• Journal of Plant Biology
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• v.38 no.3
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• pp.305-317
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• 1995

The bryophyte communities on the forest floor of the mixed coniferous, deciduous broad-leaf forest and the evergreen coniferous forest of cool temperate and subalpine zones in Chiri Mountains with the highest peak (Cheonwangbong 1915 m) in south-central part of the Korean Peninsula were investigated from the phytosociology viewpoint. As a result, five bryophyte communities were recognized, considering the species composition of vascular vegetation; A. Sasamorpha borealis-Abies koreana/Dicranum scoparium-Plagiothecium silvaticum community, B. Bosta minor-Abies koreana/Anomodon rugelii-Plagiomnium cuspidatum community, C. Abies koreana/Hylocomiopsis ovicarpa-Entodon rubicundus community, D. Abies koreana-Picea jezoensis/Hylocomiopsis ovicarpa-Thuidium kanedae community, E. Abies koreana-Pieea jezoensis/Hylocomium splendens-Pleurozium sehreberi community. Among these, the communities A, B, C and D were distributed in the mixed coniferous and deciduous broad-leaf forest of lower altitudes (1200 to 1700 m) and characterized by the elements of the cool temperate zone. They were confimled as synusies belonging to the Fraxino-Abietetum koreanae Song 1988. The community E was distributed in higher altitudes (1700 m to near the summit) and characterized by the species group of the holarctic elements, e.g. Hyloeomium splendens, Pleurozium sehreberi, Dieranum majus, etc. limited in subarctic; subalpine and arctic; alpine zones. The community E was confirmed as a synusie of the Abieti koreanae-Piceetum jezoensis Song 1991 belonging the Vaecinio-Pieeetea Br.-BI. 1939. Up to date many investigator have described the coniferous forest distibuted above 1200 m in Chiri mountauns as the forest vegetation of subalpine zone. However, from the results of the present study, the boundary of the mixed forest and the true subalpine coniferous forest was elucidated to be ca. 1700 m phytosociologically. Species richness was highest in the community E, and the other four communities showed a similar species richness. Among the species diversity indices, H' and D were high in the communities Band E, low in the communities A and C, and medium in the community D. The values of J' decreased with the increase in altitudes and the community E showed the lowest value. The result of Bray-Curtis ordination revealed that the diversity analysis and the division of the above two forest zones are justifiable. The taxa of the bryophyte communities were composed of 25 families, 46 genera, 73 species, 1 subspecies and 2 varieties.

• Journal of Wetlands Research
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• v.6 no.3
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• pp.55-70
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• 2004

The wetland ecosystem is a complex products of various erosion force, accumulation as water flows, hydrogeomorphic units, seasonal changes, the amount of rainfalls, and other essential element. There is no single, correct, ecologically sound definition for wetlands because of the diversity of wetlands and the demarcation between dry and wet environments occurs along a continuum, but wetland plays various ecosystem functions. Despite comprehensive integration through classification and impact factors there is still lacking in systematic management of wetlands. Classification system developed by the USFWS(1979) is hierarchical progresses from systems and subsystems at general levels to classes, subclasses, dominance types, and habitat modifiers. Systems and subsystems are delineated according to major physical attributes such as tidal flushing, ocean-derived salts, and the energy of flowing water or waves. Classes and subclasses describe the type of substrate and habitat or the physiognomy of the vegetation or faunal assemblage. Wetland classes are divided into physical types and biotic types. For the wise management of wetlands in Korea, this study was carried out to examine methodology of USFWS classification system and discuss its application for Korean wetland hydrogeomorphic units already known. Seven wetland types were chosen as study sites in Korea divided into some different types based on USFWS system. Three wetland types belonging to palustrine system showed no difference between Wangdungjae wetland and Mujechi wetland, but Youngnup of Mt. Daeam was different from the former two types at the level of dominant types. This fact means that setting of classification system for management of wetland is needed. Although we may never know much about the wetland resources that have been lost, there are opportunities to conserve the riches that remain. Extensive inventory of all wetland types and documentation of their ecosystem functions are vital. Unique and vulnerable examples in particular need to be identified and protected. Furthermore, a framework with which to demonstrate wetland characteristics and relationships is needed that is sufficiently detailed to achieve the identification of the integrity and salient features of an enormous range of wetland types.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.224-243
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• 2020

The rock-cut relief of two Buddhas seated side-by-side in Wonpungri is a large Buddha sculpture in relief on the side of a cliff in Wonpung-ri, Goesan. This Buddha sculpture is from the Buddhist scripture Sutra of the Lotus. <法華經> Two seated Buddhas statues were prevalent in the Balhae Kingdom, but this was not popular in Silla and Goryeo. In the main text, the time that the two seated Buddhas in Wonpung-ri was created is identified as being during the 10th century. King Gwangjong created a Buddha statue for political purposes. The relief of two seated Buddha image carved on a cliff is located on an important traffic route over the Sobaek Mountain Range. After King Gwangjong took the throne, he paid close attention to the reigning powers of Jincheon and Cheongju because the people of Jincheon and Cheongju were engaged in a power struggle against Gwangjong. The huge relief of two seated Buddhas statue shows the authority of King Gwangjong. In particular, the people of Jincheon and Cheongju had to see this Buddha statue when crossing the Sobaek Mountain Range. The image contained in the relief of the two seated Buddhas features many characteristics of the sculpture style of the Balhae Kingdom. After the fall of Balhae, many of the Balhae people settled in Mungyeong. Balhae people from Mungyeong participated in the production of the relief of the two seated Buddhas. Through the relief of the two seated Buddhas, King Gwangjong wanted to show the people of Jincheon and Cheongju that the Balhae people were supporting him. The relief of two seated Buddhas reflects the historical situation of the King Gwangjong era in the late 10^th century and the style of sculpture.

• The Journal of Natural Sciences
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• v.10 no.1
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• pp.209-216
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• 1998

The results of the study of diving the 21st century's Korea fashion market into consumer market, fashion market, and a new marketing strategy are as follows. The 21st consumer market is First, a fashion democracy phenomenon. As many people try to leave unconditional fashion following, consumer show a phenomenon to choose and create their own fashion by subjective judgements. Second, a phenomenon of total fashion pursuit. Consumer in the future are likely to put their goals not in differentiating small item products, but considering various fashion elements based on their individuality and sense of value. Third, world quality-oriented. With the improvement of life level, it accomplishes to emphasize consumers' fashion mind on the world wide popular use of materials, quality, design and brand image. Fourth, with the entrance of neo-rationalism, consumers show increasing trends to emphasize wisdom, solidity in goods strategy pursuing high quality fashion and to demand resonable prices. Fifth, concept-oriented. Consumers are changing into pursuing concept appropriate to individual life scene. Prospecting the composition of the 21st century's fashion market, First, sportive casual zone will draw attention more than any other zone. This is because interest in sports will grow according to the increase of leisure time and the expasion of time and space in the 21st century, and also ecology will become the important issue of sports sense because of human beings's natural habit toward nature. Second, the down aging phenomenon will accelerate its speed as a big trend. Third, a retro phenomenon, a concept contrary to digital and high-tech, will become another big trend for its remake, antique, and classic concept in fashion market with ecology trend. New marketing strategy to cope with changing fashion market is as follows. First, with the trend of borderless concept, borders between apparels are becoming vague, for example, they offer custom-made products to consumers. Second, as more enterprises take the way of gorilla and guerrilla where guerrillas who aim at niche market show up will develop. Basically, they think highly of individual creative study, and pursue the scene adherence with high sensitiveness. However this polarization becomes mutually-supplementing relationship showing gorilla's guerilla movement, and guerilla's gorilla high-tech. Third with the development of value retailing, enterprises pursuing mass merchandising of groups called category killers are expanded and amplified to new product fields, and expand business' share. Fourth, using outsourcing, the trend to use exterior function leaving each enterprise's strength by inspecting its own work is gradually strong. Fifth, with the expansion of none store sale, the entrance of the internet and the CD-ROM sales added to communication sales such as catalogues are specified. An eminent American think tank expect that 5-5% of the total sale of clothes and home goods in 2010 will be done by none store sale. Accordingly, to overcome the problems, First international, global level marketing, Second, the improvement of technology, Third, knowledge-creating marketing are needed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.48-57
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• 2018

In this study, we conducted an analysis on the actual field materials and the ancient text of January 2017. First, Yuyin ShanFang is one of the famous garden in the Lingnan Region, and its total area is $1598m^2$. Wobin called the name 'Yuyin(餘蔭)' meaning the virtues of his ancestors. Second, if we analyze the poem written by Wobin, we can classify it as a phrase expressing the world beyond the future, a poem expressing the ideas of family and romantic ideas. Third, the space spread to the south around the shrine building in the middle of the site was largely a residential space, according to the analysis of the site's layout and spatial composition. Fourth, the spatial component of the hydronic acid is analyzed. The pavilion area is the Hanchwi-Pavilion, which is designated in the Wongrim, and Gyesang-Pavilion, which is a unique range that describes the peak of the garden. Fifth, Yuyin ShanFang has five ponds that are very diverse in shape. It is characteristic of us to stand on a technical boundary. Sixth, Seokgasan was referred to as Gyeongbansan, which was named after The builder Wobin and his descendants who passed it. Seventh, Hwachang is characterized by a wooden bull window and a compound glass. Eighth, the alumni style is not as diverse as the alumni style of the Suzhou traditional garden, but it features various forms and colorful pictures on the front of the alumni. Ninth, the one-piece sculptures of the interior of a building are expressed themes such as Gilsang, Sukjeong, Daoism, Palseom, and others. Finally, Trees planted in Yuyin ShanFang are mostly tropical plants, and some of them have symbolic meaning. Because the weather here is good for growing fruit, so planted a lot of fruit trees.

• (The) Research of the performance art and culture
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• no.32
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• pp.651-700
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• 2016

The keyword of contemporary art in 21st is audience participation. London has emphasized the importance of audience participation since 2000. The National Theater of London is trying a new method, which is live performance to search new audiences. Also, they are trying to cross the boundaries between 'stage' and 'spectator'. This leads the other theaters to search new audiences and try new genre of performance. Therefore, they establish a new form of performance, which is that audience actively moves and find a new story in a theater. For example, "environmental theater" is the one. This theater escapes from the traditional stage, but it is based on "site-specific performance." Lots of new forms of theater have emerged. In this study, I focused on one of these new forms of theater, which is "Punchdrunk." "Punchdrunk" was founded by few students graduated from London University's Laban Center in 1999. They started at an empty stage in small school with only three audiences. 7 years after, it became one of major theaters in London. 10 years after, it showed their performances in the United state. Since then, their performances in New York have never been stopped. More strikingly, for last decades, this theater has been always full. In this study, I reasoned that the key of "Punchdrunk" success is audience participation. Therefore, I investigated the features of Punchdrunk theater and how they engage their audience in this performance. In this study, I focused on one of their performances, . Also, I categorized the audiences in three different ways: narrative visitor, walking visitor, and engaging visitor with mask. Three-part transition of Disney Theme Park from Louis Marin was applied to study "narrative visitor." For "walking visitor", Normadism from Gilles Deleuze was applied. For "engaging visitor with mask", Voyeurism was applied.

• Korean Journal of Heritage: History & Science
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• v.42 no.2
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• pp.4-39
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• 2009

The foundations of ancient wooden pagoda consist of the stylobate soil, exteriors, stairways and etc. The factors were different according to the time, region and the architects. As a result of many archaeological researches, we have the data of horizontal gutters as a part of the foundations of ancient wooden pagodas in Gogureyo, China, Japan. But so far archaeological researches have not revealed such data in Baekje and Silla~Unified Silla period wooden pagodas. In genarally, the eaves must protrude as much as the outer line of the foundation to protect its upper side from rain. The purpose of the aforementioned horizontal gutter was to protect the foundations of ancient wooden pagodas. In this article, we call this horizontal gutter the Naksubaji. After researching many archaeological findings of ancient wooden pagodas of China, Korea and Japan from 5th century to 7th century, it is suggested that the Naksubaji was installed to wooden pagodas of Baekje period in 6th century and Silla~Unified Silla periods in 7th century. In wooden pagodas of Baekje period in 6th century, Naksubajis were found in wooden pagodas of Gunsurisaji temple site, Neungsanrisaji temple site, Wangheungsaji temple site. Especially in case of the Wangheungsaji temple site, presumed line to make stylobate of wooden pagoda in Baekje period was confirmed by archaeological research and this case is similar to the early period wooden pagodas in Japan. Goryeocheok(ruler used in the Three Kingdoms) was used to construct wooden pagodas. According to the restoration plan of wooden pagodas to verify the protrusion of eaves, the ratio of the length of the foundation:the length of 1st storied building:the length of the center:the length of the corner was 4.9:2.7:1:0.9 between Gunsurisaji temple site pagoda and Wangheungsaji temple site pagoda. Also I found tne same length of tne 1st storied building between Gunsurisaji temple site pagoda and Wangheungsaji temple site pagoda. Therefore the exact scales and planning were adapted to the establishment of wooden pagodas in 6th century in Baekje period. But the Naksubaji was not producted after 6th century in Baekje period. Because the big wooden pagoda had been appeared, they were needed other style of the foundation. In wooden pagodas which were made in Silla~Unified Silla periods in 7th century, I found the Naksubaji in wooden pagodas in Youngmyosajl temple site, Hwangnyongsaji temple site, Sacheonwangsa temple site. The line of stone in Youngmyosajl temple site, the 2nd line expressed the area of pagoda, the relative analysis of the lower foundation between Neungsanrisaji temple site pagoda and Sacheonwangsa temple site pagoda were examined the Naksubaji. In Silla~Unified Silla periods, the establishment of wooden pagodas was started at 7th century. So they had the exactly details of wooden pagoda, but we had no data of the Naksubaji after the time made Sacheonwangsa temple site.

• Journal of the Computational Structural Engineering Institute of Korea
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• v.37 no.1
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• pp.67-76
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• 2024

In this paper, we present a DIP-MLS testing method that combines digital image processing with a rigid body-based MLS differencing approach to measure mechanical variables and analyze the impact of target location and image resolution. This method assesses the displacement of the target attached to the sample through digital image processing and allocates this displacement to the node displacement of the MLS differencing method, which solely employs nodes to calculate mechanical variables such as stress and strain of the studied object. We propose an effective method to measure the displacement of the target's center of gravity using digital image processing. The calculation of mechanical variables through the MLS differencing method, incorporating image-based target displacement, facilitates easy computation of mechanical variables at arbitrary positions without constraints from meshes or grids. This is achieved by acquiring the accurate displacement history of the test specimen and utilizing the displacement of tracking points with low rigidity. The developed testing method was validated by comparing the measurement results of the sensor with those of the DIP-MLS testing method in a three-point bending test of a rubber beam. Additionally, numerical analysis results simulated only by the MLS differencing method were compared, confirming that the developed method accurately reproduces the actual test and shows good agreement with numerical analysis results before significant deformation. Furthermore, we analyzed the effects of boundary points by applying 46 tracking points, including corner points, to the DIP-MLS testing method. This was compared with using only the internal points of the target, determining the optimal image resolution for this testing method. Through this, we demonstrated that the developed method efficiently addresses the limitations of direct experiments or existing mesh-based simulations. It also suggests that digitalization of the experimental-simulation process is achievable to a considerable extent.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.46 no.3
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• pp.241-247
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• 2001

Boundary line method was adopted to analyze the relationships between rice yield and meteorological conditions during rice growing period. Boundary lines of yield responses to mean temperature($T_a$) and sunshine hour( $S_{h}$) and diurnal temperature range($T_r$) were well-fitted to hyperbolic functions of f($T_a$) =$$\beta$_{0t}$(1-EXP(-$$\beta$_{1t}$ $\times$ ($T_a$) ) and f( $S_{h}$)=$$\beta$_{0t}$((1-EXP($$\beta$_{1t}$$\times$ $S_{h}$)), to quadratic function of f($T_r$) =$\beta$$_{0r}$(1-($T_r$ 1r)$^2$), respectively. to take into account to, the sterility caused by low temperature during reproductive stage, cooling degree days [$T_c$ =$\Sigma$(20-$T_a$] for 30 days before heading were calculated. Boundary lines of yield responses to $T_c$ were fitted well to exponential function of f($T_c$) )=$\beta$$_{0c}$exp(-$$\beta$_{1c}$$\times$$T_c$ ). Excluding the constants of $\beta$$_{0s}$ from the boundary line functions, formed are the relative function values in the range of 0 to 1. And these were used as yield indices of the meteorological elements which indicate the degree of influence on rice yield. Assuming that the meteorological elements act multiplicatively and independently from each other, meteorological yield index (MIY) was calculated by the geometric mean of indices for each meteorological elements. MIY in each growth period showed good linear relationship with rice yield. The MIY's during 31 to 45 days after transplanting(DAT) in vegetative stage, during 30 to 16 days before heading (DBH) in reproductive stage and during 20 days after heading (DAH) in ripening stage showed greater explainablity for yield variation in each growth stage. MIY for the whole growth period was calculated by the following three methods of geometric mean of the indices for vegetative stage (MIVG), reproductive stage (HIRG) and ripening stage (HIRS). MI $Y_{I}$ was calculated by the geometric mean of meteorological indices showing the highest determination coefficient n each growth stage of rice. That is, (equation omitted) was calculated by the geometric mean of all the MIY's for all the growth periods devided into 15 to 20 days intervals from transplanting to 40 DAH. MI $Y_{III}$ was calculated by the geometric mean of MIY's for 45 days of vegetative stage (MIV $G_{0-45}$ ), 30 days of reproductive stage (MIR $G_{30-0}$) and 40 days of ripening stage (MIR $S_{0-40}$). MI $Y_{I}$, MI $Y_{II}$ and MI $Y_{III}$ showed good linear relationships with grain yield, the coefficients of determination being 0.651, 0.670 and 0.613, respectively.and 0.613, respectively.