• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.119-129
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• 2012

Yongdoseo and Guimunwon are described in "Bokgeo(卜居, fixabode)" of "Sanlimkyengje(山林經濟)" written by Manseon Hong. This record is a unique garden conceptual idea applying the principles of Hetu(河圖) and Luoshu(洛書), fanciful gardens which have not been actually constructed. Here, two garden types were concretely described respectively, however the underlying meaning therein cannot be apprehended without exact understanding about Sangsu studies. Therefore, the purpose of this study is to illuminate the meaning contained in Garden illustration and the historical meaning of landscape therein through considering this text. To achieve the purpose of this study, the writer and the compiler who are the background of this writing and the outline of Sangsu studies were investigated. Also, the principles of Saengsu(生數), Seongsu(成數), Yin Yang(陰陽), Four Bodies(四象), Palgwedo(八卦圖), etc. which are in Hetu and Luoshu were considered. The result of this study went through this research process is summarized as follows. First, Hetu Luoshu are conceptual definitions which wholly abstracted the basic propositions of Sangsu philosophy such as the universe change principle, etc., while Yongdoseo and Guimunwon can be said to be operational definitions which apply those as garden composition principle, enabling to experience the meaning contained therein concretely and explain it in a replicable way. This attempt is a unique example, unprecedented in Chinaas well. Second, as a livingspace, garden was selected as a means to concretize operational definitions about the meaning of Hetu Luoshu, and as the property to reproduce the bearings concept, the location and the number, etc. of Hetu Luoshu, Taegukjeong(太極亭), Shipjagak(十字閣), Dondae(墩臺), well, pond as well as various kinds of trees were used. Third, the main motif of Yongdoseo and Guimunwon is the relation between Apriority(先天) and Posterior(後天), and the relation between Constitution(體) and Use(用) of Hetu and Luoshu respectively. That is, Yongdoseo planted evergreen trees such as Shipjangcheong(十長靑) in order to symbolize the universe creation principle which Hetu stands for, i.e. silent, harmonious, orderly and win-win image. In Guimunwon, flowering trees(花木) and fruit trees(果木) were planted freely to express the change of Posterior which Luoshu stands for, thatis, dynamic, disharmonious, disorderly, incompatible(相剋) and changing image. The effects intended to be attained through such planting were, 'freshness and cheerfulness(淸爽)' of Yongdoseo and 'splendidness' of Guimunwon respectively. Sangsu studies based on Hetu and Luoshu is a unique thinking system to the Orient which came from the accumulated wisdom of several scholars from various schools through a long period since ancient times. Therefore, the concept and the theory thereof are profound and huge, and its viewpoints of interpretation are diverse. It is a limit of this study that more in-depth and various consideration was not performed. As a further research project, more empirical study of Orientalism such as Sangsu studies, etc. inherent in Traditional Garden is necessary.

• Asian Journal of Turfgrass Science
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• v.11 no.2
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• pp.105-115
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• 1997

Responses of 'Penncross' creeping bentgrass turf to various fairway cultural practices are not well-established or supported by research results. This study was initiated to evaluate the effects of irrigation frequency, clipping return or removal, and nitrogen rate on leaf and soil nitrogen con-tent in the 'Penncross' creeping bentgrass (Agrostis palustris Huds.) turf. A 'Penncross' creeping bentgrass turf was established in 1988 on a Sharpsburg silty-clay loam (Typic Argiudoll). The experiment was conducted from 1989 to 1991 under nontraffic conditions. A split-split-plot experimental design was used. Daily or biweekly irrigation, clipping return or removal, and 5, 15, or 25 g N $m-^2$ $yr-^1$ were the main-, sub-, and sub-sub-plot treatments, respectively. Treatments were replicated 3 times in a randomized complete block design. The turf was mowed 4 times weekly at a l3 mm height of cut. Leaf tissue nitrogen content was analyzed twice in 1989 and three times in both 1990 and 1991. Leaf samples were collected from turfgrass plants in the treatment plots, dried immediately at 70˚C for 48 hours, and evaluated for total-N content, using the Kjeldahl method. Concurrently, six soil cores (18mm diam. by 200 mm depth) were collected, air dried, and analyzed for total-N content. Nitrogen analysis on the soil and leaf samples were made in the Soil and Plant Analyical Laboratory, at the University of Nebraska, Lincoln, USA. Data were analyzed as a split-split-plot with analysis of variance (ANOVA), using the General Linear Model procedures of the Statistical Analysis System. The nitrogen content of the leaf tissue is variable in creeping bentgrass fairway turf with clip-ping recycles, nitrogen application rate and time after establishment. Leaf tissue nitrogen content increased with clipping return and nitrogen rate. Plots treated with clipping return had 8% and 5% more nitrogen content in the leaf tissue in 1989 and 1990, respectively, as compared to plots treated with clipping removal. Plots applied with high-N level (25g N $m-^2$ $yr-^1$)had 10%, 17%, and 13% more nitrogen content in leaf tissue in 1989, 1990, and 1991, respectively, when compared with plots applied with low-N level (5g N $m-^2$ $yr-^1$). Overall observations during the study indicated that leaf tissue nitrogen content increased at any nitrogen rate with time after establishment. At the low-N level treatment (5g N $m-^2$ $yr-^1$ ), plots sampled in 1991 had 15% more leaf nitrogen content, as compared to plots sampled in 1989. Similar responses were also found from the high-N level treatment (25g N $m-^2$ $yr-^1$ ).Plots analyzed in 1991 were 18% higher than that of plots analyzed in 1989. No significant treatment effects were observed for soil nitrogen content over the first 3 years after establishment. Strategic management application is necessary for the golf course turf, depending on whether clippings return or not. Different approaches should be addressed to turf fertilization program from a standpoint of clipping recycles. It is recommended that regular analysis of the soil and leaf tissue of golf course turf must be made and fertilization program should be developed through the interpretation of its analytic data result. In golf courses where clippings are recycled, the fertilization program need to be adjusted, being 20% to 30% less nitrogen input over the clipping-removed areas. Key words: Agrostis palustris Huds., 'Penncross' creeping bentgrass fairway, Irrigation frequency, Clipping return, Nitrogen rate, Leaf nitrogen content, Soil nitrogen content.

• KDI Journal of Economic Policy
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• v.34 no.3
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• pp.1-29
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• 2012

Based on the spatial and land price data of innovation cities and their periphery areas in Korea, this study examines the degree and timing of changes in land price in relation to projects concerning innovation city. The study result confirms that the current system is inconsistent with the principle of restitution of development gain and therefore, this study attempts to seek improvement measures so that the current system can better fit the principle. The analysis reveals that most innovation cities, excluding Sinseo-dong of Daegu and Ujeong-dong of Ulsan, recorded a statistically significant increase in land prices since 2005, compared to those of their neighboring areas. It can be said that the information related to projects concerning innovation city was reflected in the land price since 2005. However, the standard land price pursuant to Article 70 of the Land Compensation Act is the officially assessed land price released on 1st of January 2007, and this official land price was actually applied to the compensation process. Therefore, estimating the compensation amount for land expropriation based on this land price will contradict the principle of restitution of development gain. In other words, despite the fact that development-related information was already reflected in land prices of innovation cities from 2005 to the end of 2006, the compensation process were carried out without institutional arrangements or efforts to exclude such reflection. To solve this problem, this study makes two suggestions. First, it is necessary to cast aside the limitations of the official land price that can be retroactively applied in accordance with Paragraph 5 of Article 70 of the Land Compensation Act, and instead apply the land price which is the most latest but deemed to have no reflection of development gains. Based on this revised standard land price, if the compensation amount is corrected by the average inflation rate and the average rate of increase in land price during the period until the time of the recognized land price, the amount would better satisfy the principle of restitution of development gain. Second, it is necessary to clearly stipulate the standards of development gains being reflected on the land price by including it in the secondary legislation. Under the current system, it is highly likely that appraiser's arbitrary interpretation on development gains is included in the process of calculating the amount of compensation for land expropriation. In this regard, it is necessary to improve the standards on determining whether development gains are reflected based on the results of this academic research and the existing guidelines for appraisal of compensation for land expropriation published by the Korea Association of Property Appraisers.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.111-120
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• 2012

This study regards a series of achievement on Wonlim(Garden) Cultural Properties Excavation Project, led by field of landscape architecture. It will mainly describe excavation results of Gwiam(龜巖: Turtle rock) and historical value of it in terms of Nakseojae(樂書齋) restoration in Bogil-do Yun,Seondo Wonlim(Scenic Sites, No.34). Gwiam(Turtle rock) was found 14.6m apart from the north of Nakseojae, and it covered with 10~15m topsoil tilted toward Nakseojae, The size of Gwiam, which was Granite, was 360cm length, 270cm width, 95cm high. The Edge of Gwiam's North west part was of triangular shape forming Turtle head. The back of the Turtle head was form of Tortoise-shell because of wide backboard with both side groove. The southeast part of Gwiam projected was Turtle's tail. This Granite was obvious Turtle shape artificially made, and there are less likely to relocate from place to place. This Turtle-shaped Gwiam is important landmark for Nakseojae, which is one of the four spiritual creatures written in Bogildoji(甫吉島識) and Gosanyugo(孤山遺稿) by Yunwi. According to Bogildoji, it is estimated that Gwiam were on the axis with Soeunbyung(小隱屛), Nakseojae and was buried when Yiguan(Gosan's grandson) reconstructed a building. Also, it was place for enjoying the moon. But, Even after three times excavation in Nakseojae, there was no way to identify further information regarding Gwiam, so it was a matter of mystification. As a result of this study, Gwiam is laid bare to light in at least 260 years, so it is good example for boosting importance of landscape architecture field and restoring Nakseojae. Furthermore, firm base-soil was discovered in 135m high Rock Mass below, so natural ground of Nakseojae can be estimated by this basis. To be conclusion, Preservation Process for Gwiam and Estimation Space through interpretation of four spiritual creatures(四靈) in Gosan's Poetry should be continue.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.36-59
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• 2021

This study infers the origin and production period of the , which is in the Onyang folk museum, through analysis and interpretation of the Haeju Palgyeong and exploration of the landscapes and traditions contained in the painting. The first collection of landscapes to Haeju was identified as Haeju Palgyeong by Ku Sa-meng (1531-1604). Yoo Man-ju, writing in 1782, referred to it as Go-palgyeong in 『Heumyeong』 while Haeju Palgyeong was defined as Geum-palgyeong (今八景), which is the Haeju Palgyeong in the earliest period confirmed by literature. is 'Boating on the Nam river (南江泛舟)', 'Lotus viewing at Buyongdang (芙蓉賞蓮)', 'Foot washing at Gwangseokcheon (廣石濯足)', 'Seokbyul at Haeunkyo (泣川送客)', 'Fishing at Haeunjeong (東亭釣魚)' and 'Sea view at Namsan( 南山望海)', and the final two contain a picture that contains 'Viewing the moon at Yeonghaeru (瀛海玩月)' and 'Writing contest and Archery at Baeklimjeong (栢林觀德)' The Suyang Chaemi(首陽採薇), Shingwang-jeoljeol (神光霽雪), and Jiseong falls (池城瀑布) of Gopalgyeong, which were excluded from Haeju Palgyeong, are all landscapes unfolding as a grand site of Suyangsan Mountain. is a result of the reorganization of Seunggyeong centered on Eupchi (邑治), away from the Suyangsan area. It has emerged as a seunggyeong of Haeju. The elaborateness of trying to contain the detailed prizes representing Haeju, such as the specialty sake of Haeju, is revealed. Most of the landscapes depicted in are historic and outstanding spots in Haemok, but the scenes of life related to daily life are properly arranged. In addition, Foot washing (濯足), Fishing(釣魚), Doing laundry (漂母), Lotus viewing (賞蓮), Sending guests (送客), Drinking (飮酒), sea viewing (望海), Moon viewing (玩月), Archery (射藝), Poetry (詩作), Drinking tea (飮茶), and Dancing (歌舞) are of various styles. Compared with the Gopalgyeongs, Haeju Palgyeong did not take into account the distribution of landscapes in the four seasons, and the small-sized view was also broken. When considering the time of the construction of Haeunjeong and the deterioration of Yeonghhoeru, it is believed that was produced in the early- to mid-18th century. is considered to be a painting that contributed to strengthening the sense of intimacy with the local people and promoting the pride of Haeju by showing the representative scenery of Haeju, such as scenic spots and customs, away from the ideal utopia.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.4-31
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• 2018

The Neolithic pottery excavated from the Jungsandong site has been classified into four types of pottery (I: feldspar type, II: mica type, III: talc type and IV: asbestos type) according to their mineral composition. These four types of potteries generally appear to have undergone incomplete firing, while the level of oxidation in the type I pottery objects, which have a relatively higher clay content, was found to be particularly low. The type III objects, which have a high talc content, are judged to have been somewhat slow in removing carbon because they contain saponite belonging to the smectite group. Of the four types of pottery, type IV showed the highest redness and the most uniform characteristics, thus indicating a good level of oxidation. In particular, fixed carbide (C; 33.7 wt.%) with a thickness of about 1mm, and originating from organic substances, was detected inside the walls of the type I pottery, while the deep radial cracks in the outer surfaces of the pottery are thought to have been caused by repeated thermal shocks. Given that all of the pottery except for the type I artifacts are considered to be have been made for storage purposes, those containing talc and tremolite are easy to done liquid storing vessels based on an analysis of their material characteristics. As for the type II relics, which are composed of various minerals and exhibit poor physical properties, they seem to have been used for simple storage purposes. As domestic talc and asbestos mines were concentrated in the areas of Gyeonggi, Gangwon, Chungbuk, and Chungnam, it seems likely that talc and tremolite were produced as contiguous minerals. Considering the distance between the remains in Jungsandong and these mines and their geographical distribution, there is a possibility - albeit somewhat slight - that these mines were developed for the mining of various minerals. Although ultramafic rock masses - such as serpentine capable of generating talc and tremolite - have not been found in the Jungsandong area, limestone and biotite granite containing mica schist have been identified in the northwestern part of Yeongjong Island, indicating that small rock masses might have formed there in the past. Therefore, it is judged necessary to accumulate data on pottery containing talc and tremolite, other than the remains in Jungsandong, and to investigate the rocks and soils in the surrounding area with greater precision. The firing temperatures of the pottery found at the Jungsandong site were interpreted by analyzing the stability ranges of the mineral composition of each type. As a result, they have been estimated to range from 550 to $800^{\circ}C$ for the type I artifacts, and from 550 to $700^{\circ}C$ for the type I, II and IV artifacts. However, these temperatures are not the only factors to have affected their physical properties and firing temperature, and the types, particle sizes, and firing time of the clay should all be taken into consideration.

• Journal of Astronomy and Space Sciences
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• v.36 no.1
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• pp.21-33
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• 2019

This paper focuses on the interpretation of radiation fluxes from active galactic nuclei. The advantage of positron annihilation spectroscopy over other methods of spectral diagnostics of active galactic nuclei (therefore AGN) is demonstrated. A relationship between regular and random components in both bolometric and spectral composition of fluxes of quanta and particles generated in AGN is found. We consider their diffuse component separately and also detect radiative feedback after the passage of high-velocity cosmic rays and hard quanta through gas-and-dust aggregates surrounding massive black holes in AGN. The motion of relativistic positrons and electrons in such complex systems produces secondary radiation throughout the whole investigated region of active galactic nuclei in form of cylinder with radius R= 400-1000 pc and height H=200-400 pc, thus causing their visible luminescence across all spectral bands. We obtain radiation and electron energy distribution functions depending on the spatial distribution of the investigated bulk of matter in AGN. Radiation luminescence of the non-central part of AGN is a response to the effects of particles and quanta falling from its center created by atoms, molecules and dust of its diffuse component. The cross-sections for the single-photon annihilation of positrons of different energies with atoms in these active galactic nuclei are determined. For the first time we use the data on the change in chemical composition due to spallation reactions induced by high-energy particles. We establish or define more accurately how the energies of the incident positron, emitted ${\gamma}-quantum$ and recoiling nucleus correlate with the atomic number and weight of the target nucleus. For light elements, we provide detailed tables of all indicated parameters. A new criterion is proposed, based on the use of the ratio of the fluxes of ${\gamma}-quanta$ formed in one- and two-photon annihilation of positrons in a diffuse medium. It is concluded that, as is the case in young supernova remnants, the two-photon annihilation tends to occur in solid-state grains as a result of active loss of kinetic energy of positrons due to ionisation down to thermal energy of free electrons. The single-photon annihilation of positrons manifests itself in the gas component of active galactic nuclei. Such annihilation occurs as interaction between positrons and K-shell electrons; hence, it is suitable for identification of the chemical state of substances comprising the gas component of the investigated media. Specific physical media producing high fluxes of positrons are discussed; it allowed a significant reduction in the number of reaction channels generating positrons. We estimate the brightness distribution in the ${\gamma}-ray$ spectra of the gas-and-dust media through which positron fluxes travel with the energy range similar to that recorded by the Payload for Antimatter Matter Exploration and Light-nuclei Astrophysics (PAMELA) research module. Based on the results of our calculations, we analyse the reasons for such a high power of positrons to penetrate through gas-and-dust aggregates. The energy loss of positrons by ionisation is compared to the production of secondary positrons by high-energy cosmic rays in order to determine the depth of their penetration into gas-and-dust aggregations clustered in active galactic nuclei. The relationship between the energy of ${\gamma}-quanta$ emitted upon the single-photon annihilation and the energy of incident electrons is established. The obtained cross sections for positron interactions with bound electrons of the diffuse component of the non-central, peripheral AGN regions allowed us to obtain new spectroscopic characteristics of the atoms involved in single-photon annihilation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.28-37
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• 2011

In this study, the series-poem, Bihaedangsasippalyoung(48 poems for beautiful scene of Bihaedang), written by scholars of Jiphyonjeon for Bihaedang garden of Anpyung-Daegun(Prince Anpyung, 1416-1453), was analyzed focusing on scenery lexeme to interpret the meaning of scenery and gardening culture of Sadaebu(noblemen) during the first term of Chosun Dynasty. The study result is as followings. First, the subtitle of Sasippalyoung(48 poems) written by Anpyung-Daegun while he grew Bihaedang garden on the foot of Inwang Mountain showed repetitive nomativity comparing joining of yin and yang, such as life and form of animal and plan, time and space, meaning and symbolism, etc. Among scenery lexemes, 38 are represented plant and flowers, and 8 are represented gardening ornaments and animals. Second, the names of gardens were expressed as Wonrim, Jongje, Imchon(Trees and Ponds), or Hwawon(Flower garden), or also presented as Gongjeong(Empty garden), Manwon(Full garden), Jungjeong(Middle garden), Huwon(Backyard), Wonrak(Inner court), or Byulwon(Seperated garden) depending on density and location. In addition, there were pavilions and ponds, stepping stones and stairs, a pergola, a flat bench, flowerpots, an artificial hill, oddly shaped stones, wells, aviary, flower beds, or hedges. A gardener was called Sahwa(flower keeper), planting and gardening of garden trees were called Jaebae(cultivation), a pond island was called Boogoo(floating hill), and miniature landscapes were called Chukjee(reduced land). Third, willows were planted on the outdoor yard, and plum trees were planted in front of the library, which led to bamboo woods road. Peony, camellia, tree peony and crepe myrtle were planted on the inner court with mossy rocks, small artificial hills, glass rocks, flower pots. There were rectangular ponds, while breeding deer, dove, rooster, and cranes. Fourth, landscape elements were enjoyed as metaphysical symbolic landscape by anthropomorphism, such as (1) gentlemen and loyalty, (2) wealth and prosperity, (3) Taoist hermit and poetical life, (4) reclusion and seclusion, (5) filial piety, virtue, introspection, etc. In other words, the garden presented a variety of gardening culture appreciating meaningful landscape, such as investigation of things, reclusion and seclusion, and building orientation of a fairyland yearning eternal youth and Mureungdowon(Taoist Arcadia) by making a garden blending beautiful flowers and trees, with precious birds and animals. Fifth, there were many landscape appreciation schemes, such as Angkyung(looking-up), Bukyung(looking-down), Jeokyung(looking-under), Chakyung(bringing outer space into inside), Yookyung(flower viewing), Yojeong(walking around the garden enjoying flowers), Hwasaekhyangbyuk(flower gardening), and Garden appreciation enjoying landscape through time and seasons with different inspirations.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.145-159
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• 2021

is a contemporary experimental film that forms ambiguity in the narrative and the psychological motivation of the characters, destroys linear temporality, and reminds of manipulation possibilities in digital images through varied techniques, and it carries implication by the fact that the transformation process of human subjects and self-awareness are connected to social trauma and makes way to infer by comparing it to the historical contexts of other nations or societies. centers on the space outside the screen, absent space, and the intrinsic meaning within the space and the frame and shares the information in the visible space and the space outside the screen and arouses an active perceptual process so that the audience can deduce the information that is not presented. The film visualized the historical meaning without describing the background of the times in detail and aimed to express the conflicts and worries between the god, a transcendental existence, with humans, which are marginal beings, within the conflicting structure among humans. Moreover, attempted to resolve the sadness of loss and absence through the spatial aesthetics and the film presented the progression of the situation through the contrast of the characters and also the comparison between light and darkness. This study intends to make an attempt of interpreting the realm involving personal (characters) stories and the social and historical backgrounds together with the religious sphere and discuss the visualization of the semantic context. In addition, this study analyzed the sequence of the scenes in , which reconstructs identity and historical cases and religious values to observe the meaning and characteristics and closely analyze the general meaning pursued by the film. discussed the issues of trauma that individuals, regions, and nations confront as a representation and interpretation of the trauma connoted in the film, and consideration can be provided about the implication concerning the situation and context in South Korea. Furthermore, the film placidly discusses the growth and agony in humans and the society without expressing it excessively, so it will be a valuable research result to inspire the trend of creating films that incorporate new imaging technology and original visualization techniques.