Principal Characteristics of Pinus parviflora S. et Z. Native to the Dagelet Island (울릉도(鬱陵島) 섬잣나무의 특성(特性)에 관(關)한 연구(硏究))
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- Journal of Korean Society of Forest Science
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- v.12 no.1
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- pp.31-43
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- 1971
In order to examine the taxonomic difference between the type of Pinus parviflora S. et Z. native to the Dagelet Island and the type of the species introduced to a number of places of the inland of South Korea, investigations on principal characters of needle, cone and seed were made with a hope to obtain informations on the evaluation of the species for possible use in the reforestation program in Korea in the future. Pinus parviflora is belonged to the Sub-genus Haploxylon of Genus Pinus and it has been speculated among dendrologists that this speoies is not monotypic. 308 rendomly selected trees from 8 different elevations of a natural stand of P. parviflora in the Dagelet Island, and 168 trees of P. parviflora growing at 15 different locations of the inland of South Korea were employed as samples along with 300 trees of P. koraiensis as control. The results obtained are summarized as follows: 1. The needle length of the Pinus parviflora of the Dagelet Island is longer than that of the species growing in the inland by 21-35 percent with statistical significancy. (Table 2) 2. In the cross section of needle, no resin canal was observed in about 50-70 percent of the sample trees of the Dagelet Island, whereas the resin canals appearing at external in most cases were observed in all sample trees from the inland. Consequently, the number of resin canals per needle was 0.4-0.9 with the Dagelet Island type and 2.0-2.7 with the inland type and these differences were statistically significant. (Table 3, Fig.2) 3. The Pinus parvviflora type of the Dagelet Island bas yellowish brown cones, and the Pinus parviflora type of Suwon and Kwangyang has redish brown cones. In both the length of cone and the number of cone scale, the difference between the type of the Dagelet Island and the type of the inland was also statistically significant. The cone scales of the Dagelet Island type are slightly opened, whereas the cone scales are widely opened with both of Suwon and Kwangyang type. (Table 4, Fig. 3) 4. the seed color, of the Dagelet Island type is yellowish brown, while it is greyish brown with Kwangyang and Suwon type. In the length and width of seed, the Dagelet Island type showed significantly larger values than that of the inland type. The length of seed was longest with the Kwangyang type being followed by Suwon and the Dagelet Island type in ordar. The seed wing of the Kwangyang type are longer than the seed, while that of the Dagelet Island type is degenerated to be shorter than the seed. (Table 5, Fig. 4) 5. The Pinus parviflora type of the Dagelat Island is similar in many respects to the southern type of Pinus parviflora of Japan except that many has no resin canals in the needle. 6. On the basis of the results obtained in this study, it may be concluded that the type of Pinus parviflora of the Dagelet Island is significantly different from the type of the species introduced to the inland and that there is no recognizable variation between the population of the different altitude of the Dagelet Island and the individual variation within population is also negligible. In the light of the high value of the tree not only as an ornamental tree but as an economical tree, The type of Pinus parviflora of the Dagelet Island is considered to be recommendable to be used for the future reforestation program of Korea.
Thecodiplosis japonesis is sweeping the Pinus densiflora forests from south-west to north-east direction, destroying almost all the aged large trees as well as even the young ones. The front line of infestation is moving slowly but ceaselessly norhwards as a long bottle front. Estimation is that more than 40 percent of the area of P. densiflora forest has been damaged already, however some individuals could escapes from the damage and contribute to restore the site to the previous vegetation composition. When the stands were attacked by this insect, the drastic openings of the upper story of tree canopy formed by exclusively P. densiflora are usually resulted and some environmental factors such as light, temperature, litter accumulation, soil moisture and offers were naturally modified. With these changes after insect invasion, as the time passes, phytosociologic changes of the vegetation are gradually proceeding. If we select the forest according to four categories concerning the history of the insect outbreak, namely, non-attacked (healthy forest), recently damaged (the outbreak occured about 1-2 years ago), severely damaged (occured 5-6 years ago), damage prolonged (occured 10 years ago) and restored (occured about 20 years ago), any directional changes of vegetation composition could be traced these in line with four progressive stages. To elucidate these changes, three survey districts; (1) "Gongju" where the damage was severe and it was outbroken in 1977, (2) "Buyeo" where damage prolonged and (3) "Gochang" as restored, were set, (See Tab. 1). All these were located in the south temperate forest zone which was delimited mainly due to the temporature factor and generally accepted without any opposition at present. In view of temperature, the amount and distribution of precipitation and various soil factor, the overall homogeneity of environmental conditions between survey districts might be accepted. However this did not mean that small changes of edaphic and topographic conditions and microclimates can induce any alteration of vegetation patterns. Again four survey plots were set in each district and inter plot distance was 3 to 4 km. And again four subplots were set within a survey plot. The size of a subplot was
The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.
By means of the interspecific hybridization in the Sub-genus Diploxylon of the Genus Pinus,
HARN, Chang Yawl : Studies on the dimorphism and Fertility of Persicaria japonica (MEISSNER) Gross et Nakai. Kor Jour. Bot. 3(I) 1-15 1960 Numerous investigations, since the works of DARWIN, have been made regarding the heterostylous plants by JOST (1907), CORRENS (1924), LAIBACK (1924), LEWIS (1943), and many others. Studies on the heterostylous Polygomum, however, were not reported except for the buckwhent, Fagopyrum esculentum, which was investigated by SCHOCH-BODMER (1930), EAST (1934), FROLOVA & Co-Workers (1946), MORRIS (1947, 1951) TATEBE (1949, 1951, 1953), present author (1957), and others. It is because no heterostylous species, besides buckwheat, have been known to exist in the Polygonum family. The author, during his studies on both heterostylism and fertility of Polygonaceae, has found that the species, persicaria japonica (Meissner) Gross et Nakai, is not diecious as has been known in taxonomy, but in reality beterostylous both morphologically and physiologically. It was found that this plant, regarded by taxonomist, as a male plant setting no seed, actually set seed (botanical fruit) when legitimate combination was made. Since his brief report on the dimorphic phenomens of this plant in 1956, the author's further research on the manner of fertilization has revealed that this species is a peculiar type whose dimorphism has undergone extreme specialization structurally and physiologically, the short-styled individual behaving in nature as a male plant and the long-styled individual, as female, whereas in controllled pollination the plant shows highly differentiated typical dimorphism. When compared with the other dimorphous species of this family, F. esculentum and P. sentiosa. it has been clarified that these three species differ in the degree of differentiation of their dimorphism morphologically and physiologically. That is, P. japonica has developed such a high specialization as to mislead the taxonomists, while P. senticosa shows almost no noticeable difference between long- and shortstyled individuals retaining most of the inherent physiological character cmmon to the genus except for the fact that it has two forms of flowers. F. esculentum appears to have taken the intermediate position in every respect. The result obtained in the present experiment are summarized as follows: 1) P. japonica has two kinds of individuals, one long style-short stamened; the other, short style-long stamened. The floral structure of this plants shows typical characteristics of dimorphic heterostylism. The differentiation between the two forms of flower has proceeded so highly both in primary and secondary difference of flower structure that this may be regarded as the most specialized form of dimorphism. 2) The differences of floral structure between the long and short styled individuals are remarkable compared with the other dimorphic species of the family. 3) The stamens of long styled plants show the sign of deteriolation whereas those of the short styled flower are well-developed. 4) When legitimate combinations are made, both L- and S-styled individuals are fertilized well and set seed (fruit), while in the illegitimate combination no fertilization and seed setting occur. Physiologically this species exhibits the typical behavior of dimorphic plants. 5) The self-fertile character, so common in other species of the other non-heterostyle Polygonum family, has disappeared completely. 6) Under natural conditions, no or few seed setting is observed in short styled individuals that behave as if they were male plants. 7) In hand pollination, the combination of both
Synthesize and examine petrological characteristic and geochemical characteristic by weathering formation of rock and progress of weathering laying stress on stone cultural properties of Unjusa temple of Chonnam Hwasun county site in this research. Examine closely weathering element that influence mechanical, chemical, mineralogical and physical weathering of rocks that accomplish stone cultural properties and these do quantification, wish to utilize by a basic knowledge for conservation scientific research of stone cultural properties by these result. Enforced component analysis of rock and mineralogical survey about 18 samples (pyroclastic tuff; 7, ash tuff; 4, granite ; 4, granitic gneiss; 3) all to search petrological characteristic and geochemical characteristic by weathering of Unjusa temple precinct stone cultural properties and recorded deterioration degree about each stone cultural properties observing naked eye. Major rock that constitution Unjusa temple one great geological features has strike of N30-40W and dip of 10-20NE being pyroclastic tuff. This pyroclastic tuff is ranging very extensively laying center on Unjusa temple and stone cultural properties of precinct is modeled by this pyroclastic tuff. Stone cultural propertieses of present Unjusa temple precinct are accomplishing structural imbalance with serious crack, and because weathering of rock with serious biological pollution is gone fairly, rubble break away and weathering and deterioration phenomenon such as fall off of a particle of mineral are appearing extremely. Also, a piece of iron and cement mortar of stone cultural properties everywhere are forming precipitate of reddish brown and light gray being oxidized. About these stone cultural properties, most stone cultural propertieses show SD(severe damage) to MD(moderate damage) as result that record Deterioration degree. X-ray diffraction analysis result samples of each rock are consisted of mineral of quartz, orthoclase,plagioclase, calcite, magnetite etc. Quartz and feldspar alterated extremely in a microscopic analysis, and biotite that show crystalline form of anhedral shows state that become chloritization that is secondary weathering mineral being weathered. Also, see that show iron precipitate of reddish brown to crack zone of tuff everywhere preview rock that weathering is gone deep. Tuffs that accomplish stone cultural properties of study area is illustrated to field of Subalkaline and Peraluminous,
Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.