• Korean Journal of Heritage: History & Science
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• v.43 no.2
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• pp.4-39
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• 2010

The purpose of this study is to examine the archetype of the Gyeongju Castle walls and the facilities around it to bring together previous studies and identify the specific scale and structure of the archetype. The findings can be summarized as follows. First, we verified the exact location and dimensions of the castle through an over-lay of land registration maps from the Japanese colonial period, land registration maps from the present day, cadastral maps, and excavation records. Second, the dimension of the rampart and fort of the castle were discovered by combining and analyzing historical evidence, modern research data, historical site studies from the Japanese colonial era, and maintenance records. Third, the historical records related to the yeojang (rampart sub-wall) formats in the Joseon Dynasty were used to examine the archetype of the yeojang. This study led to the discovery of the archetype of the Gyeongju castle yeojang in the early stage of King Munjong's reign (1451), and the archetype created after the Japanese Invasion (16th century). And finally, although most of the rampart is not present, the structure of the castle can be estimated based on historical research, and research materials modern and contemporary(excavation conservation field survey). In addition, this study presented a archetype restoration plan for each site, to be used as foundational data for future restoration projects.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.36 no.3
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• pp.280-285
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• 1991

The rice culture techniques of the ancient China which have played a key role directly and indirectly, in development of ancient farming and its techniques of Korea, were established before Christ in terms of dry-farming and the spirit of the farming-first principle. Especially techniques of rice culture were developed by cultivation methods for deep plowing, storage of water and preservation use of soil fertility. Therefore, the techniques of transplanting methods, seeding in rows, use of iron-made farming tools and dam construction for irrigation were advanced. And rice varieties were differentiated to avoid disasters or to supply of rice for various uses in many areas. Also, because north China was the origin of Chinese agriculture in which population density was low and flat land was wide that were the cradle of Chinese agriculture, ‘Hwayungsunubeob’(firing and drawning weed control method) and fallowing were quickened as intensive techniques of rice culture. In connection with the view of agricuture with 'the theory of the cosmic dual forces and the five primary substances' of Han Mooje and Chamwye scholars, the techniques of seeding and selection of crops were gradually developed. From ‘Jeminyosul’ of the 6th century to ‘Wangjongnongseo’ of the 14th century, the techniques of rice culture have been developed continuously and additively, but were not improved thereafter Won dynasty. From this point of time, the time of agriculture in the end of Koryo age and by ‘Nongsajiksul’ were initiated.

• Journal of Soil and Groundwater Environment
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• v.10 no.4
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• pp.33-44
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• 2005

On the basis of a stepwise and careful integration of various field and laboratory methods the analysis of groundwater flow characterization was performed with five boreholes (BH-1, -2, -3, -4, -5) on a pilot site of Natural Forest Park in Guemsan-gun, Chungcheongbook-do, Korea. The regional lineaments of NW-SE are primarily developed on the area, which results in the development of many fractures of NW-SE direction around boreholes made in the test site for the study. A series of surface geological survey, core logging, geophysical logging, tomography, tracer tests, and heat-pulse flowmeter logging were carried out to determine fracture characteristics and fracture connectivity between the boreholes. In the result of fracture connectivity analysis BH-1 the injection well has a poor connectivity with BH-2 and BH-3, whereas a good with BH-4 and BH-5. In order to analyse the hydraulic connectivity between BH-1 and BH-5, in particular, a conspicuous groundwater outflux in the depth of 12 m and influx in the depth of 65 m and 70 m, but partly in/outflux occurred in other depths in BH-5 were observed as pumping from BH-1. On the other hand, when pumping from BH-5 the strong outflux in the depths of 17 m and 70 m was occurred. The spatial connectivity between the boreholes was examined in the depth of 15 m, 67 m, and 71 m in BH-1 as well as in the depth of 15 m, 17 m, 22 m, 72 m, and 83 m in BH-5.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.2
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• pp.139-147
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• 2021

Livestock manure is used as an organic fertilizer to replace chemical fertilizers after sufficient fermentation in an aerobic bioreactor. On the other hand, liquid manure disposal problems occur repeatedly because soil spraying is restricted during the summer when the crops are growing. To use liquid fertilizer (LF) as an additional nutrient source for crops, it is necessary to reduce the amount of suspended solids (SS) in the liquid fertilizer and secure stability problems against pathogenic microorganisms. This study examined the effects of the simultaneous SS removal and E.coli sterilization in the LF using the microbubble (MB) generator (FeMgO catalyst insertion). The remaining SS were further removed using the integrated microbubble and microfilter system. During the floating process in the MB device, the SS were removed by 57.9%, and the coliform group was not detected (16,200→0 MPN/100 mL). By optimizing the HRT of the integrated system, the removal efficiency of the SS was improved by 92.9% under the 0.1h of HRT condition. After checking the properties of the treated LF, 64.5%, 70.1%, 54.9%, and 51.5% of the TCOD, SCOD, PO4-P, and TN, respectively, were removed. The treated effluent from such an integrated system has a lower SS content than that of the existing LF and does not contain coliforms; therefore, it can be used directly as an additional fertilizer.

• (The) Research of the performance art and culture
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• no.35
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• pp.9-59
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• 2017

This article describes the entertainment business system from 1907 to the first half of the 1920's. The entertainment business began at the time of Empire of Korea with the Imperial Theater called Hyeomnyulsa, which was supported by the emperor's authority and national system and run by the imperial court, especially Gungnaebu. However, after closing the imperial theater, many commercial theaters have been born since 1907, the role of the subject who dominate the entertainment business has been subdivided into financialist and agent. The financialist was replaced by civilians and the capacity of the agent has been strengthened after the introduction of Yeongeukgaeryanglon. In this condition the entertainment business had to be rationalized. In addition, before and after 1912, as the businessmen took part in the entertainment business instead of the government officials and social leaders, the role of entertainment business developed and became equipped with a modern system. Financialist who utilized economic capital was subdivided into the proprietor of a theater, investors, and bosses in the process of mobilizing the necessary funds for the construction, renovation, and repair of the theater, and agents who used cultural capital to practice and maintain performances, on the other hand played a role in expanding the diversity of the show in and outside the theater. In the theatre there was Chongmoo, Johapjang, Chwiche, and Jwadang of Gisaengjohaps, Sinpageukdans, Gyeongseonggupabaeujohap and various XXX Ilhaeng were outside the theater. They participated in the their own way. The financialist and agent used to set up cooperative relations and conflicts. The entertainment business was deepened and developed in the process of resolving the conflicts. However, Performance market could not grow as well as the possibility of a system equipped after 1915. This is because the Japanese imperialists limited the growth of the economic capital and cultural capital of the Koreans and even the composition of social capital. For this reason, Chosun's entertainment business system has grown in proportion to the absolute growth of the box office industry, but it has not developed as much as its potential capacity.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.243-263
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• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

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

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.

• Journal of the Korean Society of Marine Environment & Safety
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• v.16 no.3
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• pp.275-285
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• 2010

Present state of nationwide marine facilities reported to 12 regional maritime affairs and port offices of MLTM in Korea for two years 2008 and 2009 was analyzed based on region and type of facilities, and national management plan was proposed in this study. As of the end of 2009, 8 types of marine facilities were reported to Yeosu regional maritime affairs and port office, while only 3 types of facilities were reported to Pohang, Daesan and Jeju regional offices, respectively. Oil and noxious liquid substances storage facilities belonged in the type of facility which was reported to all of 12 regional offices, and ranged from 11 facilities reported to Pyeongtaek regional office to the respective 38 facilities to Yeosu and Masan regional offices. In pollutants storage facilities, 4 facilities were reported to Masan regional office, 2 facilities to Donghae and Mokpo regional offices, respectively, 1 facility to Yeosu, Gunsan and Pyeongtaek regional offices, respectively, and none of facilities to the other regional offices. Ship construction, repair and scrap facilities belonged in the type of facility which was reported to all of 12 regional offices, and 45% of the facilities were concentrated in Southeastern Sea of Korea centering around Busan and Masan. In cargo handling facilities, 3 facilities were reported to Busan and Masan regional offices, respectively, 1 facility to Daesan regional office, and none of facilities to the other regional offices. In wastes storage facilities, 5 facilities were reported to Ulsan regional office, 4 facilities to Gunsan regional office, 2 facilities to Incheon regional office, 1 facility to Yeosu regional office, and none of facilities to the other regional offices. 65% of nationwide water intake and drainage facilities were concentrated in the areas of Pohang and Mokpo, and 78% of nationwide fishing spots at play were concentrated in the area of Masan. In other marine facilities, 4 facilities were reported to Donghae regional office, 3 facilities to Masan regional office, 2 facilities to Yeosu and Pyeongtaek regional offices, respectively, 1 facility to Incheon and Ulsan regional offices, respectively, and none of facilities to the other regional offices. In integrated marine science base facilities, 3 facilities were reported to Jeju regional office, 1 facility to Yeosu, Ulsan and Gunsan regional offices, respectively, and none of facilities to the other regional offices. The management based on the circumstances of regional offices, the management based on the characteristics of the type of facilities, the amendment of the relevant rules and regulations, facility owner's full knowledge and observance of the relevant rules and regulations with regard to the relevant type of facilities, and positive management actions from national point of view were proposed for national management plans of marine facilities.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.258-277
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• 2020

The purpose of this paper is to examine the paintings and symbols of the Jeju Guandeokjeong murals, Treasure No. 322. Gwandeokjeong Pavilion in Jeju is one of the oldest buildings in Jeju and was built in 1448 during the reign of King Sejong (世宗) of the Joseon Dynasty to serve as a training ground for soldiers. Unlike Gwandeokjeong Pavilions in other regions, Jeju's Gwandeokjeong Pavilion has a long history and is of cultural value due to its beautiful architecture. In addition, it contains various murals which are a further source of attention. There are four murals on the front and back of the two Lintels on the left and right sides of the building. Their contents include of 『The Three Kingdoms (三國志)』 and and on the back. Towards the right, is depicted, with on the back. Based on a replica of the murals from 1976, the plan, style, and age of the Gwandeokjeong Pavilion murals have been studied, together with their meanings. The contents of the mural are broadly divided into five parts, which are identified by the tacit signatures atop the screen, which provide such details as the painting titles. The paintings on the left and right sides of the center appear to inspire the spirit of the military's commerce in order to boost soldiers' morale, protect the country, and protect the people in line with the purpose of Gwandeokjeong Pavilion. The following and figuratively depict guidelines for the behavior and mindset of officials. In particular, is a painting concerned with concepts of longevity and an auspicious (吉祥), which shows how court paintings became popular as folk paintings at that time. The paintings of tangerines and other specialties of Jeju Island, the ritual paintings of Jeokbyeokdaejeon, and the expressions of Mt. Halla (漢拏山) and Oreum (오름) indicate the existence of Jeju artists that belonged to the Jeju government office at that time. The five themes and styles of the murals also show that the murals of Gwandeokjeong Pavilion were produced in the late 19^th and early 20^th centuries.