• Journal of Bio-Environment Control
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• v.24 no.2
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• pp.123-127
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• 2015

Wood piles are rarely used in the construction of a greenhouse in Korea, but they are relatively more often used in other countries, such as the Netherlands. There are several advantages associated with wood piles: they are more cost-effective, less time-consuming, and more ecofriendly than the steel pipes (SPs) and pre-stressed highstrength (PHC) piles. However, one of the limiting conditions is that they have to be installed below the groundwater level to prevent decay. Since the groundwater levels are generally high in the reclaimed lands in Korea, wood piles are expected to be used often as reinforcements for foundations of greenhouses in these areas. In this study, we measured the uplift capacities of wood piles through in-situ uplift capacity tests with an aim to provide basic design data for wood pile foundations. In order to test their applicability, we then compared these experimentally measured ultimate uplift capacities with the ones calculated through some of the existing theoretical equations. The wood piles used in the loading tests were made of softwood (pine wood), and the tests were performed using piles with different diameters (∅25cm and ∅30cm) and embedded depths (1m, 3m, and 5m). The test results revealed that the uplift capacity of the wood piles showed a clear linearly increasing tendency in proportion to the embedded depth, with the ultimate uplift capacities for the diameters 25cm and 30cm being 9.38 and 10.56tf, respectively, at the embedded depth of 5m; thus demonstrating uplift capacities of ${\geq}9tf$. The comparison between the actually measured values of the uplift capacity and the ones calculated through equations revealed that the latter, which were obtained using the ${\alpha}$ method, were generally in an approximate agreement with the in-situ measured values.

• Korean Journal of Plant Resources
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• v.28 no.1
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• pp.101-110
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• 2015

Parameters of mating system and pollen flow of a Pinus densiflora population in Buan, South Korea, were estimated using seven nuclear microsatellite markers. The expected heterozygosity ($H_e$) was 0.614 in mother trees and 0.624 in seeds. Fixation index (F) was 0.018 and 0.087 in each generation. There was no significant genetic difference between the generations (P > 0.05). From MLTR, the outcrossing rate ($t_m$), the biparental inbreeding ($t_m-t_s$), and the correlation of paternity ($r_p$) were 0.967, 0.057, and 0.012, respectively. tm was larger but $t_m-t_s$ and $r_p$ were smaller than those of allozyme markers in Pinus densiflora. These values were similar to those of microsatellite markers in other pine species. The optimal pollen dispersal model from TwoGener was the normal dispersal model with the effective density of 220 trees/ha and its level of genetic differentiation in pollen pool structure (${\Phi}_{ft}$) was 0.021. The average radial distance of pollen flow (${\delta}$) was calculated as 11.42 m, but no correlation between the pairwise-${\Phi}_{ft}$ and the geographical distance among mother trees was at Mantel test (r = -0.141, P > 0.05). Although the effective pollen dispersal in the population seems to be restricted, the amount of genetic variation might be maintained in each generation without a loss of genetic diversity. It might be because the genetic diversity in pollen pool was high but the genetic difference between pollen donors was small under the complete random mating condition in the Pinus densiflora population in Buan.

• Journal of Mushroom
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• v.18 no.2
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• pp.125-134
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• 2020

To study the fairy ring and genet characteristics of Suillus bovinus based on thinning intensity in Pinus densiflora forests, a simple sequence repeat (SSR) analysis was performed on the fruiting bodies of the plant. In pine wood production forests, the thinning strengths applied were 34%, 45%, and 60%. As a result, the number of fruiting bodies in the 34% treatment area was 104, which was higher than that in the other treatment areas. In the 34% treatment area, fruiting bodies occurred in a circular shape, within a diameter of approximately 5 meters (m) of the trees. In the 45% treatment area, the fruiting bodies were randomly distributed between 6 to 7 m from the trees, while in the 60% treatment, fruiting bodies occurred in a narrow oval shape, 6 m from the trees. In the control area, two fruiting bodies were present around the root collar. Hybridity was confirmed in the SSR markers of Sb-CA1 and Sb-CA3. The fruiting bodies in the 34% treatment area had a He / Ho value lower than that in the 60% treatment area. In fruiting bodies of the 34% treatment area, a total of 20 genets were identified, with an average size of 14±11 ㎡; 60% of genets were formed by a single fruiting body. In fruiting bodies of the 45% treatment area, a total of 6 genets were identified and the average size was 11±12 ㎡; 50% of genets were formed by a single fruiting body. In fruiting bodies of the 60% treatment area, a total of 10 genets were identified, with an average size of 1.1±0.8 ㎡; 70% of genets were formed by a single fruiting body. Thus, the formation ratio of a new genet increases when the thinning intensity is increased.

• Horticultural Science & Technology
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• v.31 no.5
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• pp.558-564
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• 2013

The objective of this research was to secure the fundamental information in changes of soil physical properties as influenced by the compaction of root media during container filling. Three root media were formulated by blending peatmoss (PM) with expanded rice hull (PM + ERH, 8:2, v/v), carbonized rice hull (PM + CRH, 6:4) and ground and aged pine bark (PM + GAPB, 8:2). Based on the optimum bulk density, the amount of root media filled into 6.0, 7.5, 8.5, 10.5 and 12.5 cm were adjusted to 90, 100, 110, 120, and 130%, then the changes in total porosity (TP), container capacity (CC), and air-filled porosity (AFP) were measured. The TP decreased significantly as the packing amount of three root media were elevated in all sizes of container. The TP did not show significant differences among the root media in small sizes of containers, but showed significant differences when sizes of containers became larger. As packing amount of three root media were elevated, the CCs in all sizes of containers were decreased. The PM + CRH had the lowest CC among three root media in containers smaller than 8.5 cm, but had the highest CC in those larger than 10.5 cm. These results indicated that the decreases in CC were influenced by the sizes of containers as well as kinds of root media. The elevation of packing amount in three root media diminished significantly the AFP. The AFP in PM + GAPB medium was two times as high as those of PM + ERH or PM + CRH when equal packing densities were applied in all sizes of containers. As the container sizes became larger in three root media, the extents in decreasing of CC were distinct than those of AFP. Above results indicate that elevation in packing amount of three root media decreased significantly the TP, CC and AFP, but these were influenced differently by sizes of containers and kinds of root media. The results would be useful for expectation in the changes of physical properties in various sizes of containers filled with peatmoss based root media.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.114-131
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• 2014

The Portrait of Yang Zhuxi(楊竹西小像) at the Palace Museum in Beijing holds important significance as one of the rare portraits from Yuan Period and as a painting with a definite year of creation in 1363. It is also noteworthy in that it is the only remaining work of Wang Yi(王繹), who was one of the critical portrait painters during the second half of Yuan Period and the author of Xiexiang Mijue(寫像秘訣), the first book on the portrait theories, that it was created in conjunction with Ni Zan(倪瓚), one of the utmost landscape painters of the times, and that it was an early case of landscape and figure painting-format portraits. The figure in Portrait of Yang Zhuxi was originally known as Yang Wu(楊瑀), a high official during Yuan Period, but it was a misunderstanding on the part of Li Rihua(李日華), a literary figure from Ming Dynasty. The actual model was Yang Qian(楊謙), a reclusive literary figure in the Songjiang(松江) region. Yang Qian is estimated as one of the central figures with a high reputation in the literary community of Jiangnan those days. Portrait of Yang Zhuxi was depicted by borrowing the icon of such hermits as Su Shih(蘇軾), which seems like a proper choice to express Yang Zhuxi, a reclusive literary figure. Furthermore, the rocks and pine trees described by Ni Zan reinforced the significance of the portrait through their traditional symbolism of man of virtue and man of letters, respectively. Portrait of Yang Zhuxi used the Baimiao Manner(白描法), thus being differentiated from other portraits from the same period. Even though there is no coloring in the painting, it boasts more excellent realism than colored portraits. It expressed the body with the graceful and controlled Li Gonglin(李公麟) and Zhao Mengfu(趙孟?) style Baimiao Manner, raising its dignity further. In terms of functions, Portrait of Yang Zhuxi is strongly characterized by the appreciative function unlike other portraits focused on the ceremonial function. Being created to be viewed and appreciated by the model himself and his friends, the portrait was very significant to promote their friendship. However, there was a great intention to reflect the emotions of the model himself and his friends in the painting beyond the simple appreciation level.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.62-79
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• 2019

This study examined the background of Gyeongju Seochulji Pond (world heritage, historic site No. 138), a historic pond in Sam-guk-yu-sa (三國遺事), and its landscaping period when it served as the garden of the Pungcheon Lim clan (豊川 任氏) in the middle of the Joseon dynasty. For this study, a literature review of poetry, prose, and a personal anthology, and a field survey were conducted. Changes in the landscape were analyzed by comparing the landscape appearing in the literature of the Joseon period with past photographs. The results were as follows: First, even though the function and landscape at that time cannot be guessed as the objective ground from Silla to the early part of the Joseon dynasty is insufficient, it has been managed as a Byeolseo (別墅) garden as Pungcheon Lim's family resided in the area of Eastern-Namsan Mountain during the Joseon dynasty. At that time, Seochulji Pond was recognized as a historic place. It functioned as the garden of Pungcheon Lim's family as Lim Jeok (任勣, 1612~1672) built the Yiyodang pavilion (二樂堂). Second, in the literature, the Yiyodang pavilion has been called Gaekdang (客堂), Jeongsa (精舍), Byeolgak (別閣) and Byeolseo, etc. It can be seen as Nu and Jeong (樓亭), utilized for various uses. Because of this, the name Bingheoru Pavilion (憑虛樓) has mostly been in common use. Third, Seochulji Pond was positioned where the scenery is beautiful, with Gyeongju Mt. Namsan (Mt. Geumo) in the background and with a wide field and the Namcheon River flowing in the front. This was typical of Byeolseo gardens of the Joseon dynasty, combining human environments with natural environments. Fourth, the relationship with the Byeolseo garden disappeared as the head of Pungcheon Lim's family added a temple, lotus flowers, pine trees, and a bamboo forest as described in the old poetry and prose. Currently, the landscape does not appear to be significantly different from that as development has not occurred in the area of Seochulji Pond. Also, crape myrtle (Lagerstroemia indica), which now symbolizes the Seochulji Pond, was not identified in the old poetry or past photographs and is not old enough to confirm whether it was prominent at the time. Through this study, it is necessary to reconsider the spatial meanings of the gardens of the Joseon dynasty period and not to highlight the area of Seochulji Pond as a place in the legend. This is a cultural asset in the area of Eastern-Namsan Mountain and has an important meaning in terms of garden history.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.48-65
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• 2018

The authors of this paper aim to make a record of the construction process, its symbolic meaning, and the changes in the status of the landscape plants at the Pasanseodang according to the Report on the Pasanseodang written by Park Gyu-hyun in 1874. First, the construction of Samgahun Pavilion, which is located in Myo-ri, Habin-myun, Dalsung-gun, Daegu, took about 90 years and spanned the lifetimes of Park Sungsoo, an 11th-generation descendant of Park Paengnyun (1417~1456) through to Park Kyuhyun, a 14th-generation descendant. It was called the shape of dragon, with its head facing the tail (回龍顧尾形), in feng shui. Second, the village of Pahwoe was founded in 1769, the 45th year of the reign of King Yeongjo, by Park Sungsoo for the purpose of socializing with his friends at his thatched home, and was named after his own courtesy name (Samgahun). Park Kwangseok, the second son of Park Sungsoo, built the sarangchae in 1826 and the anchae in 1869 after his marriage (in 1783). Then, Park Kyuhyun, the grandson of Park Kwangseok, built the pond and planted it with lotus flowers, and built the Hayeopjeong in 1874. The Pasanseodang, as the precursor of the Hayeopjeong, may be related with the name of the hillside region behind Samgahun. Third, a quadrangular-shaped pond with a length of 21m and a width of 15m was also built and planted with lotus flowers. In the center of the pond is a small round island that reflects the world view of the Chosun dynasty, i.e. that the sky is round and the landmass is quadrangular. Meanwhile, the name of the Hayeopjeon reflects the value system of aristocrats who lived a life of leisure and artistic indulgence. They called the eastern room "Yeeyeonhun" (怡燕軒) and the western room "Mongyangjae" (蒙養齋), names which embody their wishes for a good life as a member of the nobility and a bright future for one's descendants. Fourth, in Confucian terms, the authors infer the points of view reflected in the kinds of trees that were planted according to Confucian norms (pine tree, lotus, bamboo), the living philosophy of sustainability (willow), the ideology of seclusion and the search for peace of mind (bamboo), and relief efforts for the poor and a life of practicality (chestnut, oak, wild walnut, lacquer). The authors assert that this way of planting trees was a highly effective design feature of landscape architecture that drew on the locational and symbolic significance of the Seodang. Fifth, the majority of the trees that were initially planted withered and were replaced with different species, except for the locust and lotus, at this point. Nevertheless, a review of the process of construction, symbolic meaning, and original architectural landscape of the Samgahun is of value in demonstrating the extended symbolic meaning of their descendants in terms of the practical loss of the function of the Seodang, the values of Feng Sui (red in the east, white in the west, based on the principles of Feng Sui), the function of repelling evils spirits (kalopanax, trifoliate orange), aesthetic and practical values (sweetbrier, apricot, pear, peach, and oriental oak trees), and the prosperity of the family and the timeless value of honest poverty (silk, crape myrtle, and yew trees).

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.46-69
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• 2013

The results of study on the meaning landscape and environmental design techniques of the Byulup, Yoohoedang garden(Hageowon) based on the story in the collection of Kwon Yi-jin (Yoohoedangjip, 有懷堂集), are as below. First, Yoohoedang Kwon Yi-jin (有懷堂 權以鎭 : 1668~1734) constructed a Byulup garden consisting of ancestor grave, Byulup, garden, and a school, through 3 steps for 20 years in the back hill area of Moosoo-dong village, south of Mountain Bomun in Daejeon. In other words, he built the Byulup(別業, Yoohoedang) by placing his father's grave in the back hill of the village, and then constructed Yoegeongam(餘慶菴) and Geoupjae(居業齋) for protection of the pond(Napoji, 納汚池), garden(Banhwanwon, 盤桓園), and ancestor graves, and descendants' studying in the middle stage. He built an extension in Yoohoedang and finally completed the large-size garden (Hageowon) by extending the east area. Second, in terms of geomancy sense, Yoohoedang Byulup located in Moosoo-dong village area is the representative example including all space elements such as main living house (the head family house of Andong Kwon family), Byulup (Yoohoedang), ancestor graves, Hagoewon (garden) and Yoegeongam (cemetery management and school) which byulup type Byulseo should be equipped with. Thirdly, there are various meaning landscape elements combining the value system of Confucianism, Buddhism and Taoism value, including; (1) remembering parents, (2) harmonious family, (3) integrity, (4) virtue, (5) noble personality, (6) good luck, (7) hermit life, (8) family prosperity and learning development, (9) grace from ancestors, (10) fairyland, (11) guarding ancestor graves, and (12) living ever-young. Fourth, after he arranged ancestor graveyard in the back of the village, he used surrounding natural landscapes to construct Hagoewon garden with water garden consisting of 4 mountain streams and 3 ponds for 13 years, and finally completed a beautiful fairyland with 5 platforms, 3 bamboo forests, as well as the Seokgasan(石假山, artificial hill). Fifth, he adopted landscape plantation (28 kinds; pine, maple, royal azalea, azalea, persimmon tree, bamboo, willow, pomegranate tree, rose, chinensis, chaenomeles speciosa, Japanese azalea, peach tree, lotus, chrysanthemum, peony, and Paeonia suffruticosa, etc.) to apply romance from poetic affection, symbol and ideal from personification, as well as plantation plan considering seasonal landscapes. Landscape rocks were used by intact use of natural rocks, connecting with water elements, garden ornament method using Seokyeonji and flower steps, and mountain Seokga method showing the essence of landscape meanings. In addition, waterscape are characterized by active use of water considering natural streams and physio-graphic condition (eastern valley), ecological corridor role that rhythmically connects each space of the garden and waterways following routes, landscape meaning introduction connecting 'gaining knowledge by the study of things' values including Hwalsoodam(活水潭, pond), Mongjeong(蒙井, spring), Hosoo(濠水, stream), and Boksoo(?水, stream), and sensuous experience space construction with auditory and visualization using properties of landscape matters.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• Journal of Mushroom
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• v.21 no.1
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• pp.22-32
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• 2023

To investigate the effect of thinning intensity on environmental factors and ectomycorrhizal mushroom fruiting in forest ecosystems, we studied canopy closure, throughfall, soil temperature, soil moisture, light response of understory vegetation, and ectomycorrhizal mushroom fruiting in a 10-year-old pine forest after 34%, 45%, and 60% thinning. Canopy closure was significantly higher in the 34% treatment and control plots, ranging from 80-85% in April. However, in November, all thinning treatment plots showed a decrease of approximately 5-10% compared with the control plot. The 60% treatment plot had over 200 mm of additional throughfall compared with the control plot, and monthly throughfall was significantly higher by more than 100 mm in October. The soil temperature in each treatment plot increased significantly by up to 1℃ or more compared with the control plot as the thinning rate increased. The soil moisture increased by more than 5% in the thinning treatment plots during rainfall, particularly in the 34% treatment plot, where the rate of moisture decrease was slower. The photosynthetic rate of major tree species (excluding Pinus densiflora)was highest in Quercus mongolica, with a rate of 7 µmolCO₂·m^-2·s^-1. At a lightintensity of 800 μmol·m^-2·s^-1, Q. mongolica showed the highest photosynthetic level of 6 ± 0.3 μmolCO₂·m^-2·s^-1 in the 45% treatment. The photosynthetic rate of Fraxinus sieboldiana and Styrax japonicus increased as the thinning intensity increased. The Shannon-Wiener index of mycorrhizal mushrooms did not significantly differ among treatments, but the fresh weight of mushrooms was approximately 360-840 g higher in the 34% and 45% treatments than in the control. Additionally, the fresh weight of fungi in the 60% treatment was 860 g less than that in the control. There were more individuals of Amanita citrina in the control than in the thinning treatment, while Suillus bovinus numbers increased by more than 10 times in the 34% thinning treatment compared with the control.