• Korean Journal of Heritage: History & Science
• /
• v.43 no.3
• /
• pp.334-365
• /
• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.

• Korean Journal of Environmental Biology
• /
• v.37 no.1
• /
• pp.42-47
• /
• 2019

This experiment was conducted to investigate the effects of pH on the mineral nutrient uptake and growth of the four Chinese chives species. The Chinese chives species used in the experiment were the cultivated species grown in the farm (cultivated Allium tuberosum) and three wild species of wild Allium tuberosum, A. thunbergii and A. senescens. The pH levels of soil medium were set to be 4.5, 6.5, and 7.5. Fresh weight(FW) of cultivated A. tuberosum was highest at all pH levels. The increase of soil pH increased the FW of the wild A. tuberosum and A. thunbergii, but no difference was noted for the A. tuberosum and A. senescens. Plant height was higher in the order of wild A. tuberosum, A. thunbergii, and cultivated A. tuberosum and A. thunbergii. Notably plant height of the wild A. tuberosum increased significantly by the pH increase. The Zn content of the wild A. tuberosum was shown to be significantly higher than that of the other species and increased with the increase of soil pH. This indicates that there is a close relationship between the plant height and Zn content in Chinese chives plant. Principal component analysis for characterizing closely related A. species using the factors of plant growth and amounts of nutrients uptake showed that the cultivated A. and wild A. tuberosum were in the $4^{th}$ quadrant of the graph which are classified as the same species, while A. senescens and thunbergii was in $1^{st}$ and $3^{rd}$ quadrant indicating different species, respectively.

• Korean Journal of Environment and Ecology
• /
• v.34 no.6
• /
• pp.589-600
• /
• 2020

Effective conservation and management of protected areas require monitoring the settlement of invasive alien species and reducing their dispersion capacity. We simulated the potential distribution of invasive alien plant species (IAPS) using three representative species distribution models (Bioclim, GLM, and MaxEnt) based on the IAPS distribution in the forest genetic resource reserve (2,274ha) in Uljin-gun, Korea. We then selected the realistic and suitable species distribution model that reflects the local region and ecological management characteristics based on the simulation results. The simulation predicted the tendency of the IAPS distributed along the linear landscape elements, such as roads, and including some forest harvested area. The statistical comparison of the prediction and accuracy of each model tested in this study showed that the GLM and MaxEnt models generally had high performance and accuracy compared to the Bioclim model. The Bioclim model calculated the largest potential distribution area, followed by GLM and MaxEnt in that order. The Phenomenological review of the simulation results showed that the sample size more significantly affected the GLM and Bioclim models, while the MaxEnt model was the most consistent regardless of the sample size. The optimal model overall for predicting the distribution of IAPS among the three models was the MaxEnt model. The model selection approach based on detailed flora distribution data presented in this study is expected to be useful for efficiently managing the conservation areas and identifying the realistic and precise species distribution model reflecting local characteristics.

• Journal of The Korean Society of Grassland and Forage Science
• /
• v.43 no.4
• /
• pp.257-267
• /
• 2023

The grassland section of the greenhouse gas inventory has limitations due to a lack of review and verification of biomass compared to organic carbon in soil while grassland is considered one of the carbon storages in terrestrial ecosystems. Considering the situation at internal and external where the calculation of greenhouse gas inventory is being upgraded to a method with higher scientific accuracy, research on standards and methods for calculating carbon accumulation of grassland biomass is required. The purpose of this study was to identify international trends in the calculation method of the grassland biomass sector that meets the Tier 2 method and to conduct a review of variables applicable to the Republic of Korea. Identify the estimation methods and access levels for grassland biomass through the National Inventory Report in the United Nations Framework Convention on Climate Change and type the main implications derived from overseas cases. And, a field survey was conducted on 28 grasslands in the Republic of Korea to analyse the applicability of major issues. Four major international issues regarding grassland biomass were identified. 1) country-specific coefficients by land use; 2) calculations on woody plants; 3) loss and recovery due to wildfire; 4) amount of change by human activities. As a result of field surveys and analysis of activity data available domestically, it was found that there was a significant difference in the amount of carbon in biomass according to use type classification and climate zone-soil type classification. Therefore, in order to create an inventory of grassland biomass at the Tier 2 level, a policy and institutional system for making activity data should develop country-specific coefficients for climate zones and soil types.

• Journal of Wetlands Research
• /
• v.26 no.2
• /
• pp.168-181
• /
• 2024

Constructed wetlands (CWs) deliver a range of ecosystem services, including the removal of contaminants, sequestration and storage of carbon, and enhancement of biodiversity. These services are facilitated through hydrological and ecological processes such as infiltration, adsorption, water retention, and evapotranspiration by plants and microorganisms. This study investigated the correlations between microbial populations, soil physicochemical properties, and treatment efficiency in a horizontal subsurface flow constructed wetland (HSSF CW) treating runoff from roads and parking lots. The methods employed included storm event monitoring, water quality analysis, soil sampling, soil quality parameter analysis, and microbial analysis. The facility achieved its highest pollutant removal efficiencies during the warm season (>15℃), with rates ranging from 33% to 74% for TSS, COD, TN, TP, and specific heavy metals including Fe, Zn, and Cd. Meanwhile, the highest removal efficiency was 35% for TOC during the cold season (≤15℃). These high removal rates can be attributed to sedimentation, adsorption, precipitation, plant uptake, and microbial transformations within the CW. Soil analysis revealed that the soil from HSSF CW had a soil organic carbon content 3.3 times higher than that of soil collected from a nearby landscape. Stoichiometric ratios of carbon (C), nitrogen (N), and phosphorus (P) in the inflow and outflow were recorded as C:N:P of 120:1.5:1 and 135.2:0.4:1, respectively, indicating an extremely low proportion of N and P compared to C, which may challenge microbial remediation efficiency. Additionally, microbial analyses indicated that the warm season was more conducive to microorganism growth, with higher abundance, richness, diversity, homogeneity, and evenness of the microbial community, as manifested in the biodiversity indices, compared to the cold season. Pollutants in stormwater runoff entering the HSSF CW fostered microbial growth, particularly for dominant phyla such as Proteobacteria, Actinobacteria, Acidobacteria, and Bacteroidetes, which have shown moderate to strong correlations with specific soil properties and changes in influent-effluent concentrations of water quality parameters.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.239-260
• /
• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.