• Economic and Environmental Geology
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• v.55 no.3
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• pp.261-271
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• 2022

Six gas samples were collected from coal and coaly shale from core AA-1, which was acquired from the Asem-Asem Basin, southeast Kalimantan, Indonesia. These coalbed gas samples were analyzed for the molecular composition, carbon isotope (δ¹³C_CH4, δ¹³C_C2, and δ¹³C_CO2), hydrogen isotope (δD_CH4), hydrocarbon index (C_HC), and carbon dioxide-methane index (CDMI) to document their origin and methanogenic pathways. Core AA-1 successively consists of lower clastic sedimentary rocks (Sedimentary Unit-1, SU-1) containing coal and coaly shale, and upper limestone (Sedimentary Unit-2, SU-2), unconformably underlain by serpentinized basement interpreted as part of the Cretaceous Meratus subduction complex (MSC). The coal and coaly shale (SU-1) were deposited in a marshes nearby a small-scale river. Compositions of coalbed gases show that methane ranges from 87.35 to 95.29% and ethane ranges from 3.65 to 9.97%. Carbon isotope of coalbed methane (δ¹³C_CH4) ranges from -60.3 to -58.8‰, while hydrogen isotope (δD_CH4) ranges from -252.9 to -252.1‰. Carbon isotope of coalbed ethane (δ¹³C_C2) ranges from -32.8 to -31.2‰, carbon isotope of coalbed carbon dioxide (δ¹³C_CO2) ranges from -8.6 to -6.2‰. The coalbed CO₂ is interpreted to be an abiogenic origin based on a combination of δ¹³C_CO2 and CDMI and could have been transported from underlying CO₂ bearing MSC through faults. The methanogenic pathways of coalbed gases are interpreted to have originated from primary methyl-type fermentation and mixed with CO₂ reduction, affecting thermogenic non-marine coal-type gases based on analyses of isotopic ratios and various indexes.

• Journal of Wetlands Research
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• v.25 no.4
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• pp.335-344
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• 2023

Brachydiplax chalybea flavovittata, a climate-sensitive biological indicator species, was first observed and recorded at Jeju Island in Korea in 2010. Overwintering was recently confirmed in the Yeongsan River area. This study was aimed to predict the potential distribution patterns for the larvae of B. chalybea flavovittata and to understand its ecological characteristics as well as changes of population under global climate change circumstances. Data was collected both from the Global Biodiversity Information Facility (GBIF) and by field surveys from May 2019 to May 2023. We used for the distribution model among downloaded 19 variables from the WorldClim database. MaxEnt model was adopted for the prediction of potential and future distribution for B. chalybea flavovittata. Larval distribution ranged within a region delimited by northern latitude from Jeju-si, Jeju Special Self-Governing Province (33.318096°) to Yeoju-si, Gyeonggi-do (37.366734°) and eastern longitude from Jindo-gun, Jeollanam-do (126.054925°) to Yangsan-si, Gyeongsangnam-do (129.016472°). M type (permanent rivers, streams and creeks) wetlands were the most common habitat based on the Ramsar's wetland classification system, followed by Tp type (permanent freshwater marshes and pools) (45.8%) and F type (estuarine waters) (4.2%). MaxEnt model presented that potential distribution with high inhabiting probability included Ulsan and Daegu Metropolitan City in addition to the currently discovered habitats. Applying to the future scenarios by Intergovernmental Panel on Climate Change (IPCC), it was predicted that the possible distribution area would expand in the 2050s and 2090s, covering the southern and western coastal regions, the southern Daegu metropolitan area and the eastern coastal regions in the near future. This study suggests that B. chalybea flavovittata can be used as an effective indicator species for climate changes with a monitoring of their distribution ranges. Our findings will also help to provide basic information on the conservation and management of co-existing native species.

• Journal of Wetlands Research
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• v.26 no.1
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• pp.21-31
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• 2024

Macromia daimoji Okumura, 1949 was designated as an endangered species and also categorized as Class II Endangered wildlife on the International Union for Conservation of Nature (IUCN) Red List in Korea. The spatial distribution of this species ranged within a region delimited by northern latitude from Sacheon-si(35.1°) to Yeoncheon-gun(38.0°) and eastern longitude from Yeoncheon-gun(126.8°) to Yangsan-si(128.9°). They generally prefer microhabitats such as slowly flowing littoral zones of streams, alluvial stream islands and temporarily formed puddles in the sand-based lowland streams. The objectives of this study were to analyze the similarity of benthic macroinvertebrate communities in M. daimoji habitats, to predict the current potential distribution patterns as well as the changes of distribution ranges under global climate change circumstances. Data was collected both from the Global Biodiversity Information Facility (GBIF) and by field surveys from April 2009 to September 2022. We adopted MaxEnt model to predict the current and future potential distribution for M. daimoji using downloaded 19 variables from the WorldClim database. The differences of benthic macroinvertebrate assemblages in the mainstream of Nakdonggang were smaller than those in its tributaries and the other streams, based on the surrounding environments and stream sizes. MaxEnt model presented that potential distribution displayed high inhabiting probability in Nakdonggang and its tributaries. Applying to the future scenarios by Intergovernmental Panel on Climate Change (IPCC), SSP1 scenario was predicted to expand in a wide area and SSP5 scenario in a narrow area, comparing with current potential distribution. M. daimoji is not only directly threatened by physical disturbances (e.g. river development activities) but also vulnerable to rapidly changing climate circumstances. Therefore, it is necessary to monitor the habitat environments and establish conservation strategies for preserving population of M. daimoji.

• Korean Journal of Ecology and Environment
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• v.36 no.1 s.102
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• pp.21-28
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• 2003

Community composition and functional feeding groups of aquatic insects according to stream order were investigated from the Gapyeong Creek, a typical mid-sized Korean stream in Gyeonggi -do, Korea, in April 2000. For field investigations, the main watercourse and three major tributaries of the stream that belong to stream order ll to Vll were divided into reaches (ca. $1{\sim}4$ km in distance). Aquatic insects were sampled from one or two sites each reach (total 30 sites) using a Surber sampler ($50{\times}50$cm, mesh 0.75 mm). As a result of the quantitative samplings(two Surber samplings at riffle and pool/run per site; total $2{\times}30$=60 Surber samplings) and additional qualitative samplings, a total of 164 species of aquatic insects in 103 genera, 54 families, and 8 orders were collected from the stream. Those aquatic insects were composed of Trichoptera (56spp.: 34.1%), Ephemeroptera (43 spp.: 26.2%), Diptera (25spp.: 15.2%), Plecoptera (23 spp.: 14.0%), Coleoptera (6 spp.: 3.7%), Odonata (6 spp.:3.7%), Hemiptera (3 spp.: 1.8%), and Megaloptera (2 spp.: 1.2%); EPT-group (122 spp.:74.4%) or EPT-group plus Diptera (147 spp.: 89.6%) occupied most of the aquatic insect community; relatively larger number of species occurred in the mid-stream reaches (order III-Vl). The quantitative samplings throughout the study sites yielded a total of 26,286 individuals of aquatic insects ($136{\sim}2522$ inds./0.5 $m^2$, mean 906.4inds./0.5 $m^2$) that belongs to Ephemeroptera (11,994 inds.: 45.6%), Diptera (8730 inds.:33.2%), Trichoptera (4123 inds.: 15.7%), Plecoptera (1213 inds.: 4.6%), Coleoptera (204 inds.: 0.8%), Odonata (13 inds.: 0.05%), Megaloptera (5 inds.: 0.02%), and Hemiptera (4inds.: inds.: 0.02%); average number of individuals of aquatic insects increased as the stream order increased: average numbers of individuals of Bllecoptera and Trichoptera decreased and increased, respectively, as the stream order increased. Tolerant species such as Chironomidae spp., Uracanthella rufa and Hydropsychidae spp. were particularly abundant in the down stream reaches (order Vll) . Species diversity indices (H`) and dominance indices (Dl) were relatively higher and lower, respectively, in the mid-stream reaches (order $IV{\sim}VI$). Shredders occupied the smallest partand collector-gatherers were most abundant among the functional feeding groups(FFGs); collector-filterers considerably increased in the down stream reaches (orders Vl and VII); scrappers were relatively evenly distributed throughout the stream reaches: predators were relatively more abundant in the uppermost stream reaches(order ll) . Overall, the characteristics of aquatic insect comminity and FFGs in the Gapyeong Creek are largely similar to those in the normal streams of temperate deciduous forest in the northern hemisphere that is explained by the river confineum concept.

• 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.