, 'Salimkyungjae' suggests that one can enrich oneself, eat fruits in fall, enjoy the shade of trees in summer, and enjoy flowers in spring if one plants tree with 10 year plan with knowledge of ecology. Second, the number of plants had increased continuously from the early Chosun Dynasty to the mid Chosun Dynasty. The 52 plants in the book are classified into 31 trees, 8 shrubs, 3 others, and 10 herbs, and 28 of them are fruit trees. Hence, we can see that the book is for the promotion of welfare. Third, planting(transplantation) is the best on January of the lunar calendar, and the second on February, and fertile soil should be added much. Trees must be planted as deep as once it was planted, and buttressed. It will sprout well if it is planted at the depth of one inch, and planting a cutting should be carried out at the early March with 5 inch and finger-thick branches. Grafting is the best when it begins to sprout. Fruit trees will bear many fruits if they are grafted at the direction of South, and fruits will be greater if the trees' branches are cutting off on January. Especially, January was selected for the best season of planting traditionally. Fourth, flower trees are planted or sowed with manure around January and February of the lunar calendar, and it is recommended to replant them into flowerpots with manure when having flower buds around March and April of the lunar calendar. It would bloom earlier when using water mixed with stable manure, and sulfur smoke can be used in order to change the flower color from red to white. Flowerpots would be placed at half shaded lot with being supported by bricks. Pomegranate, gardenia, camellia and four-season flower should be planted after flowers fallen. When flower trees are beside walls, they need to be rotated frequently since their branches all point toward house. Seeds need to be preserved in a sunny hut, where its entrance and ventilating openings would be at south because it is convenient to manage pots. Fifth, insects hidden at fruit trees would be destroyed by torch smoke when roosters cry on New year's day of the lunar calendar. Insects would be decoyed into straw hanged at dawn of Cheongmyeongday(淸明日). Insects on fruit trees would be controlled using sulfur powder to close up holes or sulfur smoke to fumigate. Particularly, it suggests that utilization of fertile soil would be the best solution for growing health plants and preventing pest.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.56-69
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• 2011

A Gamsil is an ritual instrument which enshrine the ancestral tablets of four lines from late great-great-grandfather and grandmother to late father and mother. This has their soul. Juja's "Garye" informs its structure pattern. It is placed in Sadang and takes the form of a perfectly square box. It partitions four rooms and enshrine an ancestral tablet room by room. They get the ancestral tablets line up from west to east. And they also enshrine the ancestral tablets without his descendant together in Gamsil. A Gamsil is a space to enshrine the ancestral tablets and to place an order within a family. A social status and A family economic power become a standard in making and managing Sadang. Kingdom in Joseon period limited the ancestral tablets considering of his degree of official rank which descendant enshrined. A official servant can be stable economically in getting a stipend and build sadang in the house. While household a little in economic enshrine the ancestral tablets at a Gamsil placed at the a space of private home. His personal circumstances make size and pattern, place change in relation to Gamsil. A Gamsil looks like house in structure and pattern. It has the immortality of the soul. And it changed from a table size to a ancestral tablet size. This Gamsil is comfortable to move and is made considering of the width and height of household. The transition of Gamsil means institutions is in close to a family economic power in social change. Kingdom in Joseon early period makes a policy of a Gamyo's build and an ancestral enshrine in basement of Juja's "Garye". The transition of Gamsil gave a common people limitted socially and institutionally the service of late four lines. Most of people enshrine the ancestral tablets of their four lines in approaching of in the late of Joseon Dinasty. They compromise on their reality and cause. The transition of Gamsil implied many different things in social ; the authenticity search and a dignity expression of his family, the foundation for the diffusion of an ancestral service, a space sharing with ancestor and descendent, the increment of a family economic power etc.