• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

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.

• Korean Journal of Soil Science and Fertilizer
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• v.37 no.5
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• pp.315-321
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• 2004

To compare soil carbon contents by Tyurin method and dry combustion method, we carried out analysis for 212 samples of agricultural land in Korea. The average values of soil carbon contents analyzed by Tyurin method and dry combustion method were $17.47{\pm}10.80$ and $19.91{\pm}10.63g\;kg^{-1}$, respectively. Both methods were evaluated as acceptable methods for soil carbon contents as the results showed. The results showed that soil texture had little effect on analysis method of carbon contents. Highly significant linear regression equation, Y = 0.846X ($R^2=0.991$), was obtained between carbon contents analyzed by Tyurin method (Y) and dry combustion method (X). As a result of comparison with data of carbon contents of the two methods, about 69% of results at dry combustion method have exceeded to results at Tyurin method. Especially, differences between results at two methods became higher as carbon contents were increasing. Tyurin method has been advantages such as shorter analysis time for one sample, more recognition for carbon analysis, and no need for expensive analyzer, while dry combustion method has simpler procedure, no heavy metal wastes, and more samples for analysis at one time.

• Korean Journal of Mineralogy and Petrology
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• v.34 no.1
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• pp.41-56
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• 2021

The characteristics of the six rock cleavages(R1~H2) in Jurassic Hapcheon granite were analyzed using the distribution of ① microcrack lengths(N=230), ② microcrack spacings(N=150) and ③ Brazilian tensile strengths(N=30). The 18 cumulative graphs for these three factors measured in the directions parallel to the six rock cleavages were mutually contrasted. The main results of the analysis are summarized as follows. First, the frequency ratio(%) of Brazilian tensile strength values(kg/㎠) divided into nine class intervals increases in the order of 60~70(3.3) < 140~150(6.7) < 100~110·110~120(10.0) < 90~100(13.3) < 80~90(16.7) < 120~130·130~140(20.0). The distribution curve of strength according to the frequency of each class interval shows a bimodal distribution. Second, the graphs for the length, spacing and tensile strength were arranged in the order of H2 < H1 < G2 < G1 < R2 < R1. Exponent difference(λS-λL, Δλ) between the two graphs for the spacing and length increases in the order of H2(-1.59) < H1(-0.02) < G2(0.25) < G1(0.63) < R2(1.59) < R1(1.96)(2 < 1). From the related chart, the six graphs for the tensile strength move gradually to the left direction with the increase of the above exponent difference. The negative slope(a) of the graphs for the tensile strength, suggesting a degree of uniformity of the texture, increases in the order of H((H1+H2)/2, 0.116) < G((G1+G2)/2, 0.125) < R((R1+R2)/2, 0.191). Third, the order of arrangement between the two graphs for the two directions that make up each rock cleavage(R1·R2(R), G1·G2(G), H1·H2(H)) were compared. The order of arrangement of the two graphs for the length and spacing is reverse order with each other. The two graphs for the spacing and tensile strength is mutually consistent in the order of arrangement. The exponent differences(ΔλL and ΔλS) for the length and spacing increase in the order of rift(R, -0.08) < grain(G, 0.14) < hardway(H, 0.75) and hardway(H, 0.16) < grain(G, 0.23) < rift(R, 0.45), respectively. Fourth, the general chart for the six graphs showing the distribution characteristics of the microcrack lengths, microcrack spacings and Brazilian tensile strengths were made. According to the range of length, the six graphs show orders of G2 < H2 < H1 < R2 < G1 < R1(< 7 mm) and G2 < H1 < H2 < R2 < G1 < R1(≦2.38 mm). The six graphs for the spacing intersect each other by forming a bottleneck near the point corresponding to the cumulative frequency of 12 and the spacing of 0.53 mm. Fifth, the six values of each parameter representing the six rock cleavages were arranged in the order of increasing and decreasing. Among the 8 parameters related to the length, the total length(Lt) and the graph(≦2.38 mm) are mutually congruent in order of arrangement. Among the 7 parameters related to the spacing, the frequency of spacing(N), the mean spacing(Sm) and the graph (≦5 mm) are mutually consistent in order of arrangement. In terms of order of arrangement, the values of the above three parameters for the spacing are consistent with the maximum tensile strengths belonging to group E. As shown in Table 8, the order of arrangement of these parameter values is useful for prior recognition of the six rock cleavages and the three quarrying planes.