• Journal of the Korean Society of Floral Art and Design
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• no.41
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• pp.3-12
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• 2019

The purpose of this study was to investigate the effect of forest play activities on children's emotional vocabulary change. Forest play activities were conducted for 498 children aged 4 to 5 years old who visited the environmental training in G city for forest play activity for 1 hour. As a result, positive vocabulary was significantly improved from 0.95±0.78 before forest play to 1.15±1.21 after forest play(p=.003) and negative vocabulary was significantly decreased from 1.27±1.58 to 0.41±1.10(p=.000). In the case of male children, positive vocabulary was increased significantly from 0.96±0.82 to 1.36±1.24(p=.000), in the case of negative vocabulary, it decreased significantly from 1.42±1.74 to 0.55±1.30(p=.000). In the case of female children, negative vocabulary was significantly decreased from 1.12±1.37 to 0.26±0.26(p=.000), but the positive vocabulary increase was not significant(p=.851). As a result of age, for a 4-year-old children, positive vocabulary did not show significant difference between before and after forest play(p=.471), and negative vocabulary was significantly increased from 1.04 ± 1.42 before forest play to 0.41±1.16 after forest play(p=.000). For a 5-year-old children, positive vocabulary was increased significantly from 0.96±0.85 to 1.23±1.21(p=.001) and negative vocabulary was decreased significantly from 1.41±1.65 to 0.41±1.06(p=.000). As a result of this study, it was found that play activities using various natural objects in the forest were directly related to nature, resulting in positive vocabulary increase and negative vocabulary decrease.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.

• Journal of the Korean Society of Costume
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• v.35
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.

• Cartoon and Animation Studies
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• s.46
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• pp.63-84
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• 2017

Overwhelming images of vividly colored aircraft flying across the blue sky and steam gushing from massive machines are reminiscent of Japanese animation films, especially of works by master director Hayao Miyazaki. By presenting together steam engines, which are mechanical devices of the Industrial Age in the past, and aircraft of the future age, the director constructs ambiguous space and time. These special time and space constitute nostalgia for past time, with devices called steam engines as a medium, and a longing for science and the future as represented by aircraft. In addition, the anticipation and disappointment, ideals and regrets of humans who see these two from the perspective of the present are projected on the works. This shares the characteristic of the steam punk genre, which seeks to return to the past rather than to face current problems. A subgenre of science fiction (henceforth "sci-fi"), steam punk reflects fundamental skepticism of science and technology and mechanized civilization, which have developed beyond human control. In addition, as works that clearly display such characteristics, director Miyazaki's and < $Nausica{\ddot{a}}$ of the Valley of Wind> can be examined. With spectacles of steam engines and aircraft, these two works enticingly visualize narratives about nature and humans and about the environment and destruction. Such attractiveness on the part of the master director's works has led to support from fans worldwide. However, often in the backgrounds of director Miyazaki's works, which have depicted ideal worlds of nature, environment, and community as highly concentrated fantasies, lie presuppositions of war and the end of the world. As works that are especially prominent in such characteristics, there are and . These two works betray the expectations of the audience by establishing the actual wartime as the temporal background and proceeding toward narratives of reality. Trapped in the ontological identity of the director himself, the war depicted by him projects a subjective and romantic attitude. Such a problem stems also from the ambiguity of the hybrid space and time, which is basic to the steam punk genre. This is because the basic characteristic of steam punk is to transplant past time, which humans were able to control, in the future from a perspective of optimism and longing via steam engines rather than to face current problems. In this respect, steam punk animation films in themselves can be seen as having significance and limitations at the same time.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.55-72
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• 2021

This study aims to research the influences of the discrimination of internet media and one-person media environment, especially, the one-person media creators leading the mobile media that could be accessed and viewed anywhere, on the user attitude and continuous subscription intention. Especially, this study aimed to understand the current situation of one-person media market represented as YouTube, to explore the relationship and ecology between each subject and elements composing the media market, and also to understand the mediating effects of the characteristics of YouTube creators on the relation between contents involvement and user attitude, and the relation between user attitude and subscription intention, and the mediating effects of contents involvement on the relation between characteristics of creators and user attitude. As research methods, first, for the theoretical establishment, this study collected, conducted, and organized the published domestic/foreign theses/journal papers. For the objective validity and verification of the established research model, a survey was conducted targeting adult men and women currently watching YouTube, and then the empirical analysis was performed through the final effective samples. And the results of this study are as follows. First, the playfulness and reliability on the relation between characteristics of creators and contents involvement were not significant while the professionalism was significant. Second, the professionalism on the relation between characteristics of creators and user attitude was not significant while the playfulness and reliability were significant. Third, the relation between contents involvement and user attitude was significant. Fourth, the relation between user attitude and subscription intention was also significant. Also, in the results of verifying the mediating effects of contents involvement, the contents involvement completely mediated the relation between characteristics(playfulness, reliability, and professionalism) of creators and user attitude. And in the conclusion, this study presented the implications and suggestions for further researches in the future.

• Asia pacific journal of information systems
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• v.21 no.1
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• pp.81-101
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• 2011

In today's rapidly changing and increasingly competitive business environment, new product development in tune with market trends in a timely manner has been a matter of the utmost concern for all enterprises. Indeed, developing a sustainable new business has been a top priority for not only business enterprises, but also for the government policy makers accountable for the health of Its national economy as well as for decision makers in what type of organizations. Further, for a soft landing of new businesses, building a government-initiated industry base has been claimed to be necessary as a way to effectively boost corporate activities. However, the existing methodology in new service and new product development is not suitable for nurturing industry, because it is mainly focused on the research and development of corporate business activities instead of new product development. The approach for developing new business is based on 'innovation' and 'convergence.' Yet, the convergence among technologies, supplies, businesses and industries is believed to be more effective than innovation alone as a way to gain momentum. Therefore, it has become more important than ever to study a new methodology based on convergence in industrial quality new product development (NPD) and new service development (NDS). In this research, therefore, we reviewed any restrictions in the existing new product and new service development methodology and the existing business model development methodology. In doing so, we conducted industry standard collaboration analysis on a new service model development methodology in the private sector and the public sector. This approach is fundamentally different from the existing one in that ours focuses on new business development under private management. The suggested framework can be categorized into industry level and service level. First, in the industry level, we define new business opportunities In occurrence of convergence between businesses. For this, we analyze the existing industry at the industry level to identify the opportunities in a market and its business attractiveness, based on which the convergence industry is formulated. Also, through the analysis of environment and market opportunity at the industry level. we can trace how different industries are lined to one another so as to extend the result of the study to develop better insights into industry expansion and new industry emergence. After then, in the service level, we elicit the service for the defined new business, which is composed of private service and supporting service for nurturing industry. Private service includes 3steps: plan-design-do; supporting service for nurturing industry has 4 steps: selection-make environment- business preparation-do and see. The existing methodology focuses on mainly securing business competitiveness, building a business model for success, and offering new services based on the core competence of companies. This suggested methodology, on other hand, suggests the necessity of service development, when new business opportunities arise, in relation to the opportunity analysis of supporting service based on the clear understanding of new business supporting infrastructure optimization. Meanwhile, we have performed case studies on the printing and publishing field with the restrict procedure and development system to assure the feasibility and practical application. Even though the printing and publishing industry is considered a typical knowledge convergence industry, it is also known as a low-demand and low-value industry in Korea. For this reason, we apply the new methodology and suggest the direction and the possibility of how the printing and publishing industry can be transformed as a core dynamic force for new growth. Then, we suggest the base composition service for industry promotion(public) and business opportunities for private's profitability(private).

• Journal of Environmental Impact Assessment
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• v.4 no.3
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• pp.41-48
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• 1995

In former times the protection of our environment didn't play an important role due to the fact that emissions and effluents were not considered as serious impacts. However, opinions and scientific measurements meanwhile confirmed that the impacts are more serious than expected. Thus measures to protect our earth has to be taken into consideration. A part of these measures in the Environmental Impact Assessment (EIA). One of the most important parts of the EIA is the collection of basic datas and the following evaluation. Experience out of the daily business of Gerling Consulting Group shows that the content of the EIA has to be revised and enlarged in certain fields. The historical development demonstrated that in areas in which the population and the industrial activities reached high concentration there is a high necessity to develop strict environmental laws and regulations. Maximum values of the concentration of hazardous materials were fixed concerning the emission into and water. Companies not following these regulations were punished. The total amount of environmental offences increased rapidly during the last decade, at least in Germany. During this development the public consciousness concerning environmental affairs increased as well in the industrialized countries. But it could clearly be seen that the development in the field of environmental protection went into the wrong direction. The technologies to protect the environment became more and more sophisticated and terms as: "state of the art" guided more and more to lower emissions, Filtertechnologies and wastewater treatment for example reached a high technical level-but all these sophisticated technologies has one and the same characteristic: they were end-of-the pipe solutions. A second effect was that this kind of environmental protection costs a lot of money. High investments are necessary to reduce the dust emission by another ppm! Could this be the correct way? In Germany the discussion started that the environmental laws reduce the attractivity to invest or to enlarge existing investments within the country. Other countries seem to be not so strict with controlling the environmental laws which means it's simply cheaper to produce in Portugal or Greece. Everybody however knows that this is not the correct way and does not solve the environmental problems. Meanwhile the general picture changes a little bit and we think it changes into the correct direction "End-of-the-pipe" solutions are still necessary but this word received a real negative touch and nobody wants to be brought into connection with this word received a real negative touch and nobody wants to be brought into connection with this word especially in connection with environmental management and safety. Modern actual environmental management starts in a different way. Thoughts about emissions start in the very beginning of the production, they start with the design of the product and modification of traditional modes of production. Basis of these ideas are detailed analyses of products and processes. Due to the above mentioned facts that the public environmental consciousness changed dramatically a continous environmental improvement of each single production plant has to be guarantied. This question is already an important question of the EIA. But it was never really checked in a wholistic approach. Environmental risks have to be taken into considerations during the execution of an EIA. This means that the environmental risks have to be reduced down to a capable risk-level. Environmental risks have to be considered within the phase of planning, during the operation of a plant and after shut down. The experience shows that most of the environmental relevant accidents were and caused by human fault. Even in highly protected plants the human risk-factor can not be excluded during evaluation of the risk-potential. Thus the approach of an EIA has to regard technical evaluations as well as organizational thoughts and the human factor. An environmental risk is a threat to the environment. An analysis of the risk concerning the organizational and human aspect however never was properly executed during an EIA. A possible solution could be to use an instrument as the actual EMAS (Environmental Management System) of the EC for more accurate evaluation of the impact to the environment during an EIA. Organizations or investors could demonstrate by an approved EMAS or even by showing their installment of EMAS that not only the technical level of the planned investment meets the requested standards but as well the actual or planned management is able to reduce the environmental impact down to a bearable level.

• Korean Journal of Heritage: History & Science
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• v.34
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• pp.124-136
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• 2001

Among many different types of wares, we have amazing Sacred Water-pot(따르개, 注子) from Goryo-period(고리, 高麗, 918-1392). The stylistic peculiarity of Jung-Byoung(정병, 淨甁) is described in "Goryo-Dhogyoung, 고리도경, 高麗圖經", the classical design canon. It is said, "A sharpened mouth with narrow and prolonged neck is attached upon the broad mouth with thicker and even longer neck of the pot whose body intimates to the shape of melon." One could find this Jung-Byoung similar to the Indian drinking water jar, Kundika, which has been. even today, an everyday article in houses as well as in temples. In the early Buddhist cult, the object had been adopted as personal belonging of the Bodhisattvas(보살, 菩薩), especially of the Bodhisattva Avalokitesvara(관세음보살,觀世音菩薩). In short, the purifying character of water is met by the sacred ware to deliver the refreshing Sweet-Water(Holy-Water, 깨맑물, 단물, 단이슬물, 정수, 감로, 감로수, 성수, 淨水, 甘露, 甘露水, 聖水): For the holy purpose of fulfilling the thirst of people, of symbolozing the virtuous dharma. Thus, Ggamslkh-Byoung(깨맑병,淨水), the literal Korean name, denotes purifying and clarifying and clarifying water-pot to us. Among many other Asian countries, India, China, Korea, and Japan have a profound cult of the sacred water-pot(Ggamalkh-Byoung, Jung-Byoung, 깨맑병, 정병, 정수병, 감로병, 감로수병, 淨甁, 淨水甁, 甘露甁, 甘露水甁). Therefore, this charming holy object drew much attention not only from master artisans to shape and deliver them to people but also from painters and sculptors for their endowment of the sacred images dedicated to Buddha(부처,佛,佛陀). In China, the sacred water pot emerged in the period of Tang(당, 唐, 618~907)-Period and underwent much sophistication later on, I. e., from earthenware, ceramic-porcelain, bronze, and silver. However, the following represents a challenge to the well-known Goryo-Thangka(고리불화, 高麗佛畵) Painting of Bodhisattva Avalokitesvara to our speculation on the Sacred Water-pot(정병, 淨甁). The image suggests, when examined closely, that the Sacred Water-pot has been accompanied by, or placed in, a transparent glasswere(유리그릇) or crystalbowl(수정그릇)! We have no other physical proof of the existence of such a Holding-Bowl(받침그릇, 承盤), except for in this particular painting. This Holding-Bowl would have not been a mere elaboration on the practicality of controling the drips from the mouth of the pot. As in the chapter on Tang-ho(탕호, 湯壺), or thermal bowl, in the "Goryo-Dhogyoung" it advises readers that this style of bowl is to be filled with hot water, and thus function as a preserver of heat in the water inside the pot. As an offering to the Buddha, the Sacred Water-pot could have been used for serving him hot tea. Hence the sacred bottle is to contain the refreshing water, the water transcends to nectar, and the nectar is prepared as a nectar tea to offer the Buddha. For both the Holding-Bowl of Ggamalkh-Byoung(Jung-Byoung)and the Celestial-Robe(날개옷, 天衣) of the Bodhisattva Avalokitesvara, whose specified character is the Water-Moon(수월, 水月) in this particular Thangka(불화, 佛畵) painting, the transparency is essential. This is to refer to the purity and the lucid clarity of Bodhisattva Avalokitesvara and at a deeper level, to refer to the world of Buddhas-the Tushita(Paradise, Heaven, Eden, 극락, 불세계, 極樂, 佛世界). Howerver, without the discovery of an actual Holding-Bowl, accompanied by a Sacred Water-pot, such speculation will necessarily remain hypothetical. Nevertheless, there is an abundance of evidence of our ancient craftsmanship in jade and ctystal, dating back to the Bronze Age(1000~2B.C.) in Korea. By the time of the Three Kingdom-Period(삼국시대, 三國時代, 57B.C.~935A.D.), and especially the Silla(신라, 新羅, 57B.C.~935A.D.)-Empire, the jade and crystal ornamentation had become very intricate indeed. By the Goryo-Period(918~1392) and Chosun-Period(조선, 朝鮮,1392~1910),crystal-ware and jade art were popular in houses and Buddhist temples, whose master artsanship was heightened in the numerous Sarira-Cases(사리그릇, 舍利器), containing relics and placed inside Stupas(탑, 투, 搭)! Therefore, discovering a tiny part of the crystal or jade Holding-Bowl for the Sacred Water-pot and casting full light on this subject, would not be totally impossible. Lastly the present article shares the tiny hope for a sudden emergence of such a Holding-Bowl.

• Trans-
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• v.12
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• pp.51-79
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• 2022

This study investigates the methods for deriving colors which can serve as a reference to users such as designers and or contents creators who search for online images from the web portal sites using specific words for color planning and more. Two experiments were conducted in order to accomplish this. Digital scenery photos within the geographic scope of Korea were downloaded from web portal sites, and those photos were studied to find out what colors were used to describe daytime and nighttime. Machine learning was used as the study methodology to classify colors in daytime and nighttime, and KSCA was used to derive the color frequency of daytime and nighttime photos and to compare and analyze the two results. The results of classifying the colors of daytime and nighttime photos using machine learning show that, when classifying the colors by 51~100%, the area of daytime colors was approximately 2.45 times greater than that of nighttime colors. The colors of the daytime class were distributed by brightness with white as its center, while that of the nighttime class was distributed with black as its center. Colors that accounted for over 70% of the daytime class were 647, those over 70% of the nighttime class were 252, and the rest (31-69%) were 101. The number of colors in the middle area was low, while other colors were classified relatively clearly into day and night. The resulting color distributions in the daytime and nighttime classes were able to provide the borderline color values of the two classes that are classified by brightness. As a result of analyzing the frequency of digital photos using KSCA, colors around yellow were expressed in generally bright daytime photos, while colors around blue value were expressed in dark night photos. For frequency of daytime photos, colors on the upper 40% had low chroma, almost being achromatic. Also, colors that are close to white and black showed the highest frequency, indicating a large difference in brightness. Meanwhile, for colors with frequency from top 5 to 10, yellow green was expressed darkly, and navy blue was expressed brightly, partially composing a complex harmony. When examining the color band, various colors, brightness, and chroma including light blue, achromatic colors, and warm colors were shown, failing to compose a generally harmonious arrangement of colors. For the frequency of nighttime photos, colors in approximately the upper 50% are dark colors with a brightness value of 2 (Munsell signal). In comparison, the brightness of middle frequency (50-80%) is relatively higher (brightness values of 3-4), and the brightness difference of various colors was large in the lower 20%. Colors that are not cool colors could be found intermittently in the lower 8% of frequency. When examining the color band, there was a general harmonious arrangement of colors centered on navy blue. As the results of conducting the experiment using two methods in this study, machine learning could classify colors into two or more classes, and could evaluate how close an image was with certain colors to a certain class. This method cannot be used if an image cannot be classified into a certain class. The result of such color distribution would serve as a reference when determining how close a certain color is to one of the two classes when the color is used as a dominant color in the base or background color of a certain design. Also, when dividing the analyzed images into several classes, even colors that have not been used in the analyzed image can be determined to find out how close they are to a certain class according to the color distribution properties of each class. Nevertheless, the results cannot be used to find out whether a specific color was used in the class and by how much it was used. To investigate such an issue, frequency analysis was conducted using KSCA. The color frequency could be measured within the range of images used in the experiment. The resulting values of color distribution and frequency from this study would serve as references for color planning of digital design regarding natural scenery in the geographic scope of Korea. Also, the two experiments are meaningful attempts for searching the methods for deriving colors that can be a useful reference among numerous images for content creator users of the relevant field.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.96-106
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• 2013

The aim of this study was to reveal the advantages and disadvantages of Terelj Mongolian National Park based on the impressions of foreign and domestic travelers, and subsequently suggest supporting ideas to make this tourist attraction more enjoyable for travelers. A statistical program(SPSS 20.0) and an IPA matrix method were used to reveal the impressions of travelers and the results showed the following ideas. First, we made the technical analyses to demonstrate the characteristics of the current natural scenery which travelers want to see and the results indicated that both Korean and Mongolian travelers overall were not satisfied and the Park was not as they had imagined. The second part of the research highlighted the differences between the impressions held by Mongolian and Korean travelers, which showed dissimilarities in cultural resources, food, variety of events, cultural functions and parking, all of which were shown as important criteria in sightseeing. The variations were found in scenes of nature, variety of programs, and food, areas which revealed and were very important in the overall satisfaction of travelers. Third, the IPA method was used for analyze the advantages and disadvantages of Terelj National Park. The Mongolian travelers nominated the width of the road, cleanliness, variety of events and parking are the most essential things to feel satisfied, but Koreans selected safety of travel, accommodation, the width of the road and cleanliness. Finally, we analyzed the feelings of the travelers at the end of their trip. The Mongolian travelers preferred the area resource and environment convenience to feel satisfaction. For Korean travelers, the area resource is the most important when choosing travelling sights. Based on these results, if we take responsibility to protect the beauty of nature, and create a sightseeing place using natural sources, while also making more comfortable accommodations and improving the services, it can be a more unique place than others and lead to greater overall satisfaction for travelers.