• Journal of the Korean Society of Environmental Restoration Technology
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• v.17 no.1
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• pp.185-201
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• 2014

The Yong-neup of Mt. Daeam, which was designated as Korea's National Monument No.246 in 1973, is a high moor, and it has been managed with the designation as an ecosystem conservation area, Ramsar wetlands, and wetland conservation area. With the closing of the officially announced 5-year period for 'No-Trespassing' on the ecosystem conservation area starting August, 2010, it becomes necessary to arrange a systematic management and conservation scheme in consideration of the access & use of the visitors and Yong-neup's potential change into land consequent on making it open to the public. This study thinks that in order to preserve the Yong-neup, it's necessary to prepare the conservation plan for the program operation for exterminating exotic species, development of replacement wetlands and nurseries, access limit through zone categorization, establishment of environment-monitoring system, institutional management support, and establishment of managing facilities, etc., and to make scientific approaches, such as survey on wetland ecosystem, establishment of inventories, wetland monitoring, and drawing up of wetland ecology maps, etc. In addition, it is required that there should be adequate considerations of restoration of slope faces, drains, artificial embankment, water-collecting wells, roads for military operations, and wild-boar-stricken areas, etc., and should be continuous and systematic management of Yong-neup through the wise use of residents' participation-style maintenance, organization of a consultative body, introduction of CEPA programs, and introduction of visiting facilities and alternative transportation system, etc.

• Journal of Korean Society of Rural Planning
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• v.25 no.3
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• pp.37-44
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• 2019

The value of Jeju Batdam has been reexamined as it is listed as a nationally important agricultural heritage and globally important agricultural heritage systems. However, it is already exposed to threats such as reduction of agricultural population and cultivation area. Despite efforts like the agricultural heritage system to preserve traditional agriculture, there is few basic investigation into the current status of Jeju Batdam. The purpose of this study is to estimate the length of Jeju Batdam. We used the continuous cadastral map of Jeju area to extract the boundaries of the field lot. In the cadastral map, the farmland was selected by selecting dry fields, paddy fields and orchards. 300 sample site were selected from the extracted farmland, and the boundaries between the Internet map and the parcels were superimposed and the differences were confirmed on the drawing. After that, field survey was conducted to confirm the boundary of the parcels and the existence of actual Batdam. It is estimated that the length estimated from this study is at least 23,983km and maximum 142,353km, which is at least 1,830km longer than 22,108km announced in 2007. Since Jeju Batdam is based on land parcel boundary, it is an objective and efficient method to utilize intellectual information. In addition, because it is subordinate to farmland, new information can be extracted reflecting the change of land use and make the spatial database based on the cadastral maps.

• Journal of Korea Trade
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• v.26 no.4
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• pp.63-82
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• 2022

Purpose - Drawing on relational institutional theory, we explored how demographic similarity between board members of a firm and newly emerged political elites led to firms' increased financial resource acquisition such as leverage ratio and decreased export intensity amidst the Asian financial crisis. We also studied how a firm's leverage ratio and export intensity can further affect firm profitability and financial credit rating. Design/methodology - We revisited and explored a unique, unprecedented crisis that affected most Korean firms: the Asian financial crisis that coincided with a governmental shift from a conservative to a liberal party. We collected demographic information from 432 listed Korean firms' board members and 43 political elites of the Blue House from 1998-2000 to create a demographic similarity measurement. We collected firms' financial information, built panel data, and used ordinary least squares regression to test our theory. Findings - Our results showed that demographic similarity between a firm's directors and newly emerged politicians had a positive association with a firm's leverage ratio but a negative association with a firm's export intensity. A firm's leverage ratio had a negative relationship with firm performance measured by firm profitability and financial credit rating. A firm's export intensity showed a positive effect on firm performance. Originality/value - We highlighted that during an economic crisis that coincided with a governmental shift and change of leading political actors, firms exerted efforts to survey the environment and build new external stakeholder relationships to cope with the changing landscape. We proposed that in an emerging market like Korea where low levels of trust and favoritism are prevalent across society, one of the relational institutional strategies that firms can employ is the selection of directors with similar demographic characteristics to political elites based on factors including birthplace and school affiliations. We examined the efforts of firms to build political networks with newly empowered political elites during a financial crisis, and the consequences of establishing such networks. We highlighted that during a financial crisis, the demographic similarity between a firm's board members and newly emerged politicians can provide firms with access to financial resources but can also result in poor management and reduced effort to enhance its international competitiveness.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.1-13
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• 2022

This paper examined the history and development of Gyeongbokgung Palace's back garden based on historical materials and drawings such as Joseon Ilgi(Diaries of Joseon Dynasty), Joseon Wangjo Sillok(the Annals of the Joseon Dynasty), Doseongdaejido(the Great Map of Seoul), Bukgwoldohyeong(Drawing Plan of the Northern Palace), the Bukgung Palace Restoration Plan, Restoration Planning of Gyeongbokgung Palace and the following results were derived. First, it was confirmed that the Back Garden of Gyeongbokgung Palace was famous for its great location since the Goryeo Dynasty, and that it was named Namkyeong at that time and was a place where a shrine was built, and that castles and palaces were already built during the Goryeo Dynasty under the influence of Fengshui-Docham(風水圖讖) and Zhouli·Kaogongji(周禮考工記). Although the back garden of Gyeongbokgung Palace in the early Joseon Dynasty stayed out of the limelight as a back garden for the palace, it has a place value as a living space for the head of the state from King Gojong to the present. Second, in order to clearly identify the boundaries of back garden, through literature such as map of Doseongdo (Map of the Capital), La Coree, Gyeongmudae Area, Japanese Geography Custom Compendium, Korean Photo Album, JoseonGeonchukdoJip(The Illustration Book of Joseon Construction), Urban Planning Survey of Gyeongseong, it was confirmed that the current Blue House area outside Sinmumun Gate was built outside the precincts of Gyeongbokgung Palace. It was found that the area devastated through the Japanese Invasion of Korea in 1592, was used as a space where public corporations were combined through the process of reconstruction during the King Gojong period. In Japanese colonial era, the place value as a back garden of the primary palace was damaged, as the palace buildings of the back garden was relocated or destroyed, but after liberation, it was used as the presidential residence and restored the place value of the ruler. Third, in the back garden of Gyeongbokgung Palace, spatial changes proceeded through the Japanese Invasion and Japanese colonial era. The place with the greatest geographical change was Gyeongnongjae area, where the residence of the Japanese Government-General of Korea was built, and there were frequent changes in the use of the land. On the other hand, the current Gyeongmudae area, the forests next to the small garden, and the forests of Baekak were preserved in the form of traditional forests. To clarify this, 1:1200 floor plan of inner Gyeongmudae residence and satellite images were overlapped based on Sinmumun Gate, and as a result, it was confirmed that the water path originating from Baekak still exists today and the forest area did not change. Fourth, in the areas where the traditional forest landscape was inherited, the functional changes in the topography were little, and major old-age colonies are maintained. The old trees identified in this area were indicator tree species with historical value. Representatively, Pinus densiflora for. multicaulis Uyeki, located in Nokjiwon Garden, is presumed to have been preserved as one of Pinus densiflora for. multicaulis Uyeki planted next to Yongmundang, and has a historicality that has been used as a photo zone at dinners for heads of state and important guests. Lastly, in order to continuously preserve and manage the value of Gyeongbokgung Palace in Blue House, it is urgent to clarify the space value through excavation of historical materials in Japanese colonial era and establish a hierarchy of garden archaeology by era. In addition, the basis for preserving the historical landscape from the Joseon Dynasty to the modern era from Gyeongbokgung Palace should not damage the area of the old giant trees, which has been perpetuated since the past, and a follow-up study is needed to investigate all the forests in Blue House.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.26-37
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• 2015

This paper aims to review all landscaping elements of Donggwoldo by building and identify the palatial garden landscaping characteristics and landscaping methods in a bid to explore landscaping methods applicable for modern-time gardens of Korea through Succession of Tradition. The research methodology was adopted by which the palatial gardens appearing in Donggwoldo were observed according to garden elements to identify their characteristics. Garden elements in Donggwoldo include oddly shaped stones, ponds, buildings and Madang, borders and areas, and trees. Their characteristics were analyzed, and as a result they are outlined as follows. Location : Buildings in Donggwoldo were located in the optimal areas within the Myungdang (the best location), with the building sites being created by transforming the natural topography positively according to the existing topography and uses. Tree planting : The construction of the buildings involved using the existing trees. There were no specific principle and method of planting trees, and no specific criteria for choosing the kind of tree. Symmetrical planting was adopted and its is considered embracing the viewpoint of making gardens based on the expression of Yin and Yang. Strongly symbolical kinds of trees were also adopted. Bangji : it takes a nearly circular shape in palatial gardens, and such shapes represent conceptual and abstract symbols. They were also frequently used as the place of public entertainment. Pavilions : they did not take a certain standard shape. They had diverse shapes, including a triangle, square, pentagon, hexagon, and octagon and cross. Oddly shaped stones : Oddly shapes stones and stone cases were deployed mainly near the bedroom and the crow prince's residence and in the rear garden. Hwagye : it appeared mainly in the back of the bedroom, the crown prince's residence, the princess's residence, and other women's quarters. Chwibyeong : it was installed for the purpose of drawing the natural energy like a natural inlet instead of being the nature-dividing wall. Korea's garden composition method was very different from the Western and Chinese method. Overall, Chosun palatial garden style was characterized by strict and Confucian features, while the garden construction method adopted the Taoism thought. Yet, the gardens had a carefree aspect.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.134-147
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• 2014

The purpose of this study is, focusing on the ancient paintings and literatures, by examining Flowering Plants and drawing their cultivating methods, to provide a ground of utilizing them on the modern landscaping. In the scope and method of this study, 766 pieces of ancient paintings(6 garden paintings and 760 folk paintings) which were available and had value as literatures, and 8 of ancient literatures were intensively examined. Main results extracted from them are as follows. First, the most frequently used Flowering Plants in Joseon Dynasty were Prunus mume, pbyllostachys, Nelumbo nucifera, Chrysanthemum morifolium, Musa basjoo, Rosa spp., Rhododendron mucronulatum, Paeonia lactiflora, which appeared 11 times to 16 times in total. Next frequently(4 times to 8 times) used Flowering Plants were Gardenia jasminoides, Punica granatum(8 times), Dianthus chinensis, Vitis vinifera(7 times), Orchidaceae, Syringa velutina, Impatiens balsamina, Hemerocallis fulva, Celosia cristata, Hibiscus Syriacus, Rhododendron indicum(6 times), Rhododendron, Rhododendron obutusum, Acorus calamus, Althaea rosea, Kerria japonica, Citrus junos(5 times), Hibiscus mutabilis, Lychnis cognata, Calendula officnalis, Begonia rex., Helianthus annuus, Papaver spp., Narcissus tazetta, Daphne odora, Hosta plantaginea(4 times). Second, usage of the Flowering Plants in Joseon Dynasty can be divided into character building and horticulture for pleasure through positive, scientific approach attempt. It suggests that there might have been classes in the use of them and we can estimate which plants were particularly preferred. Third, in the symbolicity of the usage of Flowering Plants, it can be divided into three parts: The case of representing integrity, gentleman, honesty and nobility and the thought of loyalty and filial piety under the influence of Confucianism. The case of representing Taoism's thought of hermit and perennial youth and long life. The case of representing wish on wealth and prosperity. So if we make a good use of it, we may draw a meaning of cultivation of Flowering Plants from it. This is your target audience or the good luck to all he plants is aimed at, you can see the occurred. Fourth, the Joseon Dynasty was the use of flowering plants are the line of rain wanted to be more consistent with the spirit world. This is shown as a symbol of their ancestors. Joseon Dynasty was used, resulting in a kind of flowering plant and is not a subjective judgement criteria A psychological approach to the side when interpreting the Joseon Dynasty flowering plants to take advantage of the landscape of the area will widen in scope.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.85-97
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• 2010

This research studied the location and the spatial composition of Pihyang-jeong zone. Pihyang-jeong is regarded as one of the five great pavilions in Chollabuk-do. Located in Taein-myeon of Jeongeup-si, Pihyang-jeong is also called as 'the number one pavilion in Honam area'. 1. There is no record regarding the first construction of Pihyang-jeong. There is only transmitting by word of mouth that the scholar Choi Chi-won had an excursion to here and composed some poetry during the age of King Heon-gang of Shilla dynasty. However, there are records that Lee Ji-gweng had expanded the humble structure in 1618, Park Sung-go repaired it in 1664 and Yoo Geun repaired it again in 1715. 2. The location of Pihyang-jeong is 'high in north and low in south' and typical 'mountain in rear and water in front'. It has Seong-hwang Mountain(189m) in the north, Hang-ga Mountain(106m) in the south, Tae Mountain(33m) in the south and an open field in the northwest. 3. The spatial composition around Pihyang-jeong is as following. Pihyang-jeong faces 'Hayeonji'(the lower side lotus pond) in the south-south-west direction. 4. The buildings around Pihyang-jeong are; Pihyang-jeong, which was the pavilion of the government official not directly in charge of government office, Hambyeok-lu in the Hayeonji and the facility for the caretaker. Pihyang-jeong is a rectangular building with double eaves and hipped-and-gabled roof. It has five rooms in the front and four rooms in the side. Hambyeok-lu had been first built in 1918 as two-storey wooden pavilion with dancheong, traditional multicolored paintwork on wooden buildings. Then it was modified into rectangular single-storey pavilion with hipped-and-gabled roof and five rooms in 1971. In 2010, it was rebuilt as a hexagonal pavilion; therefore, the present shape is completely different one from the original shape. 5. The scenic features around Pihyang-jeong are as following. There are 21 stone monuments in Pihyang-jeong zone. The fence surrounding Pihyang-jeong is a traditional Korean style crude stone fence. There are three gates in three-gates-style, each gate made with two posts and one 'matbae'(gabled) roof. Also, a stepping stone for mounting/dismounting was found in the east of Pihyang-jeong outer perimeter. 6. The water scenic feature around Pihyang-jeong is a representative case of drawing in the water from the natural pond nearby government office and building a pavilion around the water. 7. The planting around Pihyang-jeong is as following. There are Zelkova trees in the boundary perimeter. In the southern small park, there are Zelkova trees, Crape-myrtie trees, Bushy young pine trees, Pine trees, Satuki, Purple azalea and Grass field. Around Hambyeok-lu in the Ha-yeonji, Elm trees, Zelkova trees and Pine trees are growing in good condition.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Korean Journal of Environment and Ecology
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• v.22 no.4
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• pp.396-408
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• 2008

Gwangtan-myeon, Paju-si, Gyeonggi-do was classified as a 4 grade age-class deciduous tree forest, however as a result of vegetation survey, this site was found to consist of natural forest with deciduous trees, thus causing difficulty in judging which age class it belongs to. Subsequently, the necessity of drawing up a detailed stock map plan was raised. For this reason, this research was designed to propose a mapping method for a detailed stock map plan based on a detailed survey on actual vegetation, vegetation structure, and analysis data on tree rings. The detailed analysis of actual vegetation pattern showed that there exist 22 patterns of vegetation, in which the natural forest has 11 patterns, such as Quercus mongolica forest and Q. variabilis forest, etc. while the artificial forest was found to have 6 patterns including Castanea crenata, etc. In order to verify their age-class, this research measured a tree age by collecting 42 quadrats and 89 specimen tree cores on the basis of a detailed actual vegetation map; as a result, an artificial forest and oak trees with small diameters located at low-lying areas, was categorized as 2-grade age class(covering 29.8%), and other areas were judged to be available for land use as 3-grade age-class(covering 57.6%) while the areas judged to be 4-or-more grade age-class (covering 8.8%) was impossible for land use because they are located on a steep slope ridge line on a boundary. In case a proposed site for a small-scale development is judged as a natural forest with deciduous trees as mentioned above, it is necessary that a detailed stock map plan should be drawn up through a detailed investigation into actual vegetation and analysis of plant gathering structure & specimen trees. A detailed stock map plan includes the data that makes it possible to comprehensively judge natural property, scarcity, and diversity of vegetation; thus, it is considered that a detailed stock map plan will be useful in judging the development propriety of a small-scale site.

• Cartoon and Animation Studies
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• s.40
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• pp.497-519
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• 2015

Kwon Kisoo is one of the most promising artist in Korea. His paintings portray a lot of metaphors and philosophies in oriental art. As an artist, he adapts both oriental and contemporary ideas to make his paintings. His main motifs are Plum blossoms, Chrysanthemum, Orchid and Bamboos. These plants are known as 'Sa-gonja' in Korean but translated as the 'Four Gracious plants' or the 'Four Gentle Plants in english'. These noble plants represent the four seasons. They grow in different weather conditions. In oriental art, these plants are considered very important for their qualities. These qualities are important attributes for gentlemen in literati painting. The drawing of the 'Four Gracious Plants' in Kwon Kisoo's paintings is simplified. He uses lines, shapes and colour to create contours of the motifs. In his paintings, there is another icon he calls 'Dongguri'. Dongguri is the main character in Kwon Kisoo's paintings. It was developed in 2002 by fast brush strokes. Dongguri is an admired character because it looks like very cute in Kwon Kisoo's paintings. Dongguri is always seen living in the midst of the 'Four Gracious Plants'. The 'Four Gracious Plants' with other landscape features like rocks and mountains are places 'Dongguri' lives. Dongguri is also often found performing a lot of actions like climbing, running, sitting etc. All these actions depict metaphors which have been unraveled in this study.