• Journal of Korean Society of Forest Science
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• v.25 no.1
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• pp.13-47
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• 1975

Among the many species of bamboo, it is well known that the dwarf-type is widely distributed in the tropical regions, and the slender type in temperated zone. In the temperated zone the trees have extensively differentiated into one hundred species in 50 genera. In many oriental countries, the bamboo wood is being used as a material for construction and for the manufacture of technical instruments. The bamboo shoot is also regarded as a good and delicious edible resource. Moreover, recent medical investigation verifies that the sap of certain species of the bamboo is an antibiotic effect against cancer. Fortunately, it is very easy to propagate the bamboo trees by using cutting from southeastern Asian countries. This important resource can further be used as a significant source of pulp, which is becoming increasingly important. The classification system of this significant resource has not been completely established to date, even though its importance has been emphasized. Initiated by Canlevon Linne in the 18th century, a classification method concerning the morphological characteristics of flowers was the first step in developing a classification. But it was not an easy task to accomplish, because this type of classification system is based on the sexual organs in bamboo trees. Because the bamboo has a long life cycle of 60-120 years and classification according to this method was very difficult as the materials for the classification are not abundant and some species have changed, even though many references related to the morphological classification of bamboo trees are available nowadays. So, the certification of bamboo trees according to the morphological classification system is not reasonable for us. Consequently, the classification system of bamboo trees on the basis of endomorphological characteristics was initiated by Chinese-born Liese. And classification method based on the morphological characteristics of the vascular bundle was developed by Grosser. These classification methods are fundamentally related to Holltum's classification method, which stressed the morphology of the ovary. The author investigated to re-establish a new classification method based on the vascular sheath. Twenty-six species in 11 genera which originated from Formosa where used in the study. The results obtained from the investigation were somewhat coordinated with those of Crosser. Many difficulties were found in distinguishing the species of Bambusa and Dendrocalamus. These two species were critically differentiated under the new classification system, which is based on the existence of a separated vascular bundle sheath in the bamboo. According to these results, it is recommended that Babusa divided into two groups by placing it into either subspecies or the lower categories. This recommendation is supported by the observation that the evolutional pattern of the bamboo thunk which is from outward to inward. It is also supported by the viewpoint that the fundamental hypothesis in evolution is from simple to complex. There remained many problems to be solved through more critical examination by comparing the results to those of the classification based on the sexual organs method. The author observed the figure of the cross-sectional area of vascular trunk of bamboo tree and compared the results with those of Grosser and Liese, i.e. A, $B_1$, $B_2$, C, and D groups in classification. Group A and $B_2$ were in accordance with the results of those scholars, while group D showed many differences, Grosser and Liese divided bamboo into "g" type and "h" type according to the vascular bundle type; and they included Dendrocalamus and Bambusa in Group D without considering the type of vascular bundle sheath. However, the results obtained by the author showed that Dendrocalamus and Bambusa are differentiated from each other. By considering another group, "i" identified according to the existence of separated vascular bundle sheath. Bambusa showed to have a separated vascular bundle sheath while Dendrocalamus does not have a separated vascular bundle sheath. Moreover, Bambusa showed peculiar characteristics in the figure of vascular development, i.e., one with an inward vascular bundle sheath and the other with a bivascular bundle sheath (inward and outward). In conclusion, the bamboo species used in this experiment were classified in group D, without any separated vascular bundle sheath, and in group E, with a vascular bundle sheath. Group E was divided into two groups, i.e., and group $E_1$, with bivascular sheath, and group $E_2$, with only an inward vascular sheath. Therefore, the Bambusa in group D as described by Grosser and Liese was included in group E. Dendrocalamus seemed to be the middle group between group $E_l$ and group $E_2$ under this classification system which is summarized as follows: Phyllostachys-type: Group A - Phyllostachys, Chymonobambus, Arundinaria, Pseudosasa, Pleioblastus, Yashania Pome-type: Group $B_2$ - Schizostachyum, Melocanna Hemp-type: Group D - Dendrocalamu Bambu-type: Group $E_1$ - Bambusa ghi.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.186-205
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• 2013

${\ll}$Three Purities Album${\gg}$ in the Kansong Art Museum is an album of poems and pictures of apricot tree, orchids and bamboos drawn by Lee Jeong. Given that the poems and pictures in the album were drawn by Lee Jeong who has been recognized as a person who established the standards of ink bamboo drawings in the Joseon Dynasty, the album is highly valuable. Nevertheless, there are more values and meanings that Three Purities Album has. The production circumstances and transmission processes of Three Purities Album include the historical characteristics and meanings of the time so that it is also worthwhile as a historical material. During the Japanese Invasion of Korea in 1592, Lee Jeong was stabbed with a sword by Japanese invaders and got injured. After he suffered, he tried to make his masterpiece in his lifework and finally created Three Purities Album. For the work, Lee Jeong received memorial writings from Choi Rip, Cha Cheon-ro and Han Ho, and asked them writings. They were the best literary men in the poem and calligraphy fields at that time. Yu Geun, Lee An-nul, and Yu Mong-in made writings and poems to praise his work. Likewise, ${\ll}$Three Purities Album${\gg}$ is the 'treasure of the time' created through the participation of the best literary men at that time. Given the aspects, it is fair to say that ${\ll}$Three Purities Album${\gg}$ is not simply a personal artwork of Lee Jeong, but is a comprehensive artwork and also a cultural monument created through the skills and capabilities of the literary artists in the middle of the Joseon Dynasty. After the death of Lee Jeong, Three Purities Album was handed over to Hong Ju-won. But, during the second Manchu Invasion into Korea in 1636, the album was in danger of disappearance by fire. As of now, there are still signs of fire in it, which vividly shows the urgent situation at that time. After the second Manchu Invasion into Korea in 1636, Hong Ju-won recovered some damaged writings with the help of Yoon Shin-ji. Since then, the album had been handed down as a family treasure over the next 7 generations. It can be found in the writings by Song Si-yeol and Uh Yu-bong. Unlike the literary men who praised Three Purities Album in terms of its work when Lee Joeng was alive, they focused on the transmission courses of the album and involved persons. That seems to be because the stories and characters appearing in Three Purities Album impressed the later literary men and were meaningful to them rather than the album itself. It strongly reflected the positions of Hong Jung-gi and Hung Sang-han who asked for writings as the descendants of Hong Ju-won. That is because the traces of the persons involved in Three Purities Album are the causes for admiring their ancestors and enhancing their political legitimacy and family dignity. Therefore, in this aspect, it is possible to witness the fundamental causes of the unique artistic awareness by East Asian people who consider their historical meanings as well as the aesthetic value of artworks significant. Unfortunately, during the Japanese invasion at the end of the Joseon Dynasty, Three Purities Album was handed over to Japanese Tzuboikouso. But, fortunately, Jeon Hyeong-pil who made an effort to regain our cultural assets by investing his entire property during the Japanese Imperialism regained the album, which is now preserved in the Kansong Art Museum. ${\ll}$Three Purities Album${\gg}$ truly includes the whole processes to overcome national crises that Korean people experienced during the Japanese Invasion in 1592, the second Manchu Invasion of Korea in 1636, and the Japanese Imperialism, and it shows the sufferings of our cultural assets and the history of preservation. Also, the album shows that one artwork is able to accumulate its historical meanings in the process of transmission and thus enhances its meanings and values. ${\ll}$Three Purities Album${\gg}$ features accumulative and constant historical meanings and it is a typical case showing that an artwork is plenty of aesthetic and historical values. It is expected that this work will contribute to promoting more studies on finding historical meanings and hysteresis of artworks.