• Journal of Korean Port Research
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• v.6 no.2
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• pp.65-92
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• 1992

The Korean central government has not appreciate the full extent of the impact of seaports on the national economy. As a consequence port investment has not been given sufficient priority and capacity has failed to keep pace with demand. The principal reason for this failure is the fact that the linkages (or relationships) of the port transport industry with other sectors have not been quantified and fully appreciated. To overcome this dificiency this paper developed a port input-output model to determine the economic impact of the port industry on the national economy. This impact study was conducted by analysing the impact of the Korean port industry upon the national economy from the macroeconomic viewpoint, and identifying the spreading effects of port investments upon the nation's economy. The analysis of the economic impact of the port industry suggests that its contribution to the Korean economy is substantial. What the model shows is, in quantifiable terms, there are the strong economic linkages between the port industry and the other sectors of the national economy. The contribution of the port industry to the Korean economy was summarised in the Conclusion section.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Korean Journal of Mineralogy and Petrology
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• v.37 no.1
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• pp.1-11
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• 2024

World stone production in 2021 stood at 162.5 million tons, up by 7.5 million tons, or 4.8 percent, compared to the previous year when the production came in at 155 million tons. Six top countries with the most of stone production were China, India, Turkey, Brazil, Iran and Italy and these six countries accounted for 72.8 percent of total production in the world. Stone exports stood at $21.68 billion in 2021, up by $2.3 billion from the previous year. Exports of raw materials and processed stones stood at 54.4 million tons, up by 2.98 million tons from the previous year. In terms of aggregate exports, exports of natural stones increased by $2.3 billion to $21.7 billion while exports of artificial stones rose $2.6 billion to $13.6 billion in 2021 compared to the previous year. The average price of stone (Code: 68.02) was up by $65.2 per ton to $794.82. The price of board, processed stone, an ingredient for building materials, increased by $3.52 per square meter to $42.96 per square meter. Recycling was always the problem as the volume of the total quarry was 333.5 million tons, of which only 28.8 percent were finished products and the remaining 71.2 percent were waste generated from stone extraction and processing. Korea's stone exports stood at $1.97 million in 2021, down 38.3 percent on year, while imports were up 8.6 percent to $758.9 million. Stone exports are expected to grow to 66.1 million tons in 2025, while usage is expected to reach 108.92 million tons, or 2 billion square meters.