• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.174-193
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• 2023

Korea is surrounded by the sea and has rivers connecting to it throughout the inland areas, which has been a geographical characteristic since ancient times. As a result, there have been exchanges and conflicts with various countries through the sea, and rivers have facilitated the transportation of ships carrying grain, goods paid for by taxes, and passengers. Since the past, the sea and rivers have had a significant impact on the lives of Koreans. Consequently, it is expected that there are many cultural heritages submerged in the sea and rivers, and continuous efforts are being made to discover and preserve them. Underwater cultural heritage is difficult to discover due to its location in the sea or rivers, making direct visual observation and exploration challenging. To overcome these limitations, various geophysical survey techniques are employed. Geophysical survey methods utilize the physical properties of elastic waves, including their reflection and refraction, to conduct surveys such as bathymetry, underwater topography and strata. These techniques detect the physical characteristics of underwater objects and seafloor formation in the underwater environment, analyze differences, and identify underwater cultural heritage located on or buried in the seabed. Bathymetry uses an echo sounder, and an underwater topography survey uses a side-scan sonar to find underwater artifacts lying on or partially exposed to the seabed, and a marine shallow strata survey uses a sub-bottom profiler to find underwater heritages buried in the seabed. However, the underwater cultural heritage discovered in domestic waters thus far has largely been accidental findings by fishermen, divers, or octopus hunters. This study aims to analyze and summarize the latest research trends in equipment used for underwater cultural heritage exploration, including bathymetric surveys, underwater topography surveys and strata surveys. The goal is to contribute to research on underwater cultural heritage investigation in the domestic context.

• Conservation Science in Museum
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• v.30
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• pp.23-46
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• 2023

The Jija Chongtong Gun, owned by Seokdang Museum of Dong-A University, is a tubedstyle heavy weapon of the battlefield in the mid-Joseon Dynasty and is the second largest firearm after Cheonja Chongtong. The original surface color of the Jija Chongtong Gun was obscured by foreign substances and therefore it was judged that its condition requires the conservation treatment. For stable conservation treatment, gamma ray and X-ray non-destructive transmission surveys was conducted to determine the internal structure and conservation condition. And the component analysis on the material components and surface contaminants of Jija Chongtong Gun was conducted by utilizing the p-XRF component analysis, SEM-EDS component analysis, and XRD analysis. As a result of the gamma-ray and X-ray non-destructive transmission investigation, a large amount of air bubbles was observed inside Jija Chongtong Gun, and the part that appeared to be a chaplet by visual observation was not identified. As a result of gamma-ray and p-XRF component analysis, it was confirmed that Jija Chongtong Gun was bronze made of copper (Cu), tin (Sn), and lead (Pb) alloy. As a result of surface analysis of foreign substances using SEM-EDS, it was confirmed that the main components of white foreign substances were calcium (Ca), sulfur (S), and titanium (Ti). Titanium was presumed to be titanium dioxide (TiO₂), the main component of white correction fluid. The red foreign substance was confirmed to contain barium (Ba) as its main ingredient, and was presumed to be barium sulfate (BaSO₄), an extender pigment in paint. White and red contaminants, mainly composed of titanium and barium, are presumed to have been deposited on the surface in recent years. The yellow foreign substances were confirmed to be aluminum (Al) and silicon (Si), and were presumed to have originated from soil components. As a result of SEM-EDS and XRD component analysis, the white foreign substance was confirmed to be gypsum (CaS). Based on the results of component analysis, surface impurities were removed, stabilization treatment, and strengthening treatment were performed. During the conservation process, unknown inscriptions Woo (右), Byeong (兵), Sang (上), and Yi (二) were discovered through a portable microscope and precise 3D scanning. In addition, the carving method, depth, and width of the inscription were measured. Woo Byeong Sang is located above Happo Fortress in Changwon, and Yi can be identified as the second hill.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.8-20
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• 2023

Although the landscape architectural facilities need to be repaired according to historical and authentic techniques, the repair criteria of the standard specification for repairing cultural heritages still remain at a theoretical level, and there are little research analyzing detailed techniques from specific cases. This study discussed the repair techniques based on historical facts, around terraced flower beds, ponds, waterways and pavement in the government-managed spaces in the Joseon Dynasty. It analyzed the materials and finish of stone wall elements, the structural reinforcement and backfill materials, and topsoil surface protection measures, and drew out stones for foundation reinforcement, plastering material for agglutination, and stone processing techniques for the terraced flower beds. It examined the materials and structures of the rock revetment, foundation reinforcement and waterproofing techniques and drew out the outstanding characteristics of the foundation work, the recycle of used elements and the management of water quality, for the ponds. It primarily investigated the materials, foundation reinforcement and waterproofing techniques and discovered the repair techniques such as cover stone finishing methods, foundation and backfill materials, and flow reduction methods, for the waterways. Finally, it provided actual cases of the foundation composition, auxiliary materials and tools, and the use of cyperaceae and highlighted the existence of professional craftsmen called Bangjeonjang(方磚匠), for the pavement. This study is expected to be a staring point for discovering the repair techniques for landscape architectural facilities and used as basic data for revising specifications in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.49-56
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• 2023

This study analyzes the entirety of Okhojeongdo's content found in the Punggojip, written by Kim Jo-Sun, who created Okhojeong. Through an examination of the literature confirming Okhojeong within the Punggojip, the study compares the existing research with the Okhojeongdo's content. Additionally, it clarifies the relationships between the disciple, the garden, and related historical facts. The results are as follows. First, Kim Jo-Sun, who created Okhojeong, had a strong literary inclination, which made it relatively easy to estimate the original form of the garden, as he expressed detailed content related to the design and management of the garden. Second, the historical dating of the creation of Okhojeong was previously estimated to be around 1815 based on the inscriptions on the Eulhaebyeok. However, it is more appropriate to revise this to 1804, as revealed by Lee Sung-min, who discovered records in Dongseonggyoyeojip, indicating that Kim Jo-Sun purchased the Jang's house. Third, Kim Jo-Sun's literary hobby, as depicted in Punggojip, closely followed Chinese classics. However, the part about creating the garden is supported by factual and garden archaeological records, giving it inherent value. Regarding the expansion of the garden site, it is estimated that the southern boundary of Okhojeong was extended by about half a unit(kan; 間) through a transfer from Kim saeng Saho. Various additions, stone statues, peculiar rocks, ornamental trees, and accompanying elements are found throughout the garden. Particularly noteworthy are the techniques and aesthetics of creating a stone pagoda, and there are mentions of transplanting young pine trees with professional insights. The love for harmony and elegance in the garden is woven throughout the poetry. Additionally, the process of selecting the location for Okhojeong, the understanding of the terrain and topography, the assessment of existing vegetation, the process of cutting down trees and selecting the soil, the construction of houses with tiles and thatched roofs all contribute to demonstrating the comprehensive stages of creating Okhojeong, providing insight into the location and construction process of the Sanbanru pavilion, showcasing the archaeological value of the garden. A follow-up study is needed to excavate more information about the original form of Okhojeong garden through the interpretation of the collections of the literary works of the influential figures introduced in Punggojip in the future.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.18 no.5
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• pp.91-107
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• 2023

Lean startup is a concept that combines the words "lean," meaning an efficient way of running a business, and "startup," meaning a new business. It is often cited as a strategy for minimizing failure in early-stage businesses, especially in software-based startups. By scrutinizing the case of a startup L, this study suggests that lean startup methodology(LSM) can be useful for hardware and manufacturing companies and identifies ways for early startups to successfully implement LSM. To this end, the study explained the core of LSM including the concepts of hypothesis-driven approach, BML feedback loop, minimum viable product(MVP), and pivot. Five criteria to evaluate the successful implementation of LSM were derived from the core concepts and applied to evaluate the case of startup L . The early startup L pivoted its main business model from defecation alert system for patients with limited mobility to one for infants or toddlers, and finally to a smart bottle for infants. In developing the former two products, analyzed from LSM's perspective, company L neither established a specific customer value proposition for its startup idea and nor verified it through MVP experiment, thus failed to create a BML feedback loop. However, through two rounds of pivots, startup L discovered new target customers and customer needs, and was able to establish a successful business model by repeatedly experimenting with MVPs with minimal effort and time. In other words, Company L's case shows that it is essential to go through the customer-market validation stage at the beginning of the business, and that it should be done through an MVP method that does not waste the startup's time and resources. It also shows that it is necessary to abandon and pivot a product or service that customers do not want, even if it is technically superior and functionally complete. Lastly, the study proves that the lean startup methodology is not limited to the software industry, but can also be applied to technology-based hardware industry. The findings of this study can be used as guidelines and methodologies for early-stage companies to minimize failures and to accelerate the process of establishing a business model, scaling up, and going global.

• Sim-seong Yeon-gu
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• v.36 no.2
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• pp.105-159
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• 2021

The Red Book is a personal record that contains Jung's psychological self-experiment and describes his own experiences of the individuation process. Throughout The Red Book, Jung describes how he got caught by the spirit of the depths and dethroned the spirit of this time, how he regained his lost soul by getting to the bottom of inner processes, how he differentiated the soul upon encountering the various aspects of his soul, and finally how he confronted God approaching Jung in the form of the divine opposites. The spirit of the depths as a personification of the collective unconscious caught up with Jung and launched him into the individuation process. The spirit of the depths was "the God yet to come". Jung realized that he had been driven by the collective spirit of his time and then set off on a journey into a new territory of life under the guidance of the spirit of the depths. Jung first encountered his lost soul, afterwards experiencing various aspects of the soul-spirit duo such as Salome-Elijah, Helena-Simon, and Baucis-Philemon. In the process of individuation, the initial experience of the soul can appear to the ego as a Satanic force which darkens the consciousness. The Red Book describes how Jung consciously integrated the Satanic force and came to realize the meaning of it. Jung's experience of emotionally gripping aspects of the soul led him to the awareness of the dark side of God, Satan, while the insights he gained from that Satanic emotionality led him to the awareness of the bright side of God, Christ. Through this process, he finally encountered the opposites in God. Jung also referred to the Self as an image of God which manifests itself in the psyche. Jung later discovered God as a phenomenal psychic reality which incarnates itself from the unconscious into the conscious. He did it in terms of strict empirical science. Although the incarnation process of the deity is the main cause of psychological conflict and distress of a human being, if accepted consciously, we come to realize that the incarnation process of the deity in the psyche is the ultimate teleology and meaning of our life as well.

• Sim-seong Yeon-gu
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• v.30 no.2
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• pp.145-186
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• 2015

This thesis discusses and analyzes Jeju island's shamanistic myth "Samgong Bonpoori" from the perspective of analytical psychology. Similar to the "I live on my fortune"-type folktales discovered in the Korean mainland, "Samgong Bonpoori" is such a widespread myth that similar folktales are found not only in East Asian regions, including Korea, Japan, and China, but also in Ireland. The essence of the story is as follows; One day, a father asked his three daughters whose fortune they lived on. The first two daughters claimed that they owe their lives to their parents. However, the youngest daughter, Gameunjang-agi, replied, against his expectation, that "I live on my own fortune," and showed her fortune and virtue were physically embodied in the line drawn from her genitals to navel. Her answer enrages his father so fiercely that she was expelled and forced to embark on a journey with no one but a black cow carrying food to accompany her. In retaliation for telling lies against her, Gameunjang-agi transformed her two sisters into a centipede and a mushroom, while her parents were turned into beggars afflicted with blindness. Afterward, Gameunjang-agi wandered around the country and eventually found love with a Chinese yam digger. Not long after, they got married, and as a couple, they stumbled upon roots of gold in fields, which brought them an incredible amount of wealth. After this miracle has happened, Gameunjang-agi began to wonder about the status of her parents and decided to organize a party for all the beggars and the blinds in the country. She eventually found her parents and got a chance to reconcile with her sisters. The story ends with her parents regaining their eyesight and Gameunjang-agi reestablishing herself as the "Goddess of Providence." "Samgong Bonpoori" is a myth about a God. A God is ontologically a supremely perfect being; however, in this thesis, it will be discussed as a part of a folktale. Gameunjang-agi can be seen as the anima archetype of the father, which reveals the process of a paternal consciousness being transformed over time. At first, her parents deny Gameunjang-agi. However, after years of suffering from blindness, they regain their eyesight and finally recognize their daughter. This signifies that Gameunjang-agi is a being that has come into the world for a certain "purpose." Gameunjang-agi embodies the creative function of "femininity" that can renew the existing collective consciousness embedded in the patriarchal system. Such recognition of femininity matters to men to a great degree as well as to women. Without knowing their true nature (femininity), the two sisters submit themselves to their parents and conventional values. Not until they suffer from being transformed and captured into small and insignificant beings, a centipede and a mushroom, which symbolize their shadow, they fail to develop their self-awareness. Meanwhile, by reconciling with her parents and sisters--playing a significant role in reuniting the family--Gameunjang-agi turns out to be a figure that can reveal what it truly means to have self-awareness and achieve Self-realization. In conclusion, this story illustrates that recognition of femininity matters to men to a great degree as well as to women, and women's Self-realization plays a critical role in revitalizing the collective consciousness embedded in the patriarchal system.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.198-216
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• 2024

This article reevaluates the National Museum of Korea's pivotal actions during the Korean War in the 1950s and its aftermath. It argues that the evacuation of the museum's collection to Busan and the subsequent exhibition "Masterpieces of Korean Art" in the United States in 1957 were not isolated events, but rather interconnected facets of a larger narrative shaping the museum's trajectory. With newly discovered archival evidence, this study unravels the intricate relationship between these episodes, revealing how the initial Busan evacuation evolved into a strategic U.S.-led touring exhibition. Traditionally, the Busan evacuation has been understood solely as a four-stage relocation of the museum's collections between December 1950 and May 1951. However, this overlooks the broader context, particularly the subsequent U.S. journey. Driven by the war's initial retreat of the war, the Busan evacuation served as a stepping stone for evacuation to Honolulu Museum of Art. The path of evacuation took an unexpected turn when the government redirected the collections to the Honolulu Museum of Art. Initially conceived as a storage solution, public opposition led to a remarkable transformation: the U.S. exhibition. To address public concerns, the evacuation plan was canceled. This shift transformed the planned introduction into a full-fledged traveling exhibition. Subsequently approved by the National Assembly, the U.S. Department of State spearheaded development of the exhibition, marking a distinct strategic cultural policy shift for Korea. Therefore, the Busan evacuation, initially envisioned as a temporary introduction to the U.S., ultimately metamorphosed into a multi-stage U.S. touring exhibition orchestrated by the U.S. Department of State. This reframed narrative sheds new light on the museum's crucial role in navigating a complex postwar landscape, revealing the intricate interplay between cultural preservation, public diplomacy, and strategic national interests.

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

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.1
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• pp.83-96
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• 2016

Through the research and analysis on the vegetation environment, flora of habitats through documentary and field studies over 14 habitats of Euryale ferox Salisbury within Jeollabukdo, with the objective of acquiring the basic data for forming an environment based on plantation of reservoirs that are composed with Euryale ferox, the following results were obtained. 1. The entire flora of the 14 habitats appeared to be 79 families, 211 genus, 298 species, two subspecies, 30 varieties and six forma, thus, a total of 336 taxa was confirmed. Among these, emergent water plants appeared to compose 17 taxa, floating-leaved plants to compose seven taxa including Euryale ferox floating plants to compose five taxa and submerged water plants to compose two taxa. As a result of analyzing the similarity only over the water plants. The lowest similarity rate appeared between Gamdong Reservoir and Aedang Reservoir, as the similarity rate between the two regions appeared to be 0% as a result of the analysis. Floating-leaved plants, lotuses and caltrops, appeared to be equally inhabiting in Hanseongji at Jeongeup and Seoknam Reservoir at Gochang, which showed the highest similarity rate, in addition to Euryale ferox. 2. When examining the appearance frequency of aquatic plants per growth type, Actinostemma lobatum and Phragmites communis, in addition to Euryale ferox each appeared 11 times, showing a high frequency of 78.6% and Trapa japonica, which is a floating-leaved water plant, appeared ten times(71.4%) and Zizania latifolia appeared eight times(57.1%). In addition, the appearance rate appeared to be high in the order of Persicaria thunbergii, Leersia sayanuka, Ceratophyllum demersum, Echinochloa crusgalli var. oryzicola, Scirpus maritimus, and Nelumbo nucifera. 3. The rare plants discovered in the Euryale ferox habitats pursuant to the IUCN evaluation standards was confirmed to be composed of five taxa, with three taxa including the least concerned species(LC), Melothria japonica at Yanggok Reservoir, Hydrocharis dubia at Myeongdeokji and Ottelia alismoides at Daewi Reservoir, in addition to vulnerable species(VU), Utricularia vulgaris at Sangpyeong Reservoir, along with Euryale ferox. 4. Most of the group or community types of the natural habitats of Euryale ferox appeared to be the Euryale ferix community' and the Daewi Reservoir of Gunsan was defined as caltrop + Euryale ferox + Nymphoides indica community. The green coverage ratio of Euryale ferox per natural habitats showed a considerably huge deviation from 0.03 to 36.50 and as the average green coverage ratio was appropriated as 9.8, it can be considered that maintaining the green coverage ratio of Euryale ferox in a 10% level would be advisable when forming a reservoir with Euryale ferox as the key composition species. 5. The vegetation community nearby the natural habitats of Euryale ferox per research subject area appeared to be composed of three Leersia japonica communities, two communities each for Zizania latifolia community and Trapa japonica community and one community each for Nelumbo nucifera community, Nymphoides peltata + Typha orientalis community, Trapa japonica + Nelumbo nucifera community, Hydrocharis dubia community, Leersia japnica + Paspalum distichum var. indutum community and Euryale ferox + Trapa japonica community, showing a slight difference depending on the location conditions of each reservoir. Thus, this result may be suggested as a guideline to apply when allocating the vegetation ratio and the types of floating-leaved plants upon planting plants in reservoirs with Euryale ferox as the main companion species.