• The Korean Journal of Archival Studies
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• no.21
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• pp.41-84
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• 2009

Lots of cultures, memories, histories of the local life have disappeared. Some sectors of universities and religion have keep their records in manuscript archive only. On the other hand records of public sectors were at least able to be managed by the records management law. Citizen's groups and academic bounds were also roles to get public records strong. However can we just describe whole body with only public records? As records management law a record of private sector which has value of preserving can be managed under national protection. Yet establishment of local archive is not obligate. Only stressing on public records is like what dictatorial government acted in past years. It is what we ignore diversity and request of community. We need to move our view that we have focused on public and central sectors to private and local sectors. Local records management based on locality could help to complete the entire puzzle. The way complete the puzzle is various and wide spheres including from cultural space to being extinct village. Locality is defined as the property in certain area or distinctiveness of locals. Establishing production strategies is as important as collecting records produced over the past years for local archiving. Local archiving has to be regionally conducted in phase. Moreover common wealth and recognition of communities are reflected in the acquisition process. In next to archiving local organizations and private records according to collection policy, methodology on local archiving needs for archive management and use in various public and private fields. This methodology could be possible by building a local archive networking tool. It is true that Local archiving is not familiar and clear yet. If we can turn the effort for public records we have made to endeavor for private sectors, we might expect big fruits in private sectors. We easily emphasis on globalization or internationalization, our daily lives start on our villages. Setting aside our small communities, such a puzzle of the whole would never be completed. This is good time to begin finding lost puzzle for future. The key that can find lost puzzles be held in archiving localities.

• Journal of the Korean Association of Geographic Information Studies
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• v.21 no.4
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• pp.175-190
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• 2018

Recently, policy of the marine advanced countries were switched from the preemption using ocean to post-project development. In this study, we suggest improvement and the pending issues when are deducted to the database of the marine spatial information is constructed over the GIS system for the Korean Marine Spatial Planning (KMSP). More than 250 spatial information in the seas of Korea were processed in order of data collection, GIS transformation, data analysis and processing, data grouping, and space mapping. It's process had some problem occurred to error of coordinate system, digitizing process for lack of the spatial information, performed by overlapping for the original marine spatial information, and so on. Moreover, solution is needed to data processing methods excluding personal information which is necessary when produce the spatial data for analysis of the used marine status and minimized method for different between the spatial information based GIS system and the based real information. Therefore, collection and securing system of lacking marine spatial information is enhanced for marine spatial planning. it is necessary to link and expand marine fisheries survey system. It is needed to the marine spatial planning. The marine spatial planning is required to the evaluation index of marine spatial and detailed marine spatial map. In addition, Marine spatial planning is needed to standard guideline and system of quality management. This standard guideline generate to phase for production, processing, analysis, and utilization. Also, the quality management system improve for the information quality of marine spatial information. Finally, we suggest necessity need for the depths study which is considered as opening extension of the marine spatial information and deduction on application model.

• Korean Journal of Remote Sensing
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• v.35 no.2
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• pp.251-263
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• 2019

Sentinel-2 Multi Spectral Instrument(MSI) launched by the European Space Agency (ESA) offered high spatial resolution optical products, enhanced temporal revisit of five days, and 13 spectral bands in the visible, near infrared and shortwave infrared wavelengths similar to Landsat mission. Landsat satellite imagery has been applied to various previous studies, but Sentinel-2 optical satellite imagery has not been widely used. Currently, for global coverage, Sentinel-2 products are systematically processed and distributed to Level-1C (L1C) products which contain the Top-of-Atmosphere (TOA) reflectance. Furthermore, ESA plans a systematic global production of Level-2A(L2A) product including the atmospheric corrected Bottom-of-Atmosphere (BOA) reflectance considered the aerosol optical thickness and the water vapor content. Therefore, the Sentinel-2 L2A products are expected to enhance the reliability of image quality for overall coverage in the Sentinel-2 mission with enhanced spatial,spectral, and temporal resolution. The purpose of this work is a quantitative comparison Sentinel-2 L2A products and fully simulated image to evaluate the applicability of the Sentinel-2 dataset in cultivated land growing various kinds of crops in Korea. Reference image of Sentinel-2 L2A data was simulated by airborne hyperspectral data acquired from AISA Fenix sensor. The simulation imagery was compared with the reflectance of L1C TOA and that of L2A BOA data. The result of quantitative comparison shows that, for the atmospherically corrected L2A reflectance, the decrease in RMSE and the increase in correlation coefficient were found at the visible band and vegetation indices to be significant.

• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.132-150
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• 2022

Designated as a national intangible cultural asset, the fish weir is a traditional fishing method and was a leading fishing tool in Korean coastal fishery. As the littoral sea area fishing vessel fishery developed since the 1970s, traditional fishing methods including fish weirs began to decline. The fish weir has been passed down in the form of tools such as fish weirs, stone weirs, and bamboo weirs. In Namhae-gun and Sacheon City in Gyeongsangnam-do, anchovies are caught using bamboo weirs. A basic bamboo weir consists of a fish trap(balgong), a space where fish gather together, and a V- or U-shaped wooden fence(halgaji) that helps fish come inside the fish trap. Its fishing method is to catch fish that have come to the coast during high tide alongside those are stuck inside fish traps(balgong) with nets or scoop nets. This paper examined the process of passing down traditional fishing methods through a comparative analysis of the bamboo weir structures and fishing methods in the Namhae and Sacheon regions. First, the historical process of assembling the current bamboo weir structure was analyzed. The bamboo weir, a fishing tool, appears to have combined the features of past weirs and fish weirs based on the Jijok Strait and Samcheonpo Strait. Next, this paper examined the structure and fishing method of the two types of bamboo weirs made with a circular or square fish trap(balgong) where fish gather. Through this analysis, this study examined the lives of fishermen who have adapted to their natural environment and actively utilized obtainable resources(materials), and then changed the traditional fishing method of bamboo weirs and developed them into an appropriate technology. Lastly, a new value attributed to anchovies caught using bamboo weirs was analyzed. This new value extracted from better bamboo weir anchovies works as a mechanism to uphold the tradition of anchovy-catching bamboo-weir fishing, which produces a smaller amount of anchovies compared to other methods of anchovy fishing. In this way, bamboo weir fishing has been passed down as a result of its differentiated aspect of producing better anchovies than those produced with other fishing methods, as well as the historical aspect of it being a traditional fishing method.

• Journal of the Korean Society of Marine Environment & Safety
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• v.28 no.7
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• pp.1209-1215
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• 2022

The selective catalytic reduction (SCR) is known as a very efficient method to reduce nitrogen oxides (NOx) and the catalyst performs reduction from nitrogen oxides (NOx) to nitrogen (N₂) and water vapor (H2O). The catalyst, which is one of the factors determining the performance of the nitrogen oxide (NOx) ruduction method, is known to increase catalyst efficiency as cell density increases. In this study, the reduction characteristics of nitrogen oxides (NOx) under various engine loads investigated. A 100CPSI(60Cell) catalysts was studied through a laboratory-sized simulating device that can simulate the exhaust gas conditions from the power generation engine installed in the training ship SEGERO. The effect of 100CPSI(60Cell) cell density was compared with that of 25.8CPSI(30Cell) cell density that already had NOx reduction data from the SCR manufacturing. The experimental catalysts were honeycomb type and its compositions and materials of V₂O₅-WO₃-TiO₂ were retained, with only change on cell density. As a result, the NOx concentration reduction rate from 100CPSI(60Cell) catalyst was 88.5%, and IMO specific NOx emission was 0.99g/kwh satisfying the IMO Tier III NOx emission requirement. The NOx concentration reduction rate from 25.8CPSI(30Cell) was 78%, and IMO specific NOx emission was 2.00g/kwh. Comparing the NOx concentration reduction rate and emission of 100CPSI(60Cell) and 25.8CPSI(30Cell) catalysts, notably, the NOx concentration reduction rate of 100CPSI(60Cell) catalyst was 10.5% higher and its IMO specific NOx emission was about twice less than that of the 25.8CPSI(30Cell) catalysts. Therefore, an efficient NOx reduction effect can be expected by increasing the cell density of catalysts. In other words, effects to production cost reduction, efficient arrangement of engine room and cargo space can be estimated from the reduced catalyst volume.

• Korean journal of applied entomology
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• v.61 no.4
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• pp.605-614
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• 2022

Two major problems currently threaten human survival on Earth: climate change and the rapid aging of the population in developed countries. Climate change is a result of the increase in greenhouse gas (GHG) concentrations in the atmosphere due to the increase in the use of fossil fuels owing to economic and transportation development. The rapid increase in the age of the population is a result of the rise in life expectancy due to the development of biomedical science and technology and the improvement of personal hygiene in developed countries. To avoid irreversible global climate change, it is necessary to quickly transition from the current fossil fuel-based economy to a zero-carbon renewable energy-based economy that does not emit GHGs. To achieve this goal, the dairy and livestock industry, which generates the most GHGs in the agricultural sector, must transition to using low-carbon emission production methods while simultaneously increasing consumers' preference for low-carbon diets. Although 77% of currently available arable land globally is used to produce livestock feed, only 37% and 18% of the proteins and calories that humans consume come from dairy and livestock farming and industry. Therefore, using edible insects as a protein source represents a good alternative, as it generates less GHG and reduces water consumption and breeding space while ensuring a higher feed conversion rate than that of livestock. Additionally, utilizing the functionality of medicinal insects, such as silkworms, which have been proven to have certain health enhancement effects, it is possible to develop functional foods that can prevent or delay the onset of currently incurable degenerative diseases that occur more frequently in the elderly. Insects are among the first animals to have appeared on Earth, and regardless of whether humans survive, they will continue to adapt, evolve, and thrive. Therefore, the use of various edible and medicinal insects, including silkworms, in industry will provide an important foundation for human survival and prosperity on Earth in the near future by resolving the current two major problems.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.303-345
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• 2019

This article analyzes the multi-layered communication in the Webtoon Princess Pari, released on the Daum portal site, created (written and illustrated) by Kim Naim, through analyzing the narrative structure and comments with the qualitative / quantitative methodology. The webtoon Princess Pari is structured in an omnibus style in which unit narratives are intermittently articulated, multi-lined, and interconnected. As integrated narratives which link with unitary narratives, Pari's growth story as a shaman and a romance narrative are structured. The classical original story of the shaman was used as a prehistory corresponding to the prequel of the webtoon through a preview, and the writer restructured the narrative to overcome the contradictions of the gender asymmetry and the patriarchal ideology of the original text. The viewer then creates a conversational space by giving critical and reflective comments. According to a statistical analysis conducted through sampling, the types of comments can be classified as follows: Appreciation and criticism of the contents ≫ Emotional response ≫ Intuitive overall review ≫ Knowledge and reflection ≫ Comments on comments. In the process of creation and acceptance of the Webtoon, a multi-layered dialogue between classical and modern, content and audience, acceptance and creation has been at play. In the creation dimension, the writer used a device to fill the gap of mythical symbols of the contents. At the level of the audience, they formed a culture of sharing information, knowledge, and reflection about tradition/folk/culture through comments. This corresponds to classical and modern dialogue through the webtoon. The viewers form a sympathetic bond, attempt hermeneutical coordination, supplement the information, and search for a balanced angle through controversial conversation. In addition, by commenting on attitudes, views, and perspective, the commentators showed a behavioral pattern corresponding to meta-criticism in literature. The viewers' comments acted as feedback on the creation of the webtoons, so that the creation and acceptance itself influenced the production of the content of the webtoon. The webtoon Princess Pari, which was based on Korean classical narrative, has been reorganized onto 'moving and dynamic' content, which leads to sense, thinking, criticism and reflection through the formation of various dialogues.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.68 no.4
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• pp.335-342
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• 2023

To achieve self-sufficiency in domestic wheat (Triticum aestivum L.), an increase in high-quality wheat production is essential. Given Korea's limited land area, the utilization of cropping systems is imperative. Wheat is compatible with a double cropping system along with rice, soybeans, and corn. Data on alterations in wheat quality following summer crop cultivation is required. This study investigated the impact of cultivating preceding crops such as rice, soybeans, and corn in a wheat cropping system. The analysis focused on the influence of these preceding crops on wheat growth, quality, and soil characteristics, elucidating their interrelationships and impacts. While there were no differences in growth timing and quantity during wheat growth, a significant variance was observed in stem length. Protein content, a key quality attribute of wheat, displayed variations based on the intercropped crops, with the highest increase observed in wheat cultivated after soybeans. Soil moisture content also exhibited variations depending on the intercropping system. The wheat-rice intercropping system, which requires soil moisture retention, resulted in greater pore space saturation in comparison to other systems. Moreover, soil chemical properties, specifically phosphorus and calcium levels, were influenced by intercropping. The highest reduction in soil phosphorus content occurred with soybean cultivation. These findings suggest that intercropping wheat with soybeans can potentially enhance wheat quality in domestic varieties.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.87-104
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• 2020

Myogilsang on Diamond Mountain, signed and dated (2000) by Seon-u Yeong (1946-2009), is the first work by a North Korean artist to enter the collection of the National Museum of Korea (fig. 1a). The donor acquired the painting directly from the artist in Pyeongyang in 2006. In consequence, there are no issues with the painting's authenticity.This painting is the largest among all existing Korean paintings, whether contemporary or from the Joseon Dynasty, to depict this iconography (see chart 1. A Chronological List of Korean Myogilsang Paintings.) It is ink and color on paper, measures 130.2 × 56.2 centimeters, and is in a hanging scroll format. Since this essay is intended as a brief introduction of the painting and not in-depth research into it, I will simply examine the following four areas: 1. Seon-u Yeong's background; 2. The location and the traditional appellation of the rock-cut image known as Myogilsang; 3. The iconography of the image; and 4) A comparative analysis of Seon-u Yeong's painting in light of other paintings on the same theme. Finally, I will present two more of his works to broaden the understanding of Seon-u Yeong as a painter. 1. Seon-u Yeong: According to the donor, who met Seon-u at his workshop in the Cheollima Jejakso (Flying Horse Workshop) three years before the artist's death, he was an individual of few words but displayed a firm commitment to art. His preference for subjects such as Korean landscapes rather than motifs of socialist realism such as revolutionary leaders is demonstrated by the fact that, relative to his North Korean contemporaries, he seems to have produced more paintings of the former. In recent years, Seon-u Yeong has been well publicized in Korea through three special exhibitions (2012 through 2019). He graduated from Pyeongyang College of Fine Arts in 1969 and joined the Central Fine Arts Production Workshop focusing on oil painting. In 1973 he entered the Joseon Painting Production Workshop and began creating traditional Korean paintings in ink and color. His paintings are characterized by intense colors and fine details. The fact that his mother was an accomplished embroidery specialist may have influenced on Seon-u's choice to use intense colors in his paintings. By 1992, he had become a painter representing the Democratic People's Republic of Korea with several titles such as Artist of Merit, People's Artist, and more. About 60 of his paintings have been designated as National Treasures of the DPRK. 2. The Myogilsang rock-cut image is located in the Manpok-dong Valley in the inner Geumgangsan Mountain area. It is a high-relief image about 15 meters tall cut into a niche under 40 meters of a rock cliff. It is the largest of all the rock-cut images of the Goryeo period. This image is often known as "Mahayeon Myogilsang," Mahayeon (Mahayana) being the name of a small temple deep in the Manpokdong Valley (See fig. 3a & 3b). On the right side of the image, there is an intaglio inscription of three Chinese characters by the famous scholar-official and calligrapher Yun Sa-guk (1728-1709) reading "妙吉祥"myogilsang (fig. 4a, 4b). 3. The iconography: "Myogilsang" is another name for the Bhodhisattva Mañjuśrī. The Chinese pronunciation of Myogilsang is "miaojixiang," which is similar in pronunciation to Mañjuśrī. Therefore, we can suggest a 妙吉祥 ↔ Mañjuśrī formula for the translation and transliteration of the term. Even though the image was given a traditional name, the mudra presented by the two hands in the image calls for a closer examination. They show the making of a circle by joining the thumb with the ring finger (fig. 6). If the left land pointed downward, this mudra would conventionally be considered "lower class: lower life," one of the nine mudras of the Amitabha. However, in this image the left hand is placed across its abdomen at an almost 90-degree angle to the right hand (fig. 6). This can be interpreted as a combination of the "fear not" and the "preaching" mudras (see note 10, D. Saunders). I was also advised by the noted Buddhist art specialist Professor Kim Jeong-heui (of Won'gwang University) to presume that this is the "preaching" mudra. Therefore, I have tentatively concluded that this Myogilsang is an image of the Shakyamuni offering the preaching mudra. There is no such combination of hand gestures in any other Goryeo-period images. The closest I could identify is the Beopjusa Rock-cut Buddha (fig. 7) from around the same time. 4. Comparative analysis: As seen in , except for the two contemporary paintings, all others on this chart are in ink or ink and light color. Also, none of them included the fact that the image is under a 40-meter cliff. In addition, the Joseon-period paintings all depicted the rock-cut image as if it were a human figure, using soft brushstrokes and rounded forms. None of these paintings accurately rendered the mudra from the image as did Seon-u. Only his painting depicts the natural setting of the image under the cliff along with a realistic rendering of the image. However, by painting the tall cliff in dark green and by eliminating elements on either side of the rock-cut image, the artist was able to create an almost surreal atmosphere surrounding the image. Herein lies the uniqueness of Seon-u Yeong's version. The left side of Seon-u's 2007 work Mount Geumgang (fig. 8) lives up to his reputation as a painter who depicts forms (rocks in this case) in minute detail, but in the right half of the composition it also shows his skill at presenting a sense of space. In contrast, Wave (fig. 9), a work completed one year before his death, displays his faithfulness to the traditions of ink painting. Even based on only three paintings by Seon-u Yeong, it seems possible to assess his versatility in both traditional ink and color mediums.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.