• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.2
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• pp.104.2-104.2
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• 1997

Ji Cheng''''s great work on garden design theory, the ''''Yuanye'''', written in 1631 and originally published in 1634 is the first surviving treatise and most famous and comprehensive work on the suvject in the Chinese tradition. He constructed Dongdiyuan in Changzhou about 1623, Wuyuan in Yizheng in 1631, and Yingyuan in Yangzhou about 1634. But no poems and paintings written by him still exist, and none of his known gardens has survived. Therefore his design philosophy is able to be interpreted only by his work, Yuanye. This study aims at investigating the garden design theory in Yuanye. The results were summarized as follows. 1) Yuanye reflected the garden tastes of literati, and Ji Cheng endeavored to express the deas of literati painting into gardens. 2) The essence of the garden design theory is Xingzao, and Yindi, following the existing lie of the land, and Jiejing, to borrow from the scenery, are two major activities of Xingzao. 3) Ji Cheng''''s design theory build up on the basis of recognizing the existence of masters. 4) Yindi is the environmental and ecological planning and design method. This is the activity to reach the state of artistry through suitability. 5) Jiejing is not merely borrowing the landscape but the making use of scenery around the garden. And only the master has the skill in fitting in with the form of the land. 6) Ji Cheng pursuits the garden which will look like something naturally created though manmade. It is the goal of the Chinese traditional gardens and ideal situation. 7) Ji Cheng aims to unify the environment and landscape design dialectically into Xingzao.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.2
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• pp.117-134
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• 1997

Ji Cheng's great work on garden design theory, the 'Yuanye', written in 1631 and originally published in 1634 is the first surviving treatise and most famous and comprehensive work on the suvject in the Chinese tradition. He constructed Dongdiyuan in Changzhou about 1623, Wuyuan in Yizheng in 1631, and Yingyuan in Yangzhou about 1634. But no poems and paintings written by him still exist, and none of his known gardens has survived. Therefore his design philosophy is able to be interpreted only by his work, Yuanye. This study aims at investigating the garden design theory in Yuanye. The results were summarized as follows. 1) Yuanye reflected the garden tastes of literati, and Ji Cheng endeavored to express the deas of literati painting into gardens. 2) The essence of the garden design theory is Xingzao, and Yindi, following the existing lie of the land, and Jiejing, to borrow from the scenery, are two major activities of Xingzao. 3) Ji Cheng's design theory build up on the basis of recognizing the existence of masters. 4) Yindi is the environmental and ecological planning and design method. This is the activity to reach the state of artistry through suitability. 5) Jiejing is not merely borrowing the landscape but the making use of scenery around the garden. And only the master has the skill in fitting in with the form of the land. 6) Ji Cheng pursuits the garden which will look like something naturally created though manmade. It is the goal of the Chinese traditional gardens and ideal situation. 7) Ji Cheng aims to unify the environment and landscape design dialectically into Xingzao.

• Journal of the Korean Institute of Landscape Architecture
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• v.23 no.2
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• pp.223-241
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• 1995

Ji Cheng's great work on garden design, the 'Yuanye'(Craft of garden), written in 1631 and originally published in 1634 is the first surviving manual on landscape gardening in the Chinese tradition. This study aims at investigating not only Ji Cheng's life, achievements companionship and design activities, but also the xylographic copies, literary style, and framework of Yuanye in their historical context in order to provide the bases for further study, Ji Cheng was exellent in poetry and painting. And he constructed Dongdiyuan in Changzhou around 1623, Wuyuan in Yiaheng in 1631, and Yingyuan in Yangzhou around 1634 But no poems, paintings, and gardens designed by hi shill exist Therefore his design phi philosophy is able to be interpreted only by his work, Yuanye. After publishing, Yuanye fell into obscurity for several centuries in Chlna. It was redescovered and reprinted for the first time in 1931. Yuanye is composed of prefaces and main text The main text is divided into 'the Theory of Construction' and 'on Gardens', and the latter also into 10 sections. In this text Ji Cheng explains the aesthetic principles underlying garden design and the appropriate emotional response to various efftcts Especially, he emphasizes the importance of basin the garden design on the taxi ting nature and features of landscape and making use of natural scenery. The literary style of the book is highly mannered, and there are so many poetic descriptions and Ji Cheng's native Jiangsu dialects. So the translation of the original text is very difficult After this, the major design concepts of Ji Cheng's landscape gardening theory and whole network of these concepts have to be studied.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.83-92
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• 2014

This study has researched the uses and plant materials of bamboo screen from the gardening books in Ming Dynasty: Yuanye (園冶), Zhang wu ji (長物志) and Xian Qing Ou Ji (閑情偶寄). The results were as follows; first, though these books nearly were written nearly at the same period, the bamboo screen was seen in a negative viewpoint or positively endorsed by authors. These show the extinctive process which had used bamboo screen creating for urban seclusion in early Ming Dynasty and that the meaning was changed by the social economic changes in Late Ming Dynasty. Second, the bamboo screen was devised as a support which was trained the branches of the creepers. This was an equipment to maximize ornamental effectiveness with some rose families which produced nearly all year round, and it was involved cultural enjoyment of Chinese indigenous custom. Finally, the bamboo screen was used rose families for the beautiful flowers. And this was constructed as a multipurpose facility which was used as the flower screen in blossoming season as well as the role as wall.

• Journal of Power Electronics
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• v.18 no.2
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• pp.640-650
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• 2018

A TRIAC dimmable LED driver with a wide tuning range and a two-stage uniform dimming scheme is proposed in this paper. To solve the restricted dimming range problem caused by the limited conduction ratio of TRIAC dimmers, a conduction ratio compensation technique is introduced, which can increase the output current up to the rated output current when the TRIAC dimmer turns to the maximum conduction ratio. For further optimization, a two-stage uniform dimming diagram with a rapid dimming curve and a slow dimming curve is designed to make the LED driver regulated visually uniform in the whole adjustable range of the TRIAC dimmer. The proposed control chip is fabricated in a TSMC $0.35{\mu}m$ 5V/650V CMOS/LDMOS process, and verified on a 21V/500mA circuit prototype. The test results show that, in the 90V/60Hz~132V/60Hz ac input range, the voltage linear regulation is 2.6%, the power factor is 99.5% and the efficiency is 83%. Moreover, in the dimming mode, the dimming rate is less than 1% when the maximum dimming current is 516mA and the minimum dimming current is only about 5mA.

• Journal of Power Electronics
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• v.16 no.6
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• pp.2212-2220
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• 2016

Based on the conventional PID algorithm and the adaptive PID (AD-PID) algorithm, a separate sampling adaptive PID (SSA-PID) algorithm is proposed to improve the transient response of digitally controlled DC-DC converters. The SSA-PID algorithm, which can be divided into an oversampled adaptive P (AD-P) control and an adaptive ID (AD-ID) control, adopts a higher sampling frequency for AD-P control and a conventional sampling frequency for AD-ID control. In addition, it can also adaptively adjust the PID parameters (i.e. $K_p$, $K_i$ and $K_d$) based on the system state. Simulation results show that the proposed algorithm has better line transient and load transient responses than the conventional PID and AD-PID algorithms. Compared with the conventional PID and AD-PID algorithms, the experimental results based on a FPGA indicate that the recovery time of the SSA-PID algorithm is reduced by 80% and 67% separately, and that overshoot is decreased by 33% and 12% for a 700mA load step. Moreover, the SSA-PID algorithm can achieve zero overshoot during startup.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.77-84
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• 2021

This paper attempted to examine the value of private house garden as a historical garden among local cultural heritages remaining in Chungcheong-do Province. To this end, the following conclusions were drawn through the framework of value analysis in which the contents of Ji Cheng's Yuanye of China, Tachibana Toshitsuna's Sakuteiki in Japan, and HISTORIC GARDENS THE FLORENCE CHARTER 1981 were applied to target sites. First, local cultural heritage belong to unregistered cultural heritage, and a total of 616 local cultural heritages in Chungcheong-do Province were identified, and Cheongju City possesses the largest number of local cultural heritages. Most of the local cultural heritages are distributed in ancient capital or adjacent to it, and five of the local heritages are related to historical garden. Second, the target sites were old houses constructed during the Joseon Dynasty with a long history, and although there were few changes in spatial division, the scale of some gardens and outer yard spaces was reduced due to urban planning, etc. Third, the target site is Sangjihapui(相地合宜) and Inchacheui(因借體宜) in location and space division, so the space is divided according to the surrounding terrain and the landscape is naturally drawn to construct a garden. Fourth, the garden of the target site has a structural value of a garden that is Jeongihapui(精而合宜) and Gyoideukche(巧而得體) as it is subtle and naturally constructed with the garden by grasping the surrounding terrain. Fifth, for the continuous preservation of historical garden, it is necessary to strengthen the already enacted local cultural heritage ordinance, and to establish a documentary project for each spatial component and a plan for climate change.

• The Journal of the Convergence on Culture Technology
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• v.9 no.1
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• pp.427-436
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• 2023

Je Baek-seok, who is well versed in poetry, calligraphy, painting, and sculpture, has established himself as the most outstanding painter and pavilion in the history of modern and contemporary Chinese art. During the Ming and Qing Dynasties, the art of the pavilion was developed greatly during the enlightenment period, with the emergence of many masters of the pavilion, including Jeonggyeong, Hwanghwangseokyeo, Oyangji, Jo Ji-gyeom, Hwang Mok-bo, and Oh Chang-seok. Je Baek-seok formed an original ritual under this social background. Je Baek-seok's tactics were formed by imitating works from the Hanwi period, and he harmonized Jin Kwon, Sopan, and Janggunin while using the penmanship of the Cheonbal Shinchambi based on the "Sasam Gongsanbi." In addition, by boldly using the Danipdo method, it is possible to use the human face as much as possible while fully exhibiting the artistry of calligraphy and adding to the atmosphere of gold stone. This paper mainly analyzed and reviewed the process of Je Baek-seok's transcription transformation and humanities practice from two aspects. First, it is planned to summarize the process of Je Baek-seok's transformation into a Jeonseo. Second, Je Baek-seok's humanities practice was analyzed. This paper will further understand Je Baek-seok's humanistic ideas and practical search by clarifying the originality of Je Baek-seok's engraving art with examples of Je Baek-seok's works, and it is believed that this will provide future scholars with learning paths and rich experiences.