• Journal of Korea Water Resources Association
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• v.48 no.10
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• pp.807-816
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• 2015

In general, the water stage-discharge relationship curve is established based on the assumptions of linearity and homoscedasticity. However, the relationship between the water stage and discharge is affected from geomorphological factors, which violates the basic assumptions of the water stage-discharge relationship curve. In order to reduce the error due to the violations, the curve is divided into several sections based on the manager's judgement considering change of cross-sectional shape. In this research, the objective-splitting criteria of the curve is proposed based on the measured data without the subjective decision. First, it is assumed that the coefficient of variation follows the normal distribution. Then, if the newly calculated coefficient of variation is outside of the 95% confidential interval, the curve is divided. Namely, the groups is divided by the characteristics of the coefficient of variation and the reasonable criteria is provided for establishing a multi-segmented rating curve. To validate the proposed method, it was applied to the data generated by three artificial power functions. In addition, to confirm the applicability of the proposed method, it is applied to the water stage and discharge data of the Muju water stage gauging station and Sangegyo water stage gauging station. As a result, it is found that the automatically divided rating curve improves the accuracy and extrapolation accuracy of the rating curve. Finally, through the residual analysis using Shapiro-Wilk normality test, it is confirmed that the residual of water stage-discharge relationship curve tends to follow the normal distribution.

• Korean Journal of Environment and Ecology
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• v.7 no.2
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• pp.91-103
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• 1994

The floristic characteristics and ecological conservation measures for the plant resources of the Tokyusan National Park. Chollapuk-do, Korea were discussed. The field works was done for three times in nine major areas from April to July, 1993. The total number of vascular plants in this area were summarized as 97 families, 297 genera, 469 species and 541 kinds. The nineteen kinds of artificially planted, twelve kinds of Korean endemics and sixteen kinds of Korean rare and endangered species in the area were revised and compiled in the list. The flora of the area were categorized into the Southern part of the Korean Region, where the species such as Quercus serrata. Fraxinus sieboldiana, Ilex macropoda, Lindera erythrocarpa, Lindera glauca, Rubus coreanus, Taxus cuspidata, Cephalotaxus koreana and Abies koreana were roled as major floristic components in the Korean Region and endemized in the southern part of Korea. The natural communities such as Adonis amurensis Community, Taxus cuspidata Community, Betula ermanii Community, Hemerocalis spp. Community, Rhododendron tschnoskii Community, Rhododendron schlippenbachii Community, Disporum ovale Community, Tricyrtis dilatata Community, and present natural distribution of Abies koreana, and swamp vegetation in Tumunsan areas, as well as upland grassland at the summit of Hyangchokpong were represented for their floristic values in the area. The fifteen kinds of medicinal plants such as Gastrodia elata, seven kinds of ornamental plants such as Adonis amurensis, and thirteen kinds of edible plants such as Ligularia fischeri are faced potentially in endangered from the outrageous collections by the local peoples. The Action Plan for the conservation management of the area which enables sustainable use by the local peoples must be established in the near future.

• Journal of the Korean earth science society
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• v.33 no.6
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• pp.481-496
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• 2012

REE, major and trace elements, and Sr-Nd isotopic ratios of surface sediments around Jeju Island were analyzed for identifying the origin of the sediments. The Chemical Index of Alteration (CIA) between 44.2 to 68.9 (av. 59.4) shows a similarity with the Huanghe sediment. The most sediments found within the study areas show a very similar chondrite-normalized REE pattern that has enriched LREE ($La_{(N)}/Sm_{(N)}$ >3) and small negative Eu anomaly, typically of average shales. The UCC-nornalized REE patterns of the southwestern offshore sediment samples show a very similar pattem with the Changjiang sediment with enriched in most REE and more convex REE pattern than those of the Huanghe and Keum rivers sediments, which indicates that the Changjiang River's suspended sediments have been transported into the western part of Jeju Island. The $^{87}Sr/^{86}Sr$ isotopic ratios vs ${\varepsilon}_{Nd}(0)$ values were thus used as a tracer to discriminate the provenance of sediments in the study area. Based on the discriminated diagram, it clearly showed that most sediments in the western and northwestern part were closely plotted with sediments of the Huanghe River. However, the sediments in the southwestern part near the Changjianf estuary were closely plotted with submerged delta sediments of the Changjiang River. In contrast, the sediment samples of the northeastern part showed discriminative figures from those of the Chinese rivers. It suggests that sediments around Jeju Island must be originated from diverse sources.

• Journal of the Korean Institute of Gas
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• v.25 no.5
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• pp.1-10
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• 2021

Semiconductor Photo Resist (PR) automation equipment uses a mixture of several flammable substances, and when it leaks during the process, it can lead to various accidents, therefore, risk assessment is necessary. This study analyzed the frequency of leakage of Acetone and PGMEA used in PR automation equipment and the frequency at which such leakage could lead to a fire accident through the frequency analysis method, and evaluated the need for additional risk reduction measures in the current facility. Based on the process leak data and ignition probability data of IOGP, leak frequency analysis and ignition probability were derived, and the frequency of actual fire accidents was analyzed by combining them. The frequency of material leakage in semiconductor PR process is 7.30E-03/year, and fire accidents can occur by acetone that exists above the flash point when the material is leaked, the frequency was calculated at the level of 1.24E-05/year. According to the UK HSE, for a major accident occurring with a frequency of 1.24E-05/year, it is defined as "Broadly Acceptable", a level that does not require additional measures for risk reduction when it causes 7 or less deaths, and due to the process operated by two people, no additional risk reduction are required.

• Korean Journal of Ecology and Environment
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• v.54 no.2
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• pp.130-141
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• 2021

By reviewing previous literature, we analyzed the food sources of 20 out of 29 endangered fish species from freshwater ecosystems in South Korea. A total of 19 studies reported that food sources of 20 endangered fish species included 20 phyla, 31 classes, 58 orders, 116 families, and 154 genera. Arthropod, insecta, diptera, and chironomidae were the most fed animal food sources according to different resolution of taxa index on phylum, class, order and family. Similarity, bacillariophyta, bacillariophyceae, naviculales, and cymbellaceae were the most fed abundant plant sources. A larger number of fish species were reliant on animal food sources than plant food sources. 18 of the endangered fish preyed on arthropods, whereas only 6 species consumed bacillariophyta. To characterize the feeding groups of the 20 fish species, a hierarchical clustering analysis and non-metric multidimensional scaling analysis were conducted. The fish species were divided into two groups: 1) insectivores and 2) planktivores. A network analysis, which associated the link between endangered fishes and food sources, also revealed the same two groups. The highest hub score of food sources was for macroinvertebrates, including diptera (0.47), ephemeroptera (0.42), and trichoptera (0.38), based on the network analysis. Niche breadth was used to calculate the diversity of the food sources. Phoxinus phoxinus (0.57) showed thehighest food source diversity among the fish species, whereas Iksookimia pacifica (0.01) showed the lowest. This study will be utilized for the conservation and restoration of the endangered fish species.

• Korean Journal of Environment and Ecology
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• v.10 no.2
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• pp.211-239
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• 1997

The flora of Oesorak in the Soraksan National Park including Chombongsan(Mountain) and Kwanmobong(Peak) were surveyed from February to August, 1996. These areas have very rich and diverse flora;620 taxa with 89 families, 321 genera, 526 species, 2 subspecies, 89 varieties and 3 forms in the Oesorak, 404 taxa with 251 genera, 350 species, 1 subspecies, 51 varieties and 2 forms in the Chombongsan(Mountain), 286 taxa with 206 genera, 233 species, 1 subspecies, 50 varieties and 2 forms in Kwanmobong(peak). The Oesorak had very distinct floristic characteristics such as the wild habitats of Asarum maculatum(Aristolochiaceae) and Ilex macropoda(Aquifoliaceae). In the phyorgeographical point of view, the six species such as Sapium japonicum (Euphorbiaceae), Euphorbia joldini(Euphorbiaceae), Ilex macropoda (Aquifoliaceae), Styrax japonica (Styracaceae), Carex sideros ticta (Cyperaceae) and Asarum maculatum (Aristolochiaceae) were naturalized into this region, while the 17 taxa such as Abies neprolepis(Pinaceae), Pinus pumila(Pinaceae), Thuja koraiensis(Cupressaceae), Allium senescens(Liliaceae), Lilium distichum(Liliaceae), Saxifraga punctata(Saxfragaceae), Rosa marretii(Rosaceae), Bupleurum euphorbioides(Umbelliferae), Androsace cortusaefolia (Primulaceae), Peducularis mandshurica(Scrophulariaceae) and Leontopodium coreanum (Compositae) were distrivuted to this region. The colonizing weedy species such as Ixris repens (Compositae) were distributed to this region. The colonizing weedy species losa(Labiatae) and Rosa rugosa(Rosaceae) were naturalized into ca. 900m at sea level mainly due to the sand soil from the seashore. Mountain roadbed is susceptible than other areas to the slippery road problems, due largely to snow and rain, particularly during winter. Sand soils from seashore are utilized to minimize this slip in traffic operation.

• (The)Study of the Eastern Classic
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• no.59
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• pp.405-428
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• 2015

Painting theorists in Song dynasty often spoke 'Li' when they talked about paintings. But 'Li' of the song dynasty is not limited to the 'ethics'. First, it includes visible 'natural's truth', such as the differences of 'geography' and 'physics' between the depicted objects. Second, it also includes 'common sense' which was based on both the observation and the thinking. The theorists thought if the 'common sense' was improper in the painting, the whole work was invalid. Thirdly, it also includes 'the reasonable sense in special situation', which requires great imagination ability and elaborative faculty. For example, when playing wind instruments and stringed instruments in the same time at the same concert, the painter should accurately draw the different gestures of musicians according to that the wind instrument is 'sound when the finger lift' and the stringed instrument is 'sound after the finger have left' in that moment. Fourthly, it includes 'art reason', theorists call it as 'ShenLi' or 'MiaoLi'. 'ShenLi' or 'MiaoLi' require the creator to join the spiritual concept besides his observation and thinking. For example, 'banana in snow' is neither observed available nor thought of available, but is the result of spiritual concept of creators for seeking everlasting. And at last, it certainly includes 'the principle of ethics'. Painters often highlighted the ethical relations of the feudal nation and the value of individual gentleman through the allegory story of figure painting and even the sudden composition in the landscape painting. 'Geography', 'physical', and 'common sense' are required the meticulous observation and the rational thinking for the painted object. And 'the reasonable sense in special situation', 'the art reason', 'the principle of ethics' are required enhancing painting style in the painting artistic conception and realm of life based on the nuanced observation, making 'technology' into the 'Tao'. This is the six reasonable increasing requirements for the painting work. Therefore, 'seeking the final reason' is the fundamental spirit of painting theory of Song Dynasty.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.40 no.2
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• pp.260-267
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• 1995

In temperate zone planting rice at different date subjects the Crop to different climatic condition. The present study aimed at comparison of the change in source-sink relationship of the Japonica(J) and that of IndicaxJaponica(I$\times$J) type rice cultivars caused by shift of heading date. Two J- and two I$\times$J-type cultivars were made to head on August 16, August 26, and September 5. Sink capacity was changed by shift of heading date in different mode between the types of cultivars. In both types major determinant of sink capacity was number of effective tillers, and the number of spikelets per panicle was the minor. In J-type earlier planting/heading was beneficial to increased panicle numbers and this was due mainly to a larger diurnal difference in temperature. I$\times$J-type cultivars favored a higher daily mean temperature to increase the sink capacity. The ability of source at heading, in terms of leaf area per panicle, chlorophyll content per spiklet, photosynthetic ability of leaves per unit area at 25$\^{\circ}C$, carbohydrate and N contents of leaves, was not so different among different heading dates in both types. However, the source activity was governed principally by temperature during grain filling. The J-type cultivars headed on Sept. 5 and I$\times$J-type cultivars headed later than August 16 could not have had sufficient source activity in grain filling due to lower temperature.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.