• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.3
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• pp.33-41
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• 2021

This study identified the scale that traditional landscape design has taken up by analyzing a total of 1037 services for design of cultural heritage that had been ordered by the government agencies from 2018 to 2020, and has drawn characteristics of traditional landscape design focusing on major cases. The results are as follows. First, the number of order cases for traditional landscape design has shown differences annually in the services of design of cultural heritage, but the design amount has been found to have the similar average annually, which confirmed that the same level has been maintained each year. It was found that the number of cases of traditional landscape design requiring responsibilities or participations of landscape engineers for 3 years in the entire design had a high proportion of approximately 26%. Second, the traditional landscape design has required professional knowledge and experiences of landscape engineers that could not be replaced by the business operator for design of cultural heritage consisting of architects. The expertise has been shown differently depending on types of construction. First, the topographical design for the work to build a foundation has required understanding of ground shapes and its elevations and professional knowledge on calculation of the amount of the earth work and the remains maintenance technique etc. The plantation design has required basic knowledge on growth characteristics of trees and the environment for growth and understanding of the vegetation landscape of the past. Meanwhile, the design for traditional pavement and traditional landscape structures and facilities has required the expertise on traditional materials that are different from the modern ones and their processing and construction methods. The understanding of changes to water paths and ecosystem, the principles of fluids, and characteristics of each type of fluid was essential for the design for the ecological landscape work including the maintenance of a water system such as rivers etc. As such, the traditional landscape design has a scale accounting for approximately one fourth of the entire cultural heritage design and requires the expertise differentiated from other fields. This improves the provisions of the current law on limiting the actual design, suggesting the need for the establishment of a traditional landscape design company so that all traditional landscape designs can be carried out by landscape engineers.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.130-153
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• 2020

Using stylistic analysis and historical documents, this paper examines the production details of images enshrined in Myeongbujeon (Hall of the Underworld) at Magoksa Temple in Gongju, focusing on the wooden seated Ksitigarbha Bodhisattva and the stone Ten Kings of Hell. Inside Myeongbujeon, the wooden seated Ksitigarbha Bodhisattva is placed at the center, flanked by standing images of Mudokgwiwang and Domyeong-jonja, with images of the Ten Kings and their attendants along the walls. All of these images were transferred to Magoksa Temple in the latter half of the 1930s. The wooden seated Ksitigarbha Bodhisattva came from Jeonghyesa Temple in Cheongyang, the other sculptures came from Sinheungsa Temple in Imsil, and a painting of the Ten Kings came from Jeongtosa Temple in Nonsan. The wooden seated Ksitigarbha Bodhisattva is known to have been produced in 1677, around the same time as the stone sculptures of the Ten Kings. A close analysis of the details of the bodhisattva sculpture-including the facial features, body proportions, and drapery characteristics-strongly suggests that it was produced in the 1620s or 1630s by the monk sculptor Suyeon (who was active in the early half of the seventeenth century) or his disciples. In particular, the rendering of the drapery on the lower half of the body closely resembles Buddhist sculptures produced by Suyeon that are now enshrined at Bongseosa Temple in Seocheon (produced in 1619) and at Sungnimsa Temple in Iksan (produced at Bocheonsa Temple in Okgu in 1634). According to the votive inscription, the stone sculptures of the Ten Kings and their attendants were produced in 1677 under the supervision of the monk sculptor Seongil. However, these are the only known Buddhist images produced under Seongil, and no details about other monks involved in the production have ever been found, making it difficult to speculate about their lineage. Historical records do suggest that Seongil worked on other projects to produce or repair sculptures with disciples of the monk sculptors Hyehi or Unhye, indicating amicable relations between the two groups. Unlike most such images in the Honam or Yeongseo regions, the Ten Kings at Magoksa Temple are made from stone, rather than wood or clay. Also, the overall form and the drapery conform to statues of the Ten Kings that were popularly produced in the Yeongnam region. Thus, the images are believed to be the work of monks who were primarily active in Yeongnam, rather than Honam. In the future, a systematic investigation of wooden seated Ksitigarbha Bodhisattva images and stone Ten Kings of Hell images produced in the Chungnam region could illuminate more details about the production of the images at Magoksa Temple, and perhaps shed light on the conditions that led to the production of stone Buddhist sculptures in the Honam area during the late seventeenth century.

• (The) Research of the performance art and culture
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• no.35
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• pp.9-59
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• 2017

This article describes the entertainment business system from 1907 to the first half of the 1920's. The entertainment business began at the time of Empire of Korea with the Imperial Theater called Hyeomnyulsa, which was supported by the emperor's authority and national system and run by the imperial court, especially Gungnaebu. However, after closing the imperial theater, many commercial theaters have been born since 1907, the role of the subject who dominate the entertainment business has been subdivided into financialist and agent. The financialist was replaced by civilians and the capacity of the agent has been strengthened after the introduction of Yeongeukgaeryanglon. In this condition the entertainment business had to be rationalized. In addition, before and after 1912, as the businessmen took part in the entertainment business instead of the government officials and social leaders, the role of entertainment business developed and became equipped with a modern system. Financialist who utilized economic capital was subdivided into the proprietor of a theater, investors, and bosses in the process of mobilizing the necessary funds for the construction, renovation, and repair of the theater, and agents who used cultural capital to practice and maintain performances, on the other hand played a role in expanding the diversity of the show in and outside the theater. In the theatre there was Chongmoo, Johapjang, Chwiche, and Jwadang of Gisaengjohaps, Sinpageukdans, Gyeongseonggupabaeujohap and various XXX Ilhaeng were outside the theater. They participated in the their own way. The financialist and agent used to set up cooperative relations and conflicts. The entertainment business was deepened and developed in the process of resolving the conflicts. However, Performance market could not grow as well as the possibility of a system equipped after 1915. This is because the Japanese imperialists limited the growth of the economic capital and cultural capital of the Koreans and even the composition of social capital. For this reason, Chosun's entertainment business system has grown in proportion to the absolute growth of the box office industry, but it has not developed as much as its potential capacity.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.74-85
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• 2020

Darangnon in Gachon Village, Namhae-gun, Gyeongsangnam-do, is the first designated environment among Korea's industrial-based historical and cultural sites and is still the only one that involves agricultural activities. Although the stonework, which is the infrastructure environment here, has limitations that inevitably lead to natural and artificial deformation due to its nature, there has been no research to consider the situation so far. As of the end of May 2020, this study investigated and analyzed the damage in the sub-area of the survey, which is approximately 30% of the scope of the designation of the scenic spot, from a quantitative and qualitative perspective. As a result of the study, the state of loss, which reveals the physical damage of the arctic rice paddy stone retaining wall in the environment under investigation, was particularly serious around the coast, in the northern area with high slopes, and near tourist information centers and parking lots. On the other hand, the qualitative aspect of the damage to the stonework was noticeable in the repair of heterogeneous materials on the stone retaining wall adjacent to the village and parking lot, and the landscape damage caused by the cladding of plants was found in an environment far away from the residence. In addition, natural environmental factors such as slopes, elevations, and soil showed a close relationship with the degree of physical damage of the stone retaining wall, the higher the slope, the higher the elevation, and the better the soil drainage, the greater the impact. These results suggest that humanities environmental factors such as cultivation activities and management entities have important factors in the physical damage and management of stone retaining wall. Therefore, it is deemed essential to find management measures with local residents along with improving the agricultural environment, such as securing agricultural water and soil improvement, for the preservation of tuna paddies and stone retaining wall in the future.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.3
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• pp.1-10
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• 2021

This study aimed to evaluate preferences of Bukhansan dulegil using sentiment analysis, a natural language processing technique, to derive preferred and non-preferred factors. Therefore, we collected blog articles written in 2019 and produced sentimental scores by the derivation of positive and negative words in the texts for 21 dulegil courses. Then, content analysis was conducted to determine which factors led visitors to prefer or dislike each course. In blogs written about Bukhansan dulegil, positive words appeared in approximately 73% of the content, and the percentage of positive documents was significantly higher than that of negative documents for each course. Through this, it can be seen that visitors generally had positive sentiments toward Bukhansan dulegil. Nevertheless, according to the sentiment score analysis, all 21 dulegil courses belonged to both the preferred and non-preferred courses. Among courses, visitors preferred less difficult courses, in which they could walk without a burden, and in which various landscape elements (visual, auditory, olfactory, etc.) were harmonious yet distinct. Furthermore, they preferred courses with various landscapes and landscape sequences. Additionally, visitors appreciated the presence of viewpoints, such as observation decks, as a significant factor and preferred courses with excellent accessibility and information provisions, such as information boards. Conversely, the dissatisfaction with the dulegil courses was due to noise caused by adjacent roads, excessive urban areas, and the inequality or difficulty of the course which was primarily attributed to insufficient information on the landscape or section of the course. The results of this study can serve not only serve as a guide in national parks but also in the management of nearby forest green areas to formulate a plan to repair and improve dulegil. Further, the sentiment analysis used in this study is meaningful in that it can continuously monitor actual users' responses towards natural areas. However, since it was evaluated based on a predefined sentiment dictionary, continuous updates are needed. Additionally, since there is a tendency to share positive content rather than negative views due to the nature of social media, it is necessary to compare and review the results of analysis, such as with on-site surveys.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.168-184
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• 2022

This paper examined the construction techniques of the earthen fortifications in the Hanseong Period of Baekje Kingdom, which has been researched most frequently among the Three Kingdoms. The construction processes of the Earthen Fortifications were reviewed and dividing into 'selection of location and construction of the base', 'construction of the wall', and 'finish, extension and repair'. The results show that various techniques were mobilized for building these earthen fortifications. Techniques which were adequate for the topography were utilized for reinforcing the base, and several other techniques were used for constructing the wall. In particular, techniques for wall construction may be clearly divided into those of the fill(盛土) and panchuk(版築) techniques. The fill method has been assumed since the 2000s to have been more efficient than the panchuk technique. This method never uses the structure of the panchuk technique and is characterized by a complex soil layer line, an alternate fill, use of 'earth mound(土堤)'/'clay clod(土塊)', and junctions of oval fill units. The fill method allows us to understand active technological sharing and application among the embankment structures in the period of the Three Kingdoms. The panchuk technique is used to construct a wall using a stamped earthen structure. This technique is divided into types B1 and B2 according to the height, scale, and extension method of the structure. Type B1 precedes B2, which was introduced in the late Hanseong Period. Staring with the Pungnap Earthen Fortification in Seoul, the panchuk technique seems to have spread throughout South Korea. The techniques of the fill and panchuk techniques coexisted at the time when they appeared, but panchuk earthen fortifications gradually dominated. Both techniques have completely different methods for the soil layers, and they have opposite orders of construction. Accordingly, it is assumed that both have different technical systems. The construction techniques of the earthen fortifications began from the Hanseong Period of Baekje Kingdom and were handed down and developed until the Woongjin-Sabi Periods. In the process, it seems that there existed active interactions with other nations. Recently, since studies of the earthen fortifications have been increasing mainly in the southern areas, it is expected that comparative analysis with neighboring countries will be done intensively.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.243-263
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• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

• Korean Journal of Environment and Ecology
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• v.36 no.4
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• pp.390-401
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• 2022

This study investigated the characteristics of fish communities and inhabiting status of endangered species in the Bukcheon (Stream) of Seoraksan National Park, Korea from April to September 2020. A total of 4,356 fish of 7 families and 22 species were collected from 17 survey stations during the survey period. The dominant species was Zacco koreanus (relative abundance, 41.8%), and subdominant species was Rhynchocypris kumgangensis (relative abundance, 15.1%), followed by Pungtungia herzi (10.1%), Pseudopungtungia tenuicorpa (5.0%), Coreoleuciscus splendidus (4.1%), Zacco platypus (3.8%), Microphysogobio longidorsalis (3.5%), and Hemibarbus mylodon (2.2%). Among the fish species collected, 14 species (63.6%) were identified as Korean endemic species. There was one natural monument species (Hemibarbus mylodon), and four species of class II endangered wildlife that were designated by the Ministry of Environment (Acheilognathus signifer, Pseudopungtungi tenuicorpa, Gobiobotia brevibarba, and Brachymystax lenok tsinlingensis). Among the four species of class II endangered wildlife, B. lenok tsinlingensis inhabited in the upper stream, and A. signifer, P. tenuicorpa and G. brevibarba inhabited mainly in the middle-lower stream. Also, P. tenuicorpa, H. mylodon, and B. lenok tsinlingensis were inhabited in large numbers. Additionally, two cold-water fish species (R. kumgangensis and B. lenok tsinlingensis) and one landlocked species (B. lenok tsinlingensis) were collected. According to the results of cluster analysis, the dominance index decreased from upstream to downstream, but the diversity, evenness, and richness index increased; the cluster structure was divided into the uppermost, upstream, midstream, and downstream. The water quality of Bukcheon was evaluated as good overall since the river health (index of biological integrity) evaluated using fish was evaluated as very good (11 stations), good (2 stations), and normal (4 stations). However, river repair work was being carried out in some areas and some wastewater was flowing in from the midstream, therefore, supplementary measures to preserve fish habitats are required.

• Journal of the Korean Orthopaedic Association
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• v.56 no.6
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• pp.504-511
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• 2021

Purpose: This study examined the difference between the drainage volume, blood loss, transfusion rate, volume, and complications with or without an intra-articular (IA) tranexamic acid (TXA) injection among patients who underwent simultaneous bilateral total knee arthroplasty (SBTKA) with bilateral knee joint osteoarthritis, including patients who have contraindications of intravenous administration. Materials and Methods: Among patients who underwent SBTKA from April 2016 to December 2018, 139 patients injected with 3 g of TXA in each side through a drainage tube after joint capsule repair (group T), and 57 patients (group A) who underwent the procedure without TXA between October 2007 and August 2010 were tested. No significant difference in age and sex was observed between the two groups (p=0.572, 0.474). TXA was injected in patients with contraindications of intravenous administrations. Patients who underwent SBTKA with inflammatory arthritis were excluded from this study. The average amount of drainage, blood loss, transfusion rate, volume and daily average transfusion rate, and hemoglobin (Hb) change by the postoperative day were compared. Complications, such as deep vein thrombosis, pulmonary thromboembolism, myocardial infarction, cerebral infarction, and infection, were investigated. Results: The average total blood losses in groups A and T were 2195.32±1175.63 ml and 1145.09±382.95 ml, respectively, and the average total drain volume was 1,178.30±48.59 ml and 774.19±310.06 ml, respectively; both were significantly lower in group T (p=0.002, <0.001). The transfusion rates were 77.2% (44/57) and 0.7% (1/139), which were significantly lower in group T (p<0.001). The total average transfusion volume in groups A and T were 735.44±550.83 ml and 4.60±54.28 ml, respectively, which were significantly lower in group T (p<0.001). Hb tended to increase for three or four days after surgery in group A and group T. Regarding complications, deep vein thrombosis was encountered in two cases (1.4%), and pulmonary thromboembolism was noted in three cases (2.2%) in group T, but there were no cases in group A. No infections, cerebral infarction, or myocardial infarction occurred. Conclusion: In SBTKA, IA injections of TXA reduced the average drain volume, blood loss, transfusion rate, and volume significantly and did not increase the incidence of complications, even in patients with contraindications of intravenous administration.

• Journal of the Korean Orthopaedic Association
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• v.55 no.3
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• pp.253-260
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• 2020

Purpose: Soft tissue defects of the distal lower extremity are commonly accompanied by a fracture of the lower extremities. Theses defects are caused by the injury itself or by complications associated with surgical treatment of the fracture, which poses challenging problem. The reverse superficial sural artery flap (RSSAF) is a popular option for these difficult wounds. This paper reviews these cases and reports the clinical results. Materials and Methods: Between August 2003 and April 2018, patients who were treated with RSSAF for soft tissue defects of the lower third of the leg and ankle related to a fracture were reviewed. A total of 16 patients were involved and the mean follow-up period was 18 months. Eight cases (50.0%) of the defects were due to an open fracture, whereas the other eight cases (50.0%) were postoperative complication after closed fracture. The largest flap measured 10×15 cm² and the mean size of the donor sites was 51.9 cm². The flap survival and postoperative complications were evaluated. Results: All flaps survived without complete necrosis or failure. One case with partial necrosis of the flap was encountered, but the wound healed after debridement and repair. One case had a hematoma with a pseudoaneurysmal rupture of the distal tibial artery. On the other hand, the flap was intact and the wound healed after arterial ligation and flap advancement. A debulking operation was performed on three cases for cosmetic reasons and implant removal through the flap was performed in three cases. No flap necrosis was encountered after these additional operations. Conclusion: RSSAF is a relatively simple and safe procedure for reconstructing soft tissue defects following a fracture of the lower extremity that does not require microsurgical anastomosis. This can be a useful treatment option for soft tissue defects on the distal leg, ankle, and foot.