• 한국해양학회지
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• v.30 no.6
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• pp.550-564
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• 1995

The temporal and spatial characteristics of wind fields over the neighbouring seas of the Korean peninsula are investigated using 10-years daily wind data during 1978${\sim}$1987 which have been spatially smoothed and low-pass filtered. Long term annual and monthly means are examined for synoptic patterns and spectral analyses are made for temporal variability and spatial coherence. Spatial patterns of the annual mean wind stress and curl have a strong resemblance with those of monthly means during the winter season. Two outstanding periodicities are observed at 1 and 2 cycles per year. The synoptic winds over the study area are highly coherent at both the annual and semi-annual periodicities. However, each basin has its own characteristic spatial pattern. For instance, the prevailing wind during the winter season is northerIy over the northern East Sea (ES), Yellow Sea (YS), and northern East China Sea (ECS), while it is northwesterly over the southern ES and northesterly over the northern ES and southern ECS. At the same time, the wind stress curl is positive over the northern ES and southern ECS, while it is negative over the southern ES, YS and northern ECS. On the other hand, the wind field during the summer season, with its strength being much reduced, is completely different from that during the winter season, and frequent passage of tropical storms provokes large temporal variability over ECS. One remarkable point is that the annual cycle, dominated by the Siberian High, tends to propagate from northeast to southwest, i.e., from northern 25 toward southern ES, YS and ECS, while the semi-annual cycle propagates in the opposite direction, from southwest to northeast. The semi-annual periodicity may reflect development of extratropical cyclones in spring and fall which frequently cross the Korean peninsula. In higher frequencies, there are no dominant periodicities, but local winds over YS and ES are highly correlated for frequencies larger than 0.1 cycles per day and phase difference increases linearly with frequency. This linear increase of phase corresponds to phase speed of 550 and 730 km/d at 0.1 and 0.3 cpd, respectively, The phase speed is apparently coincident with moving speed of extratropical cyclones across the Korean peninsula in the west-east direction.

• Economic and Environmental Geology
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• v.45 no.6
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• pp.685-695
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• 2012

We studied the detailed bathymetry and the geophysical characteristics of the summit of the Dokdo volcano using mutibeam echosounding and geophysical survey data. The bathymetry around the main east and west islets of the Dokdo volcano shows very shallow within about 10 m water depth. From near islets to about 30 m b.s.l., the shallow water area has very steep slope and many irregular sunken rocks. The area from about 30 m to about 80 m b.s.l. shows gentle rises and falls, and less steep slope. The area from 80 m b.s.l. has gradually flat undulation and smooth slope seabaed and is extended to offshore. The main islets of the Dokdo volcano and the rocky sea bottom elongated from the islets might be the residual part of the eroded and collapsed main crater of the Dokdo volcano. The bathymetry and the seafloor image(from backscattering) data show small craters, assumed to be formed by the eruption of later volcanism. The seafloor images propose that, except some areas with shallow sand sedimentary deposits, there are typical rocky bottom such as rocky protrusions and lack of sediments in the main morphology of the survey area. The stepped slopes of the seabed are deduced to be submarine terraces. The several prominent submarine terraces are found at the summit of the Dokdo volcano, suggesting repetition of sea level changes(transgressions and regressions) in the Quaternary. The results of the magnetic anomaly and the analytic signal have a good coherence with other geophysical consequences regarding to the location of the residual crater.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.48-58
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• 2013

The results of this research to study forms, structure, changes, symbolic meanings of 16 Hahoe sceneries through analyses of "Hahwaesipyukgyeong" and "Hahwaenakgangsanghaildaedo" are as belows. The coherence of headword is not discovered in 16 Hahoe sceneries, but based on various variables and sense dependence, endemicity with original natural scenes, human's life and phenomena of riverside village are spread in 3km viewing areas within 200m from Gyeonamjeongsa(謙巖精舍) and Okyeonjeongsa(玉淵精舍). As the viewing points of Gyeonam and Okyeonjeongsa are symmetrically facing and separately independent, while viewing angles do not intersect at Wonjijeongsa (遠志精舍) and Binyeonjeongsa(賓淵精舍) because of Buyongdae(芙蓉臺), and crating each independent viewing area, we can see 16 Hahoe sceneries are perfect views by supplementing Gyeonam and Okyeon Jeongsa, as well as points of views from Wonji and Binyeonjeongsa. Meanwhile, as the view point of 16 Hahoe sceneries, Gyeomam, Okyeon, Binyeon, and Wonji Jeongsa are clearly described, and 12 natural sceneries, which are Hwasan(花山), Ipam(立巖), Maam(馬巖), Jando(棧道), Bangi(盤磯), Hoengju(橫舟), and Honggyo(虹橋), among landscape elements of 16 Hahoe sceneries that can be expressed on canvas in the Haoedo are realistically described, there is high possibility that Haoedo is the 'Mental Stroll about Nature(臥遊) of 16 Hahoe sceneries. The belted forest surrounding the village in the painting is assumed to be an erosion control forest, and considering row-expressed trees, the south belted forest may be a different broad-leaved forest from current Mansongjeong(萬松亭) pine forest. In 16 Hahoe sceneries, there is Neo-confucianism tendency, which connects the nature and human life, and moreover prioritize human life than the nature. Especially as seen in the 'Choljae(拙齋)', the pen name of 16 Hahoe sceneries' author park, the 16 Hahoe scenery poet suggests 'Beauty of Jolbak(拙撲美)' based on the simple life that upright classical scholars pursued as the basic emotion. The thinking system shown in the poet is interpreted as Neo-confucianism category including one's sense and emotion depended on natural features or phenomena. Ultimately, 16 Hahoe sceneries are landscape that reflects moral world views of Confucianism scholars who wanted to express ideal thoughts based on natural features and phenomena in reality at Jeongsa in Buyongdae and Hahoe Village.

• KOMUNHWA
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• no.70
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• pp.63-88
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• 2007

The purpose of this writing is to examine the places and instruments of the dissection for deformed animal carcasses excavated in shellfish stacks of the period of the Proto-Three Kingdoms(삼한) and the Three Kingdoms(삼국). The remains were chosen, which had been excavated and finished in the analysis of the animal carcasses, and the main objects are all shells and deer, especially among Mammalia. As the result, the dissection of shells was not taken place in the habitats of the animals, but inside or around of the residence of the people. For deer, too, it was done in the public place or specific area around and inside the residence. As concerns the method of dissection for shells, for Pelecypoda(부족류), represented by Meretrix lusoria(백합), the inner meat was taken out by wrenching the shell with a kind of small knives, or by boiling, and sometimes by cracking the middle of the shell in the case of big Meretrix lusoria and Dosinorbis japonicus(떡조개). For Rapana venosa(피뿔고둥), representative of Gastropoad(배발류), the people broke the top or some parts of the body to get the inner meat or used some kind of needles and stylus to pick the inner meat out after boiling. Abalones‘ meat was attached firmly to the shell, so very sharp and proper metal instruments were used to take the meat out Relatively small-sized Reishia clavigera(대수리),Top shell(밤고둥) meats were taken out by breaking the top parts after boiling, then sucking the meats, or by picking them out by using needles and stylus in the original shape. In the case of large Mammalia like deer, in the full consideration of the point that deer itself are used in various ways, they were dissected in the order of skinning, taking out the internal organs, cutting front and rear legs, separating joint parts and meats, extracting bone-marrow by 철정, 철부, ironed hand knife in very delicate ways. It seems that skinning, and front and rear legs' cutting were taken place in the place around the residence, on the other hand joint parts' separating and bone-marrow extracting in the residence. The tools for the dissection were confirmed to be hand-knife, honed ax, hammer stone, bondstone, needles and stylus, and some other sharp instrument. They were used properly according to objects.

• Korean Journal of Agricultural and Forest Meteorology
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• v.8 no.2
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• pp.86-96
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• 2006

Ecoclimap-1, a new complete surface parameter global database at a 1-km resolution, was previously presented. It is intended to be used to initialize the soil-vegetation- atmosphere transfer schemes in meteorological and climate models. Surface parameters in the Ecoclimap-1 database are provided in the form of a per-class value by an ecoclimatic base map from a simple merging of land cover and climate maps. The principal objective of this ecoclimatic map is to consider intra-class variability of life cycle that the usual land cover map cannot describe. Although the ecoclimatic map considering land cover and climate is used, the intra-class variability was still too high inside some classes. In this study, a new strategy is defined; the idea is to use the information contained in S10 NDVI SPOT/VEGETATION profiles to split a land cover into more homogeneous sub-classes. This utilizes an intra-class unsupervised sub-clustering methodology instead of simple merging. This study was performed to provide a new ecolimatic map over Northeast Asia in the framework of Ecoclimap-2 global database construction for surface parameters. We used the University of Maryland's 1km Global Land Cover Database (UMD) and a climate map to determine the initial number of clusters for intra-class sub-clustering. An unsupervised classification process using six years of NDVI profiles allows the discrimination of different behavior for each land cover class. We checked the spatial coherence of the classes and, if necessary, carried out an aggregation step of the clusters having a similar NDVI time series profile. From the mapping system, 29 ecosystems resulted for the study area. In terms of climate-related studies, this new ecosystem map may be useful as a base map to construct an Ecoclimap-2 database and to improve the surface climatology quality in the climate model.

• Korean Journal of Remote Sensing
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• v.38 no.5_1
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• pp.447-460
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• 2022

It is well known that satellite synthetic aperture radar interferometry (InSAR) has been widely used for the observation of surface displacement owing to earthquakes, volcanoes, and subsidence very precisely. In wetlands where vegetation exists on the surface of the water, it is possible to create a water level change map with high spatial resolution over a wide area using the InSAR technique. Currently, a number of imaging radar satellites are in operation, and most of them support a ScanSAR mode observation to gather information over a large area at once. The Cienaga Grande de Santa Marta (CGSM) wetland, located in northern Colombia, is a vast wetland developed along the Caribbean coast. The CGSM wetlands face serious environmental threats from human activities such as reclamation for agricultural uses and residential purposes as well as natural causes such as sea level rise owing to climate change. Various restoration and protection plans have been conducted to conserve these invaluable environments in recognition of the ecological importance of the CGSM wetlands. Monitoring of water level changes in wetland is very important resources to understand the hydrologic characteristics and the in-situ water level gauge stations are usually utilized to measure the water level. Although it can provide very good temporal resolution of water level information, it is limited to fully understand flow pattern owing to its very coarse spatial resolution. In this study, we evaluate the L-band ALOS-2 PALSAR-2 ScanSAR mode to observe the water level change over the wide wetland area using the radar interferometric technique. In order to assess the quality of the interferometric product in the aspect of spatial resolution and coherence, we also utilized ALOS-2 PALSAR-2 stripmap high-resolution mode observations.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.