• Journal of Conservation Science
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• v.30 no.1
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• pp.39-53
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• 2014

The decorative painting at court was practical and functional role by decorated the inside and outside of palace. Especially, the type of the Painting of sun, moon and five peaks and Heavenly peach were the one of representative decorative paintings, produced for authority of king and longevity wish. However, there are not clarify verification of production period and installation place in the Painting of sun, moon and five peaks and Heavenly peach, that made before $19^{th}$ century, in present. Therefore, this study has a meaning on find production period, installation place and techniques of paint through conservation scientific research of the Painting of sun, moon and five peaks and Heavenly peach that introduced the first time in National Museum of Korea. Double side paintings in two-panel folding screen style and tortoise shell shape of window is the first time research in the decorative painting at court. This study also explain that they were installed in Hamin Jeong from ChanggyeongGungyeonggeon Dogam Uigwe(1834) through research of the original measurement, contrast of palace in present and Uigwe record. It will be contributed to a study of the Painting of sun, moon and five peaks and Heavenly peach in the early $19^{th}$ century.

• Korean Journal of Environmental Agriculture
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• v.2 no.1
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• pp.35-44
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• 1983

In order to elucidate the change of plant community of natural forests caused by air pollution in the area of Mt. Dosjil of Ulsan city, 25 study subplots, 5 subplots from each 5 plots were set up. These plots lay along gradients of chronic exposure to airborne sulfur dioxide ($SO_2$), fluorides(F) and possibly other pollutants. Total nitrogen, organic matter, available $P_2O_5$, and CEC were generally depressed near industrial sourecs of air pollutants. The author found a total 7 species near sources of air pollutants and 13 species at the utmost plot from air pollutants. Number of individuals, species diversity, evenness, similarity index and biomass were generally depressed near the industrial source of air pollutants. Tolerant plants to air pollution is Cyperus amuricus, Calamagrostis arundinacea, Bidens bipinnata, Cocculus trilobus, Digtaria sanguinalis, Persicaria hydropiper, Pinus thunbergii, Ambrosia artemisiifolia var. elatior, Rhododendron schlippenbachii and Robinia pseudoacacia. It contains 4.41ton/ha of aboveground biomass of Robinia pseudoacacia in damaged forest by air pollution and 39.47ton/ha of it in the non-attacked forest. The annual net production is 0.67ton/ha. yr in damaged forest and $7.73ton/ha{\cdot}yr$ in the non-attacked forest.

• Korean Journal of Ecology and Environment
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• v.37 no.2 s.107
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• pp.255-262
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• 2004

Growth patterns after the cutting and burning of Miscanthus sacchariflorus community were analyzed in the Woopo Wetland. Three replicates of 5 ${\times}$ 5 m plot of control, burning, and cutting treatments were established in April 2003 and changes of growth pattern were monitored by August 2003. In the control, burning, and cutting plots, a total of 7 families and 8 species, 14 families and 18 species, 6 families and 8species were observed respectively. Burning plot showed high diversity of flora. However, high diversity declined after July and all plots showed a similar species diversity. Vine plant, Humulus japonicus, dominated in the burning plots. Change of shoot density was highest in the early period in the burning plots (176/$m^2$) and shoot density in early May was almost double of the control and cutting plots. Toward to the end of active growth period (August), shoot density in cutting plot (170 ${\pm}\;7/m^2$)was higher than that of burning plots (141 ${\pm}\;9/m^2$). Shoot length of the cutting, burning, and control plot was 205 ${\pm}$ 15 cm, 190 ${\pm}$ 17 cm, and 187 ${\pm}$ 6 cm (n> 100) respectively. Above- ground biomass of cutting plots was higher than that of burning and control plots. Above- ground biomass of cutting plot was 1.6 times higher than the control while burning plot showed 1.4 times. This study indicted that cutting of Miscanthus sacchariflorus community increase shoot density development, length growth, and above- ground biomass.

• Korean Journal of Environment and Ecology
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• v.7 no.2
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• pp.118-134
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• 1994

This study was conducted to investigated the plant community structure and to revaluate the part of plant ecosystem on statement of environmental impact assessment in Muju resort golf course, Solch'on area, Tokyusan National Park. The actual vegetation was comprised of Pinus densiflora-Quercus mongolica-Q. serrata community(33.21%), Q. spp. community(27.30%), P. densiflora community(20.68%) and high mountain marsh(4.93%) etc., which communities were the major vegetation and the forest vegetation was came to being a peculiar to environmental condition. The degree of green naturality 8, 9 was covered 93% in survey area, and so this result reflect the stability of ecosystem. There was all the difference between the statement of environmental impact assessment of development concerned and this study result in the estimation of degree of green naturality. The plant community were divided into six groups in fifty-four plots by DCA and the dividing groups were P. densiflora, P. densiflora-Q. mongolica, P. densiflora-Q. serrata-F. mandschurica-B. davurica, Q. mongolica-Q. serrata-P. densiflora, Q. mongolica-Q. variabilis, Salix koreansis- B. davurica community. Except P. densiflora forest in survey site, the ecological succession trend of the other communities was seemed to be from P. densiflora to Q. spp.

• Journal of the Korean Institute of Landscape Architecture
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• v.13 no.1
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• pp.79-94
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• 1985

This study was carried out to give basic information about the environmental conservation in Masan District. It included the actual vegetation the degree of human disturbance of vegetation, plant biomass and biomass production. The natural vegetation was nonexistent and the major plant communities of the secondary forest was P. thunbergii-Q. acutissima and Quercus forest. P. thunbergii-Q. acutissima community area was 29.2% of Masan District and the secondary forest and the afforestation area was 48% and 13% of Masan District respectively. The ecological diversity of the plant community was high value in Q. acutissima- P. thunbergii, Q.aliena and Carpinus laxiflora-Q.variabilis communicty. As the investigation of the ecological succession in Masan Forest, P. thunbergii community is edaphic climax and mixed forest will be changed gradually dominant species of Quercus species. It was implied that Genus Quercus hadnever beenso easily taken ever by the Genus Pinus which forms the edaphic climax at vast areas of forest land. In the degree of human disturbance of vegetation, the degree 7 (secondary forest 1) was 52.8% and the green spaces in Masan cover 65%, which nongreen spaces 35 %. Total amount of plant biomass produced from Masan District was estimated to be 160, 470.95 tons. Annual Production of dry matter biomass amounts to be 32,940.64 tons. Estimated amount for O$_2$produced annually from the vegetated area in Masan was 34,856 tons.

• Journal of Korean Philosophical Society
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• v.143
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• pp.267-290
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• 2017

At the end of the 'observing reason' of the chapter of 'the Reason' in Hegel's PhdG, reads that 'Spirit is a bone' and it is an 'infinite judgement'. We will concentrate on the following problems to clarify the meaning of this infinite judgement. First, this paper introduces the various interpretations on the meaning of the 'Spirit is a bone' and makes a comparative investigation of that problem. If we do not examine the various interpretations, there may be the probability of arbitrary interpretation of this judgement. Second, we will discern the difference between Kant's and Hegel's interpretations with regard to the meaning of the infinite judgement. Hegel obviously understands the content more than the meaning of Kant's forms of infinite judgement (S is not-P). If we do not explicate the reason which Hegel expands beyond the form to the content, it is difficult to understand the meaning which Hegel has said on it. With regard to this, we do not restrict our study to the PhdG. We also refer to the meaning of the infinite judgement on 'the judgement of Dasein' in Hegel's small and large Logics. Third, We are going to explore the various interpretations concerning those problems. Above all, we note ${\check{Z}}i{\check{z}}ek^{\prime}s$ interpretation who relates it to Psychoanalysis. While examining ${\check{Z}}i{\check{z}}ek^{\prime}s$ interpretation, we expecially note how he can interpret it well.

• Journal of Korean Classical Literature and Education
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• no.39
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• pp.181-220
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• 2018

I analyze Seo Kyung Duk's (徐敬德, 1489-1546) phonetic essay and deduce whether it is related to the Tang poetry style [唐詩風], which was popular in the 16th century. Seo Kyung Duk was known as a Ki[氣]-oriented scholar and a kind of numerologist. He taught people regardless of their status differences, which gave them an open-minded attitude. Most of them were active in the areas near Seoul. Around this time, the Tang poetry style began to be popular in the Yi dynasty. Most of the leading writers of this literary trend were his students. He thought that the universe was made up of the movement of Ki[氣] and that the movement followed the correct order of numbers. Ki[氣] is active, automatic, and inevitably creates the universe in the order of numbers. The reasons for their existence are clear. All present existences, including human beings, fit together and collectively harmonize by themselves. Beyond the present discrimination, the Great Body [本體] returns to a clean and transparent unity. As such, the school presented the political stance of taking the differences of the present world into harmony and the literary position of trying to experience the clean and transparent unity of the Great Body through an aesthetic experience.

• Journal of the Daesoon Academy of Sciences
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• v.28
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• pp.243-265
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• 2017

In this research, I define 'conscience' in Daesoon thought as the 'Restorative capability of returning to one's roots.' The notion of conscience forms a structure of separation and return, and it is connected to the ascetic aim of realizing human perfection. The conscience opens up potential possibilities and leads realization of potential possibilities by returning to the the point of origin. In the middle of separation and return, the conscience acts as the power of subjectivity possessed by human beings which is known as 'In jon (Human Nobility)' in Daesoon thought. The concept of conscience in Daesoon thought is connected with the subjectivity of In jon and free will as well as the character of subjectivity. This shares commonalities with critical thinking, modern characteristics, and the subjectivity of Heidegger's existentialism. Heidegger describes human fate from an existentialist vantage point using terms such as dasein, Geworfenheit, and Entwurf, and establishes human existence as an act of self-recovery from within in a lonely existential establishment. Daesoon thought implies that humanity is the root of ultimate reality, and this description is in sharp contrast with the thrownness (Geworfenheit) of Heidegger's subjectivity. Therefore, Daesoon thought can be seen as unique in its characterization of humanity as being connected to the root of ultimate reality, autonomy, and independent existence.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.70-99
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• 2021

Yeong-am's 'Jeongwon (貞元)' stone monument, designated as the Jeollanam-do Cultural Heritage, is considered to be the oldest of the epigraphs in Jeollanam-do. Immediately after the discovery, the possibility of it being a Maehyangbi of Memorial Inscriptions was mentioned and attracted attention. However, there is an absolute age of the 'Jeongwon (貞元) of 2 years' (786), so despite it is a relatively early epigraph (金石文), there are not many papers on the theme related to this stone monument. I believe that this stone monument is a Maehyangbi (埋香碑). While reviewing and comparing the results of the existing research, I decoded the text from the 42nd character of the 4th line. As a result of the review, that was conducted, it was confirmed that this stone monument is truly a Maehyangbi (埋香碑). In particular, it was recorded in the literature of the late Joseon Dongguk-myungsanggi (東國名山記) that the letters of the Maehyangbi (埋香碑) are not recognizable. However, it is clearly stated that this stone monument is a Maehyangbi (埋香碑). Although there is no common expression for 'bury (埋)' or 'incense burial (埋香)' in the traditional Maehyangbi (埋香碑), which were popular in the late Goryeo and early Joseon Periods, it can be seen that it is a Maehyangbi (埋香碑) from the words "hide (呑藏)" and "10 bundles of fragrant incense (合香十束)" that are engraved on the stone monument with the name 'Jeongwon.' In other words, it is thought that it meant 'hide (呑藏)' instead of 'bury (埋)'. Circumstantial evidence for the monument of Jingamseonsa (眞鑑禪師), built in 888, contains the an epigraph from the Unified Silla Era. There is a phrase on it that says 'Plant incense on the shore (海岸植香)' on the monument of Jingamseonsa (眞鑑禪師), and it conveys its meaning without using the character 'bury (埋)'. As a result of the absence of the character 'bury (埋)' on the stone monument with the name 'Jeongwon', it is not considered as a Maehyangbi (埋香碑). However, there is evidence that the stone monument with the name 'Jeongwon (貞元)' is in fact a Maehyangbi (埋香碑) and it is also in the Geumpyoseok (禁標石; Forbidden Stone) around Gukjangsaeng (國長生) and at the entrance of Dogapsa Temple (道甲寺). The letters written on the gold sign suggest the possibility that the charcoal used to burn incense (香炭) at the royal tombs of King Jeongjo (正祖) was produced around at Dogapsa Temple (道甲寺) in Wolchulsan (月出山). Since the charcoal used to burn incense (香炭) is naturally related to incense (香), it has been shown that the area around Wolchulsan, where Dogapsa Temple is located, has a long history related to incense (香). The letters visible on the stone monument, the record of Dongguk-myungsanggi (東國名山記) in the late Joseon Dynasty, and the letters on the Geompyoseok (禁標石; Forbidden Stone), all show that the stone monument with the name 'Jeongwon (貞元)' is a Maehyangbi (埋香碑). Considering the fact that the earliest Maehyangbi (埋香碑) in existence is the Maehyangbi (埋香碑) in Yeongam (靈巖) Ippam-ri (笠巖里), which has two dates from 1371 at the end of Goryeo and 1410 at the beginning of Joseon, the stone monument with the name 'Jeongwon' which was set up in 786, would be the oldest Maehyangbi (埋香碑) that we know of. In addition, there is a historical significance in that the Maehyangbi (埋香碑) is proven in the record of Dongguk-myungsanggi (東國名山記), a document from the late Joseon period.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.