• Korean Journal of Environment and Ecology
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• v.32 no.5
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• pp.445-468
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• 2018

The purpose of this study was to investigate the distribution of vascular plants growing at the Mt. Daedun provincial park area in the boundary between Nonsan-si, Geumsan-gun, Chungcheongnam-do and Wanju-gun, Jeollabuk-do, Korea. We collected the vascular plants 9 times from May 2016 to July 2017. The flora of Mt. Daedun was classified as a total of 434 taxa comprising of 95 families, 278 genera, 388 species, 3 subspecies, 38 varieties and 5 forma. Among them, the endemic plants in Korea that the investigation found were 11 taxa including Broussonetia kazinoki Siebold, Clematis trichotoma Nakai, Thalictrum actaefolium var. brevistylum Nakai, etc. It also found rare plant species, as designated by the Korea Forest Service were 6 taxa including 5 grade LC taxa such as Eranthis stellata Maxim., Viola albida Palib., and Scopolia japonica Maxim. and 1 grade DD taxa, Scrophularia koraiensis Nakai. The special floristic plants were a total of 35 taxa such as 9 taxa in degree III (Eranthis stellata Maxim., Stewartia pseudocamellia Maxim., Acer palmatum Thunb., etc.), 7 taxa in degree II (Equisetum hyemale L., Potentilla dickinsii Franch.&Sav., Viola orientalis (Maxim.) W. Becker, etc.) and 19 taxa in degree I (Dryopteris crassirhizoma Nakai, Cephalotaxus koreana Nakai, Ulmus parvifolia Jacq., etc.) to provide basic data. No taxa in grade V or IV were found. The naturalized plants were 34 taxa including Rumex acetosella L., Phytolacca americana L. and Chenopodium album L., and the percentage of urbanization index was 10.6% while the naturalized plant index was 7.7%.

• Journal of Environmental Impact Assessment
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• v.24 no.4
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• pp.352-366
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• 2015

The purpose of this study is to offer the basic data to the habitat conservation and management by surveying and analysing the ecological characteristics such as the flora, vegetation structure and soil of Rhodotypos scandens habitat. The flora were summarized as 131 taxa including 57 families, 99 genera, 107 species, 1 subspecies, 17 varieties and 6 forms. The life forms grouped as in the follows; the megaphanerophytes(MM) were 21 taxa, 24 taxa of the microphanerophytes(M), 30 taxa of nanophanerophytes(N), 6 taxa of chamaiphytes(Ch), 20 taxa of hemicryptophytes(H), 17 taxa of geophytes(G), 12 taxa of therophytes(Th) and 1 taxa of hydrophytes(HH). The present conditions of communities were 8 types including Zelkova serrata, Quercus aliena, Ulmus parvifolia, Rhamnella frangulioides, Castanea crenata, Albizia julibrissin, Celtis sinensis and Robinia pseudoacacia. In case of the dominant species by layers, the tree layer species were Zelkova serrata, Quercus aliena, Ulmus parvifolia, Castanea crenata, Albizia julibrissin, Celtis sinensis and Robinia pseudoacacia, and the subtree layer species were Rhamnella frangulioides, Q. aliena, Z. serrata, A. julibrissin, U. parvifolia and Broussonetia kazinoki. The shrub layer species was Rhodotypos scandens. In the results of analyzing the diversity index, $H^{\prime}{_{max}}$ from 1.691 to 2.610, from 2.197 to 3.466 in H'max, from 0.646 to 0.903 in J' and from 0.097 to 0.354 in D. In the results of analysing the soil, there showed that acidity was 5.6, 0.5dS/m of electrical conductivity(EC), 59.1mg/kg of available $P_2O_5$, 49.7% of organic matter content, $0.4cmol^+/kg$ of exchangeable $K^+$, $13.5cmol^+/kg$ of exchangeable $Ca^{2+}$, $3.3cmol^+/kg$ of exchangeable $Mg^{2+}$.

• Journal of Science of Art and Design
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• v.8
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• pp.161-184
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• 2005

Traditionally, Korean ink painting used paper as a background medium. This tradition has sought a new attempt to meet today's demands while its expressive techniques and mediums become more diverse. The attempt of Korean ink painting to explore new mediums could change both its structure and style when considering the significance of the medium in the work. These new attempts have encouraged a further study of 'Korean Traditional Paper'. Today, 'Korean Traditional Paper' is considered to be an object itself rather than just being a background. In other words, there is no implication of a separation between the medium 'Korean Traditional Paper' and the work. Instead, the medium itself becomes the work. Therefore, 'Korean Traditional Paper' is not only a 'background' that contains the artist's desire to express, but at the same time also an 'object'. This study focuses on the attributes of 'Korean Traditional Paper' as an object, examines how this is visually applied in contemporary Korean ink painting in the relation to 'Korean Beauty', and reviews the work of some artists that use Korean Traditional Paper. The use of Korean Traditional Paper as an object first began with the experimental techniques of Lee , Eung-Noh and Kwon, Young-Woo in the 1960s, Then it seemed to stop for a while in the 1970s and 1980s until there was a renewed interest in the material personality of Korean Traditional Paper with the birth of the 'Korean Traditional Paper Artists Association' in the 1990s. This interest increased and Korean Traditional Paper was earnestly adopted by artists like Yim, Hyo Lee, Ki-Sook Won, Moon-Ja and Choi, Moo-Young, who used the paper in Broussonetia, the previous fibered state of rice paper. Here, the expression of the object through the characteristics of Korean Traditional Paper is a visual experiment to discover Korea's traditional art mediums that were forgotten once, focusing on the manifestation of Korean Beauty through Korean Traditional Paper. In this respect, this attempt has a valuable meaning in its use with a contemporary visual sense , based on the Korean sense of beauty.