• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.127-143
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• 2010

This research was made on the interpretation of cultural landscape elements which is shown at nature management around Gyeongcheondae managed by Udam Chae Deug-gi, scholar in Joseon dynasty. Naming the nature management and natural features not only reflected on the formation toward the view of nature by the contemporary intellectuals, but influenced on the fashion of garden culture. Udam Chae Deug-gi dwelt in the riverside of Sangju, Kyungbuk as the characteristics of hermitage and managed landscape and had a willing to live a life free from worldly cares. The Gyeongchundae 28 landscapes, which was managed by himself, represent that natural features are named on the basis of neo-confucian principle and loyalty and he imposed symbolic meaning on landscape management by practically translating his aesthetic consciousness to reality; the name of detailed landscape is largely 'loyalty to Ming dynasty and to king's order and loyalty', 'Taoism' and 'Management will of landscape' by the life of metaphor and enjoyment, and symbolizes 'Searching for learning'. In addition, by selecting 10 out of 28 landscapes around Gyeongcheondae, lyrically describing the landscape by representing the change of time, season and the climate which is the scenic term of Great 8 Sosang views in fashion at that time focusing on the place he strolled or enjoyed watching himself; it can be seen that such moves are related with the landscape management in fashion in order to understand microcosmic providence with the change of natural environment. Therefore, Udam Chaedeug-gi is regarded as the neo-confucian view of nature for which any value scholars in Joseon dynasty have to own - 'loyalty' and 'integrity' - he usually emphasized himself to name the natural features and overcome the darkness of society comparing the landscape management around Gyeongchundae he lived a life free from worldly cares to the situation of Joseon dynasty when a transition times between Ming and Chung comes from China.

• 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.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.11
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• pp.88-93
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• 2017

It is important to develop a simple method oftuning localized surface plasmon resonance(LSPR) properties, due to their numerous applications. In addition, the careful examination of the shape, size and combination of metal nanoparticles is useful for understanding the relation between the LSPR properties and metal nanostructures. This article describes the dependence of theLSPR properties on the arrays of metal nanoparticles obtained from a block copolymer(BCP) micellar thin film. Firstly, two different Au nanostructures, having a dot and ring shape, were fabricated using conventional block copolymer micelle lithography. Then, Ag was plated on the Au nanostructures through the silver mirror reaction technique to obtain Au/Ag bimetallic nanostructures. During the production of these metallic nanostructures, the processing factors, such as the pre-treatment by ethanol, silver mirror reaction time and removal or not of the BCP, were varied. Once the Au nanoparticles were synthesized, Ag was properly plated on the Au, providing two distinguishable characteristic plasmonic bands at around 525nm for Au and around 420nm for Ag, as confirmed bythe UV-vis measurements. However, when a small amount of Au seed nanoparticles, which accelerate the Ag plating speed,was formed by usinga block copolymer with a relatively highmolecular weight, all of the Au surfaces were fully covered by Ag during the silver mirror reaction, showing only the characteristic peak for Ag at around 420nm. The Ag plating technique on Au nanoparticles pre-synthesized from a block copolymer is useful to study the LSPR properties carefully.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.225-260
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• 2016

This paper aims to shed light on the structure of "Eonji[言志]" to demonstrate that it is a song with educational purposes, which is evident in its meaning and constitution. Based on various records of the epilogue and from the texts handed down several generations, it is clear that is an educational song that describes the life of ascholar and the core of knowledge as considered by Lee-Huang. Therefore, the meaning contained in Eonji[言志] is closely related to Lee-Huang's thoughts and it reflects the Confucian way of life. In the 4thphase, Pimi-ilin[彼美一人] of Eonji[言志] states that self-learning and serving the king can be carried out concurrently. The 5th phase of Eonji[言志] describes the anxiety of the lord for the wiseman and urges people to live a life full of consideration. This shows that one should not disregard the fact that a wise man's scholarship and life can contribute to the politics of the real world, even if the wise one chooses to lead a life of seclusion; even when the wise man enters the word of politics, his behavior and traits must not deviate from the calm course of self-cultivation in nature. The structure of Eonji[言志] and its different phases comprising nature, scholarship, and education deal with the following matters: "the meaning of retirement into nature (1stphase)," "nature+the practice of scholarship (2ndphase)," "scholarship+the practice of education (3rdphase)," "nature+the stance of scholarship (4thphase)," "scholarship+the stance of education (5thphase)," and "the beauty of nature+idea of scholarship and education (6thphase)."

• Journal of architectural history
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• v.10 no.2 s.26
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• pp.7-19
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• 2001

Ip-am valley, located at the eastern remote part of Korean peninsular was the place where a remarkable Confucian scholar Chang Hyon-gwang spent his secluded days. A large upright stone, called Ip-am, and undulating streams nearby were surrounded by mountains, which formed a large enclosed valley. After selecting 28 natural and artificial places, Chang named each of them. Chang compared the relationship between Ip-am and the 28 places with that of the Polestar and 28 Lunar Lodgings, which were known as the ancient Chinese astronomical concept. Also, Chang regarded the valley as a place where the Taoistic Deity could stay. Chang, who had deep knowledge of astronomy, wrote some books on it. It could be said that the comparison of his hermitages with the Polestar and the 28 Lunar Lodgings resulted from his deep passion for astronomy. He considered the Ip-am valley to be the core of the universe like the Polestar is the core of the celestial world. Some stars like the Polestar or the Dipper were regarded as the Deities of Taoism. We can find that Confucian scholars of the middle Choseon, like Chang Hyon-gwang, also tended to have some concern about Taoism.

• Journal of Korea Association of Health Promotion
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• v.2 no.2
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• pp.127-136
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• 2004

본 연구에서는 2003년 6월~2003년 12월 사이에 탈북적응훈련 교육원에 입소한 854명의 북한 이탈주민들의 신체 계측치를 이용하여 북한 이탈주민들의 체질량지수(BMI)를 파악함으로써 북한 주민들의 건강상태를 간접적으로 유추하였다. 연구결과 신장은 전 연령에서 남한이 북한보다 컸으며, 남한주민의 체중이 북한보다 많았다. 또한, 20세 이상 남북한 주민의 BMI 분포를 연령별로 보면 북한 이탈 남성의 경우 55세 이상 연령집단에서과체중 현상을 보였으나, 남한의 남성은거의 모든 연령집단에서 과체중인 것으로 나타났다. 북한 이탈 여성의 경우 45-54세와 70-74세에서 과체중 및 1단계 비만을 보였지만, 남한 여성의 경우 40-44세, 50-74세는 과체중, 45-49세는 1단계비만으로 나타났다. 최근의 북한 이탈주민들일수록 신장, 체중 모두 작았다. 본 연구결과에 따르면 북한 이탈주민들은 식량부족사태가 있기 이전부터 이미 남한과 신체 계측치에서 차이를 보였으며,1980년 말부터 시작된 식량난과 1990년대 중반에 지속적으로 일어난 자연재해 등으로 인해 북한 주민들은 더 왜소화되고 만성적 영양결핍상태가 더욱 만연해지고 있음을 알 수 있다.

• Journal of the Korean Chemical Society
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• v.47 no.1
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• pp.7-12
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• 2003

It was recently reported that the SERS effect of the silver mirror substrate made by Tollen's method is much superior to that of other substrates. In this study, the experiments for comparison were done, where we checked the characteristics of silver mirror substrate made by different reductants, time interval and thermal treatments. We also surveyed correlations in substrates changes, the influence of SERS enhancement, and adsorbed orientation of phenol red.

• Sijohaknonchong
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• v.21
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• pp.241-269
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• 2004

The purpose of this dissertation is to examine background of creation, composing method, and character of contents. was created by Kwon, Seop to reconfirm moral range of the Kiho-scholarship school and admire Kwon. Sang-ha (Kwon. Seop's uncle) through transmission of Kugok-ga when a custom handed down by Kwon, Sang-ha waned. This work, therefore, was composed of recollecting method describing each place of superb view relating to trace of life of Kwon, Sang-ha. In this work, the moralistic life of Kwon, Sang-ha don't appear directly. Hwangkangkugok, a fairyland where Kwon, Sang-ha lived in retirement. proves the moralistic life of Kwon, Sang-ha indirectly by describing his life as hermitian taste. Through this composing method and recognizant attitude, We know that was created for K won, Sang-ha, but it reveals Kwon, Seop' thought in life and it can be placed on prolongation with his work world.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.114-131
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• 2014

The Portrait of Yang Zhuxi(楊竹西小像) at the Palace Museum in Beijing holds important significance as one of the rare portraits from Yuan Period and as a painting with a definite year of creation in 1363. It is also noteworthy in that it is the only remaining work of Wang Yi(王繹), who was one of the critical portrait painters during the second half of Yuan Period and the author of Xiexiang Mijue(寫像秘訣), the first book on the portrait theories, that it was created in conjunction with Ni Zan(倪瓚), one of the utmost landscape painters of the times, and that it was an early case of landscape and figure painting-format portraits. The figure in Portrait of Yang Zhuxi was originally known as Yang Wu(楊瑀), a high official during Yuan Period, but it was a misunderstanding on the part of Li Rihua(李日華), a literary figure from Ming Dynasty. The actual model was Yang Qian(楊謙), a reclusive literary figure in the Songjiang(松江) region. Yang Qian is estimated as one of the central figures with a high reputation in the literary community of Jiangnan those days. Portrait of Yang Zhuxi was depicted by borrowing the icon of such hermits as Su Shih(蘇軾), which seems like a proper choice to express Yang Zhuxi, a reclusive literary figure. Furthermore, the rocks and pine trees described by Ni Zan reinforced the significance of the portrait through their traditional symbolism of man of virtue and man of letters, respectively. Portrait of Yang Zhuxi used the Baimiao Manner(白描法), thus being differentiated from other portraits from the same period. Even though there is no coloring in the painting, it boasts more excellent realism than colored portraits. It expressed the body with the graceful and controlled Li Gonglin(李公麟) and Zhao Mengfu(趙孟?) style Baimiao Manner, raising its dignity further. In terms of functions, Portrait of Yang Zhuxi is strongly characterized by the appreciative function unlike other portraits focused on the ceremonial function. Being created to be viewed and appreciated by the model himself and his friends, the portrait was very significant to promote their friendship. However, there was a great intention to reflect the emotions of the model himself and his friends in the painting beyond the simple appreciation level.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.58-74
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• 2018

This study aims to propose baseline data for designing restoration of Gaobyulup, researching space formation and characteristics of gardens of Gaobyulup, which located in the foot of Cheonmasan Mountain in Namyangju. Gaobyulup is a remain in retirement of Gyulsan Yu-Won Lee, a representative politician, administrator, and tea drinker in late Joseon Dynasty. The results of the research about the shape of Gaobyulup deducted through reference review, poetry and prose analysis, an on-the-spot survey and residents' interview are below: Lee, who used pseudonym as 'Gyulsan,' which menas Jongnamsan Mountain, yearned Mangcheonbyeoreop(輞川別業) by Yu Wang and retirement with a country house operation by Seogye Sedang Park. In the persuit of this ideal, he created and operated a country house in Gaogok of Yangju, which a family burial ground was located. Gaobyulup, which located in Gaogok in the lower part of Cheonmasan Mountain, was largely composed outer and inner gardens, and the area of house operation was started from a stone post of Gaobokji The inner garden of Gaobyulup was including major garden components like buildings, such as Sasihyanggwan, Obaekganjung, Imharyoe and Toesadam, and Chaewon near Haengrangchae, and Gwawon in an backyard. In addition, Younggwijung pavilion, which located 850m away from Gaobyulup, was the another country house inside the Byulup, thus Gaobyulup shows a duplex space formation. In the inner garden of Gaobyulup, there are Sasihyanggwan, which had functions of Sarangchae as library and depository of old paintings and calligraphic works, and Obaekganjung, a small Sarangchae which connected with Sasihyanggwan in the form of a transept. Yusanggoksuger located near Obaekganjung. Additionally, Imharyeo, a library with a tablet of Byeokryowon(??園), which located in the highest point in Byulup, has the functions of a reading room and a tea house. Many Taihu stones were located not only in Toesadam, a square-formed pond with lotus but also many places in the inner gardens. And rare garden plants were planted. These were closely related to the trend of horticulture for pleasure, wealth, and collecting old paintings and calligraphic works for pleasure of Lee. Meanwhile, the area of Younggwijung pavilion, located in Gaocheon stream fall from Byulup to Manhoiam, looks like Wooampok, a enjoying place of other personages, who use their pseudonym as "Oksan" or "Wooam" Lee identifies Wooampok as "Jesampok" and carved 'Gyulsan' s he declared this place is his operating area. Lee built Younggwijung pavilion and planted many peach trees for recreation of utopia. The stone letters of Byukpadongcheon, located in front of a bridge in the foreside of Younggwijung pavilion, seems another enchanted land created in Gaobokji inside. Lee carved Jeilsan in huge rock on the falls rear Manhoiam temple, which Lee did great role of foundation of the temple, so he identifies that this place was the end of the outer garden of Gaobyulup. This study tries to estimate traces of the country house in Gaogok through reference review and on-th-spot survey, and the results from this study are presumed based on site remains only conformed today. It needs to discover second scenary or stone carved letters between Jeilsan and Jesampok. Additionally, exact formation characteristics of Gaobyulup should be identified through excavation survey later. To do so, an interest and a major role of Namyangju-si must be equipped for future restoration of Gaobyulup.