• Journal of Korean Society of Rural Planning
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• v.15 no.4
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• pp.33-42
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• 2009

This study is aimed at the necessity application in 'Prototype' general concept on discovering cultural identity landscape of our national characteristics landscape research. Accordingly, It is considered landscape, fundamental concept, the prototypal landscape concept from previously researches that have been used. At the same time, the concept of prototypal landscape has been established by commenting a point of view which is defining previous researches that controverted prototypal landscape, then establish concept of prototypal landscape and derive attribute by comparing and considering similar terminology of prototypal landscape. Previously, research prototypal landscape in depth by applying defined concept of prototypal landscape and considering inherence ideological and environmental background prototypal figure and structure. Formation pattern of the prototypal landscape is classified in both philosophical formative primary factor from philosophy, religion and environmental formative factor of human that accumulated cultural life from a region and life. Examples of forming the prototypal landscape by philosophical formative factor are classified as 'Feng-Shui(the theory of divination based on topography)', 'Yin-Yang theory', 'Confucian idea theory' 'Philosophical Taoism', 'Buddhism theory' and 'Nature theory' then environmental formative factor are interpreted by 'Taekliji(determining of advantageous land)', 'Imwon(forest) economical geography', 'land use', 'topography' and 'terrain' as examples. This study is anticipating a new point of view and an establishment of reliable preservation to our characteristic of the prototypal landscape by considering concept of prototypal landscape and formative factor as studying limits of prototypal landscape and researching concentrated origination of the prototype.

• Journal of architectural history
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• v.17 no.5
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• pp.23-37
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• 2008

Hyeunryungwon is a tomb for Crown Prince Sado, who was the father of King Jeongjo, the twenty second king of Joseon dynasty. The tomb had been originally in the Eastern part of Seoul, but was relocated in 1789 to the downtown Suwon, which was renowned as a good tomb site among the Royal family at that time. King Jeongjo looked through the records from the previous generations for the ideal location and direction for the tomb. He personally studied Feng Shui theory and designated its location and direction. He ordered for lavish decorations for the stone adornments of the surroundings of the grave mound, which was against the regulations of the royal family. He found his reasons in the precedent that allowed sumptuous decoration. However, for the arrangements of Jeongjagahk(T shaped building) and other attached facilities, he made unusual choice that other precedent royal tombs did not have. Instead of following the conventions that Jeongjagak should be facing south of a grave mound, he put it on the right side of grave mound. Also conventionally, Subokbang(a place where guards can stay) and Suragan(a kitchen that prepares food for sacrificial rites) should be facing symmetrically, but they too, were on the same side with Jeongjagak. It was a measurement that the grave mound of Hyeunryungwon can have a full view without being obstructed by other facilities and it was also personally ordered by King Jeongjo. The distinguishing features of Hyeunryuwon was motivated by King Jeongjo's filial affection, and his academic pursuit of precedent royal tombs initiated the unconventional and innovative challenges.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2007.10b
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• pp.191-196
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• 2007

The Korean rural landscape has changed significantly due to nationwide modernization and industrialization in recent years. Moreover, as urbanization progresses due to population and economic growth, rural areas surrounding the suburbs of cities are feeling the pressure of encroaching urban sprawl. Use of land for human-made structures such as road and housing development is also increasing, resulting in the destruction of nature in rural areas. Adopting a concept of conserving rural landscape in future development projects is therefore highly desirable.The main focus of this study is to look into the traditional concept of the village and to classify some elements of the traditional rural landscape. Daegu Metropolitan City, the third metropolitan city in Korea, is chosen as the subject of the study. The existing 227 villages have been studied on the basis of their principles and types of village locations in relation to the traditional concepts of 'Feng-shui' and 'Tackriji'. The characteristics of the village location are divided into two aspects: the natural landscape, such as topography, hydrosphere, and azimuth, and the historical and cultural landscape, such as customs(Only the natural landscape aspect is included in this study). The natural landscape, a condition of the village location, is divided into three areas: topography, hydrosphere, and azimuth. There are two types of topography: flatland type and mountain type. There are two sub-types in the mountain type: ridge and valley, which depend on the village location in relation to the shapes of the mountains. There are four types of hydrosphere which include waterways and three directions of mountain depending on the shape: front, behind and side. The direction of the village is analyzed from the direction which the houses in the village face. Therefore, the natural landscape element as a condition of the village location is closely related to the traditional concepts of the village.

• Journal of Korean Society of Rural Planning
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• v.22 no.2
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• pp.67-75
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• 2016

This Research was carried out to investigate landscape characteristics of the traditional Chinese village through the landscape analysis. The Purpose of this study was to offer suggestions for improving Korea's traditional village scenery. This research was conducted by analysis about an important component of the landscape in Ping-shan traditional village. It was studied natural landscape, life landscapes, agricultural production landscapes and symbols landscape. This study was carried out through literature research, field research and interviews. The results of Chinese traditional village's landscape characteristic was First, Ping-shan traditional village was located on the basis of Feng-Shui settings. Second, Ping-shan traditional village was clan-based. Third, It is composed of a large green space on the outskirts of the village. Fourth, Ping-shan traditional village was a typical channel village. Fifth, Ping-shan traditional village was a living landscape with various features. sixth, Ping-shan traditional village was a lot of space to agricultural production, most of the arable land surround village. Suggestions for improving Korea's traditional village scenery are as follows ; First, proposes actively re-design on the base of defense fengshi landscape interpreted as a modern sense. Seconds, when large-scale farmland project is established in Korea, you can expect to gain knowledge from traditional Chinese village spacing. Thirds, It seems to require a study of the public space for festival. in the case of china, ancestral shrine space is center and space for festival. Fourth, It was important to seek knowledge about protection for frequent in flood plains in Korea's traditional village. Ping-shan traditional village was well-known for housing with contact water, connected channels and beautiful defense pond. Fifth, for improving Korea's traditional village scenery, we need to make various focus landscape features. Most of the visitors to Ping-shan traditional village was interested in the big and small beautiful landscapes and shelters.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.477-508
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• 2020

Awareness of grievances and the concept of "grievances (冤)" itself are both universal and essential among East Asian countries. Grievances have become a cultural symbol that has repeatedly appeared in the Han culture of later generations. The way new religious groups interpret "grievances" and face disasters, which are seen as having been brought by grievances, reflects the circumstances and historical backgrounds that Eastern nations hold in common. This paper aims to discuss the concept of "grievances" in Taiwan's Weixin Shengjiao and Korea's Daesoon Jinrihoe, which are represented doctrinally as "The Resolution of Grievances and Altruism" (in Weixin Shengjiao) and "The Resolution of Grievances for Mutual Beneficence" (in Daesoon Jinrihoe). How these two tenets are fulfilled in modern society will likewise be examined. Weixin Shengjiao takes solving the hatred among the Three Ancestors as a premise for achieving world peace and commits to stabilizing people's lives amid the capitalistic design of modern society. Daesoon Jinrihoe deems the "Reordering Works" to be the only way to unify the earthly energies to achieve balance in the universe. They also developed the "Three Major Works" to contribute to modern society. These two new religious orders share many similarities, but are distinct in their interpretations and practices. Both orders demonstrate the features and meaning of "Solving Grievances" as it relates to the process of modernization in East Asia.

• Korea Science and Art Forum
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• v.35
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• pp.315-329
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• 2018

This study starts from the points of comparative analysis about cultural differences of old traditional communities. Those communities are Chinese Fujian tulou and Historic Villages of Korea Hahoe and Yangdong. (i..e.Yangdong ) I worked field study on traditional communities in two countries and literiture study. I have analysied on characteristics of Fujian tulou and Yangdong. and compared Fujian tulou's characteristics with traditional characteristics of Yangdong The results of this study are as follows. First, Fujian tulou was built according to the nature, and they have worshipped their anscestor and they are the blood relative community. Second, Yangdong was built according to the nature, too. But Yangdong has been completely reflected the confusianal societies' classes.( ex : yangban and slave ) Yangdong has the characteristics on confusianal community. From the results of this study, I think that further study is needed about non- physical cultural factors which were served to maintain the traditional community like governance, self doctrine and community rules.

• Molecules and Cells
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• v.26 no.6
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• pp.536-547
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• 2008

Anthocyanidin synthase (ANS, leucoanthocyanidin oxygenase), a 2-oxoglutarate iron-dependent oxygenase, catalyzed the penultimate step in the biosynthesis of the anthocyanin class of flavonoids, from the colorless leucoanthocyanidins to the colored anthocyanidins. The full-length cDNA and genomic DNA sequences of ANS gene (designated as GbANS) were isolated from Ginkgo biloba for the first time. The full-length cDNA of GbANS contained a 1062-bp open reading frame (ORF) encoding a 354-amino-acid protein. The genomic DNA analysis showed that GbANS gene had three exons and two introns. The deduced GbANS protein showed high identities to other plant ANSs. The conserved amino acids (H-X-D) ligating ferrous iron and residues (R-X-S) participating in 2-oxoglutarate binding were found in GbANS at the similar positions like other ANSs. Southern blot analysis indicated that GbANS belonged to a multi-gene family. The expression analysis by real-time PCR showed that GbANS expressed in a tissue-specific manner in G. biloba. GbANS was also found to be up-regulated by all of the six tested abiotic stresses, UV-B, abscisic acid, sucrose, salicylic acid, cold and ethylene, consistent with the promoter region analysis of GbANS. The recombinant protein was successfully expressed in E. coli strain with pET-28a vector. The in vitro enzyme activity assay by HPLC indicated that recombinant GbANS protein could catalyze the formation the cyanidin from leucocyanidin and conversion of dihydroquercetin to quercetin, suggesting GbANS is a bifunctional enzyme within the anthocyanidin and flavonol biosynthetic pathway.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.99-111
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• 2015

The objectives of this study were to investigate the location, shape, environment, and vegetation of the Village Forest in Gyeonggi-do and to evaluate the ecological integration and changes of the Village Forests to figure out the measures for conservation and management. There were 23 Village Forests remain in Gyeonggi-do. Ten Village Forests were established based on Feng-shui background. Many of them were found in Yongin area and southeast of Icheon. The Village Forests were owned by local community at 9 village and privately owned at 8 villages. Most Village Forests were managed by local communities except for the two managed by private person. Fifty-two percent of the Village Forests were in strip shape, and most of them were established by Feng-shui background or for the prevention of disasters. The average size of the Village Forests was relatively small at 3,046m2. The most frequent tree species found at the Village Forest were Zelkova serrata and Pinus densiflora. Over half of the number of Village Forests showed vertical structure of overstory trees only or overstory-sub overstory combination, which seemed to be resulted from the loss of understory plants by the activities of local residents. The Village Forests that had over 30% of damaged trees were found at 7 villages. The damages were caused by the road construction close to the groves, soil compaction, and tree death by covering lower stem with soil. The vitality of the damaged trees seemed to be significantly low compared to that of the undamaged. There were factors that determined the changes in the Village Forests: community ritual, institutional protection, designation as a water resource protection district, road construction, land use change, windstorm hazards, and development of forest areas. In order to conserve and manage the Village Forests appropriately, it is necessary to limit excessive use of the grove areas and maintain proper tree growing conditions by improving the soil environment. The development of neighborhood areas need to be controlled and community activities should be encouraged to maintain or restore the original landscape of the groves. Protection measures and supporting policies need to be enforced to keep the Village Forests from disappearing in near future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.27-39
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• 2011

The study on Musan twelve peaks of Yongho garden in Jinju, Gyeongnam was anticipated to provide data and implication for reproducing similar spaces and modern changes in terms of design factor since it is the prototype of traditional mount for overcoming monotonous geographical features and intriguing changes and interests. The study analyzed and interpreted the symbolism of twelve peaks, principles of space composition and function and effect of visual construction that were pursued by the builder in terms of landscape view, which results are as following. The center of Yongho garden, Yonghoji(龍虎池) is a typical man-made pond for a supportive feng shui feature. It is a supporting equipment to complete the state of feng shui, and the result of strengthening the completion through the connection with the dragon-related name of the place. The shape of Musan twelve peaks looks like an oval form of Geumseongsan(金星山), 2~3.5m in height and 6~12m in diameter. Peaks are estimated as 1.5~3.7m(2.4m in average) in height, $35{\sim}138m^2$($73.4m^2$ in average) in area, and $30.7{\sim}115.0m^3$($62.5m^3$ in average) in volume. Given that Yonghojeong(龍虎亭), Soseon(小船), the site of main building and Yongsanjae(龍山齋) stand in line, Yonghoji was presumed as the state of enlightenment through ascribing the meaning to virtue and secularity. For the intention of realizing Musan twelve peaks, the builder probably had mounted twelve peaks forming the body of dragons with crossing the point corresponding to a head of tiger, and located Musan twelve peaks and Yonghojeong with a representation of dragons holding Cintamani rising into the sky in the center. The middle area near Musan twelve peaks surrounded by peaks like Geumseongsan running north and south shows a multi-structure of multilayer, maintaining the similarity centering on Yonghoji. It is considered the intention of mount planned at the time of Musan twelve peaks construction, caused by similar form harmony. Internalization of progressive realization through concealment and exposure, enframement effect and spatial order like prospect-refuge theory in the mount of Musan twelve peaks is considered the reflection of the intention to increase depth of the view and expectancy through the various degree of exposure and surroundings of each peak and the colorful combination of viewing and shutting. The "closed view" by Musan twelve peaks creates interesting, vivid and attractive recognition of the view, which is more effective in bringing depth of the view and interests in terms of the geographical design, particularly the area around Yonghoji. Moreover, it was identified that the combination of peaks can be formed resulted from the view configuration concerning the location through multilayer effect reveals an island through the other one when viewed from Yonghojeong.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.172-203
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• 2023

<Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.