• Journal of KIBIM
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• v.14 no.1
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• pp.1-10
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• 2024

Virtual reality is one of the key emerging technologies of the 21th century and it has been used in a variety of ways in the fields of architectural research. Virtual reality is presented as an ideal alternative for studying the interaction between space and humans because it provides a realistic spacial experience while allowing experimenters to control environmental variables at a low cost easily. It allowed us to deepen our knowledge of human spatial experience in the built environment. However, existing reviews do not include the following points: 1) previous review research has been focused on using virtual reality technology in construction and engineering, not spatial experience, 2) recently, some review researches started to study the interaction between space and humans in the built environment, however, they do not suggest specific concepts of spatial experience. The present review aims to examine the existing literature about measuring spatial experience using virtual reality in architectural design. The study conducted a systematic qualitative review that analyzes and synthesizes the evolving literature regarding design elements, methodology, and usability. The study concludes with an overall discussion and their potential for providing further directions for future research.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.112-138
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• 2021

This paper mainly analyzes the records titled 'Shijujil(施主秩)' from the Bokjangs of each of the Rocana and Shakyamuni statues enshrined as wooden seated Vairocana Buddha Triadcomposed of Vairocana(center), Rocana(right), and Shakyamuni(left) at the Daeungjeon Hall of Hwaeomsa Temple in Gurye. The Shijujil from the Shakyamuni statue was recovered through Bokjang investigation in September 2015 and has been kept in the museum of Hwaeomsa as an undisclosed relic. After the discovery of the Shijujil from the Rocana statue through an Bokjang investigation in July 2020, both of the Shijujils were only officially released through the special exhibition 'Grand Hwaeomsa Temple in Jirisan Mountain' in September 2021. Existing documents recording on the creation of Buddha statues in the 17th century are in the form of sheets or rolls. However, the Shijujils take the form of simple stitched booklets. The Shijujil from Rocana consists of 19 chapters and 38 pages in one book, and the Shijujil from Shakyamuni consists of 11 chapters and 22 pages in one book. The contents of the Shijujils consist of the purpose of the Buddha statue creation, the creation date, the year and place of enshrining, the names of the statues, the people in charge and their roles, the sculptors, the list of items donated, and the list of the contributors. In addition, the list of monks who were staying at Hwaeomsa Temple at that time are also recorded, so the Shijujil is like a time capsule that tells the situation of Hwaeomsa Temple about 400 years ago. According to the records of the Shijujils and the Writing on the wooden pedestal of Rocana, the Vairocana Triad began to be in March 1634(12th year of King Injo) and was completed in August of that year, and was enshrined in the Daeungjeon Hall in the fall of the following year. It is very important to confirm that the Vairocana Buddha Triad of Hwaeomsa was created in 1634. Since studies on the reconstruction of Hwaeomsa Temple in the 17th century and the roles of Byeokam Gakseong have been mainly based on 『湖南道求禮縣智異山大華嚴寺事蹟』 written by monk Haean in 1636, it has been estimated that the wooden seated Vairocana Buddha Triad was created in 1636. However, it is now known that the Virocana Buddha Triad was created in 1634. The Shijujils are also a good source of information about Byeokam Gakseong who played a pivotal roles in the reconstruction projects of Hwaeomsa Temple in the 17th century. He played leading roles in rebuilding the East Five-story Stone Pagoda(1630), in creating the wooden seated Vairocana Buddha Triad(1634), and in producing the Yeongsanhoe Gwaebul(1653, Hanging Scroll Painting depicting the Shakyamuni preaching). It is also very important that the Shijujils are records that can reveal the relationship between Byeokam Gakseong and royal family of Joseon Dynasty in the 17th century. The Shijujils from Rocana and Shakyamuni are the first documents ever discovered in which the names of royal family members, such as Uichanggun(Gwang Lee, son of King Seonjo), Ikseong Shin(son-in-law of King Seonjo), and Crown Prince Sohyeon(son of King Injo) are recorded in detail in relation to the production of Buddha statues. The Shijujils from Rocana and Shakyamuni contain specific information about the production of the wooden seated Vairocana Buddha Triad in the 17th century, such as the year of production of the Buddha statues, the role of Byeokam Gakseong, and the relationship between Byeokam Gakseong and the royal family, so it is of great value not only for art history but also for historical studies of Hwaeomsa Temple.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.242-261
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• 2021

Sangjeong was a sculptor-monk who was active in the mid-to-late 18th Century, and the current study established the overall chronology of Sangjeong's Buddhist statues and their styles based on the six sculptures of Sangjeong already known and the Wooden Seated Buddha of 1767 in Songgyesa Temple, Geochang, which was found to be his last work. All of the Buddhist statues of Sangjeong have commonalities in terms of the appearance of the ears, wrinkles on clothing on the upper and lower body, position of hands, and expression of the lower body. The expression of the lower body, in particular, is classified into three types: Type A, where the clothing drapes through the lotus leaves on the bottom; Type B, with an 'S-shaped' drape over the lower body but no lotus leaves or pedestal; and Type C, with the Buddha and pedestal as a single unit, and the clothing draping through the lotus leaves on the pedestal. It appears that Sangjeong faithfully succeeded the style of Taewon, who was his only instructor for sculpture. This is verified based on the records of his participation in the creation of the Wooden Seated Sakyamuni Buddha Triad and Statue of Arhat in Bongeunsa Temple, Seoul, as the third sculptor-monk out of twelve sculptor-monks, and the reflection of the S-shaped drape on the lower body found on the statue of Buddha in Bongeunsa Temple on all of the statues created by Sangjeong. Not only that, but it was assumed that the expression of the pedestal and hair was also inherited by Sangjeong from Taewon and Jinyeol, who was a sculptor-monk from the early 18th Century. The work of Sangjeong and Taewon showed differences in the volume and thickness of statues, strength of unevenness on the wrinkles of clothing, drapes on the right side of chest, and details of the ears. The current study identified the original styles of each individual sculptor and attempted to categorize the fourteen pieces of ten Buddhist statues reflecting the styles of Sangjeong into Sangjeong-style or Taewon-style.

• Journal of the Korean Association of Geographic Information Studies
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• v.16 no.4
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• pp.120-140
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• 2013

We investigated the occurrence of red tide, harmful algal blooms(HABs), at the end of 14th century until the beginning of 19th century recorded in the Annals of the Joseon Dynasty, which are the authentic and encyclopedic annual records of the Joseon Dynasty of Korea. In total, 81 cases of HABs are recorded in the annals for which authors draw a table and maps. The number of HABs occurrence at each sea is as follows: 68 times at the South Sea; 50 times at the East Sea; and 23 times at the Yellow Sea. A region hit by red tide most frequently was Gyeongsang-do Province (over 80 times), which borders on both the South Sea and the East Sea. HABs written in the annals follow two distinctive occurrence patterns. The first pattern shows red tide started at Gangwon-do Province in March, spread north to Hamgyeongnam-do Province in April, and moved further north to Hamgyeongbuk-do Province in May and June. On the other hand, the second pattern shows red tide occurred in Gyeongsangnam-do Province in August and then expanded north to Gyeongsangbuk-do Province in September. HABs generally happened from March to September, culminating in August. Paralytic shellfish poisoning incidents involving human deaths were reported in Jinhae, Geoje and Tongyeong, occurring February to June. Fish mortality increased throughout Gyeongsang-do Province from July to September. HABs occurred on an extensive scale from 1394 to 1451 and again from 1654 to 1706. HABs also occurred on a lesser scale from 1493 to 1534 and again from 1588 to 1609. In general, vast HABs occurred in odd years (1399, 1403, 1413 and 1681).

• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.62-70
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• 2021

2020 was a year in which the world spent in disorder due to the pandemic of Coronavirus infection-19(COVID-19). The pandemic was at the beginning of a turning point in history. For examples, the Black Death(Pest) that destroyed the feudal system of medieval Europe in the 14th century, smallpox that led to the destruction of the Inca Empire by Spain in the 17th century, and the Spanish flu that ended World War I early. The great transformation that will come after COVID-19 is presented from various fields and perspectives, but the understanding and direction of the transformation is ambiguous. This study attempts to derive and to analyze core terms based on a network of the future of globalization after COVID-19. Four Networks related to globalization, anti-globalization, and globalization and digitalization after COVID-19 were established respectively. A network integrating four networks was also constructed. The core terms were extracted from the hub nodes, the stress centrality, and the simplified network to which the K-core algorithm was applied. After COVID-19, the changes in globalization were analyzed from the extracted core terms. This study is thought to be meaningful to propose a method of deriving and analyzing core terms based on a network in understanding social changes after COVID-19.

• 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 the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.11-31
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• 2019

Taking the painting, 「Landscape of the Jiuqu River in the Wuyi Mountain」 as the study object, which was produced in the middle of Qing Dinasty and collected by the British Library, this paper analyzes the scenery names recorded in the painting, and describes the landscape of the mountain, port and ships, architectural elements, civil elements, character, stone inscription and other scenery in the painting. The investigation results of the cultural landscape properties of each Gok are as follows: According to statistics, there are 28 architectural elements in the painting, including 7 pavilions (25%), 4 temples (14.3%), 3 Colleges and Taoist temple (10.7%), 2 Dowon(道院) and villages (7.1%); 29 civil elements, including 9 holes (31%), 6 Historical Sites (20.7%), 3 Stations(臺) (10.3%), 2 Ferries, 2 Bridges, and 2 Ponds (6.9%), 1 Garden, 1 Gate, 1 Mine(坑), 1 Well and 1 Remains(3.4%). These physical factors and civil factors are the important relics reflected the cultural landscape attributes of Wuyi-Gugok in the middle of the 18th century. Among the shape element in each Gok, the 1^st Gok have 12 shape elements(21.1%), the 5^th Gok 11(19.3%), the 4^th Gok 9(15.8%), the 9^th Gok 8(14%), the 3^rd Gok 7(12.3%), the 6^th Gok 4(7%), the 2^nd Gok 3(5.3%), the 7^th Gok 2(3.5%), and the 8^th Gok 1(2%). Through collation, it is found that the 1^st Gok, 5^th Gok and 4^th Gok have more prominent cultural landscape characteristics. In addition, according to the description of scenic spot types in 『Muisanji(武夷山志)』, there are 38 types of scenery description in the painting, of which, the three scenery of big rock, peak, small rock occupy the vast majority. This reflects the Danxia(丹霞) landform characteristics of Wuyi-Gugok. The cultural connotation of Wuyi Mountain expressed and contained in the painting is analyzed and interpreted, and it is found that the Jiuqu(九曲) River in the Wuyi Mountain has Neo-confucianism culture, Taoism culture, Buddhism culture, Tea culture and so on. In addition, among the 171 scenery names shown in the painting, there are altogether 7 stone inscriptions that are consistent with or have the same meaning as the rock inscriptions site, including 3 for inscriptions praising the landscape, 3 for philosophical inscription and 1 for auspicious language inscription, which is considered as the important basis for the mutual textuality between the pictures and the stone inscriptions.

• Journal of International Area Studies (JIAS)
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• v.14 no.2
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• pp.449-476
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• 2010

This paper focuses on the security problems in atlantic ocean involved in the USA and Latin America and the Caribbean. The ocean security matters in this region have mainly argued military concerns traditionally. However, the concept of ocean security has been changed in the 21st century and strongly debated with various dimensions: social, human and resource, environment as well. This paper traces these changed concepts currently with many empirical cases existed in many security conflicts in this ocean, especially between the USA and Latin(South) America region. Historically, security conflicts in the OAS(Organization of American States) countries have involved with many military matters, territory and oceans, and currently added up with terrorism and drug problems as well. However, the great and potential conflict emerged in the security issues is resource matter in this ocean and get a dilemma to be sorted out between military and social security matter. For example, the re-establishment of 'the 4th Fleet' in US Navy got a great conflict between the USA and the South American countries, both of them wants to achieve to resource security in this ocean to meet their energy security. Finally this paper addresses some implications and prospects in this conflict in near future and suggests a few solutions and advices for Korean's relation in this ocean.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.140-170
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• 2021

This paper investigates the Wooden Seated Tri-kaya Buddha Images(三身佛像) of Vairocana, Rushana, and Sakyamuni enshrined in Daeungjeon Hall of Hwaeomsa temple(華嚴寺) in Gurae, South Cheolla Province. They were produced in 1634 CE and placed in 1635 CE, about forty years after original images made in the Goryeo period were destroyed by the Japanese army during the war. The reconstruction of Hwaeomsa was conducted by Gakseong, one of the leading monks of Joseon Dynasty in the 17th century, who also conducted the reconstructions of many Buddhist temples after the war. In 2015, a prayer text (dated 1635) concerning the production of Hwaeomsa Tri-kaya Buddha images was found in the repository within Sakyamuni Buddha. It lists the names of participants, including royal family members (i.e., prince Yi Guang, the eighth son of King Seon-jo), and their relatives (i.e., Sin Ik-seong, son-in-law of King Seonjo), court ladies, monk-sculptors, and large numbers of monks and laymen Buddhists. A prayer text (dated 1634) listing the names of monk-sculptors written on the wooden panel inside the pedestal of Rushana Buddha was also found. A recent investigation into the repository within Rushana Buddha in 2020 CE has revealed a prayer text listing participants producing these images, similar to the former one from Sakyamuni Buddha, together with sacred relics of hoo-ryeong-tong copper bottle and a large quantity of Sutra books. These new materials opened a way to understand Hwaeomsa Trikaya images, including who made them and when they were made. The two above-mentioned prayer texts from the repository of Sakyamuni and Rushana Buddha statues, and the wooden panel inside the pedestal of Rushan Buddha tell us that eighteen monk-sculptors, including Eungwon, Cheongheon and Ingyun, who were well-known monk artisans of the 17th century, took part in the construction of these images. As a matter of fact, Cheongheon belonged to a different workshop from Eungwon and Ingyun, who were most likely teacher and disciple or senior and junior colleagues, which means that the production of Hwaeomsa Tri-kaya Buddha images was a collaboration between sculptors from two workshops. Eungwon and Ingyun seem to have belonged to the same community studying under the great Buddhist priest Seonsu, the teacher of Monk Gakseong who was in charge of the reconstruction of Haweonsa temple. Hwaeomsa Tri-kaya Buddha images show a big head, a squarish face with plump cheeks, narrow and drooping shoulders, and a short waist, which depict significant differences in body proportion to those of other Buddha statues of the first half of 17th century, which typically have wide shoulders and long waists. The body proportion shown in the Hwaeomsa images could be linked with images of late Goryeo and early Joseon period. Rushana Buddha, raising his two arms in a preaching hand gesture and wearing a crown and bracelets, shows unique iconography of the Bodhisattva form. This iconography of Rushana Buddha had appeared in a few Sutra paintings of Northern Song and Late Goryeo period of 13th and 14th century. BodhaSri-mudra of Vairocana Buddha, unlike the general type of BodhaSri-mudra that shows the right hand holding the left index finger, places his right hand upon the left hand in a fist. It is similar to that of Vairocana images of Northern and Southern Song, whose left hand is placed on the top of right hand in a fist. This type of mudra was most likely introduced during the Goryeo period. The dried lacquer Seated Vairocana image of Bulheosa Temple in Naju is datable to late Goryeo period, and exhibits similar forms of the mudra. Hwaeomsa Tri-kaya Buddha images also show new iconographic aspects, as well as traditional stylistic and iconographic features. The earth-touching (bhumisparsa) mudra of Sakymuni Buddha, putting his left thumb close to the middle finger, as if to make a preaching mudra, can be regarded as a new aspect that was influenced by the Sutra illustrations of the Ming dynasty, which were imported by the royal court of Joseon dynasty and most likely had an impact on Joseon Buddhist art from the 15th and 16th centuries. Stylistic and iconographical features of Hwaeomsa Tri-kaya Buddha images indicate that the traditional aspects of Goryeo period and new iconography of Joseon period are rendered together, side by side, in these sculptures. The coexistence of old and new aspects in one set of images could indicate that monk sculptors tried to find a new way to produce Hwaeomsa images based on the old traditional style of Goryeo period when the original Tri-kaya Buddha images were made, although some new iconography popular in Joseon period was also employed in the images. It is also probable that monk sculptors of Hwaeomsa Tri-kaya Buddha images intended to reconstruct these images following the original images of Goryeo period, which was recollected by surviving monks at Hwaeomsa, who had witnessed the original Tri-kaya Buddha images.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.18 no.2
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• pp.79-88
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• 2015

Preparations need to be made for Korean pine(Pinus koraiensis) in anticipation of climate change because Korean pine is an endemic species of South Korea and the source of timber and pine nut. Therefore, climate change adaptation policy has been established to conduct an impact assessment on the distribution of Korean pine. Our objective was to predict the distribution of Korean pine while taking into account uncertainty and afforestation conditions. We used the 5th forest types map, a forest site map and BIOCLIM variables. The climate scenarios are RCP 4.5 and RCP 8.5 for uncertainty and the climate models are 5 regional climate models (HadGEM3RA, RegCM4, SNURCM, GRIMs, WRF). The base period for this study is 1971 to 2000. The target periods are the mid-21st century (2021-2050) and the end of the 21st century (2071-2100). This study used the MaxEnt model, and 50% of the presences were randomly set as training data. The remaining 50% were used as test data, and 10 cross-validated replicates were run. The selected variables were the annual mean temperature (Bio1), the precipitation of the wettest month (Bio13) and the precipitation of the driest month (Bio14). The test data's ROC curve of Korean pine was 0.689. The distribution of Korean pine in the mid-21st century decreased from 11.9% to 37.8% on RCP 4.5 and RCP 8.5. The area of Korean pine at an artificial plantation occupied from 32.1% to 45.4% on both RCPs. The areas at the end of the 21st century declined by 53.9% on RCP 4.5 and by 86.0% on RCP 8.5. The area of Korean pine at an artificial plantation occupied 23.8% on RCP 4.5 and 7.2% on RCP 8.5. Private forests showed more of a decrease than national forests for all subsequent periods. Our results may contribute to the establishment of climate change adaptation policies for considering various adaptation options.