• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.239-260
• /
• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.

• Journal of Plant Biology
• /
• v.3 no.1
• /
• pp.1-15
• /
• 1960

HARN, Chang Yawl : Studies on the dimorphism and Fertility of Persicaria japonica (MEISSNER) Gross et Nakai. Kor Jour. Bot. 3(I) 1-15 1960 Numerous investigations, since the works of DARWIN, have been made regarding the heterostylous plants by JOST (1907), CORRENS (1924), LAIBACK (1924), LEWIS (1943), and many others. Studies on the heterostylous Polygomum, however, were not reported except for the buckwhent, Fagopyrum esculentum, which was investigated by SCHOCH-BODMER (1930), EAST (1934), FROLOVA & Co-Workers (1946), MORRIS (1947, 1951) TATEBE (1949, 1951, 1953), present author (1957), and others. It is because no heterostylous species, besides buckwheat, have been known to exist in the Polygonum family. The author, during his studies on both heterostylism and fertility of Polygonaceae, has found that the species, persicaria japonica (Meissner) Gross et Nakai, is not diecious as has been known in taxonomy, but in reality beterostylous both morphologically and physiologically. It was found that this plant, regarded by taxonomist, as a male plant setting no seed, actually set seed (botanical fruit) when legitimate combination was made. Since his brief report on the dimorphic phenomens of this plant in 1956, the author's further research on the manner of fertilization has revealed that this species is a peculiar type whose dimorphism has undergone extreme specialization structurally and physiologically, the short-styled individual behaving in nature as a male plant and the long-styled individual, as female, whereas in controllled pollination the plant shows highly differentiated typical dimorphism. When compared with the other dimorphous species of this family, F. esculentum and P. sentiosa. it has been clarified that these three species differ in the degree of differentiation of their dimorphism morphologically and physiologically. That is, P. japonica has developed such a high specialization as to mislead the taxonomists, while P. senticosa shows almost no noticeable difference between long- and shortstyled individuals retaining most of the inherent physiological character cmmon to the genus except for the fact that it has two forms of flowers. F. esculentum appears to have taken the intermediate position in every respect. The result obtained in the present experiment are summarized as follows: 1) P. japonica has two kinds of individuals, one long style-short stamened; the other, short style-long stamened. The floral structure of this plants shows typical characteristics of dimorphic heterostylism. The differentiation between the two forms of flower has proceeded so highly both in primary and secondary difference of flower structure that this may be regarded as the most specialized form of dimorphism. 2) The differences of floral structure between the long and short styled individuals are remarkable compared with the other dimorphic species of the family. 3) The stamens of long styled plants show the sign of deteriolation whereas those of the short styled flower are well-developed. 4) When legitimate combinations are made, both L- and S-styled individuals are fertilized well and set seed (fruit), while in the illegitimate combination no fertilization and seed setting occur. Physiologically this species exhibits the typical behavior of dimorphic plants. 5) The self-fertile character, so common in other species of the other non-heterostyle Polygonum family, has disappeared completely. 6) Under natural conditions, no or few seed setting is observed in short styled individuals that behave as if they were male plants. 7) In hand pollination, the combination of both $L{\times}S$ and $S{\times}L$ alike yield relatively good fertility and seed-formation, the behavior of short styled individuals in artificial pollination differing remarkably from that in nature. 8) Under controlled pollination, $L{\times}S$ combination sets far more seed than in the combination of $S{\times}L$. In the S-styled individuals, the fertilized flower has the tendency of its seed more readily falling off in every stage of seed development than in the L-styled individuals. 9) The behaviors of pollen tubes just parallels the results of fertility test. That is, in the illegitimate combination, L-selfed, $L{\times}L$, S-selfed, and $S{\times}S$, the growth of pollen tubes is checked in the style, while in legitimately combined $L{\times}S$ and $S{\times}L$, the pollen tubes grow well reaching the ovaries within 40-50 minutes after pollination. The response of short styled individuals, known as male plant among taxonomists, is identical, as far as behavior fo pollen tube growth and fertilization are concerned, to that of long styled individuals, the so-called female plant. 10) The pollen grains from the short-styled plants are complete and fertile, whereas 70% of those of L-styled are found to be abortive, i.e., empty contents. 11) The remaining 30% of pollen of L-plant shows varied degree of stainability when stained with iron-aceto-carmine......mostly light red, while the pollen grains of S-style individuals are dark brown indicating complete fertility and viability. 12) The abundance of sterile pollen in L-styled and the nature of seed-dropping which occurs in S-styled individuals appear to be the main causes why the short styled individuals bear no seed in nature. Under controlled legitimate union, $S{\times}L$, the careful and elaborate pollination would give the S-styoled flowers the opportunities to receive the fertile pollens, though few in number, from L-styled plant, thus enabling S-plant to bear seed. 13) This species is not dioecious as is regarded by taxonomists, but typical dimorphic plant which has so highly specialized in floral structures and funcitons that the long-styled plant behaves just like a female individual; and the short-styled, like a male.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.413-444
• /
• 2009

This paper is an analysis of stage and performance elements for the ceremonial procedures and dance featured in bongsudang-jinchan, a feast celebrating the 60th birthday of Hyegyeong-gung Hongssi (Crown Princess Hong of Hyegyeonggung), the mother of King Jeongjo, which took place in Hwaseong haegung palace in 1795. The primary sources used are data on bongsudangjinchan recorded in Wonhaeng-eulmyojeongriuigwe, Jeongjo-sillok, Hongjae-jeonseo, pictorial sources such as Folding Screens of Hwaseong-neunghaeng and Hwaseong Ilgi, which is a journal in Korean by Yi Hui-pyeong. A court ceremony to offer music, dance, flowers, and food, as well as wine and poetry which express the sentiments of chung (fidelity) and hyo (filial piety) was considered a national ceremony and has constituted a unique musical culture during the 500 years of Joseon dynasty. However, after the fall of Joseon dynasty, ceremonial music and dance, which have been organically linked within the overall symbolic system of ye (courtesy), became scattered to become independent 'pieces.' As a result, all of their philosophy, principles, and the time-space interpretation of court music and dance became greatly reduced, leaving only the artistic expression and formal structure of the music and dance to become emphasized. Since the 1990s, there has been many research and events aiming to re-create the court ceremonial tradition, resulting in the increase of the related performance activities. This is especially true with bongsudang-jinchan, which is now being performed on modern stage in various forms. However there are still many problems to be solved, such as the issue of re-creating and restoring the original, and the question of artistic value found in the traditional pieces. Until now, much focus has been paid to the outer re-construction of uiju document as recorded in Wonhaeng-eulmyo-jeongriuigwe. On the other hand, there lacked an in-depth study which analyzes the stage situation and performance elements. Therefore in this paper, after focusing on the stage structure and performance elements, it is concluded that bongsudang-jinchan, the only court feast to be held in Haeng gung, not only consists of the fundamental aspects of court performance principle as 'governing through ye and ak (music),' but also served as an important occasion to bring together the sovereign and the subject. Bongsudang-jinchan had features of both naeyeon (feast for ladies) and oeyeon (feast for gentlemen). It minimized the use of screens and allowed every guest to enjoy food, music, and dance together, but provided a separate tent for foreign guests, maintaining the ideal balance between equality and distinction among different gender and social status. A screen symbolizing the venue for the feast is placed for all of the government officials. The king then pronounces the beginning of the banquet in which the ideal of gunsin-dongyeon (king and officials dining together) is realized. This indicates that bongsudang-jinchan, compared to other court ceremonies that emphasize the principle of yeak (courtesy and music), focuses more on the spirit of harmony and rapprochement. The king played a more active role in bongsudang-jinchan than in any other royal feasts. Examples as recorded in uiju documents are; Jeongjo's conversation with his retainers after the 7th wine, king's bestowing of food and flowers to the officials, writing his own majesty's poems with regard to the festival, and asking the retainers to write replying poems. All these played an important part in making the occasion more rich, extensive, and meaningful. Moreover, as analysis of the structure of orchestral music and court dance featured in bongsudang-jinchan shows, it was like any other court banquet in that it employed minimal use of extravagance in movements and conversation. However, the colors and tonal texture used in the music and dance were more brilliant in this case. Compared to other banquets that took place before king Jeongjo, the dance style was more diverse, which included some of the latest additions. There were past performances arranged anew. Noteworthy are; the incorporation of "Seonyurak (Boat Dance)" and "Geommu (Sword Dance)," traditionally used for local officials and civilians feast, to suit the court taste; and the use of saenghwang (mouth organ), which was a rising instrument in pungnyubang (literati's private salon), for "Hakmu (Cranes Dance)." This especially indicates the nature of the 'open structure' pursued by the court banquets at the time, which strove to break away from the traditional rules and customs and accept something new.

• Journal of Plant Biotechnology
• /
• v.41 no.2
• /
• pp.81-88
• /
• 2014

Salt cress (Thellungiella halophila or Thellungiella parvula), species closely related to Arabidopsis thaliana, represents an extremophile adapted to harsh saline environments. To isolate salt-tolerance genes from this species, we constructed a cDNA library from roots and leaves of salt cress plants treated with 200 mM NaCl. This cDNA library was subsequently shuttled into the destination binary vector [driven by the cauliflower mosaic virus (CaMV) 35S promoter] designed for plant transformation and expression via recombination- assisted cloning. In total, 305,400 pools of transgenic BASTA-resistant lines were generated in Arabidopsis using either T. halophila or T. parvula cDNA libraries. These were used for functional screening of genes involved in salt tolerance. Among these pools, 168,500 pools were used for primary screening to date from which 7,157 lines showed apparent salt tolerant-phenotypes in the initial screen. A secondary screen has now identified 165 salt tolerant transgenic lines using 1,551 (10.6%) lines that emerged in the first screen. The prevalent phenotype in these lines includes accelerated seed germination often accompanied by faster root growth compared to WT Arabidopsis under salt stress condition. In addition, other lines showed non-typical development of stems and flowers compared to WT Arabidopsis. Based on the close relationship of the tolerant species to the target species we suggest this approach as an appropriate method for the large-scale identification of salt tolerance genes from salt cress.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.42 no.4
• /
• pp.89-99
• /
• 2014

This paper offers a landscape design proposal for the 2014 Dreampark Chrysanthemum Festival within the Sudokwon Landfill Site. This site is located at 58 Baeksukdong, Seo-gu, Incheon, and it has an area of approximately $560,000m^2$. Over 1.53million visitors came to this festival on the previous year. This design includes an overall masterplan and a series of planting plans along with a core selection of iconic topiaries. The goal of the design is to create a landscape that improves the value of the place image and local economy as well as celebrates the 2014 Incheon Asian Game. In order to achieve this goal, three design subjects were considered: promoting local pride as a part of Incheon, increasing the aesthetic value of the site based on the brand image, and sustainable placemaking. To promote local pride, the 2km long "Little Incheon" is designed over a wildflower field, which is inspired by Incheon Bridge to give a strong image of the locality. A variety of programs from local gardening participation were introduced to the east part of the site. The design also outlines the vision for the development of Dreampark - a people-oriented gathering place for the entire community with spaces that offer a variety of unstructured recreational and cultural experiences. To increase the aesthetic brand value of the festival, it introduced a variety of wildflower beds scattering through the whole site. It creates a strong brand image for the festival and memories that will encourage visitors to return. Various folktales of Asian countries are displayed by autumn flowers and groundcover plants at the centre of the site, which is the highlight of the festival site. For sustainable placemaking, the design preserves the existing trees and reed beds for wildlife to create natural layers of landscape. In addition, facilities and service centers are designed to be flexible and are centred on the needs of the people using them. Also a festival management scheme was planned in order to operate the site efficiently and economically.

• Horticultural Science & Technology
• /
• v.33 no.3
• /
• pp.420-428
• /
• 2015

The majority of cultivated varieties of grape have perfect flowers that are clustered in an individual inflorescence. Grape flower has a single pistil, five stamens, a protective flower cap (calyptra), and a calyx. After fertilization, an individual flower develops into a single berry. Although there are a number of reported studies focusing on berry formation, berry enlargement, and sugar accumulation in grape, the morphological studies of flower, including gametophyte morphogenesis and structural change in floral organs, have not yet been studied in detail. In this study, we investigated the flower structure and development characteristics of grape using microscopy and defined the floral development stages 9 to 13 based on microspore or male gametophyte development stage from tetrad to mature pollen. We used seeded diploid table grapes 'Campbell Early' (Vitis labruscana) and 'Tamnara' (V. spp.) as plant materials. At floral development stage 9, pollen mother cells develop to tetrads. During floral development stages 10 to 11, unicellular microspore develop to mid bicellular pollen. At the end of floral stage 12, male gametophyte develops to mature tricelluar pollen. In floral stage 13, the flower cap falls off and flower bud opens. During floral development stages 9 to 12, there were no major changes in calyx length, whereas the length of the flower cap continuously increased. The flower cap-to-calyx length ratio was 2.0, 3.0, 4.5, and 6.5 at floral stages 9, 10, 11, and 12, respectively. The flower cap-to-calyx length ratio was consistent in the two grape cultivars, suggesting that the ratio is a morphological character representing floral development stage. This study provides a reference for determining floral development stage of the two grape cultivars. It will be useful for the determination of optimum time for microspore culture needed to generate doubled haploid lines and appropriate gibberellic acid treatment needed to induce parthenocarpic fruit development in 'Tamnara' grape.

• Korean journal of applied entomology
• /
• v.52 no.4
• /
• pp.357-364
• /
• 2013

Bee-vectoring is a new crop protection technology used for suppressing insect pests and diseases in crops by disseminating microbial agents into plants during bee pollination activities. In this study, we conducted bee-vectoring trials in cherry tomato greenhouses by using the bumble bee (Bombus terrestris), a microbial agent (Bacillus subtilis) and a new dispenser, and we measured the delivered quantity of microbial agent. Bacterial colony forming units (CFUs) in bees exiting a dispenser ranged from $9.0{\times}10^5$ to $1.9{\times}10^6$ per bee. At greenhouse trials in the National Academy of Agricultural Science (NAAS) trials, 3,300 - 8,500 CFUs per flower were counted and 80 - 100% of the flower samples contained detectable concentrations. There was no significant difference in CFU density between microbial replacement intervals (once a week vs twice a week) in the NAAS trials. In a commercial greenhouse trial, 1,800 - 2,400 CFUs per flower were found, and 83 - 93% of the flower samples contained detectable concentrations. CFUs detected in bee-vectored flowers increased by approximately 75 times before bee-vectoring. The mortality of bumble bees in the NAAS trials was, on average, 22% and little negative effects were observed on the bumble bee colonies. The yield difference for cherry tomatoes in the NAAS trials was not significant between treatments. When we select additional microbial agents that can be disseminated using this technology and create a detailed plan based on insect pests and disease incidence, we can apply this technology in greenhouses for growing tomatoes and strawberries in the near future.

• Journal of Bio-Environment Control
• /
• v.22 no.4
• /
• pp.355-360
• /
• 2013

Diesel-burning air heater (air heater) and infrared heating lamp (infrared heater) were installed as auxiliary heaters in two single water-curtained plastic greenhouses with a set night temperature of $6^{\circ}C$ for cultivation of strawberry 'Seolhyang'. The average night air temperature was $6.6^{\circ}C$ in the infrared heater treatment and $7.1^{\circ}C$ in the air heater treatment. However, when the minimum outside temperature fell below $-10^{\circ}C$, the air heater had less internal temperature fluctuations. In contrast, the infrared heater had some cases of falling below the set temperature. The relative humidity was higher than 98% by the side-effect of water-curtain system regardless of the heating system. There was about $5^{\circ}C$ difference in leaf temperature between the turned-on and -off state of the infrared heater, and the efficacy of the infrared heater on leaf temperature was only limited to about 4 meters from the system. Peduncle length and plant height in the infrared heater tended to be greater than those in the air heater. There was, however, no statistically difference in leaf size and numbers of leaves, flowers on first cluster and branches. There was no difference in soluble solids content, fruit firmness, average fruit weight of the harvested fruits, and the yield. Comparing the heating costs, the air heater system took 622,662 won based on 543 L tax-free diesel, while the infrared heater system took 235,284 won by consuming 5,685 kWh of electricity, and 62.2% heating costs saving was achieved.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.31 no.3
• /
• pp.61-74
• /
• 2013

This study examined and analyzed ancient writing and poetry regarding cases of appreciating plants by using pots in a garden of a palace or private houses by ancestors, and examined shape and planting method of plant species and potted plants, arrangement and preference of potted plants. As for the method of the study, description research method which examines and interprets poem and painting based on potted plants. The results of this study is summarized like the following. First, the plants which were favorably used for potted plants include 19 kinds such as Prunus mume, Pinus densiflora, Pinus pumila, Phyllostachys spp., Camellia japonica, Punica granatum, and Gardenia jasminoidesa, and as for herbs, 12 kinds such as Chrysanthemum monifolium and Nelumbo nusifera . Second, the species which were specially arranged into artificial shapes include Prunus mume and Pinus densiflora. The two plants made the shape of severe curves of stems such as Wangpi. Gyuban, and Bangan, and there are Pinus densiflora dwarfed potted plant whose roots are stretched on Prunus mume grafted into a strange stump and an oddly shaped stone. For the beauty of the dwarfed tree shape, pine cones are added to an old Pinus densiflora or Parthenocissus tricuspidata is planted to stems, and additional method of making moss on the soil, which is called 'Jongbunchuigyeong'. As for planting method, water culture, planting on a stone, planting on a charcoal, and assembled planting are expressed in poetry. Third, as for external space for potted plants, a place where a king stays, a bed room for a king, surrounding areas and gardens of private houses, and step stones were used as a space which adds artistic effects. Potted plants are placed on a table in a library, on a desk, on a drawer, and near a pillow as a small items in a room, and scholars enjoyed original characteristics and symbolism of the potted plants. Fourth, at the time of flowering of Prunus mume, poetry event was held to enjoy the tree and writing poetry begun. And at the time of flowering of Chrysanthemum monifolium, the flowers were floated in a liquor glass or shadow play was enjoyed. Fifth, potted plants played the role of garden ornaments in elegant events of a palace, the gentry, wedding ceremony, and sacrificial rites. Sixth, potted plants were used as tributes between countries, donation to a king, or a gift of a king. In addition, there were many cases where scholars exchanged potted plants and there is the first record of giving a potted plant in 'Mokeunsigo' by Mokeun Isaek, scholar in the late era of Goryeo. Seventh, at the time of flowering Prunus mume, Chrysanthemum monifolium, Gardenia jasminoides, Nelumbo nusifera, and Narcissustazetta var. chinensis, they enjoyed the particular fragrance and express it into poetry. Eighth, plant species from southern parts such as Camellia japonica, Daphne odora, Gardenia jasminoides, Citrus unshiu, Phyllostachys spp., Punica granatum, Rosa rugosa, and Musa basjoo, or foreign plant species, and species weak against the cold were utilized as pot plants for enjoying green trees indoors in northern central province in harshly cold winter.

• Journal of Bio-Environment Control
• /
• v.27 no.2
• /
• pp.166-172
• /
• 2018

This study set out to conduct a field survey with smart greenhouse-based farms in seven types to figure out the actual state of smart greenhouses distributed across the nation before selecting a system to implement an optimal greenhouse environment and doing a research on higher productivity based on data related to crop growth, development, and environment. The findings show that the farms were close to an intelligent or advanced smart farm, given the main purposes of leading cases across the smart farm types found in the field. As for the age of farmers, those who were in their forties and sixties accounted for the biggest percentage, but those who were in their fifties or younger ran 21 farms that accounted for approximately 70.0%. The biggest number of farmers had a cultivation career of ten years or less. As for the greenhouse type, the 1-2W type accounted for 50.0%, and the multispan type accounted for 80.0% at 24 farms. As for crops they cultivated, only three farms cultivated flowers with the remaining farms growing only fruit vegetables, of which the tomato and paprika accounted for approximately 63.6%. As for control systems, approximately 77.4% (24 farms) used a domestic control system. As for the control method of a control system, three farms regulated temperature and humidity only with a control panel with the remaining farms adopting a digital control method to combine a panel with a computer. There were total nine environmental factors to measure and control including temperature. While all the surveyed farms measured temperature, the number of farms installing a ventilation or air flow fan or measuring the concentration of carbon dioxide was relatively small. As for a heating system, 46.7% of the farms used an electric boiler. In addition, hot water boilers, heat pumps, and lamp oil boilers were used. As for investment into a control system, there was a difference in the investment scale among the farms from 10 million won to 100 million won. As for difficulties with greenhouse management, the farmers complained about difficulties with using a smart phone and digital control system due to their old age and the utter absence of education and materials about smart greenhouse management. Those difficulties were followed by high fees paid to a consultant and system malfunction in the order.