• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.49-56
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• 2023

This study analyzes the entirety of Okhojeongdo's content found in the Punggojip, written by Kim Jo-Sun, who created Okhojeong. Through an examination of the literature confirming Okhojeong within the Punggojip, the study compares the existing research with the Okhojeongdo's content. Additionally, it clarifies the relationships between the disciple, the garden, and related historical facts. The results are as follows. First, Kim Jo-Sun, who created Okhojeong, had a strong literary inclination, which made it relatively easy to estimate the original form of the garden, as he expressed detailed content related to the design and management of the garden. Second, the historical dating of the creation of Okhojeong was previously estimated to be around 1815 based on the inscriptions on the Eulhaebyeok. However, it is more appropriate to revise this to 1804, as revealed by Lee Sung-min, who discovered records in Dongseonggyoyeojip, indicating that Kim Jo-Sun purchased the Jang's house. Third, Kim Jo-Sun's literary hobby, as depicted in Punggojip, closely followed Chinese classics. However, the part about creating the garden is supported by factual and garden archaeological records, giving it inherent value. Regarding the expansion of the garden site, it is estimated that the southern boundary of Okhojeong was extended by about half a unit(kan; 間) through a transfer from Kim saeng Saho. Various additions, stone statues, peculiar rocks, ornamental trees, and accompanying elements are found throughout the garden. Particularly noteworthy are the techniques and aesthetics of creating a stone pagoda, and there are mentions of transplanting young pine trees with professional insights. The love for harmony and elegance in the garden is woven throughout the poetry. Additionally, the process of selecting the location for Okhojeong, the understanding of the terrain and topography, the assessment of existing vegetation, the process of cutting down trees and selecting the soil, the construction of houses with tiles and thatched roofs all contribute to demonstrating the comprehensive stages of creating Okhojeong, providing insight into the location and construction process of the Sanbanru pavilion, showcasing the archaeological value of the garden. A follow-up study is needed to excavate more information about the original form of Okhojeong garden through the interpretation of the collections of the literary works of the influential figures introduced in Punggojip in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.3
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• pp.13-26
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• 2023

Landscapes and gardens have emerged as an important medium of practice in contemporary cities. Among them, this paper examines the city through the frame of gardens. This is because gardens are being reconceptualized as a medium of activity for urban residents and have become an important subject of action in urban regeneration and the creation of urban villages. From this perspective, this paper examines and proposes an "integrated garden city theory" as a landscape theory suitable for the contemporary era by focusing on the urban structure and the behavior of urban residents through the medium of gardens, as well as the process and results. This is both a process and a result of looking back at the evolution of landscape for over a century and rethinking the identity of landscape. We first examined garden city theory, noting that Ebenezer Howard and Frederick Law Olmsted's positions on the relationship between gardens and cities were not so different, and that "working and responsive landscapes" were fundamental to cities and the beginning of landscape theory. We also examine how their ideals have not been fully realized in cities over the past century, but the prototype of gardens based on traditional garden culture is now being formed in East Asian cities, and the evolution of landscape theory in response. The conclusion is that a new version of the garden concept should be reestablished as a living infrastructure in our cities, and a new garden city theory is needed to make it work. To this end, each chapter examines three arguments, as follows First, the values of gardens and East Asian garden cultures in contemporary cities are shaped by the themes of community and integrity. Second, Korean communality, represented by apartments, is expressed through gardening and requires the reconciliation of city and life and the role of landscape architecture as a specialized field to support it. Third, we examine and consider an integrated garden city theory as a theory of practice in which city-based, everyday life, and garden mediums, i.e., city, life, and garden, are organic, based on an oriental view of nature. As a result, it is confirmed that contemporary gardens and cities are looking for important elements and values that still need to be rediscovered in East Asian landscape and garden cultures. Although the proposal of an integrated garden city theory cannot guarantee the continuation of landscaping, it can be an opportunity for all fields related to cities, not just landscaping, to collaborate and consider garden cities. Through this, it is hoped that "the concept of garden and city suitable for metropolitan or dense cities, ways to spread and support garden culture based on community, evolution of landscape theory/design theory suitable for lifestyle and terrain conditions, search for sustainable/resilient garden city theory that can respond to climate change, and establishing a new role for landscape in the 21st century" will be seriously considered.

• Journal of the Korean earth science society
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• v.45 no.1
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• pp.1-18
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• 2024

This study analyzed the effect of warming on PM_2.5 aerosol production in mid-latitude East Asia during June 2020 using PM_2.5 aerosol anomalies, which were identified by incorporating meteorological and climate data into the Weather Research Forecasting model coupled with Chemistry (WRF-Chem) model. The decadal temperature change trend over a 30-year period (1991-2020) in East Asia showed that recent warming has been greater in summer than in winter. Summer warming in East Asia generated low and high pressure in the lower and upper troposphere, respectively, over China. The boundary between the lower tropospheric low and upper tropospheric high pressure sloped along the terrain from the Tibetan Plateau to Korea. The eastern China, Yellow Sea, and Korean regions experienced a convergence of warm and humid southwesterly airflows originating from the East China Sea with the development of a northwesterly Pacific high pressure. In June 2020, the highest temperatures were observed since 1973 in Korea. Meanwhile, enhanced warming in East Asia increased the production of PM_2.5 aerosols that travelled long distances from eastern China to Korea. PM_2.5 anomalies, which were derived solely by inputting meteorological and climatic data (1991-2020) into the WRF-Chem model and excluding emission variations, showed a positive distribution extending from eastern China to South Korea across the Yellow Sea as well as over the Pacific Northwest. Thus, the contribution of warming to PM_2.5 aerosols in East Asia during June 2020 was more than 50%. In particular, PM_2.5 aerosols were transported from eastern China to Korea through the Yellow Sea, where the warm and humid southwesterly airflows implied wet scavenging of sulfate but promoted nitrate production.

• Korean Journal of Remote Sensing
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• v.40 no.4
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• pp.351-361
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• 2024

Satellite imagery contains various elements such as clouds, cloud shadows, and terrain shadows. Accurately identifying and eliminating these factors that complicate satellite image analysis is essential for maintaining the reliability of remote sensing imagery. For this reason, satellites such as Landsat-8, Sentinel-2, and Compact Advanced Satellite 500-1 (CAS500-1) provide Usable Data Masks(UDMs)with images as part of their Analysis Ready Data (ARD) product. Precise detection of clouds and their shadows is crucial for the accurate construction of these UDMs. Existing cloud and their shadow detection methods are categorized into threshold-based methods and Artificial Intelligence (AI)-based methods. Recently, AI-based methods, particularly deep learning networks, have been preferred due to their advantage in handling large datasets. This study aims to analyze the applicability of constructing UDMs for high-resolution satellite images through deep learning-based cloud and their shadow detection using open-source datasets. To validate the performance of the deep learning network, we compared the detection results generated by the network with pre-existing UDMs from Landsat-8, Sentinel-2, and CAS500-1 satellite images. The results demonstrated that high accuracy in the detection outcomes produced by the deep learning network. Additionally, we applied the network to detect cloud and their shadow in KOMPSAT-3/3A images, which do not provide UDMs. The experiment confirmed that the deep learning network effectively detected cloud and their shadow in high-resolution satellite images. Through this, we could demonstrate the applicability that UDM data for high-resolution satellite imagery can be constructed using the deep learning network.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.93-106
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• 2014

In this study, Analyze environment of location, investigation into vegetation resources, survey management status and establish to classify the management area for Natural monument No.374 Pyengdae-ri Torreya nucifera forest. The results were as follows: First, Torreya nucifera forest is concerned about influence of development caused by utilization of land changes to agricultural region. Thus, establish to preservation management plan for preservation of prototypical and should be excluded development activity to cause the change of terrain that Gotjawal in the Torreya nucifera forest is factor of base for generating species diversity. Secondly, Torreya nucifera forest summarized as 402 taxa composed 91 familly 263 genus, 353 species, 41 varieties and 8 forms. The distribution of plants for the first grade & second grade appear of endangered plant to Ministry of Environment specify. But, critically endangered in forest by changes in habitat, diseases and illegal overcatching. Therefore, when establishing forest management plan should be considered for put priority on protection. Thirdly, Torreya nucifera representing the upper layer of the vegetation structure. But, old tree oriented management and conservation strategy result in poor age structure. Furthermore, desiccation of forest on artificial management and decline in Torreya nucifera habitat on ecological succession can indicate a problem in forest. Therefore, establish plan such as regulation of population density and sapling tree proliferation for sustainable characteristics of the Torreya nucifera forest. Fourth, Appear to damaged of trails caused by use. Especially, Scoria way occurs a lot of damaged and higher than the share ratio of each section. Therefore, share ratio reduction Plan should be considered through the additional development of tourism routes rather than the replacement of Scoria. Fifth, Representing high preference of the Torreya nucifera forest tourist factor confirmed the plant elements. It is sensitive to usage pressure. And requires continuous monitoring by characteristic of Non-permanent. In addition, need an additional plan such as additional development of tourism elements and active utilizing an element of high preference. Sixth, Strength of protected should be differently accordance with importance. First grade area have to maintenance of plant population and natural habitats. Set the direction of the management. Second grade areas focus on annual regeneration of the forest. Third grade area should be utilized demonstration forest or set to the area for proliferate sapling. Fourth grade areas require the introduced of partial rest system that disturbance are often found in proper vegetation. Fifth grade area appropriate to the service area for promoting tourism by utilizing natural resources in Torreya nucifera forest. Furthermore, installation of a buffer zone in relatively low ratings area and periodic monitoring to the improvement of edge effect that adjacent areas of different class.

• Korean Journal of Remote Sensing
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• v.36 no.5_2
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• pp.867-879
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• 2020

As the era of space technology utilization is approaching, the launch of CAS (Compact Advanced Satellite) 500-1/2 satellites is scheduled during 2021 for acquisition of high-resolution images. Accordingly, the increase of image usability and processing efficiency has been emphasized as key design concepts of the CAS 500-1/2 ground station. In this regard, "CAS 500-1/2 Image Acquisition and Utilization Technology Development" project has been carried out to develop core technologies and processing systems for CAS 500-1/2 data collecting, processing, managing and distributing. In this paper, we introduce the results of the above project. We developed an operation system to generate precision images automatically with GCP (Ground Control Point) chip DB (Database) and DEM (Digital Elevation Model) DB over the entire Korean peninsula. We also developed the system to produce ortho-rectified images indexed to 1:5,000 map grids, and hence set a foundation for ARD (Analysis Ready Data)system. In addition, we linked various application software to the operation system and systematically produce mosaic images, DSM (Digital Surface Model)/DTM (Digital Terrain Model), spatial feature thematic map, and change detection thematic map. The major contribution of the developed system and technologies includes that precision images are to be automatically generated using GCP chip DB for the first time in Korea and the various utilization product technologies incorporated into the operation system of a satellite ground station. The developed operation system has been installed on Korea Land Observation Satellite Information Center of the NGII (National Geographic Information Institute). We expect the system to contribute greatly to the center's work and provide a standard for future ground station systems of earth observation satellites.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.123-154
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• 2019

Ancestral Burial Ground on the Inwangsan Mountain is a ten-panel folding screen with images and postscripts. Commissioned by Bak Gyeong-bin (dates unknown), this screen was painted by Jo Jung-muk (1820-after 1894) in 1868. The postscripts were written by Hong Seon-ju (dates unknown). The National Museum of Korea restored this painting, which had been housed in the museum on separate sheets, to its original folding screen format. The museum also opened the screen to the public for the first time at the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea held from July 23 to September 22, 2019. Ancestral Burial Ground on the Inwangsan Mountain depicts real scenery on the western slopes of Inwangsan Mountain spanning present-day Hongje-dong and Hongeun-dong in Seodaemun-gu, Seoul. In the distance, the Bukhansan Mountain ridges are illustrated. The painting also bears place names, including Inwangsan Mountain, Chumohyeon Hill, Hongjewon Inn, Samgaksan Mountain, Daenammun Gate, and Mireukdang Hall. The names and depictions of these places show similarities to those found on late Joseon maps. Jo Jung-muk is thought to have studied the geographical information marked on maps so as to illustrate a broad landscape in this painting. Field trips to the real scenery depicted in the painting have revealed that Jo exaggerated or omitted natural features and blended and arranged them into a row for the purposes of the horizontal picture plane. Jo Jung-muk was a painter proficient at drawing conventional landscapes in the style of the Southern School of Chinese painting. Details in Ancestral Burial Ground on the Inwangsan Mountain reflect the painting style of the School of Four Wangs. Jo also applied a more decorative style to some areas. The nineteenth-century court painters of the Dohwaseo(Royal Bureau of Painting), including Jo, employed such decorative painting styles by drawing houses based on painting manuals, applying dots formed like sprinkled black pepper to depict mounds of earth and illustrating flowers by dotted thick pigment. Moreover, Ancestral Burial Ground on the Inwangsan Mountain shows the individualistic style of Jeong Seon(1676~1759) in the rocks drawn with sweeping brushstrokes in dark ink, the massiveness of the mountain terrain, and the pine trees simply depicted using horizontal brushstrokes. Jo Jung-muk is presumed to have borrowed the authority and styles of Jeong Seon, who was well-known for his real scenery landscapes of Inwangsan Mountain. Nonetheless, the painting lacks an spontaneous sense of space and fails in conveying an impression of actual sites. Additionally, the excessively grand screen does not allow Jo Jung-muk to fully express his own style. In Ancestral Burial Ground on the Inwangsan Mountain, the texts of the postscripts nicely correspond to the images depicted. Their contents can be divided into six parts: (1) the occupant of the tomb and the reason for its relocation; (2) the location and geomancy of the tomb; (3) memorial services held at the tomb and mysterious responses received during the memorial services; (4) cooperation among villagers to manage the tomb; (5) the filial piety of Bak Gyeong-bin, who commissioned the painting and guarded the tomb; and (6) significance of the postscripts. The second part in particular is faithfully depicted in the painting since it can easily be visualized. According to the fifth part revealing the motive for the production of the painting, the commissioner Bak Gyeongbin was satisfied with the painting, stating that "it appears impeccable and is just as if the tomb were newly built." The composition of the natural features in a row as if explaining each one lacks painterly beauty, but it does succeed in providing information on the geomantic topography of the gravesite. A fair number of the existing depictions of gravesites are woodblock prints of family gravesites produced after the eighteenth century. Most of these are included in genealogical records and anthologies. According to sixteenth- and seventeenth-century historical records, hanging scrolls of family gravesites served as objects of worship. Bowing in front of these paintings was considered a substitute ritual when descendants could not physically be present to maintain their parents' or other ancestors' tombs. Han Hyo-won (1468-1534) and Jo Sil-gul (1591-1658) commissioned the production of family burial ground paintings and asked distinguished figures of the time to write a preface for the paintings, thus showing off their filial piety. Such examples are considered precedents for Ancestral Burial Ground on the Inwangsan Mountain. Hermitage of the Recluse Seokjeong in a private collection and Old Villa in Hwagae County at the National Museum of Korea are not paintings of family gravesites. However, they serve as references for seventeenth-century paintings depicting family gravesites in that they are hanging scrolls in the style of the paintings of literary gatherings and they illustrate geomancy. As an object of worship, Ancestral Burial Ground on the Inwangsan Mountain recalls a portrait. As indicated in the postscripts, the painting made Bak Gyeong-bin "feel like hearing his father's cough and seeing his attitudes and behaviors with my eyes." The fable of Xu Xiaosu, who gazed at the portrait of his father day and night, is reflected in this gravesite painting evoking a deceased parent. It is still unclear why Bak Gyeong-bin commissioned Ancestral Burial Ground on the Inwangsan Mountain to be produced as a real scenery landscape in the folding screen format rather than a hanging scroll or woodblock print, the conventional formats for a family gravesite paintings. In the nineteenth century, commoners came to produce numerous folding screens for use during the four rites of coming of age, marriage, burial, and ancestral rituals. However, they did not always use the screens in accordance with the nature of these rites. In the Ancestral Burial Ground on the Inwangsan Mountain, the real scenery landscape appears to have been emphasized more than the image of the gravesite in order to allow the screen to be applied during different rituals or for use to decorate space. The burial mound, which should be the essence of Ancestral Burial Ground on the Inwangsan Mountain, might have been obscured in order to hide its violation of the prohibition on the construction of tombs on the four mountains around the capital. At the western foot of Inwangsan Mountain, which was illustrated in this painting, the construction of tombs was forbidden. In 1832, a tomb discovered illegally built on the forbidden area was immediately dug up and the related people were severely punished. This indicates that the prohibition was effective until the mid-nineteenth century. The postscripts on the Ancestral Burial Ground on the Inwangsan Mountain document in detail Bak Gyeong-bin's efforts to obtain the land as a burial site. The help and connivance of villagers were necessary to use the burial site, probably because constructing tombs within the prohibited area was a burden on the family and villagers. Seokpajeong Pavilion by Yi Han-cheol (1808~1880), currently housed at the Los Angeles County Museum of Art, is another real scenery landscape in the format of a folding screen that is contemporaneous and comparable with Ancestral Burial Ground on the Inwangsan Mountain. In 1861 when Seokpajeong Pavilion was created, both Yi Han-cheol and Jo Jung-muk participated in the production of a portrait of King Cheoljong. Thus, it is highly probable that Jo Jung-muk may have observed the painting process of Yi's Seokpajeong Pavilion. A few years later, when Jo Jungmuk was commissioned to produce Ancestral Burial Ground on the Inwangsan Mountain, his experience with the impressive real scenery landscape of the Seokpajeong Pavilion screen could have been reflected in his work. The difference in the painting style between these two paintings is presumed to be a result of the tastes and purposes of the commissioners. Since Ancestral Burial Ground on the Inwangsan Mountain contains the multilayered structure of a real scenery landscape and family gravesite, it seems to have been perceived in myriad different ways depending on the viewer's level of knowledge, closeness to the commissioner, or viewing time. In the postscripts to the painting, the name and nickname of the tomb occupant as well as the place of his surname are not recorded. He is simply referred to as "Mister Bak." Biographical information about the commissioner Bak Gyeong-bin is also unavailable. However, given that his family did not enter government service, he is thought to have been a person of low standing who could not become a member of the ruling elite despite financial wherewithal. Moreover, it is hard to perceive Hong Seon-ju, who wrote the postscripts, as a member of the nobility. He might have been a low-level administrative official who belonged to the Gyeongajeon, as documented in the Seungjeongwon ilgi (Daily Records of Royal Secretariat of the Joseon Dynasty). Bak Gyeong-bin is presumed to have moved the tomb of his father to a propitious site and commissioned Ancestral Burial Ground on the Inwangsan Mountain to stress his filial piety, a conservative value, out of his desire to enter the upper class. However, Ancestral Burial Ground on the Inwangsan Mountain failed to live up to its original purpose and ended up as a contradictory image due to its multiple applications and the concern over the exposure of the violation of the prohibition on the construction of tombs on the prohibited area. Forty-seven years after its production, this screen became a part of the collection at the Royal Yi Household Museum with each panel being separated. This suggests that Bak Gyeong-bin's dream of bringing fortune and raising his family's social status by selecting a propitious gravesite did not come true.