• Journal of Korea Foundry Society
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• v.41 no.2
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• pp.144-152
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• 2021

Based on the analysis of the current state of the world's foundry industry, we looked at the international competitiveness of Korea's foundry industry for the past 20 years. Korea's total foundry production is 2.52 million tons, and the production per company (so-called productivity) is 2,831 tons, which is the eighth largest in the world and down one position for the case of total foundry production, while productivity remains its position compared to three years ago. Korea is the only one of the top 10 foundry to see a decline in production. Similar to the global situation, Korean products consist of 38% of grey csat iron, 31% of ductile cast iron, 15% of aluminum, and 9% of cast steel. In order to obtain statistics on Korea's foundry industry, the survey conducted a service project for approximately nine months from April 2020. Various statistical surveys and sample in-depth surveys by the Korean standard industry class were evaluated for various contents of the domestic casting industry. We also looked at the number of companies, the distribution by region, the number of workers and the percentage of foreigners, and the distribution of each job, as well as the R&D investment status according to the size of the enterprise. Together, sales, exports, sales and various profit ratios were analyzed to measure the earning power of foundry industry. In addition, the classification by grouping the foundry industry according to the process utilized by focusing on each company, and to determine the sales, exports, and yield status for each process was also investigated on the basis. Based on these data, the domestic foundry industry has presented a variety of offers for the following issues for sustainable growth; global ranking, marginal corporate restructuring, training of domestic technical people, differentiated support policies by company size and process.

• Journal of Korean Society of Forest Science
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• v.100 no.3
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• pp.352-358
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• 2011

Field Cage plots ($1m{\times}1m{\times}1m$) were established (7 units) to find the lowest limit time about the tending of red pine forest (Pinus densiflora) which can no longer be used as a habitat by Monochamus alternatus, vector insect of pine wilt disease at the experimental forest of the southern forest research center of the Korea forest research institute in February in 2010. Thinning slashes (length, 1 m; diameter, 5~10 cm) tended at the different times were put in cages, and 4~6 couples of adult M. alternatus were put into each the cage in June. Presence or absence the larval entrance holes and larval were determined in November in 2010. Incase of the combination 24, 18, 12 and 6-month-old thinning slashes from thinning times to the time of adult emergence inside a single cage, larval entrance holes were found in the 6-month-old and 12-month-old thinning slashes but larvae were found only in the 6-month-old thinning slashes (treatment 1). In case of the combination 24, 18, 15 and 12-month-old thinning slashes inside a single cage, larval entrance holes were found in the 15-month-old and 12-month-old thinning slashes but larvae were found only in the 12-month-old (treatment 2). When 24, 18, 15, 12 and 6-month-old thinning slashes with treated dry and humid condition were put separately inside each cage, larval entrance holes were found in the 18, 15, 12, 6-month-old thinning slashes without the relation of the dry and humid conditions. But larvae were found in the 15, 12, 6-month-old thinning slashes in the dry conditions and only in the 6-month-old thinning slashes in the humid conditions. Results indicated the lowest limit time which can no longer be used as a habitat by M. alternatus is before 24 month from the time of adult emergence.

• Journal of Korean Society of Forest Science
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• v.100 no.3
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• pp.432-440
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• 2011

The objective of this study was to investigate growth and fruiting characteristics (e.g., nut qualities) of chestnut (Castanea cerenata) after applying various fertilizer treatments at the cultivation site in Suncheon. Fertilizer treatments were designed as follow: liquid fertilizer, chemical fertilizer, organic fertilizer, and control. Both liquid and chemical fertilizer treatments provided the best growth in height and basal diameter. In addition, these two treatments were very effective for crown width of the trees between both east-west and north-south orientation. The liquid fertilizer treatment was effective on total length of the fruiting branch and length of the bearing to terminate part. Both liquid and chemical fertilizer treatments produced the longest length of basal to bearing part compared to the other two treatments. The liquid fertilizer treatment showed the most thickened basal diameter of the fruiting branch and the greatest diameter of above and below the bearing burr part. Elongation Index of the fruiting branch (EI) was the highest with liquid fertilizer treatment and the remaining four indices (Production Index of fruiting branch, PI; Ratio of Diameter between below and above bearing burr part, RD; Growth Index of fruiting branch diameter, GI; Thickness Index of fruiting branch or dormant branch, TI) were the highest with the chemical fertilizer treatment. Total number of produced branch per fruiting mother branch and number of small and weak branches per fruiting mother branch were highest on the control and liquid fertilizer treatment; however, all treatments produced similar numbers. The chemical and organic fertilizer treatments produced a high number of fruiting branches per fruiting mother branch, while organic and liquid fertilizer treatments produced a high number of burr per fruiting branch. The rate of commercializing on the basis of nut weight and quantity was higher on control (87.5%) than chemical fertilizer treatment (84.6%); however, the rate was even lower on liquid fertilizer treatment (84.3%) and organic fertilizer treatment (82.7%). The liquid fertilizer treatment showed the highest average of nut weight, while chemical fertilizer treatment showed the highest average number of fruiting burr. There was no significant difference in average number of normal nuts per burr among treatments. The yield per tree was high on chemical (8.2 kg) and liquid (8.0 kg) fertilizer treatments, but there was no significant difference among treatments. In the rate of nut grade on the basis of nut weight and quantity, the liquid fertilizer treatment, 43.5% and 34.3% more than large nut respectively, produced higher value chestnuts compared to other treatments.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.134-146
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• 2011

Gyeokgu is a group ball game transmitted into the Joseon Dynasty period as acquiring a great vogue among the royal palace and people in Goryeo Dynasty after being introduced into the country from China. This research aimed through historical investigation to look into the form in which the Goryeo dynasty's kings enjoyed Gyeokgu game, and the historical-spatial signification and the locational characteristics of Gujeong(the ground where play Gyeokgu) which is the courtyard where Gyeokgu game was held centering around the Goryeo dynasty's palace where Gyeokgu was prosperous most. We researched and analyzed the data for research after extracting the records related to Gyeokgu from three historical data of the true records of the Goryeo Dynasty. Upon investigation, twelve among 34 kings of the past generations were concerned with Gyeokgu in Gyeokgu game participation form, and 46 times were recorded in historical records in total. In the participation form, kings participated personally in 9 times among 46 Gyeokgu games, and viewed games in case of 37 times. Among these kings, the 18th generation king Uijong was recorded most as 17 times(36.9%) in Gyeokgu records. Places where Gyeokgu were held were 25 places in total including royal palace, detached palace, Lu-jeong, Buddhist temple, private residences, markets and streets, other outside of the royal court and so on, and 46 time-Gyeokgu games in total were held in these places. 21 time(45.6%)-Gyeokgu games were held in only 5 detached place among these places. So, detached palace were used most for Gyeokgu games. In particular, Gyeokgu games were held most in Suchanggung palace and Jangwonjeong palace among these detached palaces, and all these things were recorded during the reign of King Uijong. Gyeokgu game which was prevalent by the end of the Goryeo Dynasty showed a progression to a national festival which kings, personally coming into streets or Jeoja(an archaic word for "market"), enjoyed with the crowd.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.99-107
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• 2011

This study is aiming to acquire data for enhancing genuineness of restoration through reviewing external and internal scenery of Baegun-dong Wonlim such as Baegun-dong 8 Objects of Scenery(pines, bamboos, chrysanthemum, orchid, maehwa blossom, magnolia, fiddle and crane) and 12 Scenic Spots and reviewing internal and external scenery of Baegun-dong Wonlim such as views and scenery for plantation. For Baegun-dong 8 Young which sang songs about scenic spots of Baegun-dong Wonlim it seemed that its head words were formed through borrowing rhyming words from caption of Baegun-dong Yuseogi(白雲洞幽棲記). Accordingly it seemed these scenery secured its status of Wonlim from the beginning. Particularly the words of fiddle and crane in 琴棋書畵(Geumgisuhha) implied that playing Komungo and brushwriting were firmly rooted as romantic pursuits of classical scholars of that time. In consideration of distance upto Okpanbong which is one of 12 scenic spots of Baegun-dong radius of outer circumference is estimated to be around 1.6km. From Okgpanbong, the epicenter, Sandagyeong, Baegokmae, Hongokpok and Pungdan etc. correspond to transitional space. And inner scenery was formed with hub of thatched cottages and bowers surrounded with chrysanthemums, poenies, rhododendron, Phyllostachys bambusoides, pines and upper and lower water paths. Thus it seemed there was scenic structure of centrifugal nature as well as of multiplicity. Forms of majority of water paths with residual structure found in the country have streamlined forms on the other hand Baegun-dong water paths have straight line which almost dominate inner gardens in terms of scale and forms thus revealing its extraordinary idea and design. In order to promote genuine restoration of Baegun-dong Wonlim it will be necessary to have consideration from standpoint of managing perspective to assure presentation of gradual scenery with elements of scenic objects for outer view among 12 Scenic Spots.

• 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 the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.85-96
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• 2011

The purpose of this study, Around Gyeonggi-do cultural propertie Change the Present Condition not apply to analyze the results of processing Change the Present Condition of the trends and issues, and characteristics are derived and In determining the basic data processing of the Change the Present Condition presented are intended to be. 248 of 2009 regulated by Gyeonggi-do Cultural Assets committee agenda for consideration of the more than three times a copy of 15 were enrolled in the study. Review the results of the Change the Present Condition permit, permit held, to review classified information and analyzes the results of processing and complementary. Application for change processing standards and their comparison with the Change the Present Condition of cultural property through the deliberations and conclusions should analyze the results. As a result of research first, decision to allow processing of the application is characterized by a variety of facilities and the lower floors many times the result of the approval, the construction of cultural property conditioned space after the application complements the exterior of the building permit has been determined, applied to the current building near where the decision to allow the existence of is the main reason Second, decisions permit held, if requested neighborhood facilities lots of facilities and construction of large-scale is the most. Results from the first hearing until a final decision is not much change in results and cultural property surroundings due to the building of the reason for rejection was the most inhibited. Third, reconsideration of the decision if the city's development projects and other large development projects, and floors of the building height did not significantly affect the change. Above all, Decisions based on the results of the presence or absence was a big acts and the reason for reconsideration, and on-site investigation is the most. Fourth, It is based on the processing of Change the Present Condition that has been passed or rejected treatment and standards of treatment in two areas where the two sections across any side of the strict criteria were applied. Cultural Properties and applications with the distance increases, the rejection and the reconsideration decision is limited Such distance did not affect the decision to allow.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.170-181
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• 2011

This Research will explore the meaning indicated in the landscape meaning and feature of literary group culture, focusing in Gurujeong(九老亭: pavilion for nine elders) and Samgaeseokmun(三溪石門: stone gate in three valleys) located in Dundeok-myun, Imshil-gun, and will seek to understand the implications by studying the cultural landscape spread out in the area. The place where Gurojeong and Samgaeseokmun is located is the meeting point of the three valleys, Dunnam stream, Osu stream, and Yul stream, which is the main location to view the beautiful scenery, which has the nickname as the dwelling place of a celestial being. Especially, based on the description of old maps, "Samgae(three valleys)" and "Samgaeseokmun" possesses significance as a landmark and shows a characteristic feature of landscape structures of low hills. Dangugurohwe(丹丘九老會: nine elders gathering on the dwelling of a celestial being) originated from Hyangsangurohwe(香山九老會: gathering of nine elders on a fragrant mountain), where Baekgeoi(白居易) of China was one of the main people. This group was organized by nine elders over the age of 60 desiring to view the scenery of Doyeonmyeong. The group enhanced the literary spirit on the low hill, erecting a tower, and enjoying the beautiful scenery changing every season with scholars from the same region. This phenomenon seems to have been formed upon the positive response to gatherings of elders, which were prevalent in the Joseon Dynasty. If the internal idea pursued by the group was "longevity," the external idea pursued can be summarized as "the spirit the respect for the elders." Naming the groups as 'Dangudae(place where the celestial being lives), Guseondong(valley of seeking a celestial life), Bangjangsan(mountain of a high priest), and Daecheondae(place of communicating with God) was likely a device to introspect oneself and symbolize one's life process. Furthermore, the reason Samgaeseokmun, which is an imitation of Choi, Chiwon's work, was built near Soyocheo, was probably to yearn the celestial land and based on the desire to follow Choi, Chiwon, who was the most self-fulfilling being presumed to have become a celestial being by practicing the pursuit of freedom, escaping from the reality. After tracing the symbolizing meaning of the four letters carved in the left side of the stone wall of Dangudae, the conclusion that this place was not only a place for literary gatherings of the nine elders of Saseong(four families), but was a place where the celestial being dwelled could be inferred. Corresponding with Dangudae and Gurojeong, which are places where the order of human and nature is harmonized and where its meaning associated with the location intensifies, arouses strong bond, can be said to be the symbol of the traces of celestial beings where the spirits of attachment to a certain place is embedded. The acts performed in Dangugurohwe were those of traditional leisure including strolling, viewing the scenery, drinking, composing poems, and playing instruments, and sometimes listening to stories, tea ceremony, prayers, and fishing were added, which indicates that the gathering had a strong tendency towards pastoral and hermit life.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.69-86
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• 2020

Haenghaeng Ilgi (Diary of a Royal Trip) (koo 7152; hereafter Ilgi) in the collection of the National Museum of Korea provides an account of Crown Prince Sado's incognito royal visit to Pyeongyang in the fourth month of 1761. Ilgi was written by Ham Daeil, a low-ranking military officer in Pyeongyang. Ham was singled out for praise by Crown Prince Sado (1735-1762) and served the prince from the seventh day of the fourth month to the first day of the fifth month. Ilgi documented the deeds of Crown Prince Sado during this period and provides detailed information on his incognito visit to Pyeongyang, which was not officially recorded. Ilgi shows characteristics differentiating it from many other diaries. For example, the quality of the paper, neat handwriting, and well-organized sentences differ from those of common diaries. These distinctions indicate that Ilgi is closer to an official document than a private diary written by an individual. Since Ilgi records Crown Prince Sado's incognito visit to Pyeongyang, is only vaguely known otherwise, its contents need to be examined in terms of whether or not they are fully factual. As the first step in such verification, It is traced that Ham Daeil's family history which turned out to match what is written in Ilgi. Moreover, Ilgi mentions about Prince Crown Sado's writing a piece of calligraphy, and a matching piece of calligraphy written by Sado still survives today. It can be confirmed that the contents of Ilgi are factual in at least these regards. However, although Crown Prince Sado was known to have met people from various social classes during his visit to Pyeongyang, Ilgi focuses only on Crown Prince Sado and Ham Daeil. This suggests the possibility that the surviving version of Ilgi may be an edited condensation based on original texts containing more complete information on Crown Prince Sado's visit. Ilgi is presumed to have been produced during the generation of Ham Jeonghui, a son of Ham Daeil. The dates of birth and death of Ham Daeil fall during the reign of King Yeongjo. It is unlikely that any records regarding Crown Prince Sado would have been published while King Yeongjo, who was hostile to Sado, ruled the country. Ilgi also provides strong evidence that Ham Jeonghui presented the subsequent king, King Jeongjo, with the calligraphy by Crown Prince Sado and the diary. It is unclear if the book Ham Jeonghui presented him was the same as the extant version of Ilgi. Nonetheless, considering the situation at the time when King Jeongjo was pursuing several projects to honor his father Sado, it is highly probable that Ilgi was produced during the reign of King Jeongjo. The periods of presenting the calligraphy and the diary respectively overlapped with the production of Hyeollyungwon, the royal tomb of Crown Prince Sado, and Sado's sixtieth birthday. Therefore, is it considered reasonable that Ham Jeonghui produced Ilgi to promote his own social ambitions.

• (The) Research of the performance art and culture
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• no.32
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• pp.465-488
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• 2016

This paper attempts to read in different ways and to interpret newly on Cheoyongrang mhang-hae-sa in "Sam-guk-yu-sa". Ulsan have held Cheoyong Cultural Festival for 47 times according to "Sam-guk-yu-sa". However, there have been a frequent identity crisis about Cheoyong Cultural Festival because of controversial issue about Cheoyong, This paper interpretate Cheoyongrang mhang-hae-sa newly to overcome these crisis, Cheoyong's dancing and retreating was not the resignation and tolerance, but the treat and warning, as the dance of Namsansin god of Posukjeong, Buk-acksin god of Keumkangryung and Jisin god of Dongryejeon was the warning of Silla's ruination. 'The Mhang' of Mhang-he-sa temple should be interpreted not as 'watch' but 'fifteen days'. Mhang-he means the roads buried in darkness and vanished had become a sea. The name of Shin-bhang-sa temple means Gae-un-po province of Ulsan had become 'the newly purified region' because of the inspection of King Heon-ghang. The main keyword of Cheoyongrang mhang-hae-sa is 'Byuk-sa-jin-gyung'. 'Byuk-sa-jin-gyung' means to repel the impious and pray the pleasure. The purpose of the personal Gut and national Gut, Narae, was also 'Byuk-sa-jin-gyung'. The reinvented bridal room with a fresh life was like the world of Byuk-sa-jin-gyung. The dance of God Sa-bhang was, as well the desperate desire to New Silla. Cheoyong was a shaman with a superior authority who set up the power to foresee to the god of smallpox. The image of Cheoyong at is not the resignation and tolerance, but the foresight and authority. Therefore, the slogan of Cheoyong Cultural Festival, the resignation and tolerance, should be reexamined. The new Cheoyong Cultural Festival should adopt the concept of foresight and authority and Byuk-sa-jin-gyung. Cheoyong Cultural Festival, have been held for 49times, often had identity problems. The identity of Cheoyong have been misinterpreted as the resignation and tolerance. The slogan of Cheoyong Cultural Festival should be reexamined. The new Cheoyong Cultural Festival should adopt the concept of foresight and authority and Byuk-sa-jin-gyung.