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A Study on the Comparative Art theory in the Arts and Crafts Movement and Post-impressionism (미술 공예 운동과 후기 인상주의 비교 예술론 연구)

  • 박연실
    • Archives of design research
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    • v.20
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    • pp.279-291
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    • 1997
  • The history of modern design begins with the arts and crafts movement(1860). The importance of the movement which decorated the outset gave birth to all the trends of thought which would occur under the circumstances within it, and is deemed that the ideas of the figures who played an active part in the movement might be ceaselessly continued through the works and ideas of their outstanding juniors or purpils as a doctrine of the philosophy of design. Therefore, it might be a prerequisite that the significance and spirit of the movement, and its developing process should be addressed in detail in the first place, but for the limited space of this paper, it was intended to desvribe only the part which can be interpreted in duplicate, linked with post-impressionism. The subject of this thesis is about a theory of art in which both ideas of the movement(1860) and the post-impressionism(1910) are comparatively reviewed. The genre, strictly speaking, is classified into the history of painting, and there is a gap fo about an half century between the issues which are comparatively discussed here. Both the movements began in a same environmental place of England, specially the movement at Milieu in England, and since there is a common point that the representative runners of each movement, William Morries(1834-1896) and Roger Fry(1866-1934), belong to a same race of Engol-Saxon, their ideas coincide with an aesthetic scholar, H. Tanie's aesthetic interpretation method and the more important is, as being elucidated in the comment and aesthetic theory for which Roger Fry gave effort and activity in his later life, that when he read intensively Ruskin's books, $\ulcorner$Modern Painters$\lrcorner$and$\ulcorner$Stones of Venice$\lrcorner$he had solidified his idea of post-impressionism while giving approval and criticism on them. After all, as in a co-painter, Windyham Lewis's reference of 'Roger Fry's Too Late Morris Movement', he, inspired by the actual activities of Morris, played activities similar to that of Morris in which exhibiting and selling some of his decorative art works signed by him and the works of post-impressionism through (1913-1920). Herein, that is wished to add a remark by this author is a point that the author of$\ulcorner$Vision and Design$\lrcorner$, Roger Fry, has not be made a subject of discussion specially in the Korean world of design. So, with this case of a thesis, it's wished that many latent awakened, design persons in korea give efforts to researching into Roger Fry so that their findings could be officially announced in the would. By the way, what is tried to describe in this paper from now on is to analyse and review the origin of post-impressionism which idea was first coined in the art world through the 1st and 2nd exhibitions of 'Manet and Post-impressionism' which were opened each at the Grafton Gallery in 1910 and 1913 by him. And also, it is intended to review it through the art journals and some references by critics of the day in which favorable criticism or severe criticism were ready to comment through the opinions and influences of the coworkers of Roger Fry, say, Clive Bell, Desmond Maccarthy, etc. and of himself as a main axis, on the art ideas of Gauguin, Gogh, Matisse, and Cezanne whose works were the typical ones participated and exhibited in those 1st and 2nd exhibitions.

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Maegamdo(梅龕圖), Symbol of Chinese and Korean Scholary Comespondence in the 19th Century (19세기 한중(韓中) 묵연(墨緣)의 상징, 매감도(梅龕圖))

  • Kim, Hyun Kwon
    • Korean Journal of Heritage: History & Science
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    • v.45 no.1
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    • pp.16-33
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    • 2012
  • Maehwa blossom(梅花) has been favoured in literary and artistic works in the East Asia as one of representing symbols of virtuous men's character. Maehwaseookdo(梅花書屋圖) is one of major forms of painting. This paper starts from the birth of Maehwaseookdo since it aims to examine the following points: its structural origin of the Gurimaehwachonsado(九里梅花村舍圖) style; how this style was distributed in Korea; process and features of Maegamdo(梅龕圖). The current academic world admits Maehwaseookdo is originated from an ancient story of Lim Po(林逋). Even though Maehwaseookdo and Lim Po story can be linked to a meaning of schoarly hermitage, ways to structure works are hard to compare paintings based on Lim Po story. While paintings related to Limpo story such as Banghakdo(放鶴圖) and Gwanmaedo(觀梅圖) depict a scholar(s) and a few Maehwa trees with cranes, Maehwaseookdo presents scholarly hermitage with a lot of Maehwa trees which encircle a house building. As other paintings related to Maehwa blossom were widely painted since the nationwide popularity of the theme of Maehwa, Maehwaseookdo was not drown throughout the whole period of time. Since Goryeo, Maehwa paintings including Sehansamu(歲寒三友), ordinary Maehwado as one of the Four Gentlemen's plants, and Tammaedo(探梅圖) which was based on ancient anecdote of Maeng Hoyeon. Maehwaseookdo, however, was created exclusively in the 19th century. In China a similar feature took place much earlier period which was in the 17th century. Accordingly we can assume that these patterns which paintings in particular styles were generated by particular cultural phenomena. The reason why Joseon's Maehwaseookdo works were painted exclusively in the 19th century was that Kim Jeonghee's party and Sin wi had acquaintanceship with Jang Sim(張深) who got work orders for Oh Sungyang(吳嵩梁). In these corresponding activities, two types of Maehwa paintings were exchanged. In China, scholars usually drew paintings in the type of Gurimaehwachonsado(九里梅花村舍圖) depicting scenic views of Guriju(九里洲) which was riverside area under the Mt. Buchun(富春山). This place surrounded by thousands and hundreds of Maehwa trees was where Oh Sungyang(吳嵩梁) was about to retire to hermitage in. In this repect, Joseon scholars painted Maegamdo(梅龕圖) depicting a scene of a shrine with Oh Sungyang(吳嵩梁)'s poetry books surrounded by Maehwa trees for paying tribute to the wall of Maehwa trees(Maebyeok(梅癖)). This seems to adapt the format of 'Manmae(萬梅)' which appeared in the type of Gurimaehwachonsado. One of the representing works of this, is painted or supervised by Sinwi. Paintings in two types with respective meanings were combined by which was estimated to be painted by Sin Wi, then it became a structural base of by Jang Sim(張深) This type of Maegamdo brought the popularity of Maewhoseookdo which once had another name of 'Manmaeseookdo(萬梅書屋圖)' by a group of scholars such as Jo Heeyong, in the 19th century. All things considered, this paper can be a sort of precedent phrase to find out the birth of Manmaeseookdo which was very popular in the late 19th century.

A Study on the Naejeong (內庭) of Daesoon Jinrihoe Temple Complexes: Focusing on Literary Sources and Context (대순진리회 도장 건축물 내정(內庭)에 대한 연구 - 내정의 문헌 출처와 그 맥락을 중심으로 -)

  • Cha, Seon-keun
    • Journal of the Daesoon Academy of Sciences
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    • v.37
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    • pp.1-52
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    • 2021
  • The Naejeong, the inner court, which is one of the structures found in the temple complexes of Daesoon Jinrihoe. It serves the function of leading and controlling the operation and direction of Korean religions in general. Considering that the dictionary meaning of 'Naejeong' is 'a place to manage the affairs of the state from inside a palace,' the name and function of the structure appear to be in harmony. However, in the Daesoon Jinrihoe context, it is said that the name 'Naejeong (內庭 'Neiting' in Chinese)' is related to a verse from a Daoist scripture. It has not been revealed whether or not the scripture is historical, and what contents or contextual meanings it contains. This study tries to pursue this matter and introduce the original source of the Naejeong in Daesoon Jinrihoe as likely coming from Qianbapinxianjing (前八品仙經, The Former Scripture of the Eight Phases That Reveal the Means to Acquire Immortality). This scripture was compiled in Lüzu-quanshu(呂祖全書, The Entire Collection of Ancestor Lü). This text and its contextual meanings will also be examined. The origin of Qianbapinxianjing dates back to either the late Ming Dynasty or the early Qing. In those days, there existed a group of literati who worshipped Ancestor Lü because he had saved people and taught the art of immortality. The group organized Daoist Spirit-Writing Altars (鸞壇道敎) and invoked the spirit of Ancestor Lü. They were said to have been taught through messages received from spirit-writing sessions (降乩) with Ancestor Lü and several Daoist scriptures were composed by them in this manner. At Immortals-Gathering Pavilion (集仙樓) of Wandian (萬店) in Guangling (廣陵), China, some literati in that group conducted a spirit-writing session with Ancestor Lü between 1589 and 1626, and they produced a scripture which contained the passage, "A crow and a rabbit gather in the middle valley (烏兎結中谷) while a turtle entwined with a snake is in the inner court (龜蛇盤內庭)." They titled the scripture, The Five Movements and Filial Piety (五行端孝). This passage symbolically expresses the accomplishment of immortality in Neidan (internal alchemy) which, within the human body, combines the two energies of yin and yang which are Water and Fire in the Five Movements scheme. This kind of cultivation is said to be achieved only by maintaining the highest possible degree of filial piety. In this context, the Naejeong where a turtle is entwined with a snake (龜蛇合體) was a term that symbolically depicted a place wherein one transforms into an immortal through cultivation. The Five Movements and Filial Piety was included in Qianbapinxianjing after it had been compiled with the other scriptures containing Ancestor Lü's teachings. In 1744, Qianbapinxianjing was included in Lüzu-quanshu, the entire 32-volume collection of Ancestor Lü and printed for the first time. This underlies the belief in Ancestor Lü (呂祖信仰) which embraces the idea of the redemption of people, teaches the arts of immortality, and features Daoist Spirit-Writing Altars, filial piety, the art of Neidan, and the combination of Water and Fire.

A Comparative Study on the Ways of Enjoying Xīsāishān Mountain, Scenic Site and Euisang(意象: Images) of it Shown on a Number of the Historic Korean and Chinese Literatures (한중 역대 문집에 나타난 명승(名勝) 서새산(西塞山) 향유방식과 의상(意象) 비교 고찰)

  • Park, So-Hyun
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.40 no.2
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    • pp.24-33
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    • 2022
  • The travel notes and nature poems found in historic literary men's works can be considered historical records related to scenic sites. Such travel notes and nature poems are based on the writers' personal characters, experiences, learning and etc. Such works clearly show the characters of each literature, information of the related objects and the writers' thoughts of the objects. This study, thus, looked into Euisang on Xīsāishān Mountain that could be the origin of Eobusa(漁父詞) loved and sung by Korean historic literary men, and found that the Korean and Chinese literary men's thoughts were shown through their ways to enjoy Xīsāishān Mountain and their Euisang on the mountain, which was different between the Korean and Chinese literary men depending on the geographical locations described in their poems. In detail, the study results are: 1. Such difference of the ways to enjoy Xīsāishān Mountain, the scenic site described in historic Korean and Chinese literary men's work is broadly classified into the ways to enjoy the scenic site by seeing it in person and the ways to enjoy it under the mental structure of speculation. 2. Xīsāishān Mountain in Wuxing is the background of Yújiāzi(漁家子) of the painting Zhāngzhìhé, is boasting its distinguished beautiful nature, and is the place where the Confucian Study of Hú(湖學) was originated. It is also the place known of its warmhearted climate. Therefore, Euisang on Xīsāishān Mountain under such beautiful and warmhearted circumstance are realized as the complete freedom and seclusion in Taoism and the satisfaction with the given environment and position in Confucianism. 3. Xīsāishān Mountain in Wǔchāng is a military strategic point with rugged mountain terrain and scenery that has been a historic ferocious battlefield and related with the loyal civil servant Qū Yuán. The Euisang on Xīsāishān Mountain in Wǔchāng, therefore, represents the nature scenery of a rugged fortress and patriotism of Confucianism. 4. The Korean literary men's way to enjoy Xīsāishān Mountain is Shinyu(神遊: spiritual travel), so that their Euisang is formed according to the direction of the writer's values. Especially it is noted that Korean Euisang on Xīsāishān Mountain is originally based on the painting Zhāngzhìhé that shows the complete free mood of Taoism; and the Euisang on Xīsāishān Mountain that came from the mindful image by the poet monk Qíjǐ of Tang dynasty and Kim Si-seup appears with such Buddhist ways to seek the truth as SakGongIlYeo(色空一如: Being full is essentially as same as being vacant) and GyeonSeongSeongBul(見性成佛: Everybody can become Buddha by enlightenment).

A Study on the Dépaysement of the Animation (애니메이션에 있어서 데페이즈망에 관한 연구)

A Review of Current Status and Placeness on the Yusang-Goksu Ruins in Hwanggak-dong, Geumma, Iksan (익산 금마 황각동 유상곡수 유적 일대의 현황과 장소성에 대한 일고찰)

  • Rho, Jae-Hyun;Han, Min-Soon;Seo, Youn-Mi;Park, Yool-Jin
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.40 no.3
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    • pp.20-35
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    • 2022
  • This study was conducted on the locational results of the 'Yusanggoksu(流觴曲水)' petroglyphs located in Hwanggak-dong(黃閣洞), Shinsong-ri, Geumma-myeon, Iksan-si through literature study, analysis of old maps and aerial photos, field observations, drone photography, elevation surveys, and interviews with residents. It was attempted for the purpose of illuminating and preserving the relics of the domestic Yusanggoksu garden by clarifying the spatiality of this place by tracing the spatiality and examining the possibility of enjoying the Yusanggoksu water system in this place. The conclusion of this study is as follows. The area around Hwanggak-dong, where the Yusanggoksu remains, has been selected as the most beautiful scenic spot in Iksan in various documents. The origin of 'Hwanggak' is considered to be closely related to the nickname of Uijeongbu(議政府). In other words, he paid attention to the relationship with Yanggok, So Se-yang(蘇世讓), who served as Chan-seong Jwa(左贊成). In particular, he paid attention to the relationship with his birthplace, Taeheojeong, a separate book, and Toehyudang, a retreat hall), tombs, and posthumous Confucian academies were distributed in the vicinity. Haseo-dae(荷鋤臺), a wide rock on which a hoe is hung on a rock after field work, seems to express a leisurely rural life and a simple and hermit life, based on the examples of Chinese and Korean poetry. The dark blood on the upper part of the Seobwi Rock with the inscription 'Yusanggoksu', which is the core of this site, is identified as a chailgong(遮日孔) to support the water system, and Ilgan-pavilion and Mojeong(茅亭) nearby are to support the yusanggoksu. It seems to have performed a spatial function for The inscription 'Hwanggak-dong' engraved on the front of Deungzanbawi is the gateway to Hwanggakdongcheon(黃閣洞天) and identified the idealized world existing in the village. Judging from the documentary records of the Iksan-gun 『Chongswaelog(叢瑣錄)』, the rock letters 'Hwanggak-dong' and 'Haseodae' were engraved on March 29, 1901, the 5th year of Gwangmu, the 5th year of the Korean Empire, by Iksan-gun Governor Oh Haeng-mook(吳宖默) and his acquaintance Seokseong Kim In-gil(金寅吉) Confirmed. Also, considering the tense of Lee Bong-gu's 「Hwanggakdongun(黃閣洞韻)」 and So Jin-deok, a descendant of Yanggok, 「Hwanggakdongsihoe(黃閣洞詩會)」, it is presumed that it was related to Goksuyeon(曲水宴) in Hwanggak-dong. It can be inferred that the current affairs meetings were held at least until the early days of Japanese colonial rule. Meanwhile, the maximum width of the current curved waterway was calculated as 11.3m and the transverse slope was 15.0%. If so, it is estimated that the width and extension distance of the curved waterway would have been much longer. Judging from the use of mochun(暮春), drinking and poetry, the tense 'Hwanggakdongsihoe' related to the Yusanggoksu relics in Hwanggak-dong, and the existence of a pavilion presumed to be Yusangjeong(流觴亭) called Ilgan-pavilion in the nearby Yusanggoksu site It is confirmed that it was a space where Yusanggoksuyeon(流觴曲水宴) spread at least until the end of the Joseon Dynasty. Unfortunately, it remains a limitation of the study that it cannot be confirmed due to lack of data on the rock characters of 'Yusanggoksu' and those who enjoyed it before the end of the Joseon Dynasty. This is an area that needs to be elucidated through continuous efforts to find data on this issue in the future.

Inflow at Ssangyongmun Gate During the Goryeo Dynasty and Its Identity (고려시대 쌍룡문경(雙龍紋鏡) 유입(流入)과 독자성(獨自性))

  • Choi, Juyeon
    • Korean Journal of Heritage: History & Science
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    • v.52 no.2
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    • pp.142-171
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    • 2019
  • The dragon is an imaginary animal that appears in the legends and myths of the Orient and the West. While dragons have mostly been portrayed as aggressive and as bad omens in the West, in the Orient, as they symbolize the emperor or have an auspicious meaning, dragons signify a positive meaning. In addition, as the dragon symbolizes the emperor and its type has been diversified considering it as a divine object that controls water, people have tried to express it as a figure. The records related to dragons in the Goryeo dynasty appeared with diverse topics in 'History of Goryeo' and are generally contents related to founding myths, rituals for rain, and Shinii (神異), etc. The founding myth emphasizes the legality of the Goryeo dynasty through the dragon, and this influenced the formation of the dragon's descendants. In addition, the ability to control water, which is a characteristic of the dragon, was symbolized as an earth dragon related to the rainmaking ritual, i.e., wishing for rain during times of drought. Since the dragon was the symbol of the royal family, the use of the dragon by common people was strictly restricted. Furthermore, the association of a bronze dragon mirror with the royal family is hard to be excluded. The type and quantity of bronze double dragon mirrors discovered to have existed during the Goryeo dynasty is great, and the production and the distribution of bronze mirrors with double dragons seem to have been more active compared to other bronze mirrors, as bronze mirrors with double dragons produced during Goryeo and bronze mirrors originating in China were mixed. Therefore, in this article, the characteristics of diverse bronze mirrors from the 10th century to the 14th century in China were examined. It seems that the master craftsmen who produced bronze mirrors with double dragons during the Goryeo dynasty were influenced by Chinese composition patterns when making the mirrors. Because there were many cases where a bronze mirror's country of origin could not easily be determined, in order to identify the differences between bronze double dragon mirrors produced during the Goryeo dynasty and bronze mirrors produced in China, meticulous analysis was required. Thus, to ascertain that Goryeo mirrors were not imitations of bronze mirrors with double dragons originating in China but produced independently, the mirrors were examined using the bronze double dragon mirror type classification system existing in our country. Bronze mirrors with double dragons are classified into three types: Type I, which has the style of the Yao dynasty, includes the greatest proportion; however, despite there being only a small quantity for comparison, Types II and III were selected for the analysis of the bronze mirrors with double dragons made in Goryeo because they have unique composition patterns. As mentioned above, distinguishing bronze mirrors made during Goryeo from bronze mirrors made in China is challenging because Goryeo bronze mirrors were made under the influence of China. Among them, since the manufacturing place of the bronze mirrors with double dragons found at the nine-story stone pagoda in Woljeongsa Temple in Pyeongchang is questionable and the composition pattern of the bronze mirror is hard to find on bronze mirrors with double dragons made in China, the manufacturing place of those bronze mirrors were examined. These bronze mirrors with double dragons were considered as bronze mirrors with double dragons made during the Goryeo dynasty adopting the Yao dynasty style composition pattern as aspects of the composition pattern belonged to Type I, and the detailed combination of patterns is hard to find in mirrors produced in China.

Influences of the devastated forest lands on flood damages (Observed at Chonbo and the neighbouring Mt. Jook-yop area) (황폐임야(荒廢林野)가 수해참상(水害慘狀)에 미치는 영향(影響) (천보산(天寶山)과 인접(隣接) 죽엽산(竹葉山)을 중심(中心)으로))

  • Chung, In Koo
    • Journal of Korean Society of Forest Science
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    • v.5 no.1
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    • pp.4-9
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    • 1966
  • 1. On 13 September 1964 a storm raged for 3 hours and 20 minutes with pounding heavy rainfalls, and precipitation of 287.5 mm was recorded on that day. The numerous landslides were occured in the eroded forest land neighbouring Mt. Chunbo, while no landslides recorde at all on Mt. Jookyup within the premise of Kwangnung Experiment Station, the Forest Experiment Station. 2. Small-scalled Landslides were occured in 43 different places of watershed area (21.97 ha.) in which the survey had already been done, in and around Mt. Chunbo (378 m a.s.l.). The accumulated soil amount totaled $2,146,56m^3$ due to the above mentioned landslides, while soil accumulated from riverside erosion has reached to $24,168.79m^3$, consisting of soils, stones, and pebbles. However, no landslides were reported in the Mt. Jook yup area because of dense forest covers. The ratio of the eroded soil amount accumulated from the riversides to that of watershed area was 1 to 25. On the other hand, the loss and damage in the research area of Mt. Chonbo are as follows: 28 houses completly destroyed or missing 7 houses partially destroyed 51 men were dead 5 missing, and 57 wounded. It was a terrible human disaster However, no human casualties were recorded at all, 1 house-completly destroyed and missing, 2 houses-partially destroyed. Total:3 houses were destroyed or damaged, in The area of Mt. Jookyup 3. In the calculation of the quanty of accumulated soil, the or mula of "V=1/3h ($a+{\sqrt{ab}}+b$)" was used and it showed that 24, 168.79m of soil, sands, stones and pebbles carried away. 4. Average slope of the stream stood 15 at the time of accident and well found that there was a correlation between the 87% of cross-area sufferd valley erosion and the length of eroded valley, after a study on regression and correlation of the length and cross-area. In other works, the soil erosion was and severe as we approached to the down-stream, counting at a place of average ($15^{\circ}1^{\prime}$) and below. We might draw a correlation such as "Y=ax-b" in terms of the length and cross-area of the eroded valley. 5. Sites of char-coal pits were found in the upper part of the desert-like Mt. Chunbo and a professional opinion shows that the mountain was once covered by the oak three species. Furthermore, we found that the soil of both mountains have been kept the same soil system according to a research of the soil cross-area. In other words, we can draw out the fact that, originally, the forest type and soil type of both Mt. Chunbo (378m) and Mt. Jookyup (610m) have been and are the same. However, Mt. Chunbo has been much more devastated than Mt. Jookyup, and carried away its soil nutrition to the extent that the ratios of N. $P_2O_5K_2O$ and Humus C.E.C between these two mountains are 1:10;1:5 respectively. 6. Mt. Chunbo has been mostly eroded for the past 30 years, and it consists of gravels of 2mm or larger size in the upper part of the mountain, while in the lower foot part, the sandy loam was formulated due to the fact that the gluey soil has been carried and accumulated. On the hand, Mt. Jookyup has consitantly kept the all the same forest type and sandy loam of brown colour both in the upper and lower parts. 7. As for the capability of absorbing and saturating maximum humidity by the surface soil, the ratios of wet soil to dry soil are 42.8% in the hill side and lower part of the eroded Mt. Chunbo and 28.5% in the upper part. On the contrary, Mt. Jookyup on which the forest type has not been changed, shows that the ratio in 77.4% in the hill-side and 68.2% in the upper part, approximately twice as much humidity as Mt. Chunbo. This proves the fact that the forest lands with dense forest covers are much more capable of maintaining water by wood, vegitation, and an organic material. The strength of dreventing from carring away surface soil is great due to the vigorous network of the root systems. 8. As mentioned above, the devastated forest land cause not only much greater devastation, but also human loss and property damage. We must bear in mind that the eroded forest land has taken the valuable soil, which is the very existance of origin of both human being and all creatures. As for the prescription for preventing erosion of forest land, the trees for furtilization has to be planted in the hill,side with at least reasonable amount of aertilizer, in order to restore the strength of earth soil, while in the lower part, thorough erosion control and reforestation, and establishments along the riversides have to be made, so as to restore the forest type.

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A Study of Local Festival for the China Hebeisheng (중국 하북성 마을제 연구 - 하북성조현범장이월이룡패회중룡신적여인(河北省趙縣范庄二月二龍牌會中龍神的與人) -)

  • Park, Kwang-Jun
    • Korean Journal of Heritage: History & Science
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    • v.36
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    • pp.347-377
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    • 2003
  • China is a country with large agricultural areas and subject to frequent calamities. Drought is the top of them. It has been a key problem for development of agriculture in the country. In the long struggle against drought, Chinese have accumulated many rational and irrational experiences. The Dragon Kings Belief, which is popular in North China and discussed in a thesis, is one of their irrational experiences. The belief was passed together with Buddhism from India to China in the Tang Dynasty. After it settled down, it was incorporated with the local five dragons belief and a set of beliefs in dragon kings came into existence. The emergence of the dragon kings belief ended the history that the title of rain got was not clear in China and Dragon kings finally got the status. Irrigation is the lifeblood of agriculture in China. In a Chinese mind, Dragon kings are the most important gods who take charge of rain and thus offer the lifeblood. In understanding the nature and characteristics of Chinese traditional culture, it is important for us to make clear the origin and evolution of the belief, find out its nature, function and operation. In the every year beginning of February of the Fanzhuang calendar in the people of Hebeisheng Zhaoxian, would all hold a festival to offer sacrifices to the $^{{\circ}TM}^{\prime}longpai$. Longpai was regarded as the core of the temple fair, thus the native sons came to call this festival; "longpaihui". In this region the'Fanzhuang longpaihui'developed into a well knownand grand temple fair. It was able to attract numerous pilgrims with its special magic power, occupying a place in $China^{{\circ}TM}$ 'eryueer'festival with festive dragon activities. The dragon is a common totem among Chinese nationals. The belief worship of the dragon dates from the start time of primitive societies. Dragon oneself the ancients worship's thunder lightning. In the worship of the great universe, at first afterwards this belief with the tribe's totem worships to combine to become the animal spirit. In ancient myths legends, along with folk religion and beliefs all hold a very important position. The longpaihui is a temple fair without a temple; this characteristic is a distinction between longpaihui and other temple fairs. As for longpaihui must of the early historical records are unclear. The originator of a huitou system has a kind of organized form of the special features rather, originator of a huitou not fix constant, everything follows voluntarily principle, can become member with the freedom, also can back at any time the meeting. There is a longpaihui for 'dangjiaren', is total representative director in the originator of a huitou will. 'banghui' scope particularly for extensive, come apparently every kind of buildup that help can return into the banghui, where is the person of this village or outside village of, the general cent in banghui work is clear and definite, for longpaihui would various businesses open smoothly the exhibition provides to guarantees powerfully. Fanzhuang longpaihui from the beginning of February to beginning six proceed six days totally. The longpai is used as the ancestry absolute being to exsits with the community absolute being at the same time in fanzhuang first took civil faith, in reality is a kind of method to support social machine in native folks realize together that local community that important function, it provided a space, a kind of a view to take with a relation, rising contact, communication, solidify the community contents small village, formation with fanzhuang. The fanzhuang is used as supplies for gathering town, by luck too is this local community trade exchanges center at the same time therefore can say the faith of the longpai, in addition to its people's custom, religious meaning, still have got the important and social function. Moreover matter worthy of mentioning, Longpai would in organize process, from prepare and plan the producing of meeting every kind of meeting a longpeng of the matter do, all letting person feeling is to adjust the popular support of, get the mass approbation with positive participate. Apart from the originator of a huitou excluding, those although not originator of a huitou, however enthusiasm participate the banghui of its business, also is too much for the number.

SPECIES OF CULTIVATED PORPHYRA IN KOREA (한국산 양식김의 종류)

  • KANG Jae Won
    • Korean Journal of Fisheries and Aquatic Sciences
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    • v.3 no.2
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    • pp.77-92
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    • 1970
  • Ueda, in the course of his systematic work on the lavers, Porphyra, in Japan and Korea in 1932, mentioned that most of the cultivated Porphyra belong to Porphyra tenera Kjellman. Then he, dividing the species into two forms, f. typica and f. kjellmani, put Korean cultivated Porphyra under the latter. From the 1930s to the early 1940s, Fujikawa, Kaneko and others worked on Physiological experiments or cultivational experiments of Porphyra in the culture-bed, but there was no mention about the cultivated Porphyra species. However, many fishermen generally recognize that the characteristics of cultivated Porphyra vary depending on their habitat or the picking season, and it is considered that these differences are due to the varieties of the species which are well adaptable to various environments. Recently, I have become aware of the predominant occurrence of P. yezoensis Ueda in most culture-beds of Korea as in the Tokyo Bay or other places in Japan. At present, since artificial seeding for the cultivation of Porphyra with Conchocelis has been carried out and peculiar species can be cultured, a study of the species of cultivated Porphyra has become an important subject. I collected the specimens from a number of culture-beds which are located in the legions shown in fig. 1 from January, 1968 to May, 1970 and found that there are five species, P. tenera Kjellman, P. yezoensis Ueda, P. kuniedai Kurogi, P. seriata Kjellman and P. suborbiculata Kjellman. Among them, P. kuniedai was treated as a round-type, a form of P. tenera, by Kunieda (1939) and Tanaka (1952) and the occurrence of this form is generally recognized by most fishermen. At present, as mentioned above, the most dominant species of cultivated Porphyra is P. yezoensis but the cultivation of P. tenera is restricted to certain culture-beds or the early half of the cultivation period. P. kunieda appears as a mixed species throughout most of the culture-beds, particulary in the later half of the period, while when it was picked in January it appeared dominantly in a place such as Gum-Dang where the 'Bal', splitted bamboo piece mat, was settled during the last of September. This is the first seeding process. The latter two species, P. suborbiculata and P. seriata appear frequently but in small amounts in the later half of the period particulary in the western region of the southern coast. However, it can not be ascertained when P. yezoensis becomes predominant, because specimens have not been available up until recent years but the process can be described as follows: We commonly recognize the ecological characteristics of P. tenera as follows; First, the conchospores of the species develop earlier and the period of its discharge is shorter than those of P. yezoensis; second, the microscopical buds discharge neutral spores which develop into new buds directly and buds develop repeatedly through a short period. Consequently, according to such above ecological characteristics, the species can grow thick on the 'Bal' exclusively. However, buds may disappear when they are harmed by disease such a 'infection by certain parasites or by other unusual environmental conditions. Thus P. yezoensis are enabled to grow on the 'Bal' instead of the former species since they not only develop later than the former but also macroscopical fronds discharge the neutral spore throughout the period from October to May. Likewise, if any disease appears in the culture-bed ill the later half of the period, the former is more severely damaged than the latter because the former have less resistance to the disease than the latter. Thus fewer frond survive and fewer carpospores which are the origin of the next generation can be discharged. However the latter by their nature can continue growing until early summer. In the case of the culture-bed where the above phenomenon occurs repeatedly P. yezoensis gradually may become the dominant species among cultivated Porphyra. In support of the validity of this process we find that according to the description and the plate of Wada (1941), P. tenera, P. yezoensis and P. kuniedai grow together in the culture-bed at the mouth of the Nakdong River where P. yezoensis occurs predominantly and mixed with P. kuniedai.

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