• (The) Research of the performance art and culture
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• no.39
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• pp.775-800
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• 2019

Jeongeup Pungnyu, which can be regarded as a foundation of Hyangje Julpungryu(;string ensemble in Honam Area) best reflects social-spatial characteristics of local Pungryu culture. The close relationship between Daepungryu(wind ensemble) and Julpungryu can be inferred from three points of view. First, Jeongeumun who participated as a musician in the beginning of Hyangje Julpungryu was good at not only performing musical instrument but also dancing. Jeongeumun did not stay in specific musical field. He performed Hyangje Julpungryu, made Daepungryu and used it as dancing music with musicians that participated in Julpungryu. That is why Julpungryu and Daepungryu are not completely separated music. Secondly, according to , Jung Hyungin, who followed the dance of Jeong Jae-Sun with Kim So-Ran, was the first Piri player who learned from Jeongeumun and played Yeongsanhoesang and Samhyeon-yukkak(;wind ensemble). That is, Jeongeup Julpungryu was formed by Jeongeumun and dancer Jung Hyung-in followed Julpungryu and Daepungryu. Based on these findings, it can be inferred that Jeongeup's Daepungryu is fundamentally closely related to Jungeup Julpungryu.

• Sijohaknonchong
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• v.44
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• pp.139-164
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• 2016

This paper was written with the object of determining place of Lee, Jeong-bo (李鼎輔)'s Pungryu(風流) & its meaning. Place of Lee, Jeong-bo's Pungryu(風流) is Hodong(壺洞) & Haktan(鶴灘). Hodong(壺洞) is located toward east at Jongmyo(宗廟). That place was Hwanggyo(黃橋) & Yeonji(蓮池). At that time, Haktan(鶴灘) was in Eonju-myeon(彦州面) of Gwangju-bu(廣州府). That place is Hangnyeoul flowing together Tancheon(炭川) & Yangjaecheon(良才川). Jeojado(楮子島) & Mudongdo(舞童島) was neighborhood. Lee, Jeong-bo's Pungryu-life(風流生活) was already beginning since serve in a government. Therefore HaktanPungryu(鶴灘風流) is also beginning a long time ago.

• 한국해양학회지
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• v.21 no.4
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• pp.203-210
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• 1986

A linear parallel transport model is formulated and applied to an idealized Yellow Sea, With this simple analytical model, the hither-to suspected upwind flow phenomena in the southern Yellow Sea can be reasonably explained. In deep waters where the local depth exceeds a critical depth (Hc=53m in the present model sea), pressure gradient force dominates over wind stress and contributes to an upwind flow. The estimated upwind flow velocity increases with wind speed and a maximum upwind flow occurs along the axis of the Yellow Sea embayment. For the typical south wind of 5-10 knots in summer, the upwind (southward) flow velocity along the axis of the Yellow Sea is estimated to be 1-5cm s$\^$-1/. While, for the typical north wind of 10-15 knots in winter, the upwind (northward) flow velocity is 5-12cm s$\^$-1/. These velocity ranges can be served as rough estimates for the intrusion velocity of the Yellow Sea Bottom Cold Water in summer and the Yellow Sea Warm Current in winter, respectively.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.94-107
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• 2008

This study examines the diversity of garden culture in the Joseon Dynasty focusing on genre painting. Genre painting gives us insight into the various ways of enjoying the garden. The intimate activities portrayed in the painting show us about the vivid scenes of Korean garden at that time. Among the various meanings of gardens, sensual pleasure is focused on here. The garden has always been a place of pleasure for seeing, smelling, touching, meeting people and erotic flirting. Here, the oriental aesthetic idea of Pungryu is adopted to reformulate pleasure based on the traditional way of thought. Most Korean gardens in the Joseon Dynasty were understood as the place for Pungryu. Sensuality in the Korean garden associated with a high level of spiritual pleasure. In order to look closely into garden activities, genre paintings were selected and analyzed. Several characteristics were elicited. First, the garden was understood as the medium of communication through reconciling man with nature. Mediating man with nature often calls for uplifting the sense of community within groups of people. Second, the garden was featured as the place of cultural creation. Many scholars utilized the garden as a place for poetic imagination. Therefore, the garden was the locus of intellectual discourse. Third, personal retreat was one of important functions in the Korean garden. the humble attitude toward landscape such as solitude and mediation might be understood as one way of enjoying the nature. Fourth, taste, power and social relations were embedded in garden culture. Therefore, the garden was regarded as a space of distinction. Garden making was understood as one of the high class leisure activity. It was quite natural that the garden was used as a place of showing up their taste and culture. Finally, we need to reinvigorate the rich meanings of garden in contemporary practices. In-depth analysis of garden culture through the lens of genre painting gives us quite useful information in Korean garden culture.

• 한국해양학회지
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• v.30 no.6
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• pp.537-542
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• 1995

Effect of Shantung Peninsula on the development of mean upwind flow in the Yellow Sea in winter is analysed using a simple model. The results indicate that the disturbances generated by the Shantung Peninsula have a scale much larger than the basin scale whereas disturbances, if any, generated similarly on the other side of the trough has much smaller scale. The effect of Shantung Peninsula thus dominates over the whole basin and deflects westward the otherwise northward upwind flow.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.53-66
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• 2020

This study was attempted to seek the garden enjoyment of the Yang Un-geo etc., in the head house(宗宅) of Namwonyang's family and Jongho in Sunchang Gumiri through literature and field research. Admirers of Jongho were "six old Taoist hermit", including Cholo(楚老) Yang Un-geo(楊雲擧, 1613-1672) and Yangjindang Haman-ri, the author of Jongho-palgyeong, who was very close friends of Yang, as well as his son-in-law or out-law. Jonghojeong Pavilion, overland rock and nearby Takyeongjeong, which were built around a stone island shaped like a helmet, and a pool along the river, are known as 'Imcheonwonrim(林泉園林)' as the center of the custom that was conducted based on head house, which is up to 2km away from Jongho. Jongho-palgyeong is found to share the characteristics of Jeongja Palgyeong, which is based on Jonghoam, overland and Takyeongjeong, and the characteristics of the town's township of Namwonyang, Gumi-ri. The number of rock letters identified by the Mansutan members is a total of nine points, which clearly indicates that the scene was a scene where the custom of call to create poetry·fishing·playing musical instruments and drinking, as well as the scenery and landscape structure of the Jongho Palgyeong. Jongho Palgyeong, its customs and surrounding rock writing are highly suggestive and valid cultural views to remind or direct the old landscape of Mansutan Jongho and suggest to modern traditional landscapes as well as the "Noblesse oblige landscape enjoyment case."

• Korean Journal of Heritage: History & Science
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• v.48 no.2
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• pp.48-63
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• 2015

This study began with the purpose of awakening an interest in Korean Nu-jung and seeking application plan based on Nu-jung of Aneuisamdong. Also it intends to suggest activation plan of Nu-jung while using the culture of taste for the arts and classical scholar of ancestors with the physical place named Nu-jung as the medium. As concrete ways to activate Nu-jung, we suggested plans which use the game of go(Baduk), main material of the culture of taste for the arts and classical scholar, and increase availability by planning a program adding picturesqueness of Nu-jung. By bringing the material named the game of go(Baduk) to the place named Nu-jung, we suggested the plan capable of experiencing the culture of taste for the arts and classical scholar and also expecting local promotion and economical effect. And the plan is to design and conduct night program, 1 night 2 days program, tailored program, and so on by combining the material of the culture of taste for the arts and classical scholar with the medium named 'Dal(the moon)' in the static place named Nu-jung. The plans above are applicable to most of Nu-jung scattered all over the country, which means that we have a lot of Nu-jung in Korea and, at the same time, we have abundant contents to be used as cultural properties. Now it's important how to develop and use these contents through the connection with various academic fields in terms of managing cultural properties. By understanding the value of the original form of culture while emerging from simply using cultural properties, we can use cultural properties in a higher level. For this, preserving cultural properties should be supported by continuous interdisciplinary study.

• Sijohaknonchong
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• v.17 no.1
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• pp.95-117
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• 2001

• Sijohaknonchong
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• v.17 no.1
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• pp.315-345
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• 2001

• River and Culture
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• v.9 no.1
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• pp.44-49
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• 2013