• Korean Journal of Heritage: History & Science
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• v.39
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• pp.95-130
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• 2006

Japanese government college researchers, including Sekino Tadashi(關野貞), have conducted research studies and collected data, on overall Korean cultural relics as well as Silla tumuli(新羅古墳) in the early modern times under the Japanese imperialistic rule. They were supported by the Meichi government in the early stage of research, by the Chosun government-general, and by their related organizations after Korea was coIonialized to carry out investigations on Korean antiquities, fine arts, architecture, anthropology, folklore, and so on. The objective for which they prosecuted inquiries into Korean cultural relics, including Silla tumuli, may be attributed to the purport to find out such data as needed for the theoretical foundation to justify their colonialization of Korea. Such a reason often showed locally biased or distorted views. Investigations and surveys had been incessantly carried out by those Japanese scholars who took a keen interest in Korean tumuli and excavated relics since 1886. 'Korea Architecture Survey Reports' conducted in 1904 by Sekino in Korea gives a brief introduction of the contents of Korean tumuli, including the Five Royal Mausoleums(五陵). And in 1906 Imanishi Ryu(今西龍) launched for the first time an excavation survey on Buksan Tumulus(北山古墳) in Sogeumgangsan(小金剛山) and on 'Namchong(南塚)' in Hwangnam-dong, which greatly contributed to the foundation of a basic understanding of Wooden chamber tombs with stone mound(積石木槨墳) and stone chambers with tunnel entrance(橫穴式石室墳). The ground plan and cross section of stone chambers made in 1909 at his excavation survey of seokchimchong(石枕塚) by Yazui Seiyichi(谷井第一) who majored in architecture made a drawing in excavation surveys for the first time in Korea, in which numerical expressions are sharply distinguished from the previous sketched ones. And even in the following excavation surveys this kind of drawing continued. Imanishi and Yazui elucidated that wooden chambers with stone mound chronologically differs from the stone chambers with tunnel entrance on the basis of the results of surveys of the locational characteristics of Silla tumuli, the forms and size of tomb entrance, excavated relics, and so forth. The government-general put in force 'the Historic Spots and Relics Preservation Rules' and 'the Historic Spots Survey Council Regulations' in 1916, establishing 'Historic Spots Survey Council and Museum Conference. When museums initiated their activities, they exhibited those relics excavated from tumuli and conducted surveys of relics with the permission of the Chosun government-general. A gold crown tomb(金冠塚) was excavated and surveyed in 1921 and a seobong tomb(瑞鳳塚) in 1927. Concomitantly with this large size wooden chamber tombs with stone mound attracted strong public attention. Furthermore, a variety of surveys of spots throughout the country were carried out but publication of tumuli had not yet been realized. Recently some researchers's endeavors led to publish unpublished reports. However, the reason why reports of such significant tumuli as seobong tomb had not yet been published may be ascribed to the critical point in those days. The Gyeongju Tumuli Distribution Chart made by Nomori Ken(野守健) on the basis of the land register in the late 1920s seems of much significance in that it specifies the size and locations of 155 tumuli and shows the overall shape of tumuli groups within the city, as used in today's distribution chart. In the 1930s Arimitsu Kyoichi(有光敎一) and Saito Tadashi(齋藤忠) identified through excavation surveys of many wooden chamber tombs with stone mound and stone chambers with tunnel entrance, that there were several forms of tombs in a tomb system. In particular, his excavation survey experience of those wooden chamber tombs with stone mound which were exposed in complicated and overlapped forms show features more developed than that of preceding excavation surveys and reports publication, and so on. The result of having reviewed the contents of many historic spots surveyed at that time. Therefore this reexamination is considered to be a significant project in arranging the history of archaeology in Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.2
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• pp.35-45
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• 2023

First, The spatial distribution characteristics of old big trees were analyzed using ArcGIS figures by combining basic information such as species and ages of old big trees in Handan City, which were compiled by the local bureau of landscaping. The types of species, distribution by ages of trees, ownership status, growth status, and diversity status were comprehensively analyzed. Statistically, Styphnolobium, Acacia, Gleditsia, and Albizia of Fabaceae accounted for the majority, of which Sophora japonica accounted for the highest proportion. Sophora japonica is widely and intensively distributed to each prefecture and district in Handan city. According to the age and distribution, the old big trees over 1000 years old were mainly Sophora japonica, Zelkova serrata, Juniperus chinensis, Morus australis Koidz., Dalbergia hupeana Hance, Ceratonia siliqua L., and Pistacia chinensis, and Platycladus orientalis. Second, as found in each type of old big tree status, various types of old big tree status were investigated, the protection management system, protection management process, and protection management benefits were studied, and the protection of old big tree was closely related to the growth environment. Currently, the main driving force behind the protection of old big trees is the worship of old big trees. By depositing its sacredness to the old big tree and sublimating the natural character that nature gave to the old big tree into a guiding consciousness of social activities, nature's "beauty" and personality's "goodness" are well combined. The protection state of the old big tree is closely related to the degree of interaction with the surrounding environment and the participation of various cultures and subjects. In the process of continuously interacting with the surrounding environment during the long-term growth of old big trees, it seems that a natural sanctuary was formed around old big trees in the process of voluntarily establishing a "natural-cultural-scape" system involving bottom-up and top-down cross-regions, multicultural and multi-subjects. Third, China focused on protecting and recovering old big trees, but the protection management system is poor due to a lack of comprehensive consideration of historical and cultural values, plant diversity significance, and social values of old big trees in the management process. Three indicators of space's regional characteristics, property and protection characteristics, and value characteristics can be found in the evaluation of the natural characteristics of old giant trees, which are highly valuable in terms of traditional consciousness management, resource protection practice, faith system construction, and realization of life community values. A systematic management system should be supported as to whether they can be protected and developed for a long time. Fourth, as the perception of protected areas is not yet mature in China, "natural sanctuary" should be treated as an important research content in the process of establishing a nature reserve system. The form of natural sanctuary management, which focuses on bottom-up community participation, is a strong supplement to the current type of top-down nature reserve management in China. Based on this, the protection of old giant trees should be included in the form of a nature reserve called a natural monument in the nature reserve system. In addition, residents of the area around the nature reserve should be one of the main agents of biodiversity conservation.

• Journal of Preventive Medicine and Public Health
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• v.30 no.1 s.56
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• pp.45-59
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• 1997

It has been known that there is a tracking phenomenon in the level of serum lipids. However, no study has been performed to examine the change and tracking of serum lipids in Korean adolescents. The purpose of this study is to examine the changes of serum lipids in Korean adolescents from 12 to 16 years of age, and to examine whether or not there is a tracking phenomenon in serum lipids level during the period. In 1992 serum lipids(total cholesterol(TC), triglyceride(TG), LDL cholesterol(LDL-C), HDL cholesterol(HDL-C)) were measured in 318 males, 365 females who were 12 years of age in Kangwha county, Korea. These participants have been followed up to 1996 and serum lipids level were examined in 1994 and 1996. Among the participants 162 males and 147 females completed all three examinations in fasting state. To examine the effect of eliminating adolescents with incomplete data, we compared serum lipids, blood pressure and anthropometric measures at baseline between adolescents with complete follow-up and adolescents who were withdrawn. To examine the change of serum lipids we compared mean values of serum lipids according to age in males and females. Repeated analysis of variance was used to test the change according to age. We used three methods to examine the existence of tracking. First, we analyzed the trends in serum lipids over 4-year period within quartile groups formed on the basis of the first-year serum lipids level to see whether or not the relative ranking of the mean serum lipids among the quartile groups remained in the same group for 4-year period. Second, we quantified the degree of tracking by calculating Spearman's rank correlation coefficient between every tests. Third, the persistence extreme quartile method was used. This method divides the population into quartile groups according to the initial level of blood lipids and then calculates the percent of the subjects who stayed in the same group at follow-up measurement. The decreases in levels were noted during 4 years for TC, LDL-C, primarily for boys. The level of HDL-C decreased between baseline and first follow-up for both sexes. Tracking, as measured by both correlation coefficients and persistence extreme quartiles, was evident for all of the lipids. The correlation coefficients of TC between baseline and 4 years later in boys and girls were 0.55 and 0.68, respectively. And the corresponding values for HDL-C were 0.58 and 0.69. More than 50% of adolescents who belonged to the highest quartile group in TC, HDL-C and LDL-C at the baseline were remained at the same group at the examination performed 2 years later for both sexes. The probabilities of remaining at the same group were more than 35% when examined 4 years later. The tracking phenomenon of TG was less evident compared with the other lipids. Percents of girls who stayed at the same group 2 years later and 4 years later were 42.9% and 25.7%, respectively. It was evident that serum lipid levels tracked in Korean adolescents. Researches with longer follow-up would be needed in the future to investigate the long-term change of lipids from adolescents to adults.

• Magazine of the Korean Society of Agricultural Engineers
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• v.11 no.1
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• pp.1534-1548
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• 1969

This experiment was conducted, making use of the 'NONG-RIM6' arecommended variety of rice for the year of 1968. Main purposes of the experiment are to explore possibilities of; a) ways and means of saving irringation water and, b) overcoming drought at the same time so that an increased yield in rice could be resulted in. Specifically, it was tried to determine the effects of the Rotation irrigation method combined with differentiated thickness of lining upon the growth and yield of rice. Some of the major findings are summarized in the following. 1) The different thicknesses show a significant relationship with the weight of 1,000 grains. In the case of 9cm lined plot, the grain weight is 23.5grams, the heaviest. Next in order is 3cm lined plot, 6cm lined plot, control plot, and wheat straw lined-plot. 2) In rice yield, it is found that there is a considerably moderate significant relationship with both the different thickness of lining and the number of irrigation, as shown in the table. 3) There is little or no difference among different plots in terms of a) physical and chemical properties of soil, b) quality of irrigation water, c) climatic conditions, and rainfalls. 4) It is found that there is a significant relationship between differences in the method of rotation irrigation and the number of ears per hill. The plot irrigated at an interval of 7 days shows 17.4 ears and plot irrigated at an interval of 6 days, 16.3 5) In vinyl-treated plots, it is shown that both yield and component elements are greatest in the case of the plot ith whole of $3cm/m^2$ Next in order are the plot with a hole of $2cm/m^2$ the plot with a hole of $1cm/m^2$ In the case of the plot with no hole it is found that both yield and component elements are decreased as compared to the control plot. 6) The irrigation water reqirement is measured for the actual irrigation days of 72 which are the number subtracted the days of rainfall of 30 from the total irrigation days of 102. It is found that the irrigation water requirement for the uncontrol plot is 1,590mm as compared to 876mm(44.9% saved) for the 9cm-lined plot, 959mm(39.7% saved) for the 6cm-lined plot 1,010mm(36% saved) for the 3cm-lined plot and 1,082mm(32% saved) for the wheat straw lined plot. In the case of the Rotation irrigation method it is found that the water requirement for the plot irrigated at an interval of 8 days is 538mm(65% saved), as compared to 617mm(61.6% saved) for plot irrigated at an interval of 7 day 672mm(57.7% saved) for plot irrigated at an interval of 6day, 746mm(53.0% saved) for the plot irrigated at an interval of 5 days, 890mm 44.0% saved) for the plot irrigated at an interval of 4 days, and 975mm(38.6% saved) for the plot irrigated at an interval of 3 days. 7) The rate of evapotranspiration is found 2.8 around the end of month of July, as compared to 2.6 at the begining of August 3.4 around the end of August and 2.6 at the begining of August 3.4 around the end of August and 2.6 at the begining of September. 8) It is found that the saturation quantity of 30mm per day is decreased to 20mm per day though the use of vinyl covering. 9) The husking rate shows 75 per cent which is considered better.

• Journal of Korean Society of Forest Science
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• v.47 no.1
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• pp.37-43
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• 1980

This study have done to get the basical information that would be useful to make the ecological planting, selection of suitable species and weeding plan by the relation between the leading shoot elongation of several species and the climatic factors in the plantation. Sampling measurement have been done in the trial forest of Korean German Forest Management Project located in Joil-ri, Samnam-myeon and Ichcon-ri, Sangbug-myeon, Ulju-gun. The former is in lowland at 100m latidude and the latter is in highland of 600 m latitude. The elongation of leading shoot has been measured in the plantation with 10 days interval from the beginning of March in 1979 and the climatic datas has gotten in the weather station closed to the plantation. 1. The change of air temperature and rainfall in each measuring site is like Fig 1. and 2. The similar temperature in 600 m high latitude is coming about 10 days latter than 100 m latitude. 2. Genus pine as Pinus thunbergii, P. rigida, P. rigitaeda. P. koraiensis and P. taeda begin their leading shoot growth during March and air temperature in that time is around $6^{\circ}C$. In highland their beginning of leading shoot elongation has been found out 10 days latter than lowland. However Abies, Larix and Picea has shown to open their leading shoot during May, 40 days late in comparing with genus pine, and then temperature is making around $15^{\circ}C$. But Cryptomeria, Chamaecyparis and Cedrus deodora has shown their leading shoot opening in March in lowland and May in high land. The reason of late opening, specially in highland, seems to be the influence of winter frost. 3. Most of leading shoot elongation of genus pine has finished during the end 10 days of April and May under range of air temperate $10^{\circ}C$ and $20^{\circ}C$ and other species has finished most of their elongation during the end 10 days of May and June with air temperature range of $18^{\circ}C$ to $20^{\circ}C$. So the suitable season of weeding works show to genus pine in May and other species in June. 4. The leading shoot growth of genus pine has started earlier and closed earlier too than other species and, when over than $20^{\circ}C$ air temperature, their growth is decreasing quickly. Pices abies as well show to be decreased suddenly in over than $20^{\circ}C$ temperature. Other species show the similar trend when over than $22^{\circ}C$. This reason is considered as high temperature of summer season. 5. Annual elongated days of leading shoot of Picea abies is 50 days, Abies hollophylla 70 days, and more than 85 percentage of shoot growth of Pinus koraiensis and Larix leptolepsis are growing during 70 dys as well. The shoot growing days of Chamaecyparis, P. rigida, P. rigitaeda, P. taeda and P. shunbergii show longer period as over than 120 days. 6. The shoot elongation times per year of Abies and Picea has closed as one times and Genus pine is continuring their elongation more than two times. But Cryptomeria, Chamaecyparis, Cedrus deodora and Larix show one or two times elongation depending on the measuring site. The reason of continuring elongation more than than two times seems to be influenced by the temperature in summer season except the genetical reason. 7. Depending on the above results, as the high temperature in summer season could give the influence to grow the leading shoot in the plantation, this would be the considering point on the ecological planting and selection of the suitable species to the slope aspect. The elongation pattern by the season show to be the considering point too to decide the the weeding and fertilizer dressing time by the species.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.43-59
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• 2008

Sap(?, a funeral fan) is a funeral ceremonial object used in association with a Confucian ceremonial custom, which was crafted by making a wooden frame, attaching a white cloth or a thick paper onto it, drawing pictures on it, and making a holder for a handle. According to Liji(Records of Rites), Sap was used since the Zhou Dynasty, and these Chinese Sap examples are no big different than the Korean Sap examples, which were described in Joseon Wangjo Sillok(Annals of the Joseon Dynasty), Gukjo Oryeui(the Five Rites of the State), and Sarye Pyeollam(Handbook on Four Rituals). This study explored Sap excavated in lime-filled tombs and lime-layered tombs of aristocrats dating back to Joseon, as well as their historical records to examine Sap's characteristics according to their examples, manufacturing methods, and use time. The number and designs of Sap varied according to the deceased' social status aristocrats used mainly one pair of 亞-shaped Bulsap, and a pair of Hwasap with a cloud design depicted on it. A Sap was wrapped twice with Chojuji paper or Jeojuji paper, and for the third time with Yeonchangji paper. Then, it was covered with a white ramie, a hemp, a cotton, a silk satin, etc. Bobul(an axe shape and 亞-shape design) was drawn on both sides of Sap, and a rising current of cloud was drawn at the peripheral area mainly with red or scarlet pigments. Sap, which were excavated from aristocrats'lime-filled and lime-layered tombs, are the type of Sap which were separated from its handle. These excavated Sap are those whose long handles were burnt during the death carriage procession, leaving Sap, which later were erected on both sides of the coffin. The manufacturing process of excavated relics can be inferred by examining them. The excavated relics are classified into those with three points and those with two points according to the number of point. Of the three-point type(Type I), there is the kind of relic that was woven into something like a basket by using a whole wood plate or cutting bamboo into flat shapes. The three-point Sap was concentrated comparatively in the early half of Joseon, and was manufactured with various methods compared with its rather unified overall shape. In the meantime, the two-point Sap was manufactured with a relatively formatted method; its body was manufactured in the form of a rectangle or a reverse trapezoid, and then its upper parts with two points hanging from them were connected, and the top surface was made into a curve(Type II) or a straight line(Type III) differentiating it from the three-point type. This manufacturing method, compared with that of the three-point type, is simple, but is not greatly different from the three-point type manufacturing method. In particular, the method of crafting the top surface into a straight line has been used until today. Of the examined 30 Sap examples, those whose production years were made known from the buried persons'death years inscribed on the tomb stones, were reexamined, indicating that type I was concentrated in the first half of the $16^{th}$ century. Type II spanned from the second half of the $16^{th}$ century to the second half of the $17^{th}$ century, and type III spanned from the first half of the $17^{th}$ century to the first half of the $18^{th}$ century. The shape of Sap is deemed to have changed from type I to type II and again from type II to type III In the $17^{th}$ century, which was a time of change, types II and III coexisted. Of the three types of Sap, types II and III re similar because they have two points; thus a noteworthy transit time is thought to have been the middle of the $16^{th}$ century. Type I compared with types II and III is thought to have required more efforts and skills in the production process, and as time passed, the shape and manufacturing methods of Sap are presumed to have been further simplified according to the principle of economy. The simplification of funeral ceremonies is presumed to have been furthered after Imjinwaeran(Japanese invasion of Joseon, 1592~1598), given that as shown in the Annals of King Seonjo, state funerals were suspended several times. In the case of Sap, simplification began from the second half of the $16^{th}$ century, and even in the $18^{th}$ century, rather than separately crafting Sap, Sap was directly drawn on the coffin cover and the coffin. However, in this simplification of form, regulations on the use of Sap specified in Liji were observed, and thus the ceremony was rationally simplified.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.4
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• pp.67-80
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• 2022

SipWooDo (十牛圖: Painting of Ten Bulls), a Buddhist painting, is a kind of Zen Sect Buddhism painting, which is shown as a mural in many of main halls of Korean Buddhist temples. MokWooDo has been painted since Song Dynasty of China. It paints a cow, a metaphor of mind and a shepherd boy who controls the cow. It comes also with many other types of works such as poetry called GyeSong, HwaWoonSi and etc. That is, it appeared as a pan-cultural phenomenon beyond ideology and nation not limited to Chinese Buddhist ideology of an era. This study, therefore, selects MokWooDo chants that represent Confucianism, Buddhism and Taoism to compare the writing purposes, mind discipline methods and ultimate goals of such chant literatures in order to integrate and comprehend the ideologies of such three schools in the ideologically cultural aspect, which was not fully dealt with in the existing studies. In particular, the study results are: First, the SipWooDo of Buddhist School is classified generally into Bo Myoung's MokWooDo and Kwak Ahm's SimWooDo (尋牛圖: Painting of Searching out a Bull). Zen Sect Buddhism goes toward nirvana through enlightenment. Both MokWooDo and SimWooDo of Buddhist School are the discipline method of JeomSu (漸修: Discipline by Steps). They were made for SuSimJeungDo (修心證道: Enlightenment of Truth by Mind Discipline), which appears different in HwaJe (畫題: Titles on Painting) and GyeSong (偈頌: Poetry Type of Buddhist Chant) between Zen Sect Buddhism and Doctrine Study Based Buddhism, which are different from each other in viewpoints. Second, Bo Myoung's MokWooDo introduces the discipline processes from MiMok (未牧: Before Tamed) to JinGongMyoYu (眞空妙有: True Vacancy is not Separately Existing) of SsangMin (雙泯: the Level where Only Core Image Appears with Every Other Thing Faded out) that lie on the method called BangHalGiYong (棒喝機用: a Way of Using Rod to Scold). On the other side, however, it puts its ultimate goal onto the way to overcome even such core image of SsangMin. Third, Kwak Ahm's SimWooDo shows the discipline processes of JeomSu from SimWoo (尋牛: Searching out a Bull) to IpJeonSuSu (入鄽垂手: Entering into a Place to Exhibit Tools). That is, it puts its ultimate goal onto HwaGwangDongJin (和光同塵: Harmonized with Others not Showing your own Wisdom) where you are going together with ordinary people by going up to the level of 'SangGuBori (上求菩提: Discipline to Go Up to Gain Truth) and HaHwaJungSaeng (下化衆生: Discipline to Go Down to Be with Ordinary People)' through SaGyoIpSeon (捨敎入禪: Entering into Zen Sect Buddhism after Completing a Certain Volume of Doctrine Study), which are working for leading the ordinary people of all to finding out their Buddhist Nature. Fourth, Shimiz Shunryu (清水春流)'s painting YuGaSipMaDo (儒家十馬圖: Painting of Ten Horses of Confucian School) borrowed Bo Myoung's MokWooDo. That is, it borrowed the terms and pictures of Buddhist School. However, it features 'WonBulIpYu (援佛入儒: Enlightenment of Buddhist Nature by Confucianism)', which is based on the process of becoming a greatly wise person through Confucian study to go back to the original good nature. From here, it puts its goal onto becoming a greatly wise person, GunJa who is completely harmonized with truth, through the study of HamYang (涵養: Mind Discipline by Widening Learning and Intelligence) that controls outside mind to make the mind peaceful. Its ultimate goal is in accord with "SangCheonJiJae, MuSeongMuChee (上天之載, 無聲無臭: Heaven Exists in the Sky Upward; It is Difficult to Get the Truth of Nature, which has neither sound nor smell)' words from Zhōngyōng. Fifth, WonMyeongNhoYin (圓明老人)'s painting SangSeungSuJinSamYo (上乘修真三要: Painting of Three Essential Things to Discipline toward Truth) borrowed Bo Myoung's MokWooDo while it consists of totally 13 sheets of picture to preach the painter's will and preference. That is, it features 'WonBulIpDo (援佛入道: Following Buddha to Enter into Truth)' to preach the painter's doctrine of Taoism by borrowing the pictures and poetry type chants of Buddhist School. Taoism aims to become a miraculously powerful Taoist hermit who never dies by Taoist healthcare methods. Therefore, Taoists take the mind discipline called BanHwanSimSeong (返還心性: Returning Back to Original Mind Nature), which makes Taoists go ultimately toward JaGeumSeon (紫金仙) that is the original origin by changing into a saint body that is newly conceived with the vital force of TaeGeuk abandoning the existing mind and body fully. This is a unique feature of Taoism, which puts its ultimate goal onto the way of BeopShinCheongJeong (法身淸淨: Pure and Clean Nature of Buddha) that is in accord with JiDoHoiHong (至道恢弘: Getting to Wide and Big Truth).

• Journal of Korean Society of Forest Science
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• v.9 no.1
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• pp.1-44
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• 1969

The important results which have been obtained in the investigation can be recapitulated as follows. 1. As demostrated by the experimental results and analyses concerning their effects in the on-ground type mushroom house, the constructions in relation to the side wall and ceiling of the experimental houses showed a sufficient heat insulation on effect to protect insides of the houses from outside climatic conditions. 2. As the effect on the solar type experimental mushroom house which was constructed in a half basement has been shown by the experimental results and analyses, it has been proved to be effective for making use of solar heat. However there were found two problems to be improved for putting solar houses to practical use in the farm mushroom growing: (1) the construction of the roof and ceiling should be the same as for the on-ground type house, and (2) the solar heat generating system should be reconstructed properly. A trial solar heat generating system is shown in Fig. 40. 3. Among several ventilation systems which have been studied in the experiments, the underground earthen pipe and ceiling ventilation, and vertical side wall and ceiling ventilation systems have been proved to be most effective for natural ventilation. 4. The experimental results have shown that ventilation systems such as the vertical side wall and underground ventilation systems are suitable to put to practical use as natural ventilation systems for farm mushroom houses. These ventilation systems can remarkably improve the temperature of fresh air which is introduced into the house by heat transfers within the ventilation passages, so as to approach to the desired temperature of the house without any cooling or heating operation. For example, if it is assuming that x is the outside temperature and y is the amount of temperature adjustment made by the influence of the ventilation system, the relationships that exist between x and y can be expressed by the following regression lines. Underground iron pipe ventilation system ${\cdots}{\cdots}$ y=0.9x-12.8 Underground earthen pipe ventilation system ${\cdots}{\cdots}$y=0.96x-15.11 Vertical side wall ventilation system${\cdots}{\cdots}$ y=0.94x-17.57 5. The experimental results have shown that the relationships existing between the admitted and expelled air and the $Co_2$ concentration can be described with experimental regression lines or an exponent equation as follows: 1) If it is assumed that x is an air speed cm/sec. and y is an expelled air speed in cm/sec. in a natural ventilation system, since the y is a function of the x, the relationships that exist between x and y can be expressed by the regression lines shown below: 2) If it is assumed that x is an admitted volume of air in $m^3/hr$ and y is an expelled volume of air in $m^3/hr$ in a natural ventilation system, since the y is a function of the x, the relationships that exist between x and y can be expressed by the regression lines shown below. 3) If it is assumed that the expelled air speed in cm/sec and replacement air speed in cm/sec. at the bed surface in a natural ventilation system are shown as x and y, respectively, since the y is a function of the x, the relationships that exist between x and y can be expressed by the following regression line: G.E. (100%)- C.V. (50%) ventilation system${\cdots}$ y=0.54X+0.84 4) If it is assumed that the replacement air speed in cm/sec. at the bed surface is shown as x, and $CO_2$ concentration which is expressed by multiplying 1000 times the actual value of $CO_2$ % is shown as y, in a natural ventilation system, since the y is a function of the x the relationships that exist between x and y can be expressed by the following regression line: G.E. (100%)- C.V. (50%) ventilation system${\cdots}{\cdots}$ y=114.53-6.42x 5) If it is assumed that the expelled volume of air is shown as x and the $CO_2$ concentration which is expressed by multiplying 1000 times the actual of $CO_2$ % is shown as y in a natural ventilation system, since the y is a function of of the x, the relationships that exist between x and y can be expressed by the following exponent equation: G.E. (100%)-C.V. (50%) ventilation system${\cdots}{\cdots}$ $$y=127.18{\times}1.0093^{-X}$$ 6. The experimental results have shown that the ratios of the crass sectional area of the G.E. and C.V. vent to the total cubic capacity of the house, required for providing an adequate amount of air in a natural ventilation system, can be estimated as follows: G.E. (admitting vent of the underground ventilation)${\cdots}{\cdots}$ 0.30-0.5% (controllable) C.V. (expelling vent of the ceiling ventilation)${\cdots}{\cdots}$ 0.8-1.0% (controllable) 7. Among several heating devices which were studied in the experiments, the hot-water boilor which was modified to be fitted both as hot-water toiler and as a pressureless steam-water was found most suitable for farm mushroom growing.

• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.