• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.36 no.4
• /
• pp.1-17
• /
• 2018

This study was conducted to interpret the landscape of Songge Byeoleop(Korean villa) garden at Jogyedong, Bukhansan near Seoul which was built in the mid 17C. to restore through the literature reviews and field surveys. The results were as follows; Songge Byeoleop garden was a royal villa, constructed at King Injo24(1646) of Joseon dynasty by prince Inpyeong(麟坪大君), Lee, Yo(李?, 1622~1658), the third son of King Injo who was a brother of King Hyojong. It was a royal villa, Seokyang-lu under Mt. Taracsan of Gyendeokbang, about 7km away in the straight line from main building. It was considered that the building system was a very gorgeous with timber coloring because of owner's special situation who was called the great prince. The place of Songge Byeoleop identity and key landscape of the place were consisted with Gucheon waterfall and the sound of the water with multi-layered waterfall which might be comparable to the waterfall of Yeosan in China. After the destruction of the building, the place was used for the royal tomb quarry, but there was a mark stone for forbidden quarry. The Inner part of Songge Beoleop, centered with Jogedongcheon, Chogye-dong, composted beautifully with the natural sceneries of Gucheon waterfall, Handam and Changbeok, and artificial structures, such as Bihong-bridge, Boheogak, Yeonghyudang and Gyedang. In addition, the existing Chinese characters, 'Songge Beoleop' and 'Gucheoneunpog' carved in the rocks are literary languages and place markings symbolizing with the contrast of the different forests and territories. They gave the names of scenery to the rock and gave meaning to them. Particularly, Gucheon waterfall which served as a visual terminal point, is a cascade type with multi-staged waterfall. and the lower part shows the topographical characteristics of the Horse Bowl-shaped jointed with port-holes. On the other hand, the outer part is divided into the spaces for the main entrance gate, a hanging bridge character, a bridge connecting the inside and the outside, and Yeonghyudang part for the purpose of living. Also in the Boheogak area, dual view frame structures are made to allow the view of the four sides including the width and the perimeter of the villa. In addition, at the view point in Bihong-bridge, the Gucheon water fall divides between the sacred and profane, and crosses the Bihong-bridge and climbs to the subterranean level.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.49 no.5
• /
• pp.97-111
• /
• 2021

The purpose of this study was to analyze commemoration characteristics of the United States of America, the Commonwealth, and Germany through representative 14 military cemeteries of World war II in Western Europe. Based on the commemoration characteristics such as spacial characteristic, commemorative elements, and graves and headstone, the commemoration culture among U.S., the Commonwealth. and Germany were studied comparatively. The results are as follows. First, taking geometrical form with mainly square type, rarely circle and spiral patterned, most cemeteries were structured spatial central axis with symmetry, those cemeteries were styled neoclassical, but some of the U.S. cemeteries were modernistic, connecting spaces organically with curved line layout. Second, chapel, the wall of missing, the wall of battle map, and sculpture in the U.S military cemeteries, and 'the cross of sacrifice' and 'the stone of remembrance' as classical monument in the Commonwealth war cemeteries were commonly applied standardized commemorative elements, but commemorative monuments in German military cemeteries were restricted except monumental cross. Third, the symbolic cross of christianism was used all cemeteries to console and cherish the soul of soldiers, specially the Latin crosses in the U.S military cemeteries delivered political message as the american martyr for Western Europe and also the power of the U.S., but the cross in German and the Commonwealth war cemeteries were basically cherish and comfort individual spirit. Fourth, showing the power of victory with national patriotism, the U.S. strongly represented christianism and liberal democracy against communism, the Commonwealth showed imperialistic style, and German military cemeteries were quietly appeared as traditional style forwarding reconciliation and peace. This study suggest the war cemeteries have national identity with typical form and symbolic aesthetics. Further study will be required to materialize sublime commemoration in national cemeteries and to form advanced commemorative culture in Korea.

• Proceedings of the Plant Resources Society of Korea Conference
• /
• 2019.10a
• /
• pp.9-10
• /
• 2019

순천만은 순천시의 남쪽에 위치하여 여수반도와 고흥반도의 사이에 있는 만 지형 형태로 만 전체를 순천만이라고도 하나, 보통 고흥군반도와 여수반도 사이의 만을 여자만이라 하고 만내부에 위치한 여자도라는 섬의 위쪽으로 순천시의 해안하구에 형성된 지역을 순천만이라 일컫는다. 순천만은 순천시에서 유입되는 동천과 이사천 및 해룡천의 하류에 형성되어 있어서 육지부에서 유입되는 퇴적물과 유기물로 인하여 갯벌과 갈대등이 잘 형성된 습지로서 2003년 12월 31일 해양수산부 갯벌 습지보존지역으로 지정되어 관리되고 있으며, 2004년에는 동북아 두루미 보호 국제네트워크에 가입하였고, 2006년 1월 국내 연안습지로는 최초로 람사르협약에 "Suncheon Bay"로 등록되었으며, 2016년 6월에는 람사르습지로 지정된 국내외적으로 중요한 습지이다. 순천만습지에 형성되어 있는 갯벌($28.0km^2$)은 세계 5대 연안습지 중 하나로서, 넓은 사니질 갯벌과 갈대군락이 잘 발달되어 있는 생태계의 보고(寶庫)이자 소중한 생태자원으로서, 순천시에서는 순천만을 자연생태공원으로 지정하여 보호 관리하고 있으며, 각종 자연학습자료들과 영상물들을 갖춘 생태전시관과 갈대숲 탐방로, 용산전망대, 야생화 정원, 담수습지, 갈대정자, 갯벌관찰대 등 사계절 생태체험을 위한 각종 시설들을 잘 갖춰놓고 많은 관광객의 이용할 수 있도록 하고 있다. 갯벌은 바닷가의 넓은 벌판이란 뜻으로서 삼면이 바다인 우리나라는 갯벌의 전체 면적이 약 $2,500km^2$에 달하는데 여기에는 많은 종류의 다양한 생물들이 살아가고 있으며 어민들의 생계에 지대한 영향을 주고있다. 이러한 갯벌은 퇴적된 입자의 구성에 따라 펄갯벌, 모래갯벌, 혼합갯벌 등으로 구별되는데 이에 따라 갯벌 생태계를 구성하고 있는 생물들의 종류도 바뀌게 된다. 순천만갯벌과 여기에 조성되어 있는 습지환경에 따라 확인되고 있는 수산자원으로는 새꼬막, 꼬막, 눈알고둥, 갯고둥, 비툴이고둥, 돌조개, 접시조개, 새알조개, 가무락조개, 바지락, 우럭, 가재붙이, 방게, 칠게, 농게 등의 저서 생물들과 짱뚱어, 문절망둑 등의 어류가 있으며, 해조류로 우뭇가사리 등이 있고, 인근의 어민들의 어업형태는 꼬막 등 패류의 채취나 종패를 뿌려 일정기간 양성하여 수확하는 양식업, 육상부에서 폐염전 등을 활용한 전어나 새우 등을 양식하는 양식업, 수산물을 직접 손이나 간단한 도구를 이용하여 잡는 맨손 어업 형태가 주를 이루고 있는 것으로 나타나고 있다. 이와 같이 국내외적으로 중요할 뿐만 아니라 인근의 어민들의 생계에도 지대한 영향을 미치고 있는 순천만의 습지는 뻘층이 깊고, 분해성 미생물이 다양하게 서식하여 유기물 분해능력이 뛰어나며, 유기영양분이 풍부하여 우리나라에서 가장 질이 좋은 습지로 평가되고 있으나, 순천시 등 순천만 인근에 거주하고 있는 인간의 활동에 따른 간섭에 많은 영향을 받고 있으며, 이에 따라 끊임없는 생태환경이 변화하고 있어서 순천만의 효율적인 보전 및 지속가능한 이용을 위해서는 생태계에서 가장 기본적인 요소인 수 저질 환경의 지속적이고 체계적인 조사 및 관리가 필요하다. 한편, 오염물질의 70% 이상은 하천이나 강을 통해서 해역으로 유입된다고 알려져 있기 때문에 생태계의 보고(寶庫)라고 알려진 순천만의 지속적인 보존 및 관리를 위해서는 유입수계 하천의 수질현황 및 오염물질의 주요 배출원을 파악하고, 이에 대한 저감대책을 수립할 필요가 있다. 따라서 본 연구는 순천만의 수저질 특성과 여기에 유입되는 하천의 수질환경 현황 및 오염원을 파악함으로써 순천만의 보전을 위한 효율적 관리방안을 제시하는 것을 목적으로 수행되었다. 연구의 결과에 따르면, 순천만의 수질평가지수에 의한 등급(WQI)은 III등급으로 나타나고 있으며, 득량만, 광양만 등에 비해 비교적 높은 유기물 및 T-N, T-P의 농도 분포를 보이고 있는 것으로 조사되었다. 이는 순천만에 유입되는 하수종말처리장의 방류수와 도시하수가 유입되어 그대로 방류되고 있는 해룡천 및 연안에 위치한 어촌으로부터 직접 방류되고 있는 일부 정화조 유출수 등, 다양한 원인에 의한 것으로 판단되며 이들의 관리가 부실할 경우 순천만의 갯벌과 습지의 지속가능한 생태환경유지는 쉽지 않다. 따라서 이를 효율적으로 관리하기 위해서는 순천만 연안의 오염물질 방류를 총량관리로 전환하여 철저히 관리하는 것이 필요할 것으로 판단된다.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.4
• /
• pp.216-233
• /
• 2020

This study set out to review tomb culture in the Gyeongju region during the Bronze Age, and also examine the patterns of dolmens during their end phase. For these purposes, the study analyzed 18 tomb relics from the Bronze Age and nine from the early Iron Age. Gyeongju belongs to the Geomdan-ri cultural zone. Approximately 120 tombs from the Bronze Age have been excavated in the Gyeongju region. There are fewer tombs than dwellings in the region, which is a general characteristic of the Geomdan-ri cultural zone. Although the number of tombs is small, the detailed structure of the dead body is varied. During the Bronze Age, tombs in the Gyeongju region were characterized by more prolific construction of pit tombs, dolmens with boundaries, and stacked stone altars than were the cases in other areas. There is a great possibility that the pit tombs in the Gyeongju region were influenced by their counterparts in the northeastern parts of North Korea, given the spindle whorl artifacts buried at the Dongsan-ri sites. Dolmens with boundaries and stacked stone altars are usually distributed in the Songguk-ri cultural zone, and it is peculiar that instances of these are found in large numbers in the Gyeongju region as part of the Geomdanri cultural zone. Even in the early Iron Age, the building of dolmens with boundaries and stacked stone altars continued in the Gyeongju region under the influence of the Bronze Age. A new group of people moved into the area, and they crafted ring-rimmed pottery and built wooden coffin tombs. In the early Iron Age, new rituals performed in high places also appeared, and were likely to provide venues for memorial services for heavenly gods in town-center areas. The Hwacheon-ri Mt. 251-1 relic and the Jukdong-ri relic are ruins that exhibit the aspect of rituals performed in high places well. In these rituals performed in high places, a stacked stone altar was built with the same form as the dolmens with boundaries, and a similar rock to the cover stone of a dolmen was used. People continued to build and use dolmens with boundaries and stacked stone altars while sustaining the Bronze Age traditions, even into the early Iron Age, because the authority of dolmens was maintained. Some dolmens with boundaries and stacked stone altars, known as being Bronze Age in origin, would have continued to be used in ritual practices until the early Iron Age. Entering the latter half of the second century B.C., wooden coffin tombs began to propagate. This was the time when the southern provinces, including the Gyeongju region, were included in the East Asian network, with the spread of ironware culture and the arrival of artifacts from central China. Around this time, dolmen culture faded into history with a new era beginning in its place.

• Korean Journal of Environment and Ecology
• /
• v.34 no.6
• /
• pp.530-542
• /
• 2020

This study surveyed the central mountain area of Demilitarized Zone (DMZ) from March to October 2018 to reveal the appearance patterns of freshwater fish. We collected 7,744 individuals of 43 species in 12 families with skimming nets and cast nets in 12 stations during the survey. The dominant species was Zacco koreanus (30.3%), and the subdominant species was Z. platypus (18.5%), followed by Rhynchocypris oxycephalus (10.0%), R. steindachneri (6.7%), Microphysogobio yaluensis (5.9%), Acheilognathus signifer (4.5%), Pungtungia herzi (4.2%), and Orthrias nudus (2.6%). Among the collected species, four were legally protected. They included Hemibarbus mylodon, which was a natural monument, and Lethenteron reissneri, A. signifer, and Pseudopungtungia tenuicorpa, which were class II endangered wildlife designated by the Ministry of Environment. Twenty Korean endemic species (46.5%) and one exotic species, Micropterus salmoides, were also collected. Additionally, three climate-change sensitive species, R. kumgangensis, Ladislavia taczanowskii, and Cottus koreanus, and three landlocked species, L. reissneri, C. koreanus, and Rhinogobius brunneus appeared. The dominant species in each station were Z. koreanus (15 stations), Z. platypus (four stations), R. oxycephalus (four stations), and C. koreanus (one station). The species dominance index decreased from upstream to downstream (mainstream of Gimhwanamdae Stream), while the species diversity index and the species richness index increased. The community structure of the rivers was divided into the uppermost stream, upper stream, Han River, and Imjin River. Compared to antecedent surveys, this study collected the highest number of species. Two new species (Sarcocheilichthys variegatus wakiyae and Micropterus salmoides) were caught, while six species (Siniperca scherzeri, Leiocassis ussuriensis, Brachymystax lenok tsinlingensis, Rhodeus ocellatus, Abbottina springeri, Aphyocypris chinensis) did not appear. Gimhwanamdaecheon Stream has high biological value with the inhabitation of many species, including species under legal protection and high diversity and richness index scores. This paper also discussed a protection plan for this area.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.98
• /
• pp.130-153
• /
• 2020

Using stylistic analysis and historical documents, this paper examines the production details of images enshrined in Myeongbujeon (Hall of the Underworld) at Magoksa Temple in Gongju, focusing on the wooden seated Ksitigarbha Bodhisattva and the stone Ten Kings of Hell. Inside Myeongbujeon, the wooden seated Ksitigarbha Bodhisattva is placed at the center, flanked by standing images of Mudokgwiwang and Domyeong-jonja, with images of the Ten Kings and their attendants along the walls. All of these images were transferred to Magoksa Temple in the latter half of the 1930s. The wooden seated Ksitigarbha Bodhisattva came from Jeonghyesa Temple in Cheongyang, the other sculptures came from Sinheungsa Temple in Imsil, and a painting of the Ten Kings came from Jeongtosa Temple in Nonsan. The wooden seated Ksitigarbha Bodhisattva is known to have been produced in 1677, around the same time as the stone sculptures of the Ten Kings. A close analysis of the details of the bodhisattva sculpture-including the facial features, body proportions, and drapery characteristics-strongly suggests that it was produced in the 1620s or 1630s by the monk sculptor Suyeon (who was active in the early half of the seventeenth century) or his disciples. In particular, the rendering of the drapery on the lower half of the body closely resembles Buddhist sculptures produced by Suyeon that are now enshrined at Bongseosa Temple in Seocheon (produced in 1619) and at Sungnimsa Temple in Iksan (produced at Bocheonsa Temple in Okgu in 1634). According to the votive inscription, the stone sculptures of the Ten Kings and their attendants were produced in 1677 under the supervision of the monk sculptor Seongil. However, these are the only known Buddhist images produced under Seongil, and no details about other monks involved in the production have ever been found, making it difficult to speculate about their lineage. Historical records do suggest that Seongil worked on other projects to produce or repair sculptures with disciples of the monk sculptors Hyehi or Unhye, indicating amicable relations between the two groups. Unlike most such images in the Honam or Yeongseo regions, the Ten Kings at Magoksa Temple are made from stone, rather than wood or clay. Also, the overall form and the drapery conform to statues of the Ten Kings that were popularly produced in the Yeongnam region. Thus, the images are believed to be the work of monks who were primarily active in Yeongnam, rather than Honam. In the future, a systematic investigation of wooden seated Ksitigarbha Bodhisattva images and stone Ten Kings of Hell images produced in the Chungnam region could illuminate more details about the production of the images at Magoksa Temple, and perhaps shed light on the conditions that led to the production of stone Buddhist sculptures in the Honam area during the late seventeenth century.

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

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

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.40 no.1
• /
• pp.1-14
• /
• 2022

This study focused on examining the location characteristics of Mujang-Eupchi(茂長邑治), a traditional city of Joseon Dynasty, and shedding light on its prototype landscape. The findings were summarized as follows: Mujang-Eupchi showed a Confucian space system with Munmyo(文廟) within Hyanggyo(鄕校) in the east, Sajikdan(社稷壇) in the west, Seonghwangsa(城隍祠) in the fortress and Yeodan(厲壇) and Seonghwangdan(城隍壇) in Jinsan(鎭山) in the north around the Mujang-Eupseong(茂長邑城), an old fortress, built in the 17th year of King Taejong(1417). It seemed that Seonghwangdan located in Jinsan maintained a coexistence system with Seonghwangsa(城隍祠) within the Eupseong. A Pungsu(風水) stream in a V-shape ran before the southern gate of Eupseong, forming a Sugu(水口) in front of Namsan(南山) that was an Ansan(案山). They dug a southern pond called Hongmunje(紅門堤) to protect the vitality of the village and built Gwanpungjeong(觀豊亭). In the 19th century, Hongmunje and Gwanpungjeong were renamed into Muheungje(茂興堤) and Muheungdang(茂興堂), respectively. Eupsu(邑藪) were planted in front of the southern pond including Wondo(圓島), and Songdeokbi(頌德碑), Dangsanmok(堂山木), and Dangsanseok(堂山石) served as a Sugumagi(水口막이) and protected the entrance of Eupchi. After the Liberation, the southern pond was buried in 1955, and a market was formed at the site, which resulted in the disappearance of its prototype. The study also investigated the name and location of Chilgeori(七거리) in the village as it was lost following the unification of Bu(府), Gun(郡), and Myeon(面) titles in 1914 during the Japanese colonial period. Chilgeori Dangsan was based on Yin and Yang theory and became the subject of the organization mainly composed of Grandfather Dangsan menhir and Grandmother Dangsan tree. Chilgeori Dangsan was a religious place of the community to guard the village, serving as seven gateways to control access at the village boundary and it had a locational feature of protecting the inner mountain ranges of Eupchi.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.2
• /
• pp.169-178
• /
• 2021

The Korean girl group "Kara" has suffered the trilemma of its de facto failure to debut, the crisis of team breakup, and the CEO crisis of the agency. But the group has made an outstanding achievement in the history of Korean pop music after overcoming all odds. Their success strategy has never been disclosed by insiders involved in Kara's total music projects. This study has been carried out in the analysis of the strategy to provide academic implications and to honor the contribution of the late CEO Ho-yeon Lee and Kara's key member Ha-ra Gu. Therefore, between Nov. and Dec. 2020, we conducted in-depth interviews with managers, composers, stylists and Ha-ra Gu(Only in 2019, before her death) who took part in the project. The research model is set up by combining Porter's Competitive Advantage Strategy and the music value chain model into categories of "Product Innovation Differentiation (PD)" (producing, album production, performance activities) and "Marketing Differentiation (MD)" (market targeting, image specialization, promotion and communication). The analysis showed that the PD focused on complete rediscovered harmonization and revalued members' personality and sincerity with peppy songs and dainty dances as well as emission of "bright energy" which caused healing effects instead of mimicking other star singers recklessly. In terms of MD, they selected Japan's 10-20s as their main market, increasing intimacy with fans and media with the image of cute+pretty+classy+sexy. The result suggests that Poter's differentiation can function as a meaningful strategy frame in the fostering, hit, and revival of idol groups. In addition, it reaffirmed that spontaneous and passionate activities of early-stage or celebrity fan may serve as a valid catalyst for realizing differentiation, as Kara's caller of Japanese actor Gekidan Hitori caused a strong "priming effect" that drove Kara's unexpected wonderful success in Japan.

• Korean Journal of Psychosomatic Medicine
• /
• v.29 no.2
• /
• pp.184-190
• /
• 2021

Objectives : Dementia is one of the most distressing mental health problems in the older population. Caregivers also experienced physical, psychological, and emotional stress from taking care of dementia patients. So, we developed program for supporting dementia caregiver and evaluated its efficacy on reducing caregiver burden. Methods : We provided 5 sessions of dementia caregiver supporting program to 30 caregivers who were taking care of dementia patient in their home. Program was held in Cheonan Center for Alzheimer's disease and other dementia that was established by Cheonan city government for supporting dementia patients and their caregivers. We evaluated caregiver burden using short Zarit burden inventory consisted of 12 items scoring 0 (no burden) to 4 (everyday burden) before and after program. We evaluated satisfaction of caregiver about program using satisfaction survey consisted of 10 items scoring 0 (very dissatisfy) to 4 (very satisfy) after program. Results : Mean age of caregiver was 61.9. 40.0% (n=12) of caregivers were spouse. 53.3% (n=16) of caregivers were son or daughter. Caregiver burden that was estimated by short Zarit burden inventory were significantly decreased after program (p<0.001). When each item was compared, 4 items (7, 10, 11 and 12) were significantly decreased after program (p=0.036, p=0.018, p=0.01, p=0.024). All mean scores of 10 items about satisfaction were over 3 meaning that participants generally satisfied to program. Conclusions : Our study suggested that dementia caregiver supporting program could reduce caregiver burden and provide satisfaction. Therefore, programs for supporting dementia caregivers might be important as well as treating dementia patients. So, we should be interested in developing and providing efficiently this kind of program to reduce caregiver burden.