• 한국조경학회지
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• 제25권2호
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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.

• 한국조경학회지
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• 제25권2호
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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.

• 한국조경학회지
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• 제23권2호
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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.

• 한국전통조경학회지
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• 제32권1호
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• pp.83-92
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• 2014

본 연구는 중국 명대 원림서인 원야, 장물지, 한정우기를 통해 중국 죽병의 용도와 식물소재를 분석한 것으로, 요약된 결과는 다음과 같다. 위 세 서적은 거의 동일한 시기에 저술되었지만 작자가 바라보는 죽병의 시각은 부정적이기도 했고 적극 지지하는 의견이 피력되기도 한다. 이는 명초에 시은(市隱)을 조성할 때 죽병을 사용했던 양상이 퇴색되는 과정을, 나아가 명말 사회경제적 변화에 의해 죽병의 의미가 사치적 성향으로 전화되었음을 보여준다. 죽병은 덩굴성 식물의 가지가 등반 부착하게 하는 보조재(補助材) 또는 유도재(誘導材)의 성격으로 고안된 것이었다. 이는 한편 여름 내내 많은 꽃이 연이어 피는 장미과 식물의 관상효과를 극대화하기 위한 장치였으며, 또한 중국 특유의 문화적 향유와 관련되었다. 죽병에는 주로 꽃이 아름다운 장미과 식물이 사용되었으며, 이 식물들을 부식하여 만든 죽병은 평소에 담장의 역할을 하다가 개화기에는 아름다운 화벽을 볼 수 있는 다목적 시설로 설치되었다.

• Journal of Power Electronics
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• 제18권2호
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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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• 제16권6호
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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.

• 한국전통조경학회지
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• 제39권4호
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• pp.77-84
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• 2021

본 논문은 충청도 지역에 유존하고 있는 향토문화유산 중 민가정원의 역사정원으로서의 가치를 살펴보고자 하였다. 이를 위해 중국 계성의 원야와 일본 귤준망의 작정기 및 유네스코 플로렌스 헌장의 내용을 대상지의 가치 분석의 틀로 적용하여 다음과 같은 결론을 도출하였다. 첫째, 향토문화유산은 비지정 문화재에 속하며 충청도지역 내 총 616개소가 확인되었고 청주시가 가장 많은 향토문화유산을 보유하고 있었다. 고도(古都)이거나 고도에 인접한 곳에 대부분의 향토문화유산들이 분포하고 있으며 향토문화유산 중 역사정원과 관련한 정원은 5곳으로 나타났다. 둘째, 대상지들은 조선시대에 조영된 고택들로서 유구한 역사성을 지니고 있었으며 공간구획에는 변화가 적었으나 도시계획 등에 의해 일부 정원 및 바깥마당 공간의 규모가 축소되었다. 셋째, 대상지들은 상지합의(相地合宜)하고 인차체의(因借體宜)한 입지와 공간구획을 나타내고 있어 주변의 지형에 순응하여 공간을 구획하고 자연스럽게 경관을 끌어들여 정원을 조영하였다. 넷째, 대상지의 역사정원은 주위의 지형을 파악하여 정원과 교묘하면서도 자연스럽게 조영되어 정이합의(精而合宜)하고 교이득체(巧而得體)한 정원 구성적 가치를 지니고 있다. 다섯째, 역사정원의 지속적 보존을 위해서는 이미 제정된 향토문화유산 조례의 강화가 필요하며 각 공간별 구성요소의 기록화 사업과 기후 변화에 따른 방안이 구축되어야한다.

• 문화기술의 융합
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• 제9권1호
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• pp.427-436
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• 2023

시문, 서예, 회화와 조각에 모두 해박한 제백석은 중국 근현대 예술사에서 가장 뛰어난 서화, 전각의 대가로 자리매김하였다. 명청(明清)시기에 정경(丁敬), 황이(黃易), 등석여(鄧石如), 오양지(吳讓之), 조지겸(趙之謙), 황목보(黃牧甫), 오창석(吳昌碩) 등 많은 전각 대가의 등장과 같이 전각예술은 개화기에 들어 장족의 발전을 거두었다. 제백석은 바로 이러한 사회 배경 아래 독창적인 제파(齊派)를 형성했다. 제백석의 전법은 한위(漢魏)시대의 작품을 모방하면서 형성됐는데 그가 『사삼공산비(祀三公山碑)』를 근간으로 하고 『천발신참비(天發神讖碑)』의 필의를 구사하면서 진권(秦權), 소판(詔版), 장군인(將軍印)을 조화시켰다. 게다가 단입도법(單入刀法)을 과감하게 사용함으로써 서예 예술성을 남김없이 발휘하면서 인면(印面)을 최대한 이용할 수 있고 금석 정취를 더 한다. 본고는 제백석의 전서 변모 과정 및 인학 실천을 주로 두 가지 측면에서 분석하고 고찰하였다. 첫째, 제백석의 전서 변모 과정을 정리할 예정이다. 두번째, 제백석의 인학 실천을 분석하였다. 본고는 제백석 작품을 예시로 제백석의 전각예술의 독창성을 규명함으로써 제백석의 인학 사상과 실천적 모색을 보다 더 깊은 이해를 도모할 것이며, 뿐만 아니라 이것은 후세 학자에게 학습경로 및 풍부한 경험을 제시해줄 것이라 사료된다.