• Journal of the Korean Society of Costume
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• v.5
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• pp.13-22
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• 1981

The stone caves in Korea, though they were first influenced by Chinese cave temples, were not made same with their predecessors in style. Nearly all Korean stone caves are the simulated ones built artificially, and they are divided into the following: A. The caves that were made up with several pieces of natural rocks with some wood works done over them to cover the open spaces between the rocks. B. Wood works were added in front of the rock-cut images of Buddha in order to construct the cave. C. The men-made caves Suk-kul-am in Kyung-ju is well-known among the above kind of the caves. In short, Korean stone caves have their distinction in which they were inspired by the Indian and Chinese examples and developed their own styles to meet the specific conditions and restraints of the Korean mountains. The extant Silla cave temples are classified in the following four groups: 1) The type of Shin-sun-sa(神仙寺) at Kyung-ju 2) The type of Ka-heung-ri cave(可興里) at Yong-ju(榮州) 3) The type of Kun-wi cave(軍威) 4) The type of Suk-kul-am(石窟庵) at Kyung-ju

• Journal of the Korean Institute of Rural Architecture
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• v.2 no.2
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• pp.1-10
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• 2000

The traditional farm houses in Yongdong area of Kangwon province have a different spatial structure from those of the other areas because of the characteristics of the climatic, geographic and sociocultural circumstances between the Taebaek mountains and the East Sea. So the purpose of this study is aimed at grasping how the spatial features of traditional farm houses in Yongdong area have been different in each regional circle. The plans of traditional farm houses of this region which are four types - ㅡ typed house without floor, ㅡ typed house with floor, ㄱ typed house without floor, ㄱ typed house with floor - show very similar but different space arrangements.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.79-97
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• 2008

Four Wangs' landscape style (四王山水畵風), which had appeared in Beijing in the early 18th century, widely spread to Korea and Japan in the 19th century and became a significant basis for developing new painting styles in both countries. It was first introduced to Korea by Shin Wi (申緯) and Kim Jeong-hee (金正喜) who associated with literary men of the Qing Dynasty. Being influenced by them directly or indirectly, Shin Myeong-yeon (申命淵), Yi Han-cheol (李漢喆), Yu Suk (劉淑), Changv Seung-eop (張承業), An Choog-sik (安中植), and Jo Seok-jin (趙錫晋) attempted to adapt Four Wangs' landscape style and it later became a main Stream painting style of the Korean painting circles. Based on Four Wangs' landscape style, their landscape paintings had something in common in that they captured natural features from a short distance using the Down-Up prospective and placed guardian mountains across mountain streams by making a tall tree in the right or left bottom of the canvas as the starting point. However, recently unveiled court painter An Geon-yeong (1841~1876)'s the Landscape Screen is remarkable in that it is based on Four Wangs' style, which was in fashion in the late 19th century, but shows different aspects from other Four Wangs' style paintings in terms of feature capturing, brush stroke and colors. While most of An Geon-yeong's existing paintings are small ones, this folding screen is a big piece consisting of six-fold landscape paintings. In particular, it shows new aspects by creating a serene and calm atmosphere through the description of various landscape scenes with thin brush strokes using glossy ink, by showing a macroscopic view in some paintings through feature capture using a birds-eye view method, and by giving life to the canvas through smoke and clouds. This painting style is considered to be linked with those of Wang Xue-hao (王學浩, 1754~1832), Tang Yifen (湯貽汾, 1778~1853) and Dai Xi (戴熙, 1801~1860), based on Four Wangs' style in the early 19th century's Jiangnan Circle (江南 畵壇), who tried to express the energy and vitality of real landscapes by going around China's well-known mountains and complementing painting styles with drawing from nature. Therefore, An Geon-yeong's six-fold Landscape Screen is very significant as a rare case proving the introduction and reception of Jiangnan Circle's Four Wangs' landscape style which was different in many aspects from Beijing Circle in the 19th century.

• Journal of the Korean Geographical Society
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• v.42 no.3 s.120
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• pp.388-404
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• 2007

This study interprets evolution of fluvial terraces along the four Yeongdong- and Yeongseo streams such as Naerin River, Yeongok River, Golji River and Osip River, in Gangwon Province based on the tectonics. The results from the analyses of the distribution pattern of fluvial terraces and incision rates of rivers show distinctively the evidence as the axis of uplift by Taebaek Mountains, especially on the 4th, 5th and 6th terraces in upper reach of Osip River among the four streams. The axis of uplift extends to the zone of $30\sim40km$ in width as well as the divide. The difference of uplift between upper and middle reaches of Naerin River and total reach of Golji River wasn't found from the height from riverbed by the active uplifting along all reaches, estimated to be set in inner area of uplift zone. Incision rate of period between formation age of 2nd terrace and 1st terrace is calculated $0.13\sim0.22m/ka$, and incision rate of period between formation age of 1st terrace and Present is diversely calculated $0.17\sim0.27m/ka$ by the climatic discrepancy between the two periods. The incision rate of Yeongdong streams whose mouths reach to the sea level eroded actively more than Yeongseo streams in the uplift zone. And Yeongdong streams between formation age of 1th terrace and present appears to much higher than that of Yeongseo streams, due to active down-cutting in oder to balance against the sea level.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.30 no.1
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• pp.39-48
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• 2012

Filtering process that separates ground and non-ground points from LIDAR data is important in order to create the digital elevation model (DEM) or extract objects on the ground. The purpose of this research is to select the most effective filtering algorithm through qualitative and quantitative analysis for the existing filtering method used to extract ground points from LIDAR data. For this, four filtering methods including Adaptive TIN(ATIN), Perspective Center-based filtering method(PC), Elevation Threshold with Expand Window(ETEW) and Progressive Morphology(PM) were applied to mountain area, urban area and the area where building and mountains exist together. Then the characteristics for each method were analyzed. For the qualitative comparison of four filtering methods used for the research, visual method was applied after creating shaded relief image. For the quantitative comparison, an absolute comparison was conducted by using control points observed by GPS and a relative comparison was conducted by the digital elevation model of the National Geographic Information Institute. Through the filtering experiment of the LIDAR data, the Adaptive TIN algorithm extracted the ground points in mountain area and urban area most effectively. In the area where buildings and mountains coexist, progressive morphology algorithm generated the best result. In addition, as a result of qualitative and quantitative comparisons, the applicable filtering algorithm regardless of topographic characteristics appeared to be ATIN algorithm.

• Journal of Environmental Health Sciences
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• v.46 no.6
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• pp.710-718
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• 2020

Objectives: We analyzed water in waterscape facilities to investigate contamination levels of water-borne pathogens and four test items (pH, turbidity, residual chlorine, and Escherichia coli) at facilities including play fountains, splash parks, and artificial streams from June to October in Suwon City and in the whole of Gyeonggi-do. Methods: A total of 62 waterscape facility samples were collected from 36 sites and tested for pathogenic Escherichia coli and water-borne viruses that cause hand-foot-and-mouth disease, eye disease, and acute enteritis. Results: None of the water-borne pathogens were detected in waterscape facility samples collected from across Gyeonggi-do that were for pre-inspection for facility management. However, the results of samples from Suwon collected in hot weather and during the school vacation period showed five total inconsistencies in turbidity (four cases) and Escherichia coli (one case). Three out of the four inconsistent samples in turbidity were from the same facility which operated a sand filtration system due to its locational factors close to mountains. Conclusion: We suggest that the waterscape facilities in Gyeonggi-do are managed properly in the respect of microbial contamination and water quality.

• Cartoon and Animation Studies
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• s.40
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• pp.497-519
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• 2015

Kwon Kisoo is one of the most promising artist in Korea. His paintings portray a lot of metaphors and philosophies in oriental art. As an artist, he adapts both oriental and contemporary ideas to make his paintings. His main motifs are Plum blossoms, Chrysanthemum, Orchid and Bamboos. These plants are known as 'Sa-gonja' in Korean but translated as the 'Four Gracious plants' or the 'Four Gentle Plants in english'. These noble plants represent the four seasons. They grow in different weather conditions. In oriental art, these plants are considered very important for their qualities. These qualities are important attributes for gentlemen in literati painting. The drawing of the 'Four Gracious Plants' in Kwon Kisoo's paintings is simplified. He uses lines, shapes and colour to create contours of the motifs. In his paintings, there is another icon he calls 'Dongguri'. Dongguri is the main character in Kwon Kisoo's paintings. It was developed in 2002 by fast brush strokes. Dongguri is an admired character because it looks like very cute in Kwon Kisoo's paintings. Dongguri is always seen living in the midst of the 'Four Gracious Plants'. The 'Four Gracious Plants' with other landscape features like rocks and mountains are places 'Dongguri' lives. Dongguri is also often found performing a lot of actions like climbing, running, sitting etc. All these actions depict metaphors which have been unraveled in this study.

• Journal of Environmental Science International
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• v.18 no.4
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• pp.375-388
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• 2009

Numerical simulation is essential to indicate the flow of the atmosphere in the region with a complicated topography which consists of many mountains in the inland while it is neighboring the seashore. Such complicated topography produces land and sea breeze as the mesoscale phenomenon of meteorology which results from the effect of the sea and inland. In the mesoscale simulation examines, the change of the temperature in relation to the one of the sea surface for the boundary condition and, in the inland, the interaction between the atmosphere and land surface reflecting the characteristic of the land surface. This research developed and simulated PNULSM to reflect both the SST and vegetation effect as a bottom boundary for detailed meteorological numerical simulation in coastal urban area. The result from four experiments performed according to this protocol revealed the change of temperature field and wind field depending on each effect. Therefore, the lower level of establishment of bottom boundary suitable for the characteristic of the region is necessary to figure out the atmospheric flow more precisely, and if the characteristic of the surface is improved to more realistic conditions, it will facilitate the simulation of regional environment.

• The Korean Journal of Ecology
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• v.21 no.5_2
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• pp.501-518
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• 1998

Mt. Paektu(2,749.6m)m the biggest mountain in Northeast Asia, located on the border line of Korea and China is characterized as an aspite with broad gentle mountain area and rich biota. however, it seems that the study of forest vegetational feature or vegetation zones in the whole area of this mountain is not yet sufficient in spite of contribution by many investigators. in this paper thermal climatic approach was carried out for the determination of vegetation zones of the mountain with the meteorological data of four stations including Cheonjj and various vegetational data. the application of Warmth Index and/or coldness Index(Kira 1977) for the determination of forest vegetation boundary was useful also here, and their boundaries largely coincided with those of thermal indicies obtained in the Korean Peninsula(Yim and Kira, 1975), including the lapse rate of air temperature along increasing elevation. However, in the mountain the boundary of vegetation zones in not clear like those of mountains in Korea. It may be due so the topographic differences between this area and the Korean Peninsula. Besides, the broad ecotones between different vegetations in this area support the vegetation continum concept rather than the unit concept, and the limit of timber line or tree line reflects various hypothesis(Steven and fox 1991). Therefore, for the explantion of vegetation zone of this area should be considered topography or soil condition, for example, as known the hierachy of ecological units (zonobiomes, orobiomes and pedobiomes, Walter, 1973).

• The Research Journal of the Costume Culture
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• v.25 no.5
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• pp.694-707
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• 2017

This study analyzes the characteristics of clothes worn by the Zhuang in order to produce new fashion designs, and to propose diverse new directions in fashion design. Research was conducted using a bibliographic survey on the cultural background, characteristics, and relevant techniques of the Zhuang costume and that of minority races in China. This study deploys four styles of design for women's wear. With the inspiration of the traditional Zhuang costume, black and blue were the colors mainly used for the Zhuang people and the material was mostly denim. Denim blends in well for the contemporary facilitation of the Zhuang costume, which is known for knitting technique, fur and hemp fabric as patchwork, and embroidery works. It is appropriate to express the joyful and happy mind of Zhuang people with extraordinary colors, exaggerated silhouettes, and various decorations. Images of nature, such as the sun, mountains, rivers, water, fish etc., expressed the nature worship of the Zhuang in contemporary design, representing the simple life and peaceful mind. This research develops a new fashion design and displays the possibility for diverse design development through new insight in contemporary fashion design.