• Journal of Korean Society of Forest Science
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• v.34 no.1
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• pp.21-30
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• 1977

Japanese larch (Larix leptolepis) is one of main timber species in Korea that could find much plantation and growing stands on all over the country. It is thought to be in meaningful that a guiding diagram for density control of Japanese larch stands is made to estimate easily the density conditions in the quantitaive, ecological and economic viewpoint. Sample plots for this study are selected from the stands that have not been thinned in recent years, and mean height, mean diameter, dominant height, tree numbers per hectare and stem volume of mean tree are calculated from the each sample plots among total 165 plots In this study, especially, the theory of slenderness of mean tree are applied, that have been identified through the results of the spacing trial. Relative growth characteristics of this species are calculated from the general logistic curve and its formula is $Y=ax^b$. Relatwion between the measured items are found out as follows: 1. Relation between the mean height and tree numbers per hectare by slender class is showing the high correlation as table 1 and fig. 2, and between mean diameter and tree numbers per hectare is also high correlation as table 1 and fig 3. 2. The stem volume can be correctly estimated from height in case that slender class may be known, as showing in table 3 and fig. 4. 3. The stem volume can be more correctly estimated from the relation with $D^2H$ as formula, $Log_e\;V=0.9569\;Log_eD^2H-9.8431$, and relation between stem volume of single tree or volume per hectare and tree numbers per hectare are as following formulas: $Log_e$ stem volume=9.5026-1.6800 $Log_e$ tree numbers per hectare $Log_e$ stem volume per hectare=9.4911-0.6784 $Log_e$ tree numbers per hectare. Stem volume of mean tree, tree numbers per hectare and stem volume per hectare correspond to the mean tree height are calculated to slender class as table 5, 6, 7. Through the above steps, the diagram for density control of Japanese larch are produced as fig. 9. It is thought that this diagram could be applied to control the density of Japanese larch stands.

• (The)Study of the Eastern Classic
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• no.63
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• pp.9-41
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• 2016

This paper focuses on 'clean(cheong: 淸)' kinds of style terminologies among various style terminologies appearing in Heo Gyun's Seongsushihwa("惺?詩話") and tries to analyze the distinctive points which 'clean(cheong: 淸)' kinds of style terminologies include. In Heo Gyun's Seongsushihwa, 11 of 'clean' kinds of style terminologies, such as "cheonggyeong(淸勁), cheonghryang(淸亮), cheongryeo(淸麗), cheongseom(淸贍), cheongso(淸?), cheongweol(淸越), cheongjang(淸壯), cheongjeol(淸絶), cheongjeol(淸切), cheongchang(淸?), cheongcho(淸楚)," were used. This paper focuses and analyzes 'cheonggyeong(淸勁)', 'cheongjeol(淸切)', 'cheongcho(淸楚)', and 'cheongweol(淸越)' that he suggested through applying to real literary pieces. The result of analysis indicates that 'clean' kinds of style terminologies 'cheonggyeong', 'cheongjeol', 'cheongcho', and 'cheongweol' share the same 1st character 'clean(淸)', yet have distinctive qualities by the 2nd characters. These 4 style terminologies all share 'cheong(淸)' image which means clear and clean, yet each one has the attribute of the 2nd character that indicates each one's individual characteristic. It is apparent that 'Cheonggyeong(淸勁)' reflects the 'gyeong(勁)' image meaning upright and solid and implies poems of poets' steadfast spirit within clear boundary; 'cheongjeol(淸切)' reflects the 'jeol(切)' image meaning either desperation and imminence or pitifulness and sorrow and implies poems of poets' urgent and pitiful emotions within clear and clean boundary; 'cheongcho(淸楚)' reflects the 'cho(楚)' image meaning either delicacy and fineness or slenderness and tenderness and implies poems of poets' beautiful but not luxurious, delicate and tender emotions within clear and clean boundary; and 'cheongweol(淸越)' reflects the image of 'weol(越)' meaning unworldliness and excellency and implies poems, within clear and clean boundary, of excellent appearance and mentality surpassing mundane world. Compared with the 1st character's attributes of the style terminologies which Heo Gyun used, the 2nd characters's attributes do not appear that vivid. Especially, in the case that the 2nd characters have similar meanings, it is not easy to clarify the categories. Indeed, in order to grasp clear and distinctive qualities of style terminologies, the kinds of them need to be initially categorized by the 1st characters, and then sorted by the 2nd characters. In this case, the contents which the 2nd characters of style terminologies indicate should be considered. It is because style terminologies explain both literary pieces' aesthetic qualities and writers' personalities, and because explanations about literary pieces' aesthetic qualities includes not only the conclusive poetic or semantic boundaries which literary pieces' created but also literary pieces' creation processes and expression techniques. Through the style terminologies with Heo Gyun used in Seongsushihwa, it can be aware that he evaluated poems focussing more on the conclusive semantic boundaries that poets' spirits and poems created than expression techniques or creation methods. The overall aspects Heo Gyun's such style criticism has will be checked out in more detail through further studies by examining more materials.