• Korean Journal of Heritage: History & Science
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• v.42 no.1
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• pp.72-87
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• 2009

This research is insect diversity analysis on the basis of survey results and bibliographies of Hongdo Island, Mts. Seoraksan, Hallasan, Daeamsan & Daeusan, Hyangnobong peak & Geonbongsan nature reserves and Dokdo Protected Natural Area among 10 designated nature reserves. The Mt. Hallasan nature reserve has 1,867 species in 22 orders and shows the highest species diversity. The species diversities of Mt. Seoraksan, Mt. Hyangnobong peak & Geonbongsan, Hongdo Island, Mt. Daeamsan & Daeusan, and Dokdo Protected Natural Area reveal 1,604 species in 19 orders, 704 species in 18 orders, 474 species in 19 orders, 468 species in 16 orders, and 114 species in 11 orders, respectively, in descending order. The order Lepidoptera shows as dominant taxa in Hongdo, Seoraksan, Hallasan, Hyangnobong peak & Geonbongsan, whereas the order Coleoptera as subdominant taxa in these areas. On the other hand, in Mt. Daeamsan & Daeusan, and Dokdo Protected Natural Area, the order Coleoptera appears as dominant taxa whereas the order Lepidoptera as subdominant taxa. The order Ephemeroptera has been shown the highest species diversity in Seoraksan which is reported to 25 species, Odonata in Hallasan to 28, Dermaptera in Seoraksan to 9, Orthoptera in Hallasan to 51, Hemiptera in Hallasan to 175, Homoptera in Seoraksan to 126, Hymenoptera in Hallasan to 183, and Diptera in Hallasan to 206. The species diversity is generally poor in Daeamsan & Daeusan, Hyangnobong peak & Geonbongsan, and Dokdo Protected Natural Area. Maybe this result is caused by the lack of various academic surveys compared to the other areas. It is needed to study systematic academic investigation on insect in the nature reserve areas in Korea, and to plan appropriate management and conservation on natural environment considering biodiversity of each nature reserve area.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.52-71
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• 2011

This study was initiated with the intent to consider the features of Gugokwonlim and to compare Gabsagugok(甲寺九曲) to Yongsangugok(龍山九曲) against the backdrop of Mt. Gyeryong by revealing their nature and confirming the names and exact locations. A literature review, interviews with local people and field studies confirmed that Gabsagugok and Yongsangugok are each composed of 9 seasonal features. The former is made up of Yongyuso(龍遊沼) - Iilcheon(二一川) - Baengnyonggang(白龍岡) - Dalmuntaek(達門澤) - Geumgyeam(金鷄?) - Myeongwoldam(明月潭) - Gyemyeongam(鷄鳴巖) - Yongmunpok(龍門瀑) - Sujeongbong(水晶峰) while the latter is made up of Simyongmun(尋龍門) - Eunnyongdam(隱龍潭) - Waryonggang(臥龍剛) - Yuryongdae(遊龍臺) - Hwangnyongam(黃龍岩) - Hyeollyongso(見龍沼) - Ullyongtaek(雲龍澤) - Biryongchu(飛龍湫) - Sillyongyeon(神龍淵). Both Gabsagugok and Yongsangugok are part of Gugokwonlim built in the valleys of Mt. Gyeryong in the late Joseon Dynasty by Byeoksu Yun Deok-yeong (1927) and Chwieum Gwon Jun-myeon (1932), respectively, with a 5 year difference. Gabsagugok was supposedly designed to reflect an individual taste for the arts and to admire principles of Juyeok (ch. Zhouyi) and the beauty of nature. On the contrary, Yongsangugok appears to be the builder's expression of his longing for independence day, likened to the life of a dragon after receiving the sad news of Japan's annexation of Korea. Such differences show that these two builders had very different intentions from one another. The letters of Gabsagugok have a semi cursive style and were deeply engraved on the rock in a square shape. Consequently they have not been worn away except for those in Yongyuso, the first Gok. In contrast, the letters in Yongsangugok have an antiquated, cursive-Yija style but because they were engraved relatively lightly, serious wear and damage occurred. In terms of location, Gabsagugok was built around Ganseongjang adjacent to the 5th Gok while Yongsangugok was set up around the 5th Gok, Hwangnyongam. Meanwhile, the important motif which forms the background of Gabsagugok seemingly highlights the geographic identity of Mt. Gyeryong using the dragon and the chicken as themes. It also appears to symbolize the principles of Juyeok focusing on Kan of the Eight Trigrams for divination; this requires an in-depth study for confirmation. The main motif and theme of Yongsangugok is the dragon. It infuses the builder's intentions in Sangsinri Valley by communicating with nature through a story of a dragon's life from birth to ascension. It is assumed that he tried to use this story to express his hope for restoring the national spirit and reconstructing the country.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.56-73
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• 2019

This paper aims to establish the technical style of roof tiles by analyzing East Asian roof tile making techniques. It will examine the existing main research data, such as excavation results and the subsequent analysis of the roof tiles' production traces, as well as references and transmitted techniques. Regions are grouped according to technical similarity, then grouped again by artistic styles of pattern and shape and by the technical styles of tools, procedures, and manpower plans. Accordingly, intends to find out whether an understanding of technical style can facilitate an understanding of not only cultural aspects, but also the causality of techniques. Korean, Chinese and Japanese tools were examined, and procedures for making roof tiles were classified into 4 groups. In a superficial way, China, Okinawa, Korea, and Honshu share similar technical traits. Research of procedural details and manpower plans revealed characteristics of each region. As a result, comparisons were made between each region's technical characteristics attempting to investigate their causes. The groups were classified according to their possessing techniques, but it was revealed that East Asia's shared production techniques were based on architectural methodss. The skill of "Pyeon Jeol(Clay Cutting)" classified according to its possessing techniques, turned out to be one such technique. Also, the procedure of technical localization based on the skill of "Ta-nal(Tapping)" showed that the condition of this technique was the power to localize in response to a transfer of techniques. Previous comparison parameters of artifacts would have been a similarity of style originated from exchanges between regions and stylistic characteristics of regions decided by the demander's taste of beauty. This methodology enlarges cultural perception and affords a positive basis of historical facts. However, it suggests the possibility of finding cultural aspects' origins by understanding the technical style and seeing same result in view of "technology culture."

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.165-189
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• 2006

The purpose of this study is to examine process and organization of local government-managed construction by reviewing official documents and materials in regard to the official residences and castles officially constructed in Dongnae in the 19c Chosun Dynasty. Results of this study can be described as follows. 1) The construction of official residences requires exchanges of official documents among upper and lower governmental agencies concerned. Previously prepared for some 1 or 2 months, the construction was proceeded through proceeded from Paok to Gaegi, Ipju, Sangryang, Gaeok and to Iptaek. Such construction was carried out independently and concurrently Gijang and Yangsan neighboring Dongnae provided cooperation by way of supplying labor and timbers. 2) Dongnaebu castle was constructed under local autonomy system, like other government-oriented works, as governor of Dongnae became responsible for defending such establishment in 1739. The castle was built up in 1731 as an establishment with 6 gated and 15 forts. Directly controlled by governor of Dongnae, the castle continued to be partially repaired until the 19th century. Under the regime of Daewongun, the castle was enlarged and extended for military strengthening. Besides the gate having double-gated structure for the outside wall, the other five gates came to have bastions and 30 forts were additionally established, dramatically changing the structure of the castle as whole. 3) Government-managed construction was often implemented by an organization whose members included local government officials, lower administrative agencies and local influential persons. The construction of official residences was implemented by Gamyeokdogam which was headed by Jwasu of Hyangcheong. In the construction, chief of military officials became supervisor, who was responsibly supported by Saekri. The construction of castled were divided into several works, for example, establishments of fortress, tower gate and quarrying stone were implemented by the organization of Paejang, Gamkwan and Saekri. As a military official, Gamkwan supervised the construction. Saekri was in charge of related internal affairs. Paejang was an technical expert leading several workers. The construction of castles in 1870 were organized as a general rule having particularity of social conditions on Dongnae.

• The Korean Journal of Archival Studies
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• no.32
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• pp.3-44
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• 2012

The purpose of the study is to explore the strategies to build participatory digital archives for documenting localities. Following the introduction of the chapter one, the chapter two deals with categorizing participation types of persons and organizations for documenting localities, analysing characteristics and benefits of each type, and listing up the requirements of participatory archives based on literature reviews. The chapter three focuses on the analyses of digital archives especially based on the participation of organizations such as collecting institutions and community archives in USA, Canada and UK. The cases of participatory archives are divided into two types; i) digital archives based on archival collections of institutions such as libraries, archives, and museums, ii) digital archives mainly based on various community archives. Online Archives California(OAC) and Calisphere of University of California, MemoryBC of British Columbia of Canada, and People's Collection Wales of UK as the first type cases, and Connecting Histories of Birmingham, 'Community Archives Wales(CAW), Cambridgeshire Community Archive Network(CCAN), Norfolk Community Archives Network(NORCAN) as the second type cases are selected for comparative analyses. All these cases can be considered as archival portals since they cover collections from various organizations. This study then evaluates how these digital archives fulfill the requirements of participatory archives such as : i) integrated search of archives that are to be distributed, ii) participation of individuals and organizations, and iii) providing broader contextual information and representation of context as well as contents of archives. Lastly the final chapter suggests the implications for building participatory archives in Korean local areas based on following aspects : host organizations and implementation strategy, networks of collection institutions and community archives, preserving and reorganizing contextual information, selection and appraisal, and participation of records users and creators.

• Journal of Wetlands Research
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• v.21 no.2
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• pp.163-172
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• 2019

The USLE P factor is a factor that varies depending on how croplands are managed and cultivated. Previous studies tend to overestimate the amount of soil loss because the factor was estimated from the slope of the watershed rather than the estimate of each cultivated land. In addition, the accuracy of estimating the soil loss is decreasing due to the fact that the factor is calculated without considering various conditions of cultivated land defined by Wishmeier and Smith. In order to overcome these problems, the Ministry of Environment (MOE) has proposed to establish the topsoil notification and calculate the P factor according to the cultivation methods (e.g., tillage system, support practice). However, it is required to apply the conditions proposed in the United States to domestic circumstances as it is causing uncertainties. Thus, this study selected the watersheds where soil loss was serious (Haean, Jaun, Banbyeoncheon), measured the actual slopes and slope lengths, and examined the crop, tillage systems, and support practice for each cultivated land. The P factors were recalculated considering the actual conditions of cultivated land and compared to the factors proposed by the previous studies (MOE). As the result of the study, the P factors calculated based on the previous studies were 0.8 ~ 1.0 in three watersheds. On the other hand, it is confirmed that there is a significant difference between the factors notified by MOE and estimated by reflecting the topography and cultivation methods in this study. Therefore, it is considered that the research for developing the cultivation conditions to calculate the P factor suitable for the domestic environment should be continuously carried out.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.130-153
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• 2020

Using stylistic analysis and historical documents, this paper examines the production details of images enshrined in Myeongbujeon (Hall of the Underworld) at Magoksa Temple in Gongju, focusing on the wooden seated Ksitigarbha Bodhisattva and the stone Ten Kings of Hell. Inside Myeongbujeon, the wooden seated Ksitigarbha Bodhisattva is placed at the center, flanked by standing images of Mudokgwiwang and Domyeong-jonja, with images of the Ten Kings and their attendants along the walls. All of these images were transferred to Magoksa Temple in the latter half of the 1930s. The wooden seated Ksitigarbha Bodhisattva came from Jeonghyesa Temple in Cheongyang, the other sculptures came from Sinheungsa Temple in Imsil, and a painting of the Ten Kings came from Jeongtosa Temple in Nonsan. The wooden seated Ksitigarbha Bodhisattva is known to have been produced in 1677, around the same time as the stone sculptures of the Ten Kings. A close analysis of the details of the bodhisattva sculpture-including the facial features, body proportions, and drapery characteristics-strongly suggests that it was produced in the 1620s or 1630s by the monk sculptor Suyeon (who was active in the early half of the seventeenth century) or his disciples. In particular, the rendering of the drapery on the lower half of the body closely resembles Buddhist sculptures produced by Suyeon that are now enshrined at Bongseosa Temple in Seocheon (produced in 1619) and at Sungnimsa Temple in Iksan (produced at Bocheonsa Temple in Okgu in 1634). According to the votive inscription, the stone sculptures of the Ten Kings and their attendants were produced in 1677 under the supervision of the monk sculptor Seongil. However, these are the only known Buddhist images produced under Seongil, and no details about other monks involved in the production have ever been found, making it difficult to speculate about their lineage. Historical records do suggest that Seongil worked on other projects to produce or repair sculptures with disciples of the monk sculptors Hyehi or Unhye, indicating amicable relations between the two groups. Unlike most such images in the Honam or Yeongseo regions, the Ten Kings at Magoksa Temple are made from stone, rather than wood or clay. Also, the overall form and the drapery conform to statues of the Ten Kings that were popularly produced in the Yeongnam region. Thus, the images are believed to be the work of monks who were primarily active in Yeongnam, rather than Honam. In the future, a systematic investigation of wooden seated Ksitigarbha Bodhisattva images and stone Ten Kings of Hell images produced in the Chungnam region could illuminate more details about the production of the images at Magoksa Temple, and perhaps shed light on the conditions that led to the production of stone Buddhist sculptures in the Honam area during the late seventeenth century.

• New Physics: Sae Mulli
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• v.68 no.12
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• pp.1281-1287
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• 2018

In this study, $Al_xGa_{1-x}N$ films were grown on (0001) sapphire substrates by using metal-organic chemical vapor deposition (MOCVD). The crystallinity of the grown films was examined with X-ray diffraction (XRD) patterns. The surfaces and the chemical properties of the $Al_xGa_{1-x}N$ films were investigated using atomic force microscopy (AFM) and X-ray photoelectron spectroscopy (XPS), respectively. The optical properties of the $Al_xGa_{1-x}N$ film were studied in a wide photon energy range between 2.0 ~ 8.7 eV by using spectroscopic ellipsometry (SE) at room temperature. The data obtained by using SE were analyzed to find the critical points of the pseudodielectric function spectra, $<{\varepsilon}(E)>=<{\varepsilon}_1(E)>+i<{\varepsilon}_2(E)>$. In addition, the second derivative spectra, $d^2<{\varepsilon}(E)>/dE^2$, of the pseudodielectric function for the $Al_xGa_{1-x}N$ films were numerically calculated to determine the critical points (CPs), such as the $E_0$, $E_1$, and $E_2$ structure. For the four samples (x = 0.18, 0.21, 0.25, 0.29) between a composition of x = 0.18 and x = 0.29, changes in the critical points (blue-shifts) with increasing Al composition at 300 K for the $Al_xGa_{1-x}N$ film were observed via ellipsometric measurements for the first time.

• Korean Journal of Construction Engineering and Management
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• v.22 no.4
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• pp.59-65
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• 2021

Since the 2016 "Housing Act Partial Amendment" and the "2018 Housing Comprehensive Amendment Plan", interest in the pre sale system and post sale system of apartment houses has been on the rise. In order to compare the advantages and disadvantages of the pre sale system and the post sale system of apartment houses, and to establish the basis for the institutional policy of the post sale system, a questionnaire survey method was used for tenants of the apartment house from the public side, and issues of time and cost. The time series analysis method is intended to suggest an appropriate time for payment of contributions. Accordingly, through a review of existing theories and literature, the post sale system of public and private institutions was organized, and through a questionnaire survey, the path to securing pre sale money, product information of the model house, and the degree of awareness of the effect of the post sale system were investigated. For the post sale fund support and payment method, it is necessary to increase the commercial line for existing financiers from the user's point of view, and it is necessary to operate in consideration of the economic power of the pre sale market by region. Both 60% post sale and 80% post sale have a price range of up to KRW 10 million, and the total interest rate is 5.0%, and the annual interest rate is about 2.8% for 60% post sale, and about 2.1% for 80% post sale, which is lower than the current 3.1%. I need an interest rate. The research is a perception survey targeting a total of 5,213 households in a sample of after sale apartments in public institutions. As the actual values are analyzed using a time series on the effects of market supply and demand and market prices, there is a limit to applying them to prospective residents of private apartments. In addition, to respond to first time tenants, a questionnaire survey was conducted on five complexes that have moved in within the last five years.