• The Journal of the Acoustical Society of Korea
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• v.26 no.8
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• pp.381-389
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• 2007

In this paper, the measuring method of underwater acoustic communication channel characteristics in the shallow water using the autocorrelation characteristic of PN sequence and the undorwater communication channel analysis results from the received signal sample data are described. For measuring the underwater acoustic communication channel characteristics, two PN sequences are used as a transmitted data of I-channel and Q-channel of QPSK symbol and QPSK signal is transmitted with symbol rate of 5 kHz and carrier frequency of 25 kHz. In the receiver the received signal, which pass through 675 m and 1492 m, is sampled and then stored. Using the stored sample data, the scattering function, coherent time, delay power profile, spaced-tone autocorrelation function, delay spread, and coherent bandwidth of each propagation distance cases are analyzed. Based on the analysis results, several guidelines are suggested for the design and implementation of underwater transmission system.

• The Journal of the Acoustical Society of Korea
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• v.28 no.3
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• pp.174-186
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• 2009

When we apply a propagation model to the ocean with boundaries, we can calculate reflected wave using reflection coefficient suggested by Rayleigh assuming the boundaries are flat. But boundaries in ocean such as sea surface and sea bottom have an irregular rough surface. To calculate the reflection loss for an irregular boundary, it is needed to compute the coherent reflection coefficient based on an experimental formula or scattering theory. In this article, we derive the coherent reflection coefficients for a fluid-fluid interface using perturbation theory, Kirchhoff approximation and small-slope approximation respectively. Based on each formula, we can calculate coherent reflection coefficients for a rough sea surface or sea bottom, and then compare them to the Rayleigh reflection coefficient to analyze the reflection loss for a random rough surface. In general, the coherent reflection coefficient based on small-slope approximation has a wide valid region. Comparing it with the coherent reflection coefficients derived from the Kirchhoff approximation and perturbation theory, we discuss a valid region of them.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.10-21
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• 2014

This study focuses on the landscape of Daegodae(大孤臺), a prominent rock placed at the side of Namgae Stream in Hamyang, and the person who enjoy the landscape. Through the analysis of the letters such as names carved on the rocks based on ancient poetry and stone walls, the study examines the characteristics of the landscape and the space of Daegodae and the phase of hegemony to enjoy the landscape and space. The result of this study is as follow.2) There are 5 Seowon(書院: lecture halls) nearby Daegodae identified in the ancient map has 5 auditoriums nearby, and three-dimensional volume and eccentricity of the Daegodae is impressive. Daegodae, named by Noh Jin(1518~1578) in 16th century, was used in a variety of ways, including viewing, game, recreation, and meeting, by the staff of the lecture halls including Namgae Seowon(南溪書院), as a result of analyzing the ancient document Go-dae-il-Loc(孤臺日錄) written by Jung Kyung-Woon(鄭慶雲: 1556~?). The structure of Daegodae is that there is Chunggeunchung(淸近亭) on the rock face of the top and Sanangjae(山仰齋) to the west around the memorial stone for Yang Hee(梁喜: 1515~1581). The upper part of the foundation of Daegodae with 11m high and $10m^2$ wide to the east and west was widely used for lecturing and poetry reading. To the north and west of the foundation were the writing of Kim Jeong-Hee(金正喜: 1786~1856) with the words 'Seoksong Chusa(石松 秋史)' carved on the rock and the remains of a dead tree that is presumed to have been called as 'Seoksong'. They are the landscapes that further enhance the history and authenticity of this place. The two kinds of letters carved on the rock 'Daegodae Gaeeunseo(大高臺 介隱書)' and 'Mukheon JungGeunSang(鄭近相: 1893~1934)' were recorded each by Jung Jae-Gi(1811~1879) and his grandson Jung Geun-Sang, which are, as the outcome of exclusive space possession and space hegemony, the signatures indicating that they were the persons who enjoyed this place during the late Joseon and Japanese colonial era. In other words, Daegodae had some implied meaning of preoccupancy of the place as Gujolyangseonsengjangguso since the middle of Joseon, and the place was passed down as a buddhism lecturing and memorial venue called "Dungbukganghoiso Cheonryungjaeseonhyunjangguso" after going through the space hegemony of Jung Jae-Gi and Jung Geun-Sang during the late Joseon and Japanese colonial era each, Nevertheless, a number of letters carved on the rock identified also imply that 'Hadong Jung(河東鄭氏)' and 'Pungcheon Noh(豊川盧氏)' were those who enjoyed the landscape of Daegodae and the center of the space hegemony. The "letters carved on the rock of Daegudae" is another case of cultural landscape and traditional gardening space that serves as the representation of the will of enjoying the landscape in this place and the history of space hegemony.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.37-48
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• 2019

This study, which starting from Yangyang Jukdo's topography formation and questioning revealed in landscape guide and landscape commentary board, is to sort out the characteristics of Jukdo natural landscape through literature research, field observation research and stakeholder interview as part of the proper recognition of Jokdo landscape and search for landscape resources, and pursued a review of nominations and criticism. The results of this study are summarized as follows. Yangyang Jukdo is an island named because it was full of blue bamboo. From before the first half of the 14th Century. to the middle of the 18th Century., there was a Gwanlan-pavilion to see the sea and the bamboo in the west. The time when the original island, the Jukdo, have been a land-tied island connected with the land by the tombolo formed by the erosion of the sand. It is located at the end of the 14th Century. and before the middle of the 18th Century. In Jukdo, colorful weathered terrains, coastal terrain, and structural terrain formed by long-time weathering are found. Among them, the type of weathering, the tafoni style and the gnamma style are the scenic landscapes with the key stories of legend and poetry that are brought to Jukdo. In addition, there are seven kinds of letters caved in the rocks in Jukdo. The rocks found on the coast, basketball cannons, shrines, and sutras are seen as shrouds based on a Taoist hermit motifs and style. In addition, it can be interred from the photography of "jeongssisejeog" that the souvenir of Jukdo was the family of Chogyejeong of mid 18th Century. In terms of observational geography and poetry, Jukdo has been handed down a great deal of missionary color with key motifs such as 'Jukdo-seongoo', 'Jukdo-Dolgooyoo', or 'Stone mortar of Taoist hermit' It is proved that the pearl which is called 'The stone of the Taoist hermit' is a porthole formed in a separate space rather than the topography of the geomorphology in terms of shape, size and function. Currently named Shun-tang is a product of the ridiculous 'naming' of interest. The present landscape guide and commentary is not only incompatible with the place of Jukdo, but also does not match the traditional cultural landscape. Future scenery information such as guide signs and commentary boards should be improved in the direction of positively highlighting the stories and motifs related to the present that are present in order to enhance the landscape identity of Yangyang Jukdo.

• Korean Journal of Environment and Ecology
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• v.27 no.4
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• pp.487-497
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• 2013

This study was conducted to suggest vegetation management plan for Gugok landscape maintenance and improvement by deducing the vegetation landscape factors inherent in Yongha Gugok and understanding vegetation structure through the investigate of existing vegetation and plant community structure of Yongha valley in Woraksan National Park. There were broad and flat rocks, natural layered stones, clear water, light stones, stream, valleys, waterfalls, Pinus densiflora and Acer pseudosieboldianum as a result of deducing natural factors on poetry. There were P. densiflora and A. pseudosieboldianum appeared as one of main vegetation landscape elements. The actual vegetation analysis results were as followed. The natural vegetation occupied 67.5% and it was classified as P. densiflora community, Quercus variabilis community, Q. variabilis-P. densiflora community, Q. variabilis-Q. serrata community, Q. serrata community, Q. mongolica community, Q. mongolica-P. densiflora community, Deciduous broad-leaved tree community. The artificial vegetation(18.7%) was classified as Q. serrata community-Larix kaempferi community, Q. mongolica- Castanea crenata community, L. kaempferi community, L. kaempferi-C. crenata community, fruticeta, L. kaempferi-Q. mongolica community. The grassland area(2.0%) was classified as Miscanthus sinensis community, Phragmites communis community, and other areas were classified as landscape tree planting area, farm, orchard, residential area. The representative vegetation were P. densiflora community, Q. variabilis-Q. serrata community, L. kaempferi community, Deciduous broad-leaved tree community in Yongha Gugok. The species diversity index of Shannon was 0.6274~0.9908 on the whole. Yongha Gugok, as a symbol of succession on confucianism and reverence for nature, should be preserved natural valley landscape being clean and wijungchuksa at the end of Joseon Dynasty and Japanese Colonial era. In this historical and cultural Gugok, vegetation landscape management plan is needed to landscape maintenance with P. densiflora community, density control with L. kaempferi community. And it is considered when natural disasters and artificial damages happened, P. densiflora-oriented vegetation restoration plan should be applied in order to restore.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.113-124
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• 2012

The Confucian culture of the Chosun Dynasty has a great effect on the construction of ByeolSeo gardens. Among them, especially the gardens built in Gyeongsang Province areas, where a great number of Confucian scholars were produced in the beautiful natural environment, have maintained various heritage of Confucian culture established by the scholars. Along with the Nakdong River, we can find so many cultural assets of buildings such as head houses, ByeolSeo gardens, including the literary remains such as administrative certificates, poetry and prose, and records of pavilions, which show the trace of the scholars who followed the instructions of the doctrines of Chu-tzu. The Geumseonjeog located in Punggi County, Gyeongsangbuk Province, which was the ByeolSeo gardens possessed by Geumgye Whang Jun-ryang(1517-1563), who was the governor of the area and one of the representative students of Toigye Lee Whang. The building is located nearby the Geumseon Valley with beautiful natural scenery under Sobaek Mountain. Especially the pine forest around the valley boasts a unique natural setting. This study is aimed to analyze the value of natural scenic spot of the Geumseonjeong through the surveys on surroundings, topography, vegetation and water system. including the value of humanistic elements focused on the writings such as 'Geumgyejip' written by Whang Jun-ryang and Lee Whang, another 'Geumgyejip' written by Ryu un-ryong, and 'Geumgyejeongsajungsugi' written by Hong Gyeong-ryeom. And also, the scenic spot value of the signboards such as the 'Geumgyejeongsajungsugi' written by Ryu un-ryong, 'Geumgyejeong' by Lee Han-il, 'Geumgyejeong' written by Jo Un-hyeong and 'Geumgyejeongsa, written by Lee Jung-gi, was analyzed. And the historical and cultural value was analyzed through the semantic interpretation of the series of poetry and pose and the old map established in 1872. In respect of the scenery, the surroundings of the Geumseon Valley boast the outstanding settings as the clean mountain stream in front of the Geumseonjeong makes a beautiful harmony with the pine forest. The pine forest surrounding the Geumseon Valley has played a secret role in the history of the village. Considering the fact that the pine forest was expressed in the map of Punggi County produced in 1872, it may be assumed that the forest was regarded to have historical and scenic value in those times. Considering the fact that the words like 'Beautiful' and 'Scenic spot' were used in the writings like 'Geumgyejip' and there were meeting places around the valley, we can recognize the value of the place as a scenic spot. The beautiful natural scenery surrounding the ByeolSeo gardens, and the increase in humanistic value of the poetry and prose, including the administrative certificates, has recently brought about the cases in which some scenic spots of the ByeolSeo gardens were designated as cultural assets. According to the value as a scenic spot and semantic interpretation of the Geumseonjeong, the pavilion appeared to have a great scenic spot value as a ByeolSeo gardens, so that this study was designed to prepare criteria with which the pavilion may be designated as a scenic spot of ByeolSeo gardens.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.37-50
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• 2016

Recognizing the problem of fallacy in geographical name of Changokbyeong(蒼玉屛), assumption has been made on the location of Changokbyeong through literature research on antique maps, ancient paintings, and old prose, through field survey on rock inscriptions and landscape characteristics, and through interviews with local people. Furthermore, Baegyeonwa, the Cuckoo Hut, and Iyangjung(二養亭), an annex to the cottage, both of which were managed by Saahm Park Soon(思菴 朴淳), the Subject of Jouissance, were studied in depth with emphasis on the spatial structure as well as special features of the area as a garden. The major findings are as follows: Changokbyeong is a spatial threshold that imparts a sense of unity with Okbyeng seowon(玉屛書院) and indeed Changokbyeong is presumed to have been the frontal river terrace of Okbyeng seowon according to the analysis of antique maps and rock inscriptions. This ancient location and the Ogari Stone Wall, the present day Changokbyeong, are only 460m away so that both areas are considered as falling under the influence of Changokbyeong landscape. The expression "Changokbyeong Geupsangeum(蒼玉屛及散襟)" written in an old prose tells us that the high rock wall with Sangeumdae inscribed on the rock might be the rock wall of Changokbyeong. In addition, while not a single rock inscription has been found on the Ogari Stone Wall, 11 rock inscriptions designed and ordered by Saahm Park Soon, the Subject of Jouissance, are found on every corner of the high rock wall standing in front of Okbyeng seowon, 8 of those 11 being place names and recitative poems(known as Jeyeongsi: 題詠詩) in close formation resembling the handwritings in a little notebook. This provides a strong evidence for assuming the location of Changokbyeong to be the frontal river terrace of Okbyeng seowon. The "Songgyun Jeoljo Suwol Jeongshin(松筠節調 水月精神)" rock inscription on Changokbyeong should be considered as the stamping ground and as the symbolic language of Changokbyeong that bears the high character and nobility of the Subject of Jouissance, Saahm Park Soon. The inscription should also be recognized as the handwritings of Wooahm Song Si-Yeol(尤庵 宋時烈) correcting the misconceptions that persisted until today. Meanwhile, the garden remains of Saahm's Changokbyeong are composed of four sites: Sangeumdae-Sugyeongdae-Cheonghakdae-Baekhakdae from the left. At the back of Sangeumdae, there is the original house, the Baegyeonwa(拜鵑窩), and on the fantastically shaped stone wall at the left of Baekhakdae, there is the annex, the Iyangjung, together creating a landscape composition that overlooks the splendor of the Ogari Stone Wall. The Iyangjung is located on the highest spot to the left of the four sites, and it is believed to have been a little outhouse and library for Saahm which remains to the present day as a place where Saahm's character can be felt. The drinking plates[窪樽] made of rock that are affectionately arranged on the broad flat rock in front of Iyangjung is part of the garden remains that reflects the artistic taste of Saahm regarding the drinking culture at the time.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.6
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• pp.80-92
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• 2021

Mount Tai, with an elevation of 1,532 meters, has a reputation as 'The Most Revered of the Five Sacred Mountains(五嶽獨尊)', despite not being the highest mountain in China. The literati of the past dynasties created a multitude of works based on the landscape of Mount Tai. Traditional literature is a part of national culture that directly reflects the national characteristics and styles, and is an important part of humanities, which can be linked to landscapes. The purpose of this study is to investigate the landscape elements and characteristics of Mount Tai by analyzing the landscape types and elements and the Kernel Density, Mean Center and Standard Deviational Ellipse of the landscape elements appearing in the representative poems of traditional literature. The research results of this study are summarized as follows. First, Mount Tai is a scenic spot dominated by human activities, different from the natural landscape of prior research related to scenic spots. Second, among the landscape elements of Mount Tai, the importance of "sunrise", "cyan", "towering" and "majestic", "Divine Dragon" is confirmed, symbolizing the hope, brightness, vitality, national stability and prosperity represented by Mount Tai, which can explain the leadership position of Mount Tai. Third, it can be found from the poems about Mount Tai that various landscape elements were embodied in belief (the behavior of gods or emperors) in the Pre-Qin, Sui and Tang dynasties, while in modern times, landscape elements are shown by action (climbing and looking far into distance), so it can be said that the landscape elements have changed from belief landscapes to experience landscapes. Fourth, the spatial distribution of landscape elements in the past dynasties was widely distributed in the Daiding(岱頂). Approaching the modern times, the mean center moved from south outside of Mount Tai to the summit of Mount Tai, and the spatial distribution changed from a widely scattered distribution to narrow linear distribution centered on Mount Tai. The present study is of great significance to provide key factors or spaces for future landscape protection and restoration of Mount Tai.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.24-33
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• 2022

The travel notes and nature poems found in historic literary men's works can be considered historical records related to scenic sites. Such travel notes and nature poems are based on the writers' personal characters, experiences, learning and etc. Such works clearly show the characters of each literature, information of the related objects and the writers' thoughts of the objects. This study, thus, looked into Euisang on Xīsāishān Mountain that could be the origin of Eobusa(漁父詞) loved and sung by Korean historic literary men, and found that the Korean and Chinese literary men's thoughts were shown through their ways to enjoy Xīsāishān Mountain and their Euisang on the mountain, which was different between the Korean and Chinese literary men depending on the geographical locations described in their poems. In detail, the study results are: 1. Such difference of the ways to enjoy Xīsāishān Mountain, the scenic site described in historic Korean and Chinese literary men's work is broadly classified into the ways to enjoy the scenic site by seeing it in person and the ways to enjoy it under the mental structure of speculation. 2. Xīsāishān Mountain in Wuxing is the background of Yújiāzi(漁家子) of the painting Zhāngzhìhé, is boasting its distinguished beautiful nature, and is the place where the Confucian Study of Hú(湖學) was originated. It is also the place known of its warmhearted climate. Therefore, Euisang on Xīsāishān Mountain under such beautiful and warmhearted circumstance are realized as the complete freedom and seclusion in Taoism and the satisfaction with the given environment and position in Confucianism. 3. Xīsāishān Mountain in Wǔchāng is a military strategic point with rugged mountain terrain and scenery that has been a historic ferocious battlefield and related with the loyal civil servant Qū Yuán. The Euisang on Xīsāishān Mountain in Wǔchāng, therefore, represents the nature scenery of a rugged fortress and patriotism of Confucianism. 4. The Korean literary men's way to enjoy Xīsāishān Mountain is Shinyu(神遊: spiritual travel), so that their Euisang is formed according to the direction of the writer's values. Especially it is noted that Korean Euisang on Xīsāishān Mountain is originally based on the painting Zhāngzhìhé that shows the complete free mood of Taoism; and the Euisang on Xīsāishān Mountain that came from the mindful image by the poet monk Qíjǐ of Tang dynasty and Kim Si-seup appears with such Buddhist ways to seek the truth as SakGongIlYeo(色空一如: Being full is essentially as same as being vacant) and GyeonSeongSeongBul(見性成佛: Everybody can become Buddha by enlightenment).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.1
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• pp.10-20
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• 2023

Zhū Xī, the representative of Confucianism, and Báiyùchán, the representative of Taoism in the South Song Dynasty, showed different sense of appreciation and enjoyment on the same space that was Mountain Wǔyí in their ideologically cultural ways. Based on the temples Wŭyíjīngshè(武夷精舍) where Zhū Xī stayed and Zhĭzhĭān(止止庵) where Báiyùchán resided, this study revealed their lives in such temples to look into their appreciation on ideology and space. Then, based on the words 'YiBoEumYeong [移步吟詠]' shown on the poetry they chanted in relation with Wǔyíjiǔqū from its 1^st valley to its 9^th valley, this study examines their understanding of scenery and system of appreciation that appeared in dynamic ways to conclude: First, even same scenery shows different understanding of scenery and appreciation of space in accordance with the viewers' thinking ways of culture. Second, as the Confucianism and Taoism influenced in ideologically cultural ways to develop each other in the Song dynasty, they absorbed their merits each other to supplement shortcomings in their own. In this process, they made it clear that their own propositions were different between them in their essential meanings although they used common terms for such propositions. Third, as the Confucian master who compiled the Neo-Confucianism of the South Song dynasty, Zhū Xī regarded Wŭyíjīngshè and Wǔyíjiǔqū as a place of learning and a place of seeking the truth to go for 'being unified with nature' so that everyday life can be united with Tao of Li [理] everywhere beyond the limited appreciation of the scenery. That is, this thought works for 'recovery of nature of our own [復其性]', the learning goal of Confucianism, and is aimed to 'cultivate the essential nature of our own(性情涵養)' through such beautiful nature. Fourth, as the master of Keumdan family of the South Song Taoism, Báiyùchán regarded Zhĭzhĭān and Wǔyíjiǔqū as a Taoist temple that has a long history rooting from Taesangwon temple, a clean place of discipline to become a Taoist hermit through hard training. He, therefore, directly referred to Zhĭzhĭān and Wǔyíjiǔqū in relation with the Taoist legends remaining in Wǔyíjiǔqū such as hermits' dinners, female hermits, leaving the human world as a hermit and so on as ways for becoming a hermit so that he went for the level of perfectly going out of human world and becoming a hermit. He, therefore, defined Mountain Wǔyí as a world and universe of hermits where he himself too hovered between outside and inside of poetry literature as a hermit through the mood and attitude of keeping himself enjoying the scenery as a hermit.