• Journal of the East Asian Society of Dietary Life
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• v.13 no.4
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• pp.267-283
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• 2003

This study reviewed the prisoners' dietary lift status under the world panics and Japanese food shortage based on the data of the 1920~1930's prisons' main dish supplies in Chosun, Shinchu boys' prison in Taiwan, Franue correction center in France and Moabit detention house in Germany. 1. The status of main dish food supply of Chosun prisons in 1920~1930's was as follows: 1) Meals were provided with 12 rates depending on the working activities. There were big differences in energy supply between 1$^{st}$ rate of 6045.0 ㎉ in the Mockpo prison and 12$^{th}$ rate of 1855.8 ㎉ in the Masan prison in accordance with the grain supply ratio and the diet rates. 2) The average ratio of energy provided with protein, fat and carbohydrate(PFC ratio) was 20.0: 20.2: 59.8. The supplies of protein and fat were relatively high because main dish was mostly composed of soybean. The soybean was used in 20 ~60％ of main dish in prisons except Gaesung. 3) It was estimated that PFC ratio(8.3: 8.1 : 83.6) in Gaesung boys' prison was not appropriate for growing boys because the soybean supply was low. 2. The overall comparison of nutrition supply of prisons in Chosun, Taiwan, France and Germany was as follows: 1) The daily supplies of energy in Keongsung prison was 3966.5 ㎉, of which the PFC ratio was 18.9: 16.6: 64.5. This showed that the PFC ratio seemed to be balanced, even though the total amount of energy is too high and the ratios of protein and fat were somewhat high and somewhat low, respectively. 2) The main dish of the Taiwan boys' prison was provided with 6 rates and the side dish in the from of weekly cycle menu. The energy intakes from 1$^{st}$ rate of 2862.9 ㎉ to 6$^{th}$ rate of 1388.9 ㎉ were not quite enough for growing boys. It was estimated that the amounts of protein and fat taken were small but the quality was not that bad because animal protein such as protein small fish and fried tofu were supplied. 3) In the French Frenue correction center and the German Moabit detention house, the daily total amounts of energy were 2771.3 ㎉ and 2678.7 ㎉, respectively, which was estimated as appropriate compared with standard energy amount of 3000 ㎉ at that time and the current energy RDA of 2500 ㎉ for adult. The ratio of PFC was 16.2: 12.0: 71.8 in Frenue correction center and 12.4: 14.3: 73.3 in Moabit detention house, which showed that the amount of fat was slightly lacked. From this study, it was suggested that the prisons in Chosun and Taiwan under the Japanese rule and European prisons after the world panic were making an efforts to supply prisoners the appropriate amount of energy. The only question remains is that this data may be from only the food supply plan not from the data the prisoners took in real.eal.

• 기호학연구
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• no.57
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• pp.91-120
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• 2018

This study was contemplated about an aspects of modernity that was discovered of ImcheonByeolgok(林川別曲) written by Okgukjae Lee, Un-young in 18th Century. It was composed time that unprecedented state in the 18th century. So, I considered that Modernity was the most appeared at 18th Century. During this period, Changes has happened in ideology and system in terms of politics, economy, society and culture. This change is the beginning of a new modern consciousness. There is also a tendency to think of Imcheonbyeolgok as the autobiographical story of Lee, Yun-young. It seems that Lee, Yun-young has a progressive scholarly thought, but he did not reveal his own situation by insulting him. Therefore, I am not realistically valid for being able to see it as an autobiographical story that he actually experienced. Also, although ImcheonByeolgok is known as a love song, it is hard to see it as a love song because its satirical features are strong. and It is characterized by the peculiar form of narrative being described as a dialogue. I picked two aspects of modernity in ImcheonByeolgok. One is resistance to love and desire, and the other is disintegration of the order of identity. The two aspects of this paper were presented as Greimas's Actant Model. ImcheonByeolgok is the result of efforts to show the changing modern Joseon Dynasty's elements in the form of resistance and resistance to Joseon's feudal society, such as Confucian ideology and identity systems. Thus, I suggested the corrupt ruling class of Joseon's feudal society and the exploited working class life as an old living and a grandmother instead of 'resistance' and 'disposal' in the 18th century. The criticism of traditional feudal societies that emerged in the 18th century turned out to be a hegemony that distinguishes the Middle Ages from the Modern Age, which resulted in differences between the ages before and after the 18th century. Although these hegemony were not clearly distinguished in household literature in the 18th century, it was established and developed in the 19th century. I suggested that Lim's Star Song was an important work that played an important role in bringing about this change.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.39-48
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• 2020

This study examined the type, the structural shapes, and the representation of Sandae, which was the stage for traditional performing arts and constructed for the purpose of imperial processions, ritual ceremonies, banquets, etc. from the Goryeo Dynasty to the Late Joseon Dynasty, and the implications of Seokgasan, which was built in the same era. First, through the history and meaning of Sandae, it was confirmed that Sandae has a homogeneity with Seokgasan, which attempted to imitate the shape of "Mountain" in the outer space. The construction of Sandae was deeply related to the tradition of famous mountains. This is consistent with the fact that 'Famous mountains and lakes" in China was symbolically replicated on the Seokgasan in the front yard of the "Cheongyeongak" in the Goryeo Dynasty. Second, Sandae and Seokgasan differed in their structural shapes, materials, and production methods, but they were used as a stage background for national events by constructing in the shape of the mountain, and appeared in various types. It can be seen that the interest in gardens and art of those days has resulted in various formative expressions of nature through the shape and symbolic meaning of the Sandae that mimics the mountain. Third, it is presumed that the square pond with lotus flowers, which is believed to have been located in the center of the garden of Shin Jaehyo's old house, and the Sugak and Seokgasan adjacent to it were not only elements of the garden, but also functioned as a background for the training and performance stage of Shin Jaehyo's students.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.258-277
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• 2020

The purpose of this paper is to examine the paintings and symbols of the Jeju Guandeokjeong murals, Treasure No. 322. Gwandeokjeong Pavilion in Jeju is one of the oldest buildings in Jeju and was built in 1448 during the reign of King Sejong (世宗) of the Joseon Dynasty to serve as a training ground for soldiers. Unlike Gwandeokjeong Pavilions in other regions, Jeju's Gwandeokjeong Pavilion has a long history and is of cultural value due to its beautiful architecture. In addition, it contains various murals which are a further source of attention. There are four murals on the front and back of the two Lintels on the left and right sides of the building. Their contents include of 『The Three Kingdoms (三國志)』 and and on the back. Towards the right, is depicted, with on the back. Based on a replica of the murals from 1976, the plan, style, and age of the Gwandeokjeong Pavilion murals have been studied, together with their meanings. The contents of the mural are broadly divided into five parts, which are identified by the tacit signatures atop the screen, which provide such details as the painting titles. The paintings on the left and right sides of the center appear to inspire the spirit of the military's commerce in order to boost soldiers' morale, protect the country, and protect the people in line with the purpose of Gwandeokjeong Pavilion. The following and figuratively depict guidelines for the behavior and mindset of officials. In particular, is a painting concerned with concepts of longevity and an auspicious (吉祥), which shows how court paintings became popular as folk paintings at that time. The paintings of tangerines and other specialties of Jeju Island, the ritual paintings of Jeokbyeokdaejeon, and the expressions of Mt. Halla (漢拏山) and Oreum (오름) indicate the existence of Jeju artists that belonged to the Jeju government office at that time. The five themes and styles of the murals also show that the murals of Gwandeokjeong Pavilion were produced in the late 19^th and early 20^th centuries.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.1
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• pp.34-44
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• 2018

In the Ancient Mesopotamia, Egypt, Judas, Greece, and Rome, Phoenix dactylifera was planted in gardens or orchards to signify life, blessing, and victory. Branches of Phoenix dactylifera, likened to high and precious, were referred to one of the gifts to the king in the second century BC and have been used in the Feast of Tabernacles. And they were engraved on the walls of the temple and along with cherub. Besides, Phoenix dactylifera is compared with a righteous person in the Bible since it grows straight despite strong winds. And, it was used as a symbol of honesty, justice, and right. Churches call the week before Easter Palm Sunday since the crowd laid the leaves of date palm trees on the road and shouted "Hosanna" while waving the date palm branches when Jesus entered Jerusalem. Moreover, pilgrim in the Middle Ages was called 'Palmer' in English due to custom of returning with the leaves and branches of date palm trees as a memorial of the Holy Land pilgrimage. This study analyzes naming issue of Phoenix dactylifera through the old literature and 27 versions of the most influential Bibles in History of Bible Translation in Korea, China, and Japan. Phoenix dactylifera is translated into Chinese as '棕櫚(Trachycarpus fortunei)', a native tree of China. 棕櫚 is similar to Phoenix dactylifera, but its fruit and leaf are quite distinct. This being so, translating Phoenix dactylifera as 棕櫚 has a limit to convey symbolic meaning adequately. In the Japanese Bible, on the other hand, Phoenix dactylifera is translated as 'なつめやし(Natsumeyashi)' meant date palm tree. Most of Protestant Bible in Korea use 'Jongryeo' like Chinese Bible while translation in Korean Catholic Bible(2005) varies from one scripture to another: 'Yaja Namu (Palm Tree)' - 38 times, 'Jongryeo Namu' - 5 times, and 'Daechu Yaja Namu (Date Palm Tree)' - 3 times. Date Palm Tree, 'Jongryeo Tree', and Palm Tree don't grow in Korea. However, they had long been recognized as Haejo(海棗), Jongryeo(?櫚), and Yaja(椰子) respectively through China and Japan. Each of them called by a distinct name correspond with its own characteristic and used separately in Korean Classics as Jongryeo and Haejo were identified in ancient Chinese literatures. It seems that more confusion was raised since 'Palm' was translated as 'Jongryeo' in several books including "?藤和英大辭典 (1915)", "Modern 朝鮮外來語辭典(1938)", and "Latin-Korean Dictionary(1995)". However, the Latin term 'Palmae' is translated into English as either palm tree or date palm. The results of this study suggest that more accurate translation of Phoenix dactylifera in the Bible would be 'Daechu Yaja Namu (Date Palm Tree)' and using different name fit for its own characteristic would be more appropriate.

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.52-71
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• 2011

This study was initiated with the intent to consider the features of Gugokwonlim and to compare Gabsagugok(甲寺九曲) to Yongsangugok(龍山九曲) against the backdrop of Mt. Gyeryong by revealing their nature and confirming the names and exact locations. A literature review, interviews with local people and field studies confirmed that Gabsagugok and Yongsangugok are each composed of 9 seasonal features. The former is made up of Yongyuso(龍遊沼) - Iilcheon(二一川) - Baengnyonggang(白龍岡) - Dalmuntaek(達門澤) - Geumgyeam(金鷄?) - Myeongwoldam(明月潭) - Gyemyeongam(鷄鳴巖) - Yongmunpok(龍門瀑) - Sujeongbong(水晶峰) while the latter is made up of Simyongmun(尋龍門) - Eunnyongdam(隱龍潭) - Waryonggang(臥龍剛) - Yuryongdae(遊龍臺) - Hwangnyongam(黃龍岩) - Hyeollyongso(見龍沼) - Ullyongtaek(雲龍澤) - Biryongchu(飛龍湫) - Sillyongyeon(神龍淵). Both Gabsagugok and Yongsangugok are part of Gugokwonlim built in the valleys of Mt. Gyeryong in the late Joseon Dynasty by Byeoksu Yun Deok-yeong (1927) and Chwieum Gwon Jun-myeon (1932), respectively, with a 5 year difference. Gabsagugok was supposedly designed to reflect an individual taste for the arts and to admire principles of Juyeok (ch. Zhouyi) and the beauty of nature. On the contrary, Yongsangugok appears to be the builder's expression of his longing for independence day, likened to the life of a dragon after receiving the sad news of Japan's annexation of Korea. Such differences show that these two builders had very different intentions from one another. The letters of Gabsagugok have a semi cursive style and were deeply engraved on the rock in a square shape. Consequently they have not been worn away except for those in Yongyuso, the first Gok. In contrast, the letters in Yongsangugok have an antiquated, cursive-Yija style but because they were engraved relatively lightly, serious wear and damage occurred. In terms of location, Gabsagugok was built around Ganseongjang adjacent to the 5th Gok while Yongsangugok was set up around the 5th Gok, Hwangnyongam. Meanwhile, the important motif which forms the background of Gabsagugok seemingly highlights the geographic identity of Mt. Gyeryong using the dragon and the chicken as themes. It also appears to symbolize the principles of Juyeok focusing on Kan of the Eight Trigrams for divination; this requires an in-depth study for confirmation. The main motif and theme of Yongsangugok is the dragon. It infuses the builder's intentions in Sangsinri Valley by communicating with nature through a story of a dragon's life from birth to ascension. It is assumed that he tried to use this story to express his hope for restoring the national spirit and reconstructing the country.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.1-13
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• 2011

The purpose of this study is to consider practical examples of the method of utilizing plant material 'lotus' used by the ancients, and the value and meaning they wanted to get from it. The method of this study to do this is descriptive study to consider and interpret poem and painting reflecting impression and concept world of lotus. Summary of this study is as follows. First, ornamental value of lotus could be divided in effect of group plant and detail value held by the flower, the leaves and the stem. Especially, group plant lotus in large site provides unique landscape differentiated form other flowering plants. As well, another feature of lotus is its high ornamental value spread in detail elements including the flower, the leaves, the stem and the lotus seed. Second, fragrance expressed 'Hyang-won-ik-cheong(香遠益淸)' is an important charm of lotus. Lotus was utilized as olfactory element providing fragrance. The ancients considered lotus fragrance not only for enjoy but as symbolic object comparing noble man's dignity so that they expressed it in poem and painting. Third, lotus was utilized as acoustical element. That is, the sound of raindrops harmonizing the surface of water and wide lotus leaves was called 'hearing lotus fond and rain', enjoying it as classic grace. Fourth, summer play lotus sightseeing was called mind wash up meaning 'washing the mind polluted by the mundane world'. Such poetic taste was widely enjoyed by various classes from general public to royal family. Besides, poetic taste related with lotus is the method of drinking alcohol using the feature of big lotus leave and vacant stem, called 'Beog-tong-ju(碧筒酒)'. And in the Joseon dynasty period, when the distinction between the man and the woman influenced by Confucian, lotus seed and 'lotus collecting song' was important sign to express romance between man and woman. Lotus has been enamored by wide classes transcending cultural background as thought and religion since ancient times. Due to such reasons, various symbolic meaning of lotus and planting examples related to religious facilities as temples could not be considered in various manner is limitation of this study, and which is research project for the future.