• Journal of Korean Society of Forest Science
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• v.90 no.1
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• pp.90-104
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• 2001

This study is aimed to analyze and to evaluate the revegetation and soil conservation technology in desertification-affected sandy land, resulting from the project of "Studies on the desertification combating and sand industry development". Main native plants for combating desertification : The general characteristics of vegetation distribution in desertified regions are partially concentrated vegetation distribution types including the a) desert plants in low zone of desert or sanddune of depressed basin, b) salt-resistant plants around saline lakes, c) grouped vegetation with Poplar and Chinese Tamarix of freshwater-lakes, saline-lakes and river-banks, d) gobi vegetation of gravel desert and e) grassland and oasis-woods around the alluvial fan of rivers, etc. Generally, Tamarix ehinensis Lour., Haloxylon ammodendron Bunge., Calligonum spp., Populus euphratica Oliver., Elaeagnus angustifolia L., Ulmus pumila L., Salix spp., Hedysarum spp., Caragana spp., Xanthoceras sorbifolia Bunge., Nitraria tangutorum Bobr., Lespedeza bicolor, Alhagi sparsifolia Shap., Capparis spinosa L., Artemisia arenaria DC., etc. are widely distributed in desertified regions. It is necessary for conducting research in the native plants in desertified regions. Analysis of intensive revegetation technology system for combating desertification : In the wind erosion region, the experimental research projects of rational farming systems (regional planning, shelterbelts system, protection system of oasis, establishment of irrigation-channel networks and management technology of enormous farmlands, etc.), rational utilization technology of plant resources (fuelwood, medicinal plants, grazing and grassland management, etc.), utilization technology of water resources (management and planning of watershed, construction of channel and technology of water saving and irrigation, etc.), establishment of sheltetbelts, control of population increase and increased production technology of agricultural forest, fuelwood and feed, etc. are preponderantly being promoted. And in water erosion region, the experimental research projects of development of rational utilization technology of land and vegetation, engineering technology and protection technology of crops, etc. are being promoted in priority. And also, the experimental researches on the methods of utilization of water (irrigation, drainage, washing and rice cultivation, etc.), agricultural methods (reclamation of land, agronomy, fertilization, seeding, crop rotation, mixed-cultivation and soil dressing works, etc.) and biological methods (cultivation of salt-resistant crops and green manure and tree plantation, etc.) for improvement of saline soil and alkaline soil in desertified-lands are actively being promoted. And the international cooperations on the revegetation technology development projects of desertified-lands are sincerely being required.

• Korean Journal of Soil Science and Fertilizer
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• v.38 no.2
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• pp.101-107
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• 2005

To investigate the effect of pyroligneous acid liquor (PAL) on the maturity of pig manure compost, PAL was treated to the compost piles. The treatments included applications of 100 and 300 times diluted PAL in addition to the control. The compost piles were stirred in three times at the 1st, 10th, and 25th day of composting. Temperature in the compost pile of control treatment increased from 28 to $60^{\circ}C$ within 10 days and remained nearly at the level until 30th day, then it began to decrease. On the other hand, temperature of the PAL-100 and PAL-300 treatments reached 65 to $70^{\circ}C$ within 8 days and became stabilized until 30th day, then the temperature decreased to about $28^{\circ}C$. However, the temperature of control was stabilized approximately at the 40th day. Initially, the pH of control treatment dropped from 8.2 to slightly above pH 8.0 during 4th day, but that of the PAL-100 treatment declined to 7.8. Among treatments, pH value of PAL-100 treatment was the lowest, which was about 7.3 after becoming stabilization. Also the germination index (GI) was increased at all treatments. The C/N ratio range of PAL-100 treatment was better balanced than others and was at 24.3. Moreover the round paper chromatogram of extracted solution of compost of PAL-100 treatment was the sharpest and clearest among treatments. The GI values of control, PAL-100, and PAL-300 in 60 days of composting were about 108, 120, and 118 in germination test using chinese cabbage, respectively. It can be concluded that the addition of diluted PAL solution is effective in composting of pig manure.

• Korean Journal of Soil Science and Fertilizer
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• v.44 no.5
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• pp.853-858
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• 2011

The cultivation methods are important for determining crop yield of green manure. The effect of cultivation methods of green manure crops (GMC) on biomass and rice yield was investigated. This experiment was conducted at Sinheung series (fine loamy, mixed, nonacid, mesic family of Fluvaquentic Endoaquepts from Oct. 2007 to Oct. 2008 at the National Institute of Crop Science (NICS), RDA, Suwon, Gyeonggi province, Korea. Seven GMC (hairy vetch, barley, Chinese milk vetch, rye, crimson clover, oats, rattail fescue) were cultivated and incorporated on paddy soil by broadcasting before rice harvesting (BBRH) and partial tillage seeding (PTS). Among the three leguminous GMC, the biomass and N production were the highest at the hairy vetch of PTS. Among the four gramineae GMC, the biomass and N production tended to be higher in the rye of BBRH and barley of PTS. The C/N ratio (56.5~74.2) of rye was high compared with hairy vetch (14.1). Among the GMC, the incorporation of hairy vetch increased $NH_4$-N contents in rice paddy soil at 14 and 42 days after transplanting. These results showed that hairy vetch had no significant to rice yield compared with conventional fertilization. Therefore, hairy vetch seems to be the most efficient green manure crop as an alternatives to chemical N fertilizer in the central regions of Korea.

• Korean Journal of Soil Science and Fertilizer
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• v.42 no.1
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• pp.1-13
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• 2009

Understanding the net nutrient balance in a farming system is crucial in assessing the system's sustainability. We quantified N, P and K balances under vegetable organic farming in a Eutric Haplud and in West Java, Indonesia in five planting seasons from 2005 to 2007. The ten treatments and three replications, arranged in a completely randomized block design, included single or combined sources of organic fertilizers: barnyard manure, compos ts or green manures. The organic matter rates were adjusted every planting season depending on the previous crop responses. The result sshowed that the application of ${\geq}20$ t $ha^{-1}$ barnyard manure per crop resulted in positive balances of N, P, and K, except in the second crops of 2006 where potassium balance were -25 to -11 kg $ha^{-1}$ under the treatments involving cattle barnyard manure, because of low K content of these treatments and high K uptake by Chinese cabbage. Application of 20 to 25 t $ha^{-1}$ of plant residue or 5 t $ha^{-1}$ of Tithonia compost also resulted in a negative K balance. Soil available P increased significantly under ${\geq}25$ t $ha^{-1}$ barnyard manure and that under chicken manure had the highest available P. Accordingly, chicken barnyard manure gave the highest crop yield because of relatively higher N, P, and K contents. Plant residues gave the lowest yield due to the lowest nutrient content among all sources. Reducing the use of barnyard manure to 12.5 t $ha^{-1}$ and substituting it with Tithonia compost, Tithonia green manure or vegetable plant residue compost gave insignificantly different yield compared to the application of 25 t $ha^{-1}$ barnyard manure singly. In the long run, application of 25 t ha-1 cattle, goat, and horse manure or about 20 t $ha^{-1}$ chicken manure is recommendable for sustaining the fertility of this Andisol for vegetable production.

• MISULJARYO - National Museum of Korea Art Journal
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• v.99
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• pp.30-49
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• 2021

Scholar Byeoksu in a Pavilion by An Jung-sik (1861-1919; sobriquet: Simjeon) was first shown to the public in the exhibition Art of the Korean Empire: The Emergence of Modern Art at the National Museum of Modern and Contemporary Art, Deoksugung. This painting bears poems and inscriptions composed by Kim Taek-yeong (1850-1927; sobriquet: Changgang) and written by Kwon Dong-su (1842-?; sobriquet: Seokun). A rare example of an actual-view landscape painting by An Jung-sik, this painting is significant in that it depicts upper-class houses in Seoul in the early twentieth century. More importantly, it demonstrates an association among intellectuals of the time. Yun Deok-yeong (1873-1940; sobriquet: Byeoksu), who asked An Jung-sik to create this painting, was an uncle of Empress Sunjeonghyo (1894-1966), the consort of Emperor Sunjong. He was one of the most prominent collaborators who promoted the Japanese colonization of Korea. When Emperor Sunjong bestowed Yun Deok-yeong with a hanging board with an inscription reading "Scholar Byeoksu in a Pavilion," Yun requested the production of this painting to mark the event. Kim Taek-yeong, a master of Chinese literature during the late Korean Empire period, sought asylum in Nantong, Jiangsu Province in China with his family a month before the Protectorate Treaty was signed between Korea and Japan in 1905. In 1909, he returned to Korea. His decision to return was greatly influenced by Yun Deok-yeong and Yi Jae-wan (1855-1922). Upon his return, Kim Taek-yeong intended to gather materials for publishing a history book. Also, Kim continuously met his old acquaintances, made new friends, and socialized with them. He built relationships with people from various backgrounds, including those living in regions like Gurye, and even in other countries like Japan. This indicates that intellectuals of the time were still forming networks through poems and prose regardless of their political inclination, social rank, or nationality. Scholar Byeoksu in a Pavilion is of great value in that it shows an aspect of the intellectual exchanges among the learned people of the late nineteenth and early twentieth centuries.

• The Korean Journal of Archival Studies
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• no.19
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• pp.153-192
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• 2009

Appearing newly on June 1894, Gaboh regime enforced modern reformation policy. In light of archives' management, it was totally different from before. Government established individual department of record management in every division and proclaimed a legislative bill which was stipulated about record management process. They modified archives' form including peculiar declaration of the name of an era and use together with Korean and Chinese. Also they tried to conserve the original copy of the archives. As King Gojong announced the Great Han Empire(Taehan Cheguk, 大韓帝國) on October 1897, he reinforced Gaboh regimes' weakened royal authority and enforced reformation policy which was designed for himself. First he abolished the administration which restricted royal authority, and established new department called Euijungbu(議政府). To restrain the royal power, he separated the Royal House and government and reinforced Gungnaebu(宮內府). In addition, King Gojong enforced the policy which he can manage directly about troops, policies, and finances. Consequently, He established Wonsubu(元帥府), Kyungbu(警部), and made direct belonging of an emperor. Also, department called Naejangwon(內藏院) tried to levy many kinds of taxes directly to build up the financial foundation under the emperor. The record management system of Great Han Empire succeeded to that of Gaboh regimes Times'. First, government and powerful organization directly under the emperor set up the department of record management. Euijungbu (議政府) and governmental department, of course, Gungnaebu(宮內府), Wonsubu(元帥府), Kyungbu(警部), Tongshinwon(通信院), Jikyeahmun(地契衙門) which support the right of an emperor established document division and record division individually. To carry out government's service effectively and systematically, it was considered effective to divide record management department. Moreover, despite the difference between the divisions, they were separated into current record division and non current record division. Generally, document department took charge of acceptance, sending and crafting of current document and archives department was eligible for preservation and compilation of major document and eternal conservation document. This seems to consider life cycle of the record and keep the evaluation of record in mind. Finally, perception for the record management has revealed to modern configuration.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.4-15
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• 2012

Sam-Tai-Ji has been used as one of the korean traditional symbol patterns including the emblem of the Seoul olympic. Despite Sam-Tai-Ji included in 태극(Tai-Ji:太極), it has been interpreted widely as Sam-jae(三才)theory called Tian(天), Di(地) and Ren(人), or Tian, Di and Ren harmony thought(天地人 調和思想) by some religion groups and some intelligent people without exact philosophical poofs. For this reason, this research on Tai-Ji(太極) pattern follows. Although Joseon dynasty selecting Confucianism as a ruling principle, it accepted Buddhism, Taoism and Shamanism by applying them to royal tombs not officially but privately. For example, If Confucianism has to be expressed in the public places, Er-Tai-Ji(二太極) pattern having an expressing type of Li-Ben-Lun(理本論) was employed, in the private places like royal tomb construction, Er-Tai-Ji(二太極) pattern having an expressing type of Qi-Ben-Lun(氣本論) was employed. To figure out clear identification of Sam-Tai-Ji(三太極) and Er-Tai-Ji(二太極), this research was conducted to study on the change process of Tai-Ji(太極). It has been considered that Tai-Ji(太極) pattern has something to do with universe in these countries such as Korea, China and Japan. In Tai-Ji(太極) pattern, Sam-Tai-Ji had been used more widely than Er-Tai-Ji(二太極) untill the Han Dang dynasty. The meaning is also indicated as Yin-Yang-Te(陰陽德) in the books like "Hanseo(漢書)" "Yulryeokji(律曆志)". But, in the chinese history, there was a change of the pattern into white spot Er-Tai-Ji(二太極) in "KoTaiJiDo(古太極圖)". It had been interpreted as "Yin-Yang and vitality(陰陽生氣)." since Song Dynasty when Confucianism settled down. In this process, unlike Wu-Ji(無極), Li(理) means immateriality. So Yin-Yang(陰陽) and Li(理) were expressed with the form of Er-Tai-Ji(二太極). Therefore, Sam-Tai-Ji(三太極) is the pattern that stands for Yin-Yang-Te(陰陽德). It means that Yin-Yang(陰陽) gives a life to all the living things, grows them along with Te(德). It developed and flourished in Taoism and Buddhism accepting spirit existence. It is the universe view that Qi(氣) is an entity.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.94-113
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• 2013

Donggwanwangmyo[East Shrine of King Guan Yu] is the shrine for General Guan Yu from the Shu Dynasty, China. This type of shrine was begun to be built from the Tang Dynasty in China and from 1598 in Korea when the Japanese invaded Korea for the $2^{nd}$ time. Donggwanwangmyo is historically significant because it was jointly constructed by China and Korea in the spring of 1602 after the end of Japanese invasion of Korea. However, almost no research has been conducted about the sculptures standing at Donggwanwangmyo and there are many mistakes concerning the names and materials of these sculptures. This study is conducted to resolve these issues as follows: First of all, it was found that the main building of Donggwanwangmyo enshrines those which were moved from the North Shrine of Guan Yu and the West Shrine of Guan Yu during the Japanese colonial rule of Korea in addition to what was initially placed in Donggwanwangmyo during construction. These relics are assorted and each line of them is displayed in the center and to the east or west of the building. Among the relics, seven sculptures are standing at the center of the main building, among which one sculpture of Guan Yu is made of gold and two sculptures of maids and four sculptures of guards are made of clay. It is particularly noted that the sculptures of Guan Yu and his guards, Guan Ping, Zhou Cang, Wang Fu, and Zhao Lei, represent the portraits of historical characters that actually existed. Moreover, the sculptures of guards are characterized by the fact that they are unlike those in China, but have two pairs of literary men and warriors that stand facing each other as is the case in the royal mausoleums constructed during the Joseon Dynasty. Second of all, the sculptures from Donggwanwangmyo were carved in 1602, but their costumes and equipment were derived from the paintings from the Tang and Song Dynasties. Some decorations from the Ming Dynasty are also reflected in the sculptures. It implies that Donggwanwangmyo was partially modeled after the Shrine of Emperor Guan Yu[Gwanjemyo] in Jiezhou which was rebuilt in 1593 by Emperor Sinjong of the Ming Dynasty and that the secular and dramatic patterns of the Qing Dynasty are prevalent in the said sculptures based on the patterns of the Ming Dynasty because all the sculptures at the Shrine in Jiezhou were constructed when the Qing Dynasty ruled between the $18^{th}$ and the $19^{th}$ Centuries. In conclusion, it was found that sculptures from Donggwanwangmyo were created in 1602, that they follow the ancient traditions attested by the paintings of Korean and Chinese sculptures, and that they are very valuable in art history since they retain the original forms of the Shrine of Guan Yu built during the Joseon and Ming Dynasties.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.16-33
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• 2012

Maehwa blossom(梅花) has been favoured in literary and artistic works in the East Asia as one of representing symbols of virtuous men's character. Maehwaseookdo(梅花書屋圖) is one of major forms of painting. This paper starts from the birth of Maehwaseookdo since it aims to examine the following points: its structural origin of the Gurimaehwachonsado(九里梅花村舍圖) style; how this style was distributed in Korea; process and features of Maegamdo(梅龕圖). The current academic world admits Maehwaseookdo is originated from an ancient story of Lim Po(林逋). Even though Maehwaseookdo and Lim Po story can be linked to a meaning of schoarly hermitage, ways to structure works are hard to compare paintings based on Lim Po story. While paintings related to Limpo story such as Banghakdo(放鶴圖) and Gwanmaedo(觀梅圖) depict a scholar(s) and a few Maehwa trees with cranes, Maehwaseookdo presents scholarly hermitage with a lot of Maehwa trees which encircle a house building. As other paintings related to Maehwa blossom were widely painted since the nationwide popularity of the theme of Maehwa, Maehwaseookdo was not drown throughout the whole period of time. Since Goryeo, Maehwa paintings including Sehansamu(歲寒三友), ordinary Maehwado as one of the Four Gentlemen's plants, and Tammaedo(探梅圖) which was based on ancient anecdote of Maeng Hoyeon. Maehwaseookdo, however, was created exclusively in the 19th century. In China a similar feature took place much earlier period which was in the 17th century. Accordingly we can assume that these patterns which paintings in particular styles were generated by particular cultural phenomena. The reason why Joseon's Maehwaseookdo works were painted exclusively in the 19th century was that Kim Jeonghee's party and Sin wi had acquaintanceship with Jang Sim(張深) who got work orders for Oh Sungyang(吳嵩梁). In these corresponding activities, two types of Maehwa paintings were exchanged. In China, scholars usually drew paintings in the type of Gurimaehwachonsado(九里梅花村舍圖) depicting scenic views of Guriju(九里洲) which was riverside area under the Mt. Buchun(富春山). This place surrounded by thousands and hundreds of Maehwa trees was where Oh Sungyang(吳嵩梁) was about to retire to hermitage in. In this repect, Joseon scholars painted Maegamdo(梅龕圖) depicting a scene of a shrine with Oh Sungyang(吳嵩梁)'s poetry books surrounded by Maehwa trees for paying tribute to the wall of Maehwa trees(Maebyeok(梅癖)). This seems to adapt the format of 'Manmae(萬梅)' which appeared in the type of Gurimaehwachonsado. One of the representing works of this, is painted or supervised by Sinwi. Paintings in two types with respective meanings were combined by which was estimated to be painted by Sin Wi, then it became a structural base of by Jang Sim(張深) This type of Maegamdo brought the popularity of Maewhoseookdo which once had another name of 'Manmaeseookdo(萬梅書屋圖)' by a group of scholars such as Jo Heeyong, in the 19th century. All things considered, this paper can be a sort of precedent phrase to find out the birth of Manmaeseookdo which was very popular in the late 19th century.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.198-221
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• 2009

Royal tombs of Joseon dynasty are the crystallization of history, ideology, culture, art, architecture, and ritual ceremony of Joseon dynasty, all mingled in one. So, they are very significant symbols showing 500 years of dynastic history as a whole. Among various factors comprising a royal tomb, stone figures surrounding grave mound are special factors as a symbol protecting it. Further among them, twelve zodiac images arrayed nearest to the grave mound represent the core of the function. Images of twelve zodiac signs originated from the tombs of the Unified Silla Kingdom are certain to hold important role and position in the construction of royal tombs, judging from huge scale and excellent sculptural art of them. However, both their scale and form had been gradually simplified in Goryeo and Joseon dynasty, thus the importance of them has been underestimated compared to other stone figures Images of twelve zodiac signs were very important factors which decorated royal tombs both as a protective role and as a concept of direction. Their historicity and symbolism cannot be neglected in that they had been transmitted to the royal tombs of Joseon dynasty. In this paper, images of twelve zodiac signs expressed in the royal tombs of Joseon dynasty are classified into 3 forms, and reviewed the origin and development of them for each period. They could be classified into 3 forms ; civil vassals with human body and head, civil vassals with human body and head wearing hat decorated with zodiac animals, Chinese characters of either zodiac signs or either a combination of 10 calendar signs and 8 trigrams. The above 3 forms originated from China and became a favorite motif to decorate the royal tombs from early Joseon period until late Joseon by replacing each other and thus changing along the course of the dynasty. In the meantime, we can see a unique character in the images of twelve zodiac signs of royal tombs of Joseon dynasty. In some cases, 24 directions are expressed in which 10 calender signs and 8 trigrams are composed altogether. Images of twelve zodiac signs in the royal bombs of Joseon dynasty are very significant as evidences by which we can confirm uniqueness and tradition of Korean tomb system transmitted from Unified Silla period.