• Title/Summary/Keyword: 화개지역

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A Study On the Geographic Locations of Dongcheons(洞天) in Gyeongsang-Do (경상도지역 동천(洞天)의 위치 조사 연구)

  • Kang, Kee-Rae;Lee, Hae-Ju;Bae, Jun-Gyu;Kim, Hee-Chae;Kim, Chang-Jun;Lee, Hyun-Chae;Kim, Dong-Phil;Kim, Cha-Kwon
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.36 no.3
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    • pp.16-25
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    • 2018
  • Initially from the Taoist scriptures, 'Dongcheon' is a term that can be regarded as a symbolic place in the real world for the enlightened ones who received relief and peace by restoring the human nature taught in the Confucian school. The long for an ideal world apart from the reality embodied as the labeling some places 'Dongcheon,' and the term was used to refer to a scenery where the ideal fairyland is reproduced. Besides, 'Dongcheon' was a term often used by Confucian scholars for various purposes including the attachment to the nearby landscapes, expressing homogeneity and superiority through placeness and the beautification of settlement spaces. This paper is the result of a field study on 'Dongcheon' in the Gyeongsang-Do. The research was conducted from March to August 2018, and we carried out firsthand location surveys on Dongcheons, of which some were lost, others were fairly preserved, and still others could not be located as only their existences were passed down orally. According to the field survey, there were total 111 inscriptions or engravings on the plates in Gyeongsang-Do that include the term 'Dongcheon.' There were 79 'Dongcheon' inscriptions confirmed in the Gyeongsangbuk-Do region: twenty in Yeongju-City, sixteen in Bonghwa-Gun, eleven in Andong-City and seven in Yeongyang-Gun and Ulgin-Gun. Among them, two were in the form of a wooden sign, and six were erected as rock signposts. Fourteen stops reported in the literature were lost or unidentified. Also, among the sixteen signs in Bonghwa-Gun, nine were cursive engravings. Meanwhile, there were 26 Dongcheon inscriptions in the Gyeongsangnam-Do region. Hamyang-Gun and Sancheong-Gun anf Hadong-Gun each housed three inscriptions, and seven places were in the form of rock signposts. 'Hwagaedongcheon' and 'Geumsandongcheon' could not be identified in inscriptions although they appear in Jibong Yuseol and Taengniji with stories of Choi Chiwon. The significance of this study is as a reference for future researches in traditional scenery, epigraphs, or as primary data that helps cultural exploration in the region.

A Study on the Distribution and Conservation Plan of Vascular Flora in Gyodong Island (교동도의 관속식물상 분포 및 보전방안 연구)

  • Yun, Ho-Geun;Kim, Sang-Jun;Lee, Jong-Won
    • Journal of Environmental Impact Assessment
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    • v.31 no.1
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    • pp.11-46
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    • 2022
  • This study was carried out to examine vascular plants and invasive alien plants in Gyodong Island, located at the northwestern Civilian Control Line (CCL) of Ganghwa-gun, Incheon, and to use them as basic data for systematic management of identified plants and establishing biodiversity conservation measures. The survey was conducted 13 times from April 2019 to August 2021. The vascularflora in Gyodong Island was identified as 109 families, 378 genera, 641 species, 15 subspecies, 49 variants, 8 forma, a total of 713 taxa. This was found to be about 15.36% of the total 4,641 taxa of vascular plants in Korea. The northern linage plants on the Korean Peninsula appearing in the Gyodong Island area were identified in 83 classification groups, including Red-based leaf edge (Carex erythrobasis H.Lev. & Vaniot). Korea endemic plants were identified as 16 taxa such as Seoul wild-ginger [Asarum heterotropoides var. seoulense (Nakai) Kitag.], and a total of 20 taxa of rare plants designated by IUCN were observed, including the endangered grade Beardless iris (Iris ruthenica Ker Gawl.). Floristic target species were classified with a total of 99 taxa. For V grade, Beardless iris 1 taxon was found. and also IV grade and III grade were identified in 8 taxa and 20 taxa respectively. The invasive alien plants identified as 75 taxa, such as Verbesina alternifolia (L.) Britton ex Kearney. The naturalization rate was 10.51%, and the urbanization index was calculated as 23.29%. Since large-scale construction has been currently underway on Hwagae Mt. in Gyodong Island as the target of survey area, the influx of invasive plants will be expected to promote. Therefore, it is urgent to establish in-situ protection and conservation measures for notable plants such as Beardless iris and Water smartweed [Persicaria amphibia (L.) S.F.Gray].

Pseudotachylyte Developed in Granitic Gneiss around the Bulil Waterfall in the Jirisan, SE Korea: Its Occurrence and Characteristics (지리산 불일폭포 일원의 화강암질편마암에 발달한 슈도타킬라이트: 산상과 특성)

  • Kang, Hee-Cheol;Kim, Chang-Min;Han, Raehee;Ryoo, Chung-Ryul;Son, Moon;Lee, Sang-Won
    • The Journal of the Petrological Society of Korea
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    • v.28 no.3
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    • pp.157-169
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    • 2019
  • Pseudotachylytes, produced by frictional heating during seismic slip, provide information that is critical to understanding the physics of earthquakes. We report the results of occurrence, structural characteristics, scanning electron microscopic observation and geochemical analysis of pseudotachylytes, which is presumed to have formed after the Late Cretaceous in outcrops of the Paleoproterozoic granitic gneiss on the Bulil waterfall of the Jirisan area, Yeongnam massif, Korea. Fault rocks, which are the products of brittle deformation under the same shear stress regime in the study area, are classified as pseudotachylyte and foliated cataclasite. The occurrences of pseudotachylyte identified on the basis of thickness and morphology are fault vein-type and injection vein-type pseudotachylyte. A number of fault vein-type pseudotachylytes occur as thin (as thick as 2 cm) layers generated on the fault plane, and are cutting general foliation and sheared foliation developed in granitic gneiss. Smaller injection vein-type pseudotachylytes are found along the fault vein-type pseudotachylytes, and appear in a variety of shapes based on field occurrence and vein geometry. At a first glance fault vein-type seudotachylyte looks like a mafic vein, but it has a chemical composition almost identical to the wall rock of granitic gneiss. Also, it has many subrounded clasts which consist predominantly of quartz, feldspar, biotite and secondary minerals including clay minerals, calcite and glassy materials. Embayed clasts, phenocryst with reaction rim, oxide droplets, amygdules, and flow structures are also observed. All of these evidences indicate the pseudotachylyte formed due to frictional melting of the wall rock minerals during fault slip related to strong seismic faulting events in the shallow depth of low temperature-low pressure. Further studies will be conducted to determine the age and mechanical aspect of the pseudotachylyte formation.

Showing Filial Piety: Ancestral Burial Ground on the Inwangsan Mountain at the National Museum of Korea (과시된 효심: 국립중앙박물관 소장 <인왕선영도(仁旺先塋圖)> 연구)

  • Lee, Jaeho
    • MISULJARYO - National Museum of Korea Art Journal
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    • v.96
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    • pp.123-154
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    • 2019
  • Ancestral Burial Ground on the Inwangsan Mountain is a ten-panel folding screen with images and postscripts. Commissioned by Bak Gyeong-bin (dates unknown), this screen was painted by Jo Jung-muk (1820-after 1894) in 1868. The postscripts were written by Hong Seon-ju (dates unknown). The National Museum of Korea restored this painting, which had been housed in the museum on separate sheets, to its original folding screen format. The museum also opened the screen to the public for the first time at the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea held from July 23 to September 22, 2019. Ancestral Burial Ground on the Inwangsan Mountain depicts real scenery on the western slopes of Inwangsan Mountain spanning present-day Hongje-dong and Hongeun-dong in Seodaemun-gu, Seoul. In the distance, the Bukhansan Mountain ridges are illustrated. The painting also bears place names, including Inwangsan Mountain, Chumohyeon Hill, Hongjewon Inn, Samgaksan Mountain, Daenammun Gate, and Mireukdang Hall. The names and depictions of these places show similarities to those found on late Joseon maps. Jo Jung-muk is thought to have studied the geographical information marked on maps so as to illustrate a broad landscape in this painting. Field trips to the real scenery depicted in the painting have revealed that Jo exaggerated or omitted natural features and blended and arranged them into a row for the purposes of the horizontal picture plane. Jo Jung-muk was a painter proficient at drawing conventional landscapes in the style of the Southern School of Chinese painting. Details in Ancestral Burial Ground on the Inwangsan Mountain reflect the painting style of the School of Four Wangs. Jo also applied a more decorative style to some areas. The nineteenth-century court painters of the Dohwaseo(Royal Bureau of Painting), including Jo, employed such decorative painting styles by drawing houses based on painting manuals, applying dots formed like sprinkled black pepper to depict mounds of earth and illustrating flowers by dotted thick pigment. Moreover, Ancestral Burial Ground on the Inwangsan Mountain shows the individualistic style of Jeong Seon(1676~1759) in the rocks drawn with sweeping brushstrokes in dark ink, the massiveness of the mountain terrain, and the pine trees simply depicted using horizontal brushstrokes. Jo Jung-muk is presumed to have borrowed the authority and styles of Jeong Seon, who was well-known for his real scenery landscapes of Inwangsan Mountain. Nonetheless, the painting lacks an spontaneous sense of space and fails in conveying an impression of actual sites. Additionally, the excessively grand screen does not allow Jo Jung-muk to fully express his own style. In Ancestral Burial Ground on the Inwangsan Mountain, the texts of the postscripts nicely correspond to the images depicted. Their contents can be divided into six parts: (1) the occupant of the tomb and the reason for its relocation; (2) the location and geomancy of the tomb; (3) memorial services held at the tomb and mysterious responses received during the memorial services; (4) cooperation among villagers to manage the tomb; (5) the filial piety of Bak Gyeong-bin, who commissioned the painting and guarded the tomb; and (6) significance of the postscripts. The second part in particular is faithfully depicted in the painting since it can easily be visualized. According to the fifth part revealing the motive for the production of the painting, the commissioner Bak Gyeongbin was satisfied with the painting, stating that "it appears impeccable and is just as if the tomb were newly built." The composition of the natural features in a row as if explaining each one lacks painterly beauty, but it does succeed in providing information on the geomantic topography of the gravesite. A fair number of the existing depictions of gravesites are woodblock prints of family gravesites produced after the eighteenth century. Most of these are included in genealogical records and anthologies. According to sixteenth- and seventeenth-century historical records, hanging scrolls of family gravesites served as objects of worship. Bowing in front of these paintings was considered a substitute ritual when descendants could not physically be present to maintain their parents' or other ancestors' tombs. Han Hyo-won (1468-1534) and Jo Sil-gul (1591-1658) commissioned the production of family burial ground paintings and asked distinguished figures of the time to write a preface for the paintings, thus showing off their filial piety. Such examples are considered precedents for Ancestral Burial Ground on the Inwangsan Mountain. Hermitage of the Recluse Seokjeong in a private collection and Old Villa in Hwagae County at the National Museum of Korea are not paintings of family gravesites. However, they serve as references for seventeenth-century paintings depicting family gravesites in that they are hanging scrolls in the style of the paintings of literary gatherings and they illustrate geomancy. As an object of worship, Ancestral Burial Ground on the Inwangsan Mountain recalls a portrait. As indicated in the postscripts, the painting made Bak Gyeong-bin "feel like hearing his father's cough and seeing his attitudes and behaviors with my eyes." The fable of Xu Xiaosu, who gazed at the portrait of his father day and night, is reflected in this gravesite painting evoking a deceased parent. It is still unclear why Bak Gyeong-bin commissioned Ancestral Burial Ground on the Inwangsan Mountain to be produced as a real scenery landscape in the folding screen format rather than a hanging scroll or woodblock print, the conventional formats for a family gravesite paintings. In the nineteenth century, commoners came to produce numerous folding screens for use during the four rites of coming of age, marriage, burial, and ancestral rituals. However, they did not always use the screens in accordance with the nature of these rites. In the Ancestral Burial Ground on the Inwangsan Mountain, the real scenery landscape appears to have been emphasized more than the image of the gravesite in order to allow the screen to be applied during different rituals or for use to decorate space. The burial mound, which should be the essence of Ancestral Burial Ground on the Inwangsan Mountain, might have been obscured in order to hide its violation of the prohibition on the construction of tombs on the four mountains around the capital. At the western foot of Inwangsan Mountain, which was illustrated in this painting, the construction of tombs was forbidden. In 1832, a tomb discovered illegally built on the forbidden area was immediately dug up and the related people were severely punished. This indicates that the prohibition was effective until the mid-nineteenth century. The postscripts on the Ancestral Burial Ground on the Inwangsan Mountain document in detail Bak Gyeong-bin's efforts to obtain the land as a burial site. The help and connivance of villagers were necessary to use the burial site, probably because constructing tombs within the prohibited area was a burden on the family and villagers. Seokpajeong Pavilion by Yi Han-cheol (1808~1880), currently housed at the Los Angeles County Museum of Art, is another real scenery landscape in the format of a folding screen that is contemporaneous and comparable with Ancestral Burial Ground on the Inwangsan Mountain. In 1861 when Seokpajeong Pavilion was created, both Yi Han-cheol and Jo Jung-muk participated in the production of a portrait of King Cheoljong. Thus, it is highly probable that Jo Jung-muk may have observed the painting process of Yi's Seokpajeong Pavilion. A few years later, when Jo Jungmuk was commissioned to produce Ancestral Burial Ground on the Inwangsan Mountain, his experience with the impressive real scenery landscape of the Seokpajeong Pavilion screen could have been reflected in his work. The difference in the painting style between these two paintings is presumed to be a result of the tastes and purposes of the commissioners. Since Ancestral Burial Ground on the Inwangsan Mountain contains the multilayered structure of a real scenery landscape and family gravesite, it seems to have been perceived in myriad different ways depending on the viewer's level of knowledge, closeness to the commissioner, or viewing time. In the postscripts to the painting, the name and nickname of the tomb occupant as well as the place of his surname are not recorded. He is simply referred to as "Mister Bak." Biographical information about the commissioner Bak Gyeong-bin is also unavailable. However, given that his family did not enter government service, he is thought to have been a person of low standing who could not become a member of the ruling elite despite financial wherewithal. Moreover, it is hard to perceive Hong Seon-ju, who wrote the postscripts, as a member of the nobility. He might have been a low-level administrative official who belonged to the Gyeongajeon, as documented in the Seungjeongwon ilgi (Daily Records of Royal Secretariat of the Joseon Dynasty). Bak Gyeong-bin is presumed to have moved the tomb of his father to a propitious site and commissioned Ancestral Burial Ground on the Inwangsan Mountain to stress his filial piety, a conservative value, out of his desire to enter the upper class. However, Ancestral Burial Ground on the Inwangsan Mountain failed to live up to its original purpose and ended up as a contradictory image due to its multiple applications and the concern over the exposure of the violation of the prohibition on the construction of tombs on the prohibited area. Forty-seven years after its production, this screen became a part of the collection at the Royal Yi Household Museum with each panel being separated. This suggests that Bak Gyeong-bin's dream of bringing fortune and raising his family's social status by selecting a propitious gravesite did not come true.