• Journal of the Korean earth science society
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• v.42 no.3
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• pp.278-295
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• 2021

China's shutdown due to COVID-19 in 2020 reduced air pollutant emissions, which is located on the windward side of South Korea. The positive temperature anomaly and negative zonal wind anomaly from northern Mongolia to South Korea through eastern China presented warm and stationary air masses during January and February 2020. Decreased concentrations of PM10, NO₂, and O₃ were measured at Seokmo-ri and Pado-ri, located in the central-western region of South Korea, due to decreased emissions in China from January to March 2020. After China's shutdown from January to March 2020, in Pado-ri, the ratio of monthly average concentrations in that period with those of PM10 and O₃ in the last four years decreased by approximately 0.7-4.7% and 9.2-22.8%, respectively. In January 2020, during the Lunar New Year holidays in China, concentrations of PM10, NO₂, and O₃ at Seokmo-ri and Pado-ri decreased just as much as it did during the same period in the last four years. However, average concentrations in January 2020 decreased before and after the Lunar New Year holidays in China when compared with those in January of the last four years. In Seokmori, ratios of actual and predicted values (${\bar{O}_s$/M) for PM10, NO₂, and O₃ concentrations were calculated as 70.8 to 89.7%, 70.5 to 87.1%, and 72.5 to 97.1%, respectively, during January and March 2020. Moreover, those of Pado-ri were 79.6 to 93.5%, 67.7 to 84.9%, and 83.7 to 94.6%, respectively. In January 2020, the aerosol optical depth (AOD) data showed a higher distribution than that of the last four years due to photochemical reactions in regions from northern Mongolia to eastern China and the Korean Peninsula. However, the decrease in AOD values compared with those of the last four years was attributed to the decrease in emissions of precursors that generate secondary aerosols in China during March 2020.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.90-119
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• 2019

The purpose of this study is to investigate the significance of Buddhist stone art in the cultural zone of Mt. Bukhan. Mt. Bukhan witnessed the prevalence of Buddhist culture in and around it since the introduction of Korean Buddhism and served as the center of Buddhist culture in the nation, where new Buddhist temples continued to be built from the Three Kingdoms Period to the Joseon Period. Of the characteristics of its Buddhist culture, it is very noteworthy that the construction of military temples in and around it in the latter half of Joseon supported the function of Buddhist temples as basic places of worship. These military temples were closely related to the mountain's geopolitical location, traffic routes, and position in the national defense system-- its mountain fortress was an important defense facility. The stone art works of Mt. Bukhan can be categorized into various types, including stone stupas, stone pagodas, rock-carved Buddhas, stone Buddhas, towers and monuments (stone monuments), stone lanterns, flagpole supports, and rock-carved sarira pagodas. There are diverse types of stone art left on the mountain. As for its period characteristics, it is clear that the Buddhist art of Silla spread even to the Gyeonggi region, and that most of the works of stone art were created during the first half of Goryeo and the latter half of Joseon. Starting in Goryeo, the Buddhist temples of the mountain maintained close relations with the royal court by operating as the royal buddhist shrine for the royal family. In the latter part of Joseon, the construction of the Bukhan mountain fortress became the most important opportunity to produce stone art. As for the distribution of the stone artwork, it was usually created in the west part of the mountain from Unified Silla to the first half of Goryeo and in the southern and eastern parts of the mountain from the latter half of Goryeo to the latter half of Joseon. It is estimated that central Buddhist temples of the mountain changed due to Silla's military goal of advancing toward the west coast along the Han River in its early days and the construction of the Bukhan mountain fortress in the latter half of Joseon to protect the capital city. Finally, the stone art of Mt. Bukhan holds very high significance in art history because various types of stone art continued to be created on and around the mountain, the stone artwork of the mountain reflected representative styles for each period, and e rare and ofthe works produced on the mountain exemplified rare and unique styles.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.114-131
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• 2014

The Portrait of Yang Zhuxi(楊竹西小像) at the Palace Museum in Beijing holds important significance as one of the rare portraits from Yuan Period and as a painting with a definite year of creation in 1363. It is also noteworthy in that it is the only remaining work of Wang Yi(王繹), who was one of the critical portrait painters during the second half of Yuan Period and the author of Xiexiang Mijue(寫像秘訣), the first book on the portrait theories, that it was created in conjunction with Ni Zan(倪瓚), one of the utmost landscape painters of the times, and that it was an early case of landscape and figure painting-format portraits. The figure in Portrait of Yang Zhuxi was originally known as Yang Wu(楊瑀), a high official during Yuan Period, but it was a misunderstanding on the part of Li Rihua(李日華), a literary figure from Ming Dynasty. The actual model was Yang Qian(楊謙), a reclusive literary figure in the Songjiang(松江) region. Yang Qian is estimated as one of the central figures with a high reputation in the literary community of Jiangnan those days. Portrait of Yang Zhuxi was depicted by borrowing the icon of such hermits as Su Shih(蘇軾), which seems like a proper choice to express Yang Zhuxi, a reclusive literary figure. Furthermore, the rocks and pine trees described by Ni Zan reinforced the significance of the portrait through their traditional symbolism of man of virtue and man of letters, respectively. Portrait of Yang Zhuxi used the Baimiao Manner(白描法), thus being differentiated from other portraits from the same period. Even though there is no coloring in the painting, it boasts more excellent realism than colored portraits. It expressed the body with the graceful and controlled Li Gonglin(李公麟) and Zhao Mengfu(趙孟?) style Baimiao Manner, raising its dignity further. In terms of functions, Portrait of Yang Zhuxi is strongly characterized by the appreciative function unlike other portraits focused on the ceremonial function. Being created to be viewed and appreciated by the model himself and his friends, the portrait was very significant to promote their friendship. However, there was a great intention to reflect the emotions of the model himself and his friends in the painting beyond the simple appreciation level.

• Journal of Climate Change Research
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• v.1 no.2
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• pp.133-145
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• 2010

This study examined the characteristics of tropical cyclone(TC) activity over the western North Pacific(WNP) in 2009. Twenty-two TCs formed in 2009, which is slightly below normal(1979~2009 average: 25.8) and most of these occurred during the months of July to October. Most TCs in 2009 was formed over the northern Philippines and the eastern part of the WNP and they moved towards the South China Sea and the east of Japan, resulting in less TC affecting the East China Sea and Korea. The TC activity in 2009 is modulated by the large-scale circulations induced by the El $Ni{\tilde{n}}o$ and vigorous convection activity over the WNP. As the general characteristics of El $Ni{\tilde{n}}o$ year, the difference in sea surface temperature between the central Pacific and the eastern Pacific causes an anomalous westerly winds, expanding the WNP monsoon trough farther eastward. Accordingly, TC formation has relatively increased in the east part of the WNP. Active convection activities over the subtropical western Pacific excite a Rossby wave propagating from the South China Sea to mid-latitudes, resulting in an anomalous easterly steering flow in the South China, anomalous northwesterly over the East China Sea and Korea, and anomalous southwesterly over the east of Japan. Summing up, the TCs cannot enter the East China Sea and Korean region and instead they move towards the South China Sea or south-east of Japan. There were no effects of TCs in Korea in 2009. It is anticipated that this study which analyzed unusual TC activity and large-scale circulations in 2009 would help the predictability of TC effects to increase according to climate change in the East Asia.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.70-95
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• 2013

The Tejaprabha Buddha painting, located in the Korai Museum in Kyoto, Japan, was made in 1569 when Joseon Dynasty was in his $14^{th}$ year under SeonJo's ruling, and is only one of Tejaprabha Buddha paintings from the early Chosun dynasty. With its well preserved state, the painting allows clear indications of all icons and list of names that were written, and the record region also has minimal deterioration. This Buddhist painting is a GumSeonMyoHwa which is drawn with gold lining on red hemp cloth and has a relatively small dimension of $84.8{\times}66.1cm$. With the Tejaprabha Buddha in the center, the painting has two unidentified Bodhisattvas, Navagrabha, Rahu, Keto, YiSipPalSoo (28 constellation of the eastern philosophy), SipYiGoong (12 zodiacs of the western philosophy), SamDaeYookSung, and BookDooChilSung (the Big Dipper), all of which provide resourceful materials for constellation worshipin the Joseon era. This painting has a crucial representation of the overall Tejaprabha Buddhism - a type of constellation worships - from the early Joseon dynasty. Even though the composition does seem to be affiliated with the paintings from the Koryo dynasty, there are meaningful transformations that reflect changes in content into constellation worship in Joseon dynasty. As a part of the Tejaprabha Buddha, SipIlYo has become a center of the painting, but with reduced guidance and off-centered 'Weolpe (star)', the painting deteriorates the concept of SipIlYo's composition. Furthermore, addition of Taoistic constellation beliefs, such as JaMiSung (The purple Tenuity Emperor of the North Pole), OkHwangDaeChae, and CheonHwangJae, eliminates the clear distinction between Taoistic and Buddhist constellation worships. Unlike the Chinese Tejaprabha Buddha painting, the concept of YiSipPalSoo (28 constellation of eastern philosophy) in this painting clearly reflects Korean CheonMoonDo's approach to constellation which can be applied to its uniqueness of the constellation worships. The fact that the Big Dipper and ChilWonSungKoon (Buddha of the Root Destiny Stars of the Northern and central Dipper) are simultaneously drawn can also be interpreted as the increase in importance of the constellation worship at the time as well.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.243-270
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• 2007

Linked pearls pattern expressed on textiles have no limited scale or shape when manufacturing, so they are free in expression. And from the design, material, and color we can analogize the social culture of that age. Oriental linked pearls pattern was started from the Sasanian Persia and introduced through the Silk Road, so it is closely connected with the East and the West culture. This study will consider from the 5th century to the 10th century; the mural costume of the West Central Asia, the ancient textiles excavated from the Sinjiang and Qinghai area of China, and the linked pearls pattern which are collected at Shosoin, Japan. And from this study, will concentrate on clarifying the linked pearls pattern's condition of the cultural exchange between the East and the West and it's structural variation process. The design of linked pearls pattern delivered to the East through the Silk Road is differed by area. For example, in the Western Pamir Plateau, where the ancient Sogdians mainly lived, the excavated linked pearls pattern's subject were deer or cassowary variated from the West Asian motif. But the ones excavated from Kucha Xingang had Chinese motifs added so they showed Chinese characters or Buddhist Bodhisattva image instead of Helios. Like this, the appearance of new patterns, which were accompanied by structural variations, gradually deviated from the standardized pattern of the Sasanian Persia. And this structural variation process has relations with the construction and arrangement method of various patterns of the after ages. The foliated floral Spray, which is placed at the lozenge space of linked pearls' space, had developed into ogival - shaped pattern (Neunghwamun). And the prevalence of geometrical structure pattern after the 10th century and the unfolding method of Tapjamun which is arranging unit pattern in order, are similar to the linked pearl pattern. In brief, linked pearls pattern accompanied by technical improvement let us understand the polished artistic code from its expression, and has importance in showing universal pattern beyond region and culture.

• Journal of Korean Society of Forest Science
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• v.100 no.2
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• pp.246-255
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• 2011

This study was carried out to investigate the characteristics of wind damaged trees in the Hongneung Arboretumin Korea. Many trees in the Hongneung Arboretum were damaged by the 'Kompasu', the seventh typhoon in the year of 2010 having strong impacts on the central region of Korea. Damaged trees were divided into 3 damage types: windthrow, slanted and broken trees. Most of damaged trees (97.3%) were found at low slope (below 15 degree) or medium slope (15~20 degree). The 45.3% of damaged trees were coniferous and 54.7% were deciduous trees. The wind speed was recorded for the duration of the typhoon from 04:00 AM to 12:00 PM on September 2. The average wind speed and the maximum instantaneous wind speed inside the forest were 1.4 m/sec and 3.5 m/sec, respectively. The highest peak of the average and the maximum instantaneous wind speed inside of forest, 3.4 m/sec and 8.7 m/sec respectively, were recorded at 06:10 AM on September 2. To analyze relationship between wind characteristics and the damage types, the average wind speed and the frequency of wind wave was compared to those of pre-typhoon period (Feb. 13, Feb. 20, Apr. 21, Oct. 16, 2009 and Mar. 20, 2010). The results indicated that the damaged trees were affected by frequent wind wave rather than the wind speed itself. Also average wind direction inside the forest was analyzed to investigate the impact of wind direction on the damaged trees. The wind had mainly blown from SE and SW, and the maximum instantaneous wind direction was SE direction overall. Most of the damaged trees (84.0%) had fallen down to the NW or NE direction. This result showed that the fallen direction of the damaged trees and wind direction was highly related. Therefore, we found that the frequency of wind wave was the main factor of wind damages during the typhoon 'Kompasu' and wind direction was highly related to the fallen direction.

• Korean Journal of Environment and Ecology
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• v.36 no.4
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• pp.368-380
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• 2022

Biomonitoring of an invasive alien crayfish species, Procambarus clarkii (Girard, 1852), was performed from February to October 2021, along with environmental DNA analysis, at five locations including Wanju-gun, Hampyeong-gun, Naju-si, Gurye-gun, and Cheongju-si. For the investigation, an umbrella-shaped trap for adults and a hand net for young crayfish were used, and 8 to 10L of freshwater was collected for eDNA analysis. The current status and past distributional records of crayfish in Korea were analyzed along with benthic macroinvertebrates at each survey site. As a result of the investigation, a total of 122 individuals were identified, and Hampyeong-gun recorded the largest number of populations with 59 individuals (48.36%) and the highest environmental DNA (eDNA). The frequency of appearance of P. clarkii was highest in May. The ratio of females to males was 21:5, and the body size was 72.2±21.1mm for female, 80.5±15.6mm for male, and 25.3±9.8mm for young crayfish. P. clarkii introduced into Korea is mainly spreading in the southwest region and it has not been observed in Seoul where there had been a record of appearance in the past. No external symbiosis (Branchiobdellida) of P. clarkii has been identified, and P. clarkii that has appeared in Korea was presumed to be imported from Japan. There are more than eight kinds of exotic crayfish distributed in Korea, and among them, the marbled crayfish (P. virginalis) was identified as a harmful species to the ecosystem of Korea by the Ministry of Environment in 2021. The identified species of benthic macroinvertebrates inhabiting the survey area where P. clarkii has appeared were 69 belonging to 39 families, 15 orders, five classes, and three phyla. Among them, Odonata were the most abundant (16 spp.; 24.62%), followed by Coleoptera (11 spp.; 16.92%) and Hemiptera (11 spp.; 16.92%). In the survey area, one Korean endemic species (Rhoenanthus coreanus), one species (Helophorus auriculatus) classified as Near Threatened (NT) on the Korean Red List, and six species of Crustaceans appeared. In the functional feeding group, the predators appeared predominantly while in habitat oriented group, the climbers appeared to be abundant. It was confirmed that P. clarkii in the survey area prefers an area rich in aquatic vegetation with waterside vegetation, and has high resistance to turbid water quality. The omnivore invader P. clarkii is expected to maintain a competitive relationship with carnivorous benthic macroinvertebrates that are predominant in the same species, and is expected to continue to generate ecosystem disturbance along the food chains.

• Korean Journal of Ichthyology
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• v.33 no.4
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• pp.226-239
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• 2021

Sebastes minor, Sebastes trivittatus, Sebastes owstoni, and Sebastes steindachneri are indigenous fish species inhabiting the central part of the East Sea, Korea. In order to understand the molecular evolution of these four rockfishes, we sequenced the complete mitochondrial genomes (mitogenomes) of S. minor and S. trivittatus. To further analyze the phylogeny of Sebastes species, the mitogenomes of 16 rockfishes were comparatively investigated. The complete mitochondrial DNA (mtDNA) nucleotide sequences of S. minor and S. trivittatus were 16,408 bp and 16,409 bp in length, respectively. A total of 37 genes were found in mtDNA of S. minor and S. trivittatus, including 13 protein-coding genes, 2 ribosomal RNA genes, and 22 transfer RNA genes, which exhibited similar characters with other Sebastes species in the East Sea, Korea. In addition, we detected a conserved motif "ATGTA" in the control region of the four Sebastes species, but no tandem repeat units. Comparative analyses of the congeneric mitochondrial genomes were performed, which showed that control regions were more variable than the concatenated protein-coding genes. As a result of analysing phylogenetic relationships of four Sebastes species by using concatenated nucleotide sequences of 13 protein-coding genes, S. minor, S. trivittatus, S. owstoni and S. steindachneri were clustered into three clades. The phylogenetic tree exhibited that S. minor and S. steindachneri shared a closer relationship, whereas S. trivittatus and S. vulpes formed another distinct clade. Our results contribute to a better understanding of evolutionary patterns of Sebastes species inhabiting the middle East Sea, Korea.

• Journal of the Korean Chemical Society
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• v.67 no.5
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• pp.378-392
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• 2023

The purpose of this study is to analyze the pre-service chemistry teachers' cognition of the nature of model in process of designing and developing models using technology. For this purpose, 19 pre-service chemistry teachers' in the 3rd grade of a education college located in the central region observe experimental phenomena related to Boyle's law presented in the 7th grade science textbook and researchers required the design and development of a model related to the observed experimental results using technology. Based on previous studies, the nature of model were classified into two aspect: 'Representational aspect' and 'Explanatory aspect'. The 'Representational aspect' was classified into 'Representation', 'Abstraction', and 'Simplification', and the 'Explanatory aspect' was classified into 'Analysis', 'Interpretation', 'Reasoning', 'Explanation', and 'Quantification'. The pre-service chemistry teachers' cognition were analyzed by the classification. As a result of the study, the 'Representation' of the 'expressive aspect' was uniformized in the form of space that changes in volume, and the pressure was expressed as the Brightness inside the cylinder or frequency of color change of particles for 'Abstraction'. In the case of 'Simplification', the particle collision was expressed as a perfectly elastic collision, but there was a group that could not simply indicate the type of particle. In the 'Explanatory aspect', in the case of 'Analysis', volume was classified as a manipulated variable, and in the case of 'Interpretation', most groups analyzed the change in pressure through the collision of gas particles. However, the cognition involved in 'Reasoning' was not observed much. In the case of 'Explanation', there were groups that did not succeed in explanation because the area where the particles collided was not set or incorrectly set, and in the case of 'Quantification', there was a group that formulated the number of collisions per unit time, and on the contrary, there was a group that could not quantify the number of collisions because they could not be expressed in numbers.