• Journal of the Korean association of regional geographers
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• v.10 no.1
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• pp.132-150
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• 2004

According to cultural characteristics, Jung-Won cultural region are divided 10 sub-regions. These regions must be highlighted cultural image as core symbols and created new and regional culture to differentiate development strategy of cultural resources: (1) Chungju: historical and cultural region(stone pagoda of Tap-Pungri), (2) Zechun: cultural region of the righteous soldiers (captain Yu, In-Suk), (3) Dunyang: cultural region of Gogurue(mountain castle of On-Dal), (4) Chongju: educational and cultural region(Zikzi and Chull Dandgan), (5) Boeun: cultural region of buddhism(Bupzoo temple,) (6) Okchun: cultural region of Silla and Bakje(war of Silla and Bakje), (7) Yongdong: cultural region of three provinces(harmony monument stone of Samdobong), (8) Eunsung: cultural region of scholar spirit(Monument of 6. 25 war), (9) Goessan: cultural legion of cofucianism(confucianist Song, Shi-Reull), (10) Zinchun: cultural region of Sam-Guk unification spirit (general Kim, You-Shin).

• Journal of the Korean School Mathematics Society
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• v.8 no.2
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• pp.291-314
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• 2005

The purpose of this paper was to investigate the difficulties experienced by the novice elementary school teachers in the mathematics classes and suggest some implications for teacher education and effective adaptation of novice teachers. The researchers observed mathematics lessons of 6 novice elementary school teachers and interviewed on the difficulties that they experience in teaching mathematics. The data were collected by lesson observations, interviews, discussion and email communications and categorized the data the types of difficulties those the teachers experience. The difficulties were difference between theory and practice, explanation, questioning, differentiated lesson, application of teaching method, evaluation, and understanding of mathematics. The implication from this study is that novice teachers need to supported by the administration as well as actively participate at various types of educational meetings.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.3
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• pp.61-74
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• 2013

This study examined and analyzed ancient writing and poetry regarding cases of appreciating plants by using pots in a garden of a palace or private houses by ancestors, and examined shape and planting method of plant species and potted plants, arrangement and preference of potted plants. As for the method of the study, description research method which examines and interprets poem and painting based on potted plants. The results of this study is summarized like the following. First, the plants which were favorably used for potted plants include 19 kinds such as Prunus mume, Pinus densiflora, Pinus pumila, Phyllostachys spp., Camellia japonica, Punica granatum, and Gardenia jasminoidesa, and as for herbs, 12 kinds such as Chrysanthemum monifolium and Nelumbo nusifera . Second, the species which were specially arranged into artificial shapes include Prunus mume and Pinus densiflora. The two plants made the shape of severe curves of stems such as Wangpi. Gyuban, and Bangan, and there are Pinus densiflora dwarfed potted plant whose roots are stretched on Prunus mume grafted into a strange stump and an oddly shaped stone. For the beauty of the dwarfed tree shape, pine cones are added to an old Pinus densiflora or Parthenocissus tricuspidata is planted to stems, and additional method of making moss on the soil, which is called 'Jongbunchuigyeong'. As for planting method, water culture, planting on a stone, planting on a charcoal, and assembled planting are expressed in poetry. Third, as for external space for potted plants, a place where a king stays, a bed room for a king, surrounding areas and gardens of private houses, and step stones were used as a space which adds artistic effects. Potted plants are placed on a table in a library, on a desk, on a drawer, and near a pillow as a small items in a room, and scholars enjoyed original characteristics and symbolism of the potted plants. Fourth, at the time of flowering of Prunus mume, poetry event was held to enjoy the tree and writing poetry begun. And at the time of flowering of Chrysanthemum monifolium, the flowers were floated in a liquor glass or shadow play was enjoyed. Fifth, potted plants played the role of garden ornaments in elegant events of a palace, the gentry, wedding ceremony, and sacrificial rites. Sixth, potted plants were used as tributes between countries, donation to a king, or a gift of a king. In addition, there were many cases where scholars exchanged potted plants and there is the first record of giving a potted plant in 'Mokeunsigo' by Mokeun Isaek, scholar in the late era of Goryeo. Seventh, at the time of flowering Prunus mume, Chrysanthemum monifolium, Gardenia jasminoides, Nelumbo nusifera, and Narcissustazetta var. chinensis, they enjoyed the particular fragrance and express it into poetry. Eighth, plant species from southern parts such as Camellia japonica, Daphne odora, Gardenia jasminoides, Citrus unshiu, Phyllostachys spp., Punica granatum, Rosa rugosa, and Musa basjoo, or foreign plant species, and species weak against the cold were utilized as pot plants for enjoying green trees indoors in northern central province in harshly cold winter.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.175-183
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• 2021

Gongjae Yoon DuSeo(1668~1715), from Haenam in the late Joseon Dynasty, is a scholar-born painter who was active during King Sukjong. He is the person who created the foundation as a pioneer of realist paintings in the late Joseon period during the transition from the middle to the latter period. He was born in Namin's prestigious family, but he ended his career as part of a partisan fight and immersed himself in painting and learning. 18C, the beginning of the late Joseon Dynasty, was a period when Silhak emerged and the Jinkyung era opened with awareness of nationalism. At this time, by incorporating the Silhak thought into the art world, the real reformed aesthetic consciousness was demonstrated to pioneer common people's customs, the application of Western painting methods, the pursuit of realist techniques, and the introduction of Namjongmuninhwa. His view of painting, who thoroughly learned the old things and pursued change, must have both the form and spirit that he can achieve 'HwaDo' only when it has the science of 'learning and knowledge' and the technical elements of 'practice and quality' emphasized. He has worked in a variety of reconciliations. In particular, portrait paintings are characterized by ihyeongsasin's realistic expressions of aesthetics. His masterpiece, 「Self-portrait」, excels in extreme-realistic depiction and innovation in composition, and stands out with an unconventional experimentation spirit that expresses his mind and thoughts in a painting with a sense of resentment. His landscape paintings combine to express the form as it is and mental notions, and beautifully embodied Do as a form, thus achieving ihyeongmido, which reached the level of'joyfulness forgotten even the heart of joy'. On the other hand, the generalization of the common people using various common people's lives as the subject of an open-mindedness aimed at gaining the facts of ihyeongsajin, a passive protest against corrupt power and an expression of a spirit of love. Since then, his painting style has been passed down from generation to generation to his eldest son Yoon Deok-hee and his grandson Yoon Yong, leading the change and revival of calligraphy art in the late Joseon Dynasty.

• (The)Study of the Eastern Classic
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• no.32
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• pp.311-362
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• 2008

This study aimed to make clear the education process, from antenatal training to early childhood education, of Joseon Royal Family. Centered on the successors to the throne and reviewed also the education of other Royal Family members, this study carried out comparative analysis on them. Antenatal training is pregnant woman's essential physical and mental attitude. It is indispensable to the health and good nature of unborn baby. Antenatal training had been based on the theory of Oriental medical science that fetus can sympathize what mother see and feel. Such theory, combined with Confucian self-culture theory, had taken very important position in Confucianism. Not to speak of Royal Family, noble family regarded antenatal training very essential as beginning of education and root of nature formation. For firstborn son and firstborn grandson, Boyangcheong (輔養廳, special nursery agency) was set up before their age became three, but not for other sons and grandsons of Royal Family. When firstborn son or firstborn grandson grew up to read letters, Ganghakcheong (講學廳) was set up for their early education. Other sons of king also learned in their early ages at Ganghakcheong while other grandsons of king learned at Gyohakcheong (敎學廳). Education courses were almost same between successors and non-successors but there were wide difference in the ranks of their tutors; firstborn son's tutor marked 2nd Jeong(正) class, firstborn grandson's tutor marked 2nd Jong(從) class and other royal sons' tutors were just 9th Jong(從) class.

• 지역과문화
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• v.4 no.2
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• pp.1-23
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• 2017

The regional development plan by the city of Andong in establishing the foundation for cultural eco-tourism in the cultural area of confucianism(2010-2020) consists of 2 leading projects (the World Confucian Scholar Culture Park, the Korean Culture Theme Park) and 2 strategic projects (the Confucian Scholars' Literature Park, the Sunsunghyun Culture Complex, the Traditional Bittarae Weaving Village). By inter-regional input-output analysis, their multiplier effects of output, value-added, income and employment are estimated respectively 990.2 billion won(multiplier 2.23), 318.2 billion won(multiplier 0.72), 187.7 billion won(multiplier 0.42), and 4,791 workers(multiplier 10.6 workers/billion won). The ongoing project has been, however, delayed due to various issues and has hit a ceiling towards achieving the original objectives of the familiarization, industrialization and globalization of Confucian culture. To overcome these problems, the associated plans of constructing the Korean SMART LINK LINE, of developing contents blending traditional culture and ICT, of establishing tourist complexes and infrastructure around Lake Andong, and of constructing interactive attractions of traditional culture were proposed as new growth-leading plans.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.134-147
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• 2014

The purpose of this study is, focusing on the ancient paintings and literatures, by examining Flowering Plants and drawing their cultivating methods, to provide a ground of utilizing them on the modern landscaping. In the scope and method of this study, 766 pieces of ancient paintings(6 garden paintings and 760 folk paintings) which were available and had value as literatures, and 8 of ancient literatures were intensively examined. Main results extracted from them are as follows. First, the most frequently used Flowering Plants in Joseon Dynasty were Prunus mume, pbyllostachys, Nelumbo nucifera, Chrysanthemum morifolium, Musa basjoo, Rosa spp., Rhododendron mucronulatum, Paeonia lactiflora, which appeared 11 times to 16 times in total. Next frequently(4 times to 8 times) used Flowering Plants were Gardenia jasminoides, Punica granatum(8 times), Dianthus chinensis, Vitis vinifera(7 times), Orchidaceae, Syringa velutina, Impatiens balsamina, Hemerocallis fulva, Celosia cristata, Hibiscus Syriacus, Rhododendron indicum(6 times), Rhododendron, Rhododendron obutusum, Acorus calamus, Althaea rosea, Kerria japonica, Citrus junos(5 times), Hibiscus mutabilis, Lychnis cognata, Calendula officnalis, Begonia rex., Helianthus annuus, Papaver spp., Narcissus tazetta, Daphne odora, Hosta plantaginea(4 times). Second, usage of the Flowering Plants in Joseon Dynasty can be divided into character building and horticulture for pleasure through positive, scientific approach attempt. It suggests that there might have been classes in the use of them and we can estimate which plants were particularly preferred. Third, in the symbolicity of the usage of Flowering Plants, it can be divided into three parts: The case of representing integrity, gentleman, honesty and nobility and the thought of loyalty and filial piety under the influence of Confucianism. The case of representing Taoism's thought of hermit and perennial youth and long life. The case of representing wish on wealth and prosperity. So if we make a good use of it, we may draw a meaning of cultivation of Flowering Plants from it. This is your target audience or the good luck to all he plants is aimed at, you can see the occurred. Fourth, the Joseon Dynasty was the use of flowering plants are the line of rain wanted to be more consistent with the spirit world. This is shown as a symbol of their ancestors. Joseon Dynasty was used, resulting in a kind of flowering plant and is not a subjective judgement criteria A psychological approach to the side when interpreting the Joseon Dynasty flowering plants to take advantage of the landscape of the area will widen in scope.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.98-109
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• 2017

The results of this study attempting to graft to the space by cognizing and categorizing the characteristic of the under-toned private property to the tablets of the Zhuozhengyuan are as follows. The tablet of Zhuozhengyuan was typed into three groups. In the A group, the frequency of artificial elements including the top, ship, and head was high, and the main emphasis was on the elegance and integrity spirit that the Sunbi(classical scholar) had to have. It has a characteristic of good architects such as pavilion and Nu(樓) is included and as it is adjacent to the water surface the one side of the building is integrated to the water surface. The B group is characterized mainly by the fact that the scenery is portrayed through the climatic factors including rain, wind, and snow, or the scene atmosphere and it is located at the top of the summit which is good for viewing the scenery. In the C group, plant elements such as lotus, magnolia, plum, and bamboo appeared frequently, and various buildings such as pavilion, Kwan(館), Gak(閣) and Dang(堂) belong to this structure. The structure has the characteristic of integrating directly with the water surface or putting the terrace between and scattering throughout the whole garden. Furthermore, this study identified area characteristics based on the frequency of the tablet type. In the west area, Group A is mostly distributed and the humor and concept implied in the tablet, combined with the shape and location of the scenery, viewpoint of the viewer, and the composition of the landscape, improved the orderliness of the space, which led to expand the scope of the enjoyment to the entire space. Meanwhile, in the middle area, tablets of Group C are mostly distributed, and the unique characteristics and shapes of the woody plants that were used as the name of the tablet were connected with various buildings including pavilion, Dang, Kuan, and Gak, improving the unique identity of the space and forming connection with the world of ideas through unity and independence.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.43-57
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• 2013

The purpose of this study is to identify potential semantic landscape makeup of "the Forty Eight Poems of Soswaewon" according to Yin-Yang and Five Elements Principle(陰陽五行論). that speculation system between human's nature and cosmical universal order. Existing academic discussions made so far concerning this topic can be summed up as follows: 1. Among Yin-Yang-based landscape makeups of the Forty Eight Poems of Soswaewon, poetic writings for embodiment of interactions between nature and human behaviors focused on depicting dynamic aspects of a poetic narrator when he appreciates or explores hills and streams as of to live free from worldly cares. Primarily, many of those writings were created on the east and south primarily through assignment of yang. On the other hand, poetic writings for embodiment of nature and seasonal scenery - as static landscape makeup of yin - were often created on or near the north and west for many times. Those writings focusing on embodiment of nature and artificial scenery as a work are divided into two categories: One category refers to author Kim In-hu's expression of semantic landscape from seasonal scenery in nature. The other refers to his depiction of realistic garden images as they are. In the Forty Eight Poems of Soswaewon, the poetic writings show that author Kim focused on embodying seasonal scenery rather than expressing human behaviors. In addition, both Poem No. 1 and Poem No. 48(last poem; titled 'Jangwon Jeyeong') were created in a same place, which author Kim sought to understand the place as a space of beginning and end where yin and yang - i.e. the principle of natural cycle - are inherent. 2. According to construction about landscape in the Forty Eight Poems of Soswaewon on the basis of Ohaeng-ron (five natural element principle), it was found that tree(木) and fire(火) are typical examples of a world combined by emanation. First, many of poetic writings depicting the sentiments of tree focused on embodying seasonal scenery and were located in the place of Ogogmun(五曲門) area in the east, from overall perspective of Soswaewon. The content of these poems shows generation and curve / straightness in flexibility and simplicity. Many of poems depicting the sentiments of fire(火) focused on embodying human behaviors, and they were created in Aeyangdan area on the south of Soswaewon over which sun rises at noon. These poems are all on a status of side movement that is characterized by emanation and ascension which belong to attributes of yang. 3. With regard to Ohaeng-ron's interpretation about landscape in the Forty Eight Poems of Soswaewon, it was found that metal(金) and water(水) are typical examples of world combined by convergence. First, it was found that all of poems depicting sentiments of metal focused on embodying seasonal scenery, and were created in a bamboo grove area on the west from overall perspective of Soswaewon. They represent scenery of autumn among 4 seasons to symbolize faithfulness vested in a man of virtue(seonbi) with integrity and righteousness. Poems depicting sentiments of water were created in vicinity of Jewoldang on the north, possibly topmost of Soswaewon. They were divided into two categories: One category refers to poems embodying actions of welcoming the first full moon deep in the night after sunset, and the other refers to poems embodying natural scenery of snowscape. All of those poems focused on expressing any atmosphere of turning into yin via convergence. 4. With regard to Ohaeng-ron's interpretation of landscape in the Forty Eight Poems of Soswaewon, it was found that poems depicting sentiments of earth(土), a complex body of convergence and emanation, were created in vicinity of mountain stream around Gwangpunggak which is located in the center of Soswaewon. These poems focused on carrying actions of author Kim by way of natural phenomena and artificial scenery.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.142-154
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• 2012

This study aimed at learning the characteristics of place identity of the Buan county hall garden and Sangsosan(上蘇山) by looking over the pattern and content of letter-engraved rocks and nearby facilities and history. Especially, we focused on the meaning and contents of the letters in Sangsosan and a Government Office of Buan engraved on rocks in order to learn what the place means. The results of our study are as follows. Buan-hyun(扶安縣) in the Joseon dynasty period blossomed literary culture of enjoying poetry and melody, and this was faithful realization of the concept of "Rakto(樂土)" of 'Saengubuan(生居扶安).' The grand scale letters written by Si-SooPark(朴蓍壽: 1767~1876), head of the office in the early 19th century, in the cursive style on the basis stone of the garden of Buan county building, which was the site of the office of Buan-hyun in the Joseon dynasty period, such as 'Bongraedongcheon(蓬萊洞天)', 'Jurim(珠林)', and 'Okcheon(玉泉)' mean that "'Bongrae', the another name of Buan', is a place where Taoist hermits would live because the spring water of Seorim flows down to be Okcheon.", showing his pride of living Buan. The regions like Seorimjeong, Geumdae(琴臺), and Hyecheon(惠泉) where letters engraved on rocks are located intensively are closely related with those who communicated with Mae-ChangLee(李梅窓: 1573~1610), the slave of the government, and are local attractions and garden traces where the literary culture and scholar's spirit of Buan are well-harmonized. Most of the letters were written from the 19th century to the early 20th century, showing that 4 for landscapes, 8 for Kyungseck(景色: imaginary scenry), 5 for figures, 15 for poems and 2 for others. The ratio of poems is much higher than that of poems in other regions' letters on rocks, and the keyword of the letters is Haecheon. A piece of the place identity heavily influenced by the Taois thermit ideology is revealed by the expressions of 'Bongraedongcheon', 'Sosansaho(蘇山四皓)' or 'the spring water of Haecheon' that was considered as an elixir of Taoist hermits. Seorim the forest, which had been managed after Yeon-Myeong Cho(趙然明: 1797~?), head of the office, planted trees in the 11th year of the reign of King Heonjong(1845), Seorimjeong in the forest, and rocks with engraved letters on them are proof of literary culture and the garden traces showing the characteristics and aspect of Imcheon(林泉) Garden of the office heavily influenced by the Taoist hermit ideology. Along with Naebyeon-san national park and Kyeokpo region, the center of Buan tourism, we hope that cultural heritages including rocks with engraved letters over Seorim park would become a representative cultural heritage and attraction of Buan.