• 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).

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.48-63
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• 2013

The results of the study on the space planning and landscape design of Unjoru(雲鳥樓) through the 'Jeolla Gurye Omidong Gado(全羅求禮五美洞家圖)' drawn using GyeHwa(界畵) technique are as follows. First, 'Omidong Gado' is believed to date back to the period when Unjoru(1776~1783) was established for the following reasons: (1) The founder, Yoo-IJu(柳爾?), sent the drawing for the house while he was serving as the governor of YongCheon county(龍川府史). (2) It shows the typical dwelling houses' space division and its location is in a good spot with mountain in the back and water in front(背山臨水) and there is every indication of scheme drawing. (3) Front gate was changed and remodeled to a lofty gate in 1804. Second, Nogodan & Hyeongjebong of Jiri Mountain sit at the back of Unjoru, and faces Obong mountain and Gyejok mountain. In addition, the Dongbang stream flowing to the east well illustrates the Pungsu theory of mountain in the back and water in the front. Third, the house is structured in the shape resembling the character 品, divided into 5 areas by hierarchical order in the cross line from all directions. The site, which includes the outdoor yard and the back garden, consists of 5 blocks, 6 yards and 2 gardens. Fourth, the outdoor yard with aesthetical value and anti-fire function, is an ecological garden influenced by Confucianism and Taoism with a pond (BangJiWonDo Type, 方池圓島形) at the center. Fifth, the Sarang yard(舍廊庭) is decorated with terrace garden and flower garden, and the landscaping components such as oddly shaped stone, crane, plum, pine tree, tamarisk tree and flowering plants were used to depict the ideal fairy land and centrally placed tree for metaphysical symbolism. The upper floor of Sarangchae commands distant and medium range view, as well as upwards and downwards. The natural landscape intrudes inside, and at the same time, connects with the outside. Sixth, pine forest over the northern wall and the intentionally developed low hill are one of the traditional landscaping techniques that promotes pleasant residential environment as well as the aesthetics of balanced fullness.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.61-70
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• 2019

The painting group of Late Ming and Early Qing Dynasty is an era of confusion between the orthodox who faithfully cooperated with the Qing Dynasty and the individualist who had a hostile attitude. The country was ruined by these dynasties, and the family left the real world with the suffering of the breakdown and stayed in the mountains.Paldaesanin and Seokdo, the representative Yumin painters, did not form any a sect as a unique expression style for finding a true self.And, through his work, he expressed on madness and oddity through new ideas and composition that he feels misery and anger in his heart. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. Paldaesanin portrayed a strange figure with a spirit of resistance and a sad and angered emotion, through a unique technique of painting.The content is cynical, satirical, ironic, and on madness and oddity. On the other hand, Seokdo explained "ilhoeg" that the method of writing and the method of writing in "Hwaeolog" agree with each other.This has allowed us to achieve autonomy as a "rule without rules" that goes beyond the existing rules. And he delicately portrayed beauty, desire, and emotion with the use of sensuous brushes and the beauty of the colors.Their unique paintings were later conveyed to yangjupalgoe and led to the flow of paintings in the 18th century.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.70-77
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• 2011

This study takes road landscape of traditional Chinese Kangnam gardens in Suzhou as the object. It compares the relations and differences between preferences of Korean and Chinese on road landscapes with different rockery ratios, and studies the differences between Korean and Chinese's adjective visual characteristics of road landscape of traditional gardens and impacts of visual characteristics on preference. The following is the research process: Firstly, the theoretical survey of road landscape of traditional Chinese Kangnam gardens is conducted, pictures of the road landscape of gardens in Suzhou are taken, and 15 pictures are selected based on rockery ratio. Secondly, in order to grasp the visual preference and landscape characteristics of road landscape of garden in Suzhou, 15 pictures and 21 pairs of adjectives are adopted for the questionnaire survey. Thirdly, in order to grasp the differences between preferences of Korean and Chinese on road landscape of traditional Chinese Kangnam gardens, thet-test analysis is conducted. In order to grasp the impacts of rockery ratio on preference, and after the classification of landscape pictures based on rockery occupancy, the average analysis, factor analysis of results of questionnaire survey for Korean and Chinese are conducted respectively. In order to grasp the differences of incentives of landscape preference, the incentive analysis of results of questionnaire survey for Korean and Chinese is carried out. In order to grasp the impacts of various factors on the preference, The results are as follows: The results of analysis of differences between Korean and Chinese's preference on road landscape of traditional Chinese Kangnam gardens show that the overall preference of Chinese is higher than that of Korean. The results of the landscape preference analysis show that the ranking order of average value of Korean and Chinese's preference on rockery ratio categories is: medium ratio, very small ratio, small ratio, large ratio, very large ratio. The results of analysis of relations between rockery ratio of traditional Chinese Kangnam gardens and preference show that the preference increases as the rockery ratio decreases, and the rockery ratio variation causes greater impacts on Korean. Results of the analysis of visual characteristics, factors of visual characteristics of Koreans are "aesthetic factor", "comfort factor", "neat(orderly) factor", and "fun factor". The visual characteristics of Chinese has three factors, namely "psychological factor", "comfort factor", and "neat factor".

• The Journal of Korean Philosophical History
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• no.25
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• pp.381-410
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• 2009

It is a very important book about painting theory, that "Xuanhehuapu"(宣和畵譜) was wrote by Emperor Huizhong(徽宗) in Song Dynasty. Fundamental discussions and studies in the relation of socio-economical base in Song Dynasty are still more needed. And accordingly, it is necessary to advent upgraded aesthetical articles. Li xue(理?) deeply influenced upon paintings and its theories in Song Dynasty. Similarly, Taoism(道家) and Zen Buddhism(?宗) also did. But some people who have not found "Xuanhehuapu" important meaning and rich and complicated aesthetic thought, gave low and even negative valuation to it. There is rich aesthetic in "Xuanhehuapu", which is not as simple and narrow as some people imagined. It was deeply influenced by the aesthetic thought of Confucianism(Lixue 理學), Taoism(Zhuangzi 莊子) and "Zhouyi"({周易}). I will be analytical in a few aspects "Xuanhehuapu" of aesthetics thought. 1. The calligraphy and painting is one flesh. 2. learn a good lesson from painting. 3. The handicrafts(Art, 藝) and Tao(道) unify. 4. It is a Art taxology. 5. It use a new art criticism methods.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.187-195
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• 2021

Nam Nong Heo Geon(1908-1987) re-recognized and re-created the tradition of Korean Namjong painting by excluding Japanese art forms after liberation. He is a great painter in the Korean art world, who has succeeded and developed Korean Namjong Painting in a modern way, pioneering a new field of 'NewNamhwa' with a composition that fuses modern Western style and real scenery. Based on optimism, Namnong's painting world can be divided into three periods: the 'Namnong Sanin' period in the 1930s, the 'Namnongoesa' period from the mid-1940s to the early 1950s, and the 'the owner of Unlimsanbang' period after that. The Namnong Sanin period is a period in which the painting style handed down from the traditional namhwau family of Sochi and Misan is fully acquired, and the Japanese painting style for the exhibition in Seonjeon is reflected, and the local real scenery is treated a lot, and the two styles are mixed. In the Namnong-oesa period, after liberation, a new formativeness was explored in the traditional Namhwa style. In particular, based on the scenery and sentiments of the southern provinces, he focused on local and landscape paintings, depicting real landscapes with lyricism and local love, while expressing subjects with fast brush strokes, a worndown writing brush, and dry brushes, along with freehand adjustment of shading. The period of the owner of unlimsanbang is in accordance with the flow of modern art to some extent, but is gradually omitted as a composition full of academic fragrance that draws a meaning befitting traditional painting. I painted a lot of lyrical landscapes and pine trees of sumugdamchae. Namnong named it 'NewNamhwa'. Namnong established 'Namhwa Research Institute' and worked hard to nurture his disciples, where Im-in's son Heomun and Namnong's eldest grandson Heojin practiced, continuing the legacy of the 5th generation Unlimsanbang painter.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.133-150
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• 2022

Calling the 21th century the age of 'cultural competition' is not an overstatement. In an era of globalization, we try to find the 'identity of our country' in our culture. 'Culture' is the unique ethnicity of the people of each country that reflects the traces of their lives. As the world is transforming into a multi-dimensional place, traditional patterns in reference to cultural uniqueness and original formativeness are the brands that represent the people. France's luxury brand, GOYARD's Y-shaped pattern naturally made during the persistent traditional handmade process is still France's representative corporate brand and is considered prestigious even after 150 years have passed. On the other hand, in low-income countries, patterns created in the natural process of weaving fabrics are succeeded as a unique cultural aesthetic and are loved by people all over the world. Like this, people living in the global multi-dimensional world look to attain the framework 'One Planet Perspective' which is to succeed their own native culture and preserve the unique culture of others. For example, in the process of international relief organizations delivering relief supplies to Columbia's "Wayu tribe" due to the water shortage in 2013, a handmade product, "Mochila Bag" was discovered. Triggered by this incident, Europe and Korea decide to import it to support the livelihood of the "Wayu tribe." Also, the aesthetic and cultural values of the traditional culture in minority tribes that have evolved through thousands of years have been listed on UNESCO and preserved worldwide. Likewise, culture doesn't suddenly appear overnight, but rather the brand representing the company is the pattern used in the trend of the era kept for over 100 years. Moreover, patterns that reflect the country's identity are inherited as the unique aesthetic of the culture. Our country does inherit the unique aesthetic of our culture, but doesn't have a 'strong image' that displays the practical value reinterpreted creatively and aesthetically to fit the modern trend. Traditional patterns are important in perspective of study and theoretical research, but the brand's image using those patterns is a new medium from the past existence continuing to the current tradition. Furthermore, this study suggests that the image of a company that uses traditional patterns will have high economical potential as a national brand.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.273-280
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• 2021

GangAm Song Sungyong (1913~1999) was from Gimje, Jeollabuk-do. And he is a calligrapher from the last Confucian scholar of the 20th century and a writer of poetry, calligraphy, and painting. While wearing a topcoat and hanbok for the rest of his life, he approached the study, thought, and calligraphy art of Yoo Jae Song Kimyeon and Kojae Lee Byungeun from the perspective of 'GucheSinyong'. And he kept the philosophical subjectivity that tries to maintain character and a right mind. It was based on 'Guche', which is a faithful succession to the reverence of the old. When I was young, I practiced Mibul and Dong Kichang with Gu Yangsun as the center, and Hwang Jeonggyeon, Hanye, Oh Heejae, and Sojeon typefaces were grafted together during the national exhibition. Then, in 1965 (age 53), he moved to Jeonju, and learned several typefaces such as Chusa typeface on his own, creating a Gangam typeface without any obstacles. And he created 'Sinyong' with Windy Bamboo painting, which embodied strange and unconventional meanings. In addition, he re-established his identity by reexamining the fundamental spirit and natural aesthetics of calligraphy, and based on this, he greatly contributed to expanding the aesthetics of modern calligraphy and painting art by pursuing an aesthetic that explores novelty. In particular, Windy Bamboo painting has strong abstraction based on the principle of 'drawing the will'. And, in terms of discipline, the ethical aesthetic of Express Tao with pictures (畵以載道), which expresses the high level of elegance of observing small things in a big way, based on deep research on the logic of things and fulfilling human nature. By implementing it, Tao and Art become one. The Jeonbuk calligraphy group achieved the greatest prosperity in the Gangam era, and at the end of the 20th century, it entered a period of revival as it established itself as the central calligraphy group of Korean calligraphy.

• Journal of the korean academy of Pediatric Dentistry
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• v.49 no.4
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• pp.414-427
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• 2022

This study aims to analyze the color distribution of maxillary permanent incisors in Korean pediatric patients and determine the effects of age and root developmental stage on tooth color. The L^*a^*b^* values of 404 sound and fully erupted maxillary incisors without dental caries, restorations, trauma history or discoloration from 101 Korean patients between ages 7 and 15, with a mean age 10.0 ± 1.5, were analyzed with a spectrophotometer. CIE L^*a^*b^* values were 84.01, 0.17, and 24.07 in maxillary central incisors, and 82.33, 0.31, and 25.99 in maxillary lateral incisors. L^* values of maxillary central incisors were higher, and b^* values of maxillary central incisors were lower than those of maxillary lateral incisors (p < 0.001). The color differences among the subregions exceeded the clinical perceptibility threshold in both of the maxillary central and lateral incisors. L^* value for children at age 10 and younger was 84.13 in maxillary central incisors and 84.04 in maxillary lateral incisors, and those of older patients were 80.62 and 80.56, respectively. L^* value of maxillary incisors of children at age 10 and younger was significantly higher than that of older patients. The root developmental stage did not affect tooth color. This study suggests that the color differences between maxillary central and lateral incisors and among the subregions of a tooth and the effects of age should be considered for aesthetic restorations of permanent incisors in pediatric patients.

• Ecology and Resilient Infrastructure
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• v.9 no.3
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• pp.194-205
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• 2022

Sandbars formed by sediment transportation and sedimentation are some of the most important habitats for specific wildlife and they provide an aesthetic landscape in streams. The purpose of this study was to understand the successional process of the colonization and development of early vegetation over time on sandbars exposed by the opening of a gate at a downstream weir. We selected the following four study sites in the Geumgang River, South Korea: three weir-upstream sites with different gate-opening times and a control site that was not affected by weir operation. Changes in the structural characteristics and spatial distribution of the riparian vegetation on the sandbars exposed after opening the gate at the weir were surveyed according to the different exposure periods of the sandbars at the study sites. The newly formed sandbars accounted for more than 33% of the area of the existing floodplain in the three weir-upstream sites of the Geumgang River after opening the gate at the weir. Nine main plant communities were distributed on the exposed sandbars. These communities were classified as annual mesophytic, perennial hydrophytic, perennial hygrophytic, subtree, and tree vegetation based on their species traits. As the duration of exposure of the sandbar increased, the area of the bare sandbar and the annual herbaceous and perennial hydrophytic communities decreased, and the areas occupied by perennial hygrophytic, subtree, and tree communities increased. Changes in vegetation on the sandbar were classified into three types of succession according to the condition of the aquatic habitat before the gate-opening and the degree of physical disturbance caused by the water flow after the gate-opening. The types of succession were: 1) succession starting from hydrophytes in the lentic aquatic zone, 2) succession starting from annual herbaceous hygrophytes in the lotic aquatic zone, and 3) willow-dominated succession in the disturbed channel side. Our results suggested that the dynamics of successional changes in vegetation should be considered during weir operation to ecologically manage the habitats and landscape of the fluvial landforms, including sandbars in streams.