• KOREAN JOURNAL OF CROP SCIENCE
• /
• v.58 no.3
• /
• pp.292-300
• /
• 2013

In this study, we examine the palatability and physicochemical properties of rice in the year, when there was 10% increase in yield compared to normal year due to daily temperature range and sunshine hours. The results of the analysis of rice yield over the last 20 years (1993-2012) showed 10% difference between the yield in 2000, which was normal, and that in 2001. With regard to the crop weather condition during the ripening period in 2001 compared to 2000, the daily range and sunshine hours were higher, but the mean temperature was similar. The rice yield in 2001 was 9.8% higher than that in 2000 due to the increased number of spikelets per panicles and ratio of ripened grain. In terms of chemical traits, protein, Mg, and K contents decreased in 2001 compared to 2000, but amylose content increased. Trough and final viscosity assessed with a Rapid Visco Analyser were significantly higher in 2001 than 2000. The quality of cooked rice was measured through the Toyo Mido Meter Glossiness Value (TGV) instead of a palatability score because a sensory test produces relative comparison values rather than absolute values. The correlation coefficients between the sensory evaluation parameters and the TGV in several rice materials harvested in two years showed a highly significant positive correlation ($r=0.81^{**}-0.89^{**}$, n=27-47). TGV was also significantly higher in 2001 than in 2000. The results suggested that the palatability of cooked rice was good in 2001 with about 10% increase in rice yield compared to normal year in 2000 due to daily temperature range and sunshine hours.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.4
• /
• pp.1-13
• /
• 2014

As part of reconsideration on naming of the scenic site No.1 "Myeongju Cheonghak-dong Sogumgang," this study attempts to identify whether there is any mistake with reference to place naming of Korea's No.1 scenic site and if so, to correct the problem by examining the origin of the name and its transition progress through analysis and interpretation of old maps, ancient documents such as traditional geographic books, Yusangi(遊山記) and Letters Carved on the Rocks. The findings of this study are as follows: In traditional geographic books, a term of 'Mt. Cheonghak(靑鶴山)' was first found from "SinjungDonggookyeojisungram(新增東國輿地勝覽)" and after a place name, 'Sogumgang(小金剛)' first appeared in "Yeojidoseo(輿地圖書)" in the middle of the 17th century, it was reproduced in "Jungsuimyeongji(增修臨瀛誌)", which was published in the early 20th century. However, as a result of analyzing old maps, the place name, Sogumgang cannot be found in any local or national map except place names such as Cheonghak-dong, Mt. Cheonghak and Temple Cheonghak. Even though 'Biseonam,' 'Cheonyudong,' 'Gyeongdam' and 'Mt. Cheonghak' appear in Yulgok's "Yucheonghaksangi(遊靑鶴山記)", any part in which 'Sogumgang' was referred is not found. Later, Cheonghak-dong Sogumgang seemed to had been called 'Mt. Cheonghak' or 'Cheonghak-dong(靑鶴洞)' for more than three centuries as seen in Lee Sun-il's "Godamilgo(孤潭逸稿)", Heo Geun's farewell records, Heo Mok's "Cheonghak-dong Guryongyeongi(靑鶴洞九龍淵記)", Yoon Sun-geo(尹宣擧)'s "Padongilgi(巴東日記)" and Lee Won-jo's letters and a poem composed by Gang Jae-hang in the middle of the 18th century is the only record in which the place name, 'Sogumgang' is shown. Meanwhile, 'Sogumgang' carved on Inung Rock(二能巖) in front of Temple Gumgang is presumed to be carved by Inunggyeoone(二能契員) in the 1870s or in 1930s, considering the size of each character, calligraphy, overall layout, wear extent and records in Jiriji. Therefore, no evidence can be found to say that each character of 'Sogumgang' was written by Yulgok because 'Sogumgang' has strong evidences of the origin of its place name. To sum up the findings stated above, since Yulgok's "Yucheonghaksangi", this place seems to have been referred as 'Mt. Cheonghak Cheonghak-dong' and as it is confirmed that the place name, 'Sogumgang' first appeared in "Ohyeongosijo(五言古時調)" of "Ibjaeseonsangyugo(立齋先生遺稿)" and "Yeojidoseo" in the middle of the 18th century, it can be inferred that the place name, Sogumgang had been partly mingled as an another name of Mt. Cheonghak. Therefore, even though it is difficult to say the existing place name has a significant problem, it is thought that it will be better to name 'Mt. Cheonghak Cheonghak-dong' rather than 'Cheonghak-dong Sogumgang' in order to stress on this place's traditional identity as a scenic site related to Yulgok. In addition, as confirmed in this study process, it is said that each character of place names, 'Mt. Cheonghak' and 'Gyeongdam(鏡潭)' and name 'Yoon Sun-geo' carved in Rock Sikdang stated in Yoon Sun-geo's "Padongilgi" in 1964 is a pledge showing the influence of "Yucheonghaksangi" as an ancient travel literature as well as a mark of the Giho school scholars' respect and spirit to honor Yulgok.

• Economic and Environmental Geology
• /
• v.35 no.3
• /
• pp.211-220
• /
• 2002

The Xiaoxinancha Cu-Au deposit in the Jilin province, located in NNE 800 km of Beijing, is hosted by diorite. The ore mineralization of Xiaoxinancha Cu-Au deposit show a stockwork occurrence that is concentrated on the potassic and phyllic alteration zones. The Xiaoxinancha Cu-Au deposit in the south is being mined with its reserves grading 0.8% Cu, 3.64 g/t Au and 16.8 g/t Ag and in the north, grading 0.63% Cu, 3.80 g/t Au and 6.8 glt Ag. The alteration assemblage occurs as a supergene blanket over deposit. Hydrothermal alteration at the Xiaoxinancha Cu-Au deposit is centered about the stock and was extensively related to the emplacement of the stock. Early hydrothermal alteration was dominantly potassic and followed by propylitic alteration. Chalcocite, often associated with hematite, account for the ore-grade copper, while chalcopyrite, bornite, quartz, epidote, chlorite and calcite constitute the typical gangue assemblage. Other minor opaque phases include pyrite, marcasite, native gold, electrum, hessite, hedleyite, volynskite, galenobismutite, covellite and goethite. Fluid inclusion data indicate that the formation of this porphyry copper deposit is thought to be a result of cooling followed by mixing with dilute and cooler meteoric water with time. In stage II vein, early boiling occurred at 497$^{\circ}$C was succeeded by the occurrence of halite-bearing type III fluid inclusion with homogenization temperature as much as 100$^{\circ}$C lower. The salinities of type 1II fluid inclusion in stage II vein are 54.3 to 66.9 wt.% NaCI + KCI equiv. at 383$^{\circ}$ to 495$^{\circ}$C, indicating the formation depth less than 1 km. Type I cupriferous fluids in stage III vein have the homogenization temperatures and salinity of 168$^{\circ}$ to 365$^{\circ}$C and 1.1 to 9.0 wt.% NaCI equiv. These fluid inclusions in stage III veins were trapped in quartz veins containing highly fractured breccia, indicating the predominance of boiling evidence. This corresponds to hydrostatic pressure of 50 to 80 bars. The $\delta$$^{34}S$ value of sulfide minerals increase slightly with paragenetic time and yield calculated $\delta$$^{34}S_{H2S}$ values of 0.8 to 3.7$\textperthousand$. There is no mineralogical evidence that fugacity of oxygen decreased, and it is thought that the oxygen fugacity of the mineralizing fluids have been buffered through reaction with magnetite. We interpreted the range of the calculated $\delta$$^{34}S_{H2S}$ values for sulfides to represent the incorporation of sulfur from two sources into the Xiaoxinancha Cu-Au hydrothermal fluids: (1) an isotopically light source with a $\delta$$^{34}S$ value of I to 2$\textperthousand$, probably a Mesozoic granitoid related to the ore mineralization. We can infer from the fact that diorite as the host rock in the Xiaoxinancha Cu-Au deposit area intruded plagiogranite; (2) an isotopically heavier source with a $\delta$$^{34}S$ value of > 4.0$\textperthousand$, probably the local porphyry.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.54-88
• /
• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.