• Korean Journal of Environment and Ecology
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• v.34 no.6
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• pp.515-529
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• 2020

Constructed wetlands undergo biological and physical changes such as an increase in the proportion of arid plants due to the natural succession process after formation. It can adversely affect not only the purification function but also the habitat of species. As such, this study aims to identify environmental factors affecting biodiversity and propose management plans based on the monitoring results of physical environmental changes and the emergence of species in seven constructed wetlands selected based on the water depth and surrounding conditions among the lands purchased by the Nakdong River basin. We examined the environmental conditions and emergence of the Odonata, which is a wetland-dependent species, to predict the trend of changes in biodiversity and abundance. The results showed that the open water area decreased as the emergent plants spread to the deep water in 2015 compared to 2012 when they were initially restored to a depth of 0.2 to 1 m. While a total of 54 dragonfly species were observed, the habitat diversity, such as vegetation, water surface, and grassland, remained similar to the initial formation of the wetlands despite the expansion of the emergent plants. On the other hand, the number of Agrionidae species, which prefer areas with fewer aquatic plants, decreased between 2012 and 2015 due to the diminished water surface. The p-values of the differences in the number of species and population between wetlands by year were 2.568e-09 and 1.162e-08, respectively, indicating the statistically significant differences. The decrease in open water surface was found to have the greatest effect on the biodiversity and habitat density of dragonflies. The time-series survey of constructed wetlands confirmed that the spread of Phragmites communis, P. japonica, Typha orientalis, etc., caused a decrease in species diversity. It suggests that environmental management to maintain the open water surface area is necessary.

• Korean Journal of Environment and Ecology
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• v.36 no.3
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• pp.338-349
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• 2022

This study aims to investigate whether modular community planting, which entailed planting a variety of species of seedlings at high density, was more effective in restoring natural forests than the existing mature tree planting. We also investigated whether the planting density of the modular community planting facilitates growth or improves the tree layer coverage. We conducted outdoor experiments in which the samples were divided into a mature tree planting plot (control plot), where mature trees were planted at wide intervals, and a modular community planting (MCP) plot (treatment plot), where multiple seedlings were planted in high density. The MCP plot was further divided into the plot in which 3 seedlings were planted per m² and the plot of 1 seedling per m². We measured the specimens' survival rate, growth rate (tree height, crown width, and root collar diameter), and cover rate for 26 months from May 2019 and the predicted future tree height growth using the measured tree height. The survival rate and relative growth rate of the MCP were higher than those of the mature tree planting plot. The vertical coverage rate of the tree crown in the MCP exhibited complete coverage of the ground before 23 months, while the coverage rate of the mature tree planting decreased due to transplantation stress. The seedlings in the MCP, which were planted at high density, grew well and were predicted to grow higher than the mature trees in the large tree planting plot within 5 to 6.5 years after planting. It was due to multiple species, seedlings, high-density planting, and planting foundation improvements, such as soil enhancement and mulching. In other words, the seedlings planted in the MCP had a higher survival rate as their environmental adaptation after planting was better, and their early growth was also larger than the trees in the mature planting plot. The high-density mixed planting of various native species not only mitigated the inter-complementary environmental pressures but also facilitated growth by inducing competition between species. Moreover, the planting foundation improvement effectively increased the seedlings' viability and growth rate. A reduction in follow-up management costs is expected as the tree layer coverage sharply increases due to the higher planting density. In the MCP (3 seedlings per m² and 1 seedling per m²), the tree height growth was promoted with the higher planting density, and the crown width and root collar diameter tended to be larger with the lower planting density, but these differences were not statistically significant.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.123-154
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• 2019

Ancestral Burial Ground on the Inwangsan Mountain is a ten-panel folding screen with images and postscripts. Commissioned by Bak Gyeong-bin (dates unknown), this screen was painted by Jo Jung-muk (1820-after 1894) in 1868. The postscripts were written by Hong Seon-ju (dates unknown). The National Museum of Korea restored this painting, which had been housed in the museum on separate sheets, to its original folding screen format. The museum also opened the screen to the public for the first time at the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea held from July 23 to September 22, 2019. Ancestral Burial Ground on the Inwangsan Mountain depicts real scenery on the western slopes of Inwangsan Mountain spanning present-day Hongje-dong and Hongeun-dong in Seodaemun-gu, Seoul. In the distance, the Bukhansan Mountain ridges are illustrated. The painting also bears place names, including Inwangsan Mountain, Chumohyeon Hill, Hongjewon Inn, Samgaksan Mountain, Daenammun Gate, and Mireukdang Hall. The names and depictions of these places show similarities to those found on late Joseon maps. Jo Jung-muk is thought to have studied the geographical information marked on maps so as to illustrate a broad landscape in this painting. Field trips to the real scenery depicted in the painting have revealed that Jo exaggerated or omitted natural features and blended and arranged them into a row for the purposes of the horizontal picture plane. Jo Jung-muk was a painter proficient at drawing conventional landscapes in the style of the Southern School of Chinese painting. Details in Ancestral Burial Ground on the Inwangsan Mountain reflect the painting style of the School of Four Wangs. Jo also applied a more decorative style to some areas. The nineteenth-century court painters of the Dohwaseo(Royal Bureau of Painting), including Jo, employed such decorative painting styles by drawing houses based on painting manuals, applying dots formed like sprinkled black pepper to depict mounds of earth and illustrating flowers by dotted thick pigment. Moreover, Ancestral Burial Ground on the Inwangsan Mountain shows the individualistic style of Jeong Seon(1676~1759) in the rocks drawn with sweeping brushstrokes in dark ink, the massiveness of the mountain terrain, and the pine trees simply depicted using horizontal brushstrokes. Jo Jung-muk is presumed to have borrowed the authority and styles of Jeong Seon, who was well-known for his real scenery landscapes of Inwangsan Mountain. Nonetheless, the painting lacks an spontaneous sense of space and fails in conveying an impression of actual sites. Additionally, the excessively grand screen does not allow Jo Jung-muk to fully express his own style. In Ancestral Burial Ground on the Inwangsan Mountain, the texts of the postscripts nicely correspond to the images depicted. Their contents can be divided into six parts: (1) the occupant of the tomb and the reason for its relocation; (2) the location and geomancy of the tomb; (3) memorial services held at the tomb and mysterious responses received during the memorial services; (4) cooperation among villagers to manage the tomb; (5) the filial piety of Bak Gyeong-bin, who commissioned the painting and guarded the tomb; and (6) significance of the postscripts. The second part in particular is faithfully depicted in the painting since it can easily be visualized. According to the fifth part revealing the motive for the production of the painting, the commissioner Bak Gyeongbin was satisfied with the painting, stating that "it appears impeccable and is just as if the tomb were newly built." The composition of the natural features in a row as if explaining each one lacks painterly beauty, but it does succeed in providing information on the geomantic topography of the gravesite. A fair number of the existing depictions of gravesites are woodblock prints of family gravesites produced after the eighteenth century. Most of these are included in genealogical records and anthologies. According to sixteenth- and seventeenth-century historical records, hanging scrolls of family gravesites served as objects of worship. Bowing in front of these paintings was considered a substitute ritual when descendants could not physically be present to maintain their parents' or other ancestors' tombs. Han Hyo-won (1468-1534) and Jo Sil-gul (1591-1658) commissioned the production of family burial ground paintings and asked distinguished figures of the time to write a preface for the paintings, thus showing off their filial piety. Such examples are considered precedents for Ancestral Burial Ground on the Inwangsan Mountain. Hermitage of the Recluse Seokjeong in a private collection and Old Villa in Hwagae County at the National Museum of Korea are not paintings of family gravesites. However, they serve as references for seventeenth-century paintings depicting family gravesites in that they are hanging scrolls in the style of the paintings of literary gatherings and they illustrate geomancy. As an object of worship, Ancestral Burial Ground on the Inwangsan Mountain recalls a portrait. As indicated in the postscripts, the painting made Bak Gyeong-bin "feel like hearing his father's cough and seeing his attitudes and behaviors with my eyes." The fable of Xu Xiaosu, who gazed at the portrait of his father day and night, is reflected in this gravesite painting evoking a deceased parent. It is still unclear why Bak Gyeong-bin commissioned Ancestral Burial Ground on the Inwangsan Mountain to be produced as a real scenery landscape in the folding screen format rather than a hanging scroll or woodblock print, the conventional formats for a family gravesite paintings. In the nineteenth century, commoners came to produce numerous folding screens for use during the four rites of coming of age, marriage, burial, and ancestral rituals. However, they did not always use the screens in accordance with the nature of these rites. In the Ancestral Burial Ground on the Inwangsan Mountain, the real scenery landscape appears to have been emphasized more than the image of the gravesite in order to allow the screen to be applied during different rituals or for use to decorate space. The burial mound, which should be the essence of Ancestral Burial Ground on the Inwangsan Mountain, might have been obscured in order to hide its violation of the prohibition on the construction of tombs on the four mountains around the capital. At the western foot of Inwangsan Mountain, which was illustrated in this painting, the construction of tombs was forbidden. In 1832, a tomb discovered illegally built on the forbidden area was immediately dug up and the related people were severely punished. This indicates that the prohibition was effective until the mid-nineteenth century. The postscripts on the Ancestral Burial Ground on the Inwangsan Mountain document in detail Bak Gyeong-bin's efforts to obtain the land as a burial site. The help and connivance of villagers were necessary to use the burial site, probably because constructing tombs within the prohibited area was a burden on the family and villagers. Seokpajeong Pavilion by Yi Han-cheol (1808~1880), currently housed at the Los Angeles County Museum of Art, is another real scenery landscape in the format of a folding screen that is contemporaneous and comparable with Ancestral Burial Ground on the Inwangsan Mountain. In 1861 when Seokpajeong Pavilion was created, both Yi Han-cheol and Jo Jung-muk participated in the production of a portrait of King Cheoljong. Thus, it is highly probable that Jo Jung-muk may have observed the painting process of Yi's Seokpajeong Pavilion. A few years later, when Jo Jungmuk was commissioned to produce Ancestral Burial Ground on the Inwangsan Mountain, his experience with the impressive real scenery landscape of the Seokpajeong Pavilion screen could have been reflected in his work. The difference in the painting style between these two paintings is presumed to be a result of the tastes and purposes of the commissioners. Since Ancestral Burial Ground on the Inwangsan Mountain contains the multilayered structure of a real scenery landscape and family gravesite, it seems to have been perceived in myriad different ways depending on the viewer's level of knowledge, closeness to the commissioner, or viewing time. In the postscripts to the painting, the name and nickname of the tomb occupant as well as the place of his surname are not recorded. He is simply referred to as "Mister Bak." Biographical information about the commissioner Bak Gyeong-bin is also unavailable. However, given that his family did not enter government service, he is thought to have been a person of low standing who could not become a member of the ruling elite despite financial wherewithal. Moreover, it is hard to perceive Hong Seon-ju, who wrote the postscripts, as a member of the nobility. He might have been a low-level administrative official who belonged to the Gyeongajeon, as documented in the Seungjeongwon ilgi (Daily Records of Royal Secretariat of the Joseon Dynasty). Bak Gyeong-bin is presumed to have moved the tomb of his father to a propitious site and commissioned Ancestral Burial Ground on the Inwangsan Mountain to stress his filial piety, a conservative value, out of his desire to enter the upper class. However, Ancestral Burial Ground on the Inwangsan Mountain failed to live up to its original purpose and ended up as a contradictory image due to its multiple applications and the concern over the exposure of the violation of the prohibition on the construction of tombs on the prohibited area. Forty-seven years after its production, this screen became a part of the collection at the Royal Yi Household Museum with each panel being separated. This suggests that Bak Gyeong-bin's dream of bringing fortune and raising his family's social status by selecting a propitious gravesite did not come true.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.

• Journal of Practical Agriculture & Fisheries Research
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• v.24 no.3
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• pp.15-24
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• 2022

In 2000, a total of 23,794ha of forest was lost due to the East Coast forest fire, and about 70% of the damaged area was concentrated in Samcheok. In 2001, artificial restoration and natural restoration were implemented in the damaged area. This study was conducted to understand the current vegetation structure 21 years after the restoration of forest fire damage in the Samcheok, Gumbong Mountain area. As a result of classifying the vegetation community, it was divided into three communities: Quercus variabilis-Pinus densiflora community, Pinus densiflora-Quercus mongolica community, and Pinus thunbergii community. Quercus variabilis, Pinus densiflora, and Pinus thunbergii planted in the artificial restoration site were found to continue to grow as dominant species in the local vegetation after restoration. As for the species diversity index of the community, the Quercus variabilis-Pinus densiflora community dominated by deciduous broad-leaf trees showed the highest, and the coniferous forest Pinus thunbergii community showed the lowest. Vegetation in areas affected by forest fires is greatly affected by reforestation tree species, and 21 years later, it has shown a tendency to recover to the forest type before forest fire. In order to establish DataBase for effective restoration and to prepare monitoring data, it is necessary to construct data through continuous vegetation survey on the areas affected by forest fires.

• The Journal of Natural Sciences
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• v.14 no.1
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• pp.83-121
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• 2004

This study was carried out to examine how solid the production foundation of rice in Chung-Nam Province is, and, if not, to probe alternative measures through the size of farms specializing in rice, of which direction would be a pivot of rice industry-oriented policy. The results obtained can be summarized as follows : 1. The amount of rice production in Chung-Nam Province is highest in Korea and the size of paddy field area is the second largest : This implying that the probability that rice production in Chung-Nam Province would be severely influenced by a global trend of market conditions. The number of farms specializing in rice becoming the core group of rice farming account for 7.7 percent of the total number of farm household in Korea. Average field area financial support which had been input to farm household by Government had a noticeable effect on the improvement of the policy of farm-size program. 2. Farm-size program in Chung-Nam Province established from 1980 to 2002 in creased the cultivation size of paddy field to 19,484 hectares, and this program enhanced the buying and selling of farmland and the number of farmland bargain reached 6,431 household and 16,517 hectares, respectively, in 1995-2002. Meanwhile, long-term letting and hiring of farmland appeared so active that the bargain acreage reached 6,970 hectares, and farm involved was 7,059 households, however, the farm-exchange-and-unity program did not satisfy our expectation, because the retirement farm operators reluctantly participated to sell their farms. Another reason that had delayed the bargain of farms rested on the general category of social complication attendant upon the exchange and unity operation for scattered farm. Such difficulties would work negative effects out to carry on the target of farm-size work in general. 3. The following measures were presented to propel the farm-size promotion program : a. Occupation shift project, followed by the social security program for retirement and elderly farm operators, should be promptly established and also a number of types of incentives for promoting the letting and hiring work and farm-exchange-and-unity program would also be set up. b. To establish the effective key system of rice production, all the farm operators should increase the unit area yield of rice and lower the production cost. To do so, a great deal of production teams of rice equipped with managerial techniques and capabilities need to be organized. And, also, there should be appropriate arrays of facilities including information system. This plan is desirable to be in line with a diversity of the structural implement of regional integration based on farm system building. c. To extend the size of farm and to improve farm management, we have to devise the enlargement of individual size of farm for maximized management and the utilization of farm-size grouping method. In conclusion, it can be said that the farm-size project in Chung-Nam Province which has continued since the 1980s was satisfactorily achieved. However, we still have a lot of problems to be solved to break down the barrier for attainment of the desirable farm-size operation work.. Farm-size project has fairly close relation with farm specialization in rice and, thus, the positive support for farm household including the integrated program for both retirement farmers and off-farm operators should be considered to pursue the progressive development of the farm-size program, which is key means to successful achievement of rice farming enforcement in Chung-Nam Province.

• Korean Journal of Environmental Biology
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• v.26 no.4
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• pp.385-391
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• 2008

In Korea, Quercus acutissima distributed in good condition with high nutrients and moisture content, but Quercus variabilis in dry soil or rock habitate. In order to understand this ecological distribution of Q. acutissima and Q. variabilis, we cultivated the seedlings of two oak species treated with light, soil moisture and nutrient gradients each four level, from May to October in glass house. Then we measured the ecological niche breadth and niche overlap of the two species, and analyzed the relationship of competition using cluster analysis and PCA ordination. Ecological niche breadths of Q. acutissima under moisture and nutrient treatments were slightly wider than those under light one. Among 14 characters measured, 6 characters related with length items were wider in all the environmental treatments, but 8 characters connected with weight terms narrower in light treatment. Ecological niche breadths of Q. variabilis under moisture and nutrient treatment were wider than those of light one. Ecological niche of Q. acutissima was wider than those of Q. variabilis in all the environmental treatments. Ecological overlap between two species was higher with a range of 0.87$\sim$0.92, especially higher in soil moisture factor. These results means that Q. acutissima is more competitive than Q. variabilis, especially in soil moisture condition. Two species were ordinated with distinct group based on 9 characters. From these results, it can be explained that what Q. variabilis distributed in bad soil condition is due to the escape strategy, because of its low competitive ability to Q. acutissima in natural communities.

• Journal of Wetlands Research
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• v.14 no.1
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• pp.59-73
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• 2012

The importance of rice paddy wetland has been raised since the 10th Ramsar Convention in 2010. However, there is shortage of study on the evaluation of rice paddy wetland and also of the study on the effect of organic agriculture on the vegetation characteristics. Accordingly, this study examined the vegetation characteristics of organic rice paddy for the basic resources of evaluating value of rice paddy wetland. 6 places of organic rice paddy and conventional rice paddy were chosen as research targets. It analyzed the function of 'Floral Diversity and Wildlife Habitat' among the revised RAM, an existing wetland evaluation system. As to the factor affecting the analysis result, simple land-use result was proved to determine the evaluation. As a result of vegetation investigation total 176 taxa, 53 families, 146 generics, 148 species, 26 varieties and 1 forma. When the difference of appearance of life form between organic area and conventional area was examined, organic paddy had higher appearance of life form in Therophyte and Megaphanerophyte. For the distribution of Naturalized plants, organic rice paddy had lower naturalized rate and urbanization index than conventional rice paddy. As to the Pearson correlation analysis between growing condition and vegetation characteristics, variety of rice paddy vegetation showed it was not heavily influenced by the land use. However, the organic rice paddy area had more variety in vegetation than conventional rice paddy. There was about 1% correlation with types of Cyperaceae, which means that the classification group of Cyperaceae can be utilized in evaluating rice paddy wetland later on. It is determined that the wetland evaluation has been widely influenced by soil environment, water environment and surrounding natural and artificial landscape as well as vegetation characteristics. Accordingly, further research seems to be required with minute investigation to an extensive area.

• Korean Journal of Environment and Ecology
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• v.26 no.5
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• pp.730-740
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• 2012

Korea Expressway Corporation have a plan to make a new highway from East Hongcheon to Yanayang in Kangwon-do(province). This research was conducted to analyze a vegetation structure of japanese red pine forest and to prepare conservation and restoration basic information for minimizing the effects on pine mushroom producing by road construction. Considering the range of effects by road construction, twenty plots were set up near road construction reserved area, and surveyed. The result analyzed by TWINSPAN, one of the classification technique, showed that the communities were divided into four groups which are two Pinus densiflora community, Pinus densiflora-Quercus variabilis community and Pinus densiflora-Deciduous broad leaves forest community(IV). Species diversity index of each community ranged from $1.7353{\pm}0.0341$ to $1.9079{\pm}0.2471$, and the average number of species was $9.2{\pm}2.8$, especially $9.6{\pm}5.0$ at canopy layer in the unit area($100m^2$). The number of individuals ranged from 4 to 29 and average 9.55 in the unit area($100m^2$). The average RSI(relative space index) was below 35%, the average estimated age of the forest was $38{\pm}8.34$ years. The depth of $A_0$ layer of soil was 4~6cm and the range of soil acidity was pH4.70~5.63(average pH 5.29). Pine mushroom and Japanes red pine have a close symbiosis relation. Therefore it is needed that minimizing the read construction which goes through the pine mushroom producing area. If a road goes through a pine mushroom producing area, restoration measurement is prepared to prevent forest from rapid change such as succession or vegetation structure.

• Korean Journal of Environment and Ecology
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• v.27 no.2
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• pp.219-229
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• 2013

This research is performed in order to suggest seasonal effective research time that is applied to wild birds research which lives in a forest. The subject area of this research is Mulgun-ri village forest in Samdong-Myeon, Namhe-gun. To investigate suitability of the project, existing land-use, existing vegetation, vegetational structure, and etc. of the subject and whole area are figured out. To suggest adequate research time, based on seasonal sun rise and set time for 3days, repetitive research is performed at hourly intervals. The subject area is connected with a forest and is possible for forest wild birds to flows in and provides various habitats and feeding areas. And also the subject area is a appropriate area for wild birds research and is like a natural forest in that a layer structure development of the forest itself, a distribution of Zelkova serrata and Aphananthe aspera and so on. 105 species which is observed in subject area are categorized and mountain birds are classified. After time-based peak value is selected in each season, hourly species richness, diversity, and index of similarity are analyzed as compared with the appearing number of species and individual bird. As a result, 7~11 hour is the most effective time in spring, and 8~9 hour is the best time. In summer, 6~9 hour is the most appropriate time when whole appearing species are similar to species structure. In fall, 7~11(30~60 minutes after sun rise) when wild birds movements are vigorous is analyzed easy to observe and 8~9 hour is the most appropriate research time because each analysis shows the best values. In winter, 7~12 hour is the most effective time although 10~11 hour is the best time but it is decided that similar results are drawn because hourly deviation is not so big except 1 hour before sun rise. In every four season, it is decided that 30~60 minutes after sun rise is appropriate to research a group of wild birds in the subject area.