• Korean Journal of Environmental Biology
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• v.22 no.1
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• pp.101-110
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• 2004

The growth and niche breath of four species, i.e., native plants such as Bidens tripauita and B. bipinnata and naturalized plants such as B. frondosa and B. pilosa var. minor, were studied as related with environmental gradients including light intensity, soil moisture and soil nutrient. There were no significant differences in the phonology within each environmental gradients while considerable differences were found between species; the two naturalized species bloomed and produced fruit later than the two native species. Two naturalized species exhibited relatively higher total dry weight than the two native counterparts within all environmental gradients. Total dry weight showed positive responses to light intensity and soil moisture, and negatively to soil nutrient. The relative contribution of the environmental factors to total dry weight decreased in the order of soil nutrient, soil moisture and light intensity. Both B. bipinnata and B. pilosa var. minor showed significantly higher net assimilation rate (NAR) than other species. Also, NARs of B. bipinnata and B. pilosa var. minor decreased with increasing soil nutrient. Relative growth rate (RGR) decreased in order of B. tripartita, B. bipinnata, B. frondosa and B. pilosa var. minor in response to light intensity. In addition, RGRs of B. bipinnata and B. piEosa yay. minor increased in response to soil moisture, while those of B. pilosa var. minor and B. tripartita decreased with increment of soil nutrient. No significant fluctuations of shoot/root ratio were not observed in three species, but a native species, B. tripartita showed n decreased shoot/root ratio in response to soil nutrient. Comparing the growth characteristics of the species, B. pitosa var. minor and 3. tripartita revealed vigorous growth on barren soil. On the other hand, B. frondosa exhibited vigorous growth on fertile soil. Morphologically, B. tripartita adapted to light and required considerable moisture. On the contrary, the leaves of B. bipinnata did not change considerably in their area, although it preferred habitat with abundant light. In terms of niche breadth, B. bipinnata showed the widest ranges of 0.875 and 0.845 for light intensity and soil moisture gradients, respectively. B. pilosa var. minor showed a value of 0.933 for soil nutrient gradient. B. tripartita showed narrow ranges for the three environmental factors, whereas B. frondosa showed wide values for light intensity and soil nutrient, but relatively narrow value for soil moisture.

• Korean Journal of Ecology and Environment
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• v.49 no.1
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• pp.31-41
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• 2016

Deutzia paniculata is an endemic species to the Korean Peninsula. Despite of importance for conservation, the population structure and habitat characteristics of D. paniculata have not been determined yet. We analyzed the ecological characteristics of the species based on the literature review and field survey. Field survey was conducted on May to October 2014 during which 11 quadrats of size $15{\times}15m$ were studied in six regions. Each of the quadrats were further divided into $5{\times}5m$ small quadrats and population characteristics were recorded. The population and habitat characteristics were analyzed, including species abundance (density and coverage), demographic attributes (flowering rates and fruiting plants), vegetation (structure, species composition), light availability (transmitted light and canopy openness) and soil characteristics (temperature and humidity). We found that D. paniculata mainly distributed in Gyeongsangdo (including Taebaek in Gangwondo) along a broad elevational range of 290~959 m (mean: 493 m) above sea level. In preferred habitat the species grows within the slope range of $7^{\circ}$ and $35^{\circ}$ with the average of $16^{\circ}$. D. paniculata was generally distributed on talus deposits and low adjacent slopes. The average number of individual plants per small quadrat was 12.5 with the mean density $0.5stems\;m^{-2}$. The vegetative reproduction was frequent in D. paniculata and mean flowering rate was as low as 15%. Altogether 138 taxa were found in whole observation area with the dominant tree species mainly spring ephemerals, such as Cornus controversa (importance value: 25.5%) and Fraxinus rhynchophylla (importance value: 15.8%). Although, C. controversa usually grows on steep slopes and F. rhynchophylla mostly distributed at high-altitudes, however, both species distributed in disturbed environments and among talus deposits. Thus based on our results, we concluded that D. paniculata is a disturbance-prone species, primarily existing in habitats subjected to natural disturbances, such as floods. The species occurs less at anthropogenically disturbed sites, thus there is no apparent threat to the populations and habitat of D. paniculata.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.84-94
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• 2013

This study scrutinizes the titles of serial poems on Japanese Apricot, which have lucid characters on season and time changes, having been appreciated and recited by the scholars in the Choseon Dynasty era and analyses the records of Zhang zi(1153~1235), a writer in Song(宋) Dynasty in China, having presented the objects harmonizing perfectly with Japanese Apricot. The results of this study categorizes the objects of Japanese Apricot appreciation and establishes the landscape characteristics on Japanese Apricot appreciation affiliated with as follows. First, the objects of Japanese Apricot appreciation are categorized into 'form of blossoms', 'natural feature(景物)', 'place of tree planting', 'the picturesque scene(景色)' and 'behavior'. Second, the scholars regarded the single trees whose branches are grotesque as the objects of appreciation and enjoyed them. They preferred white and single petal Japanese Apricot and admired red Japanese Apricot which has Taoism images. Third, they admired pines and camelias which represent fidelity and strength and valued Japanese Apricot with cranes which remind themselves of solitary scholars. Fourth, they appreciated the images of Japanese Apricot reflected on the water, and the poetically inspiring atmosphere where the trees are planted by the window. Fifth, the moon and snow were crucial weather conditions for appreciating. cold weather and time from night to dawn were ideally suited for enjoying. Sixth, they enjoyed blossoms in various fashions like bottling(甁梅), potting(盆梅), green-housing(龕梅), searching(龕梅) and black-and-white painting(墨梅) with a view to seeing blossoms earlier than the usual flowering time. Moreover, they used paper drapes, bead curtains, mirrors and ice lamps for active appreciation. They also listened to the sound of Piri(wind) and Geomungo(string), played go and drew tea with noble and elegant beauties when they enjoyed Japanese Apricot. The scholars influenced by the neo-Confucianism, which contemplates the objects, attached the specific sentiments like memories, grieves, dreams and farewells to Japanese Apricot and appreciated them. As stated above the scholars enjoyed the landscape including the picturesque scene like climate-weather, time-season and human behaviors not to mention the physical beauty of Japanese Apricot themselves and objects in company with Japanese Apricot including animals and plants.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.4
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• pp.68-80
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• 2019

This study is to provide basic data for the user-oriented design for a middle school meditation forest in the future by analyzing the physical environment characteristics of existing middle school meditation forests, the users' utilization behavior, and the degree of the importance satisfaction. For this purpose, 24 evaluation indices based on site characteristics, naturalness, functionality, and the effectiveness of meditation forest sites were selected for analysis of importance satisfaction. We surveyed and analyzed the students and teachers of two middle schools 'A' and 'B' in Gwangju Metropolitan City. The results of this study are as follows. First, the perception and utilization rates of the meditation forests by students was significantly lower than teachers at both schools. 'A' school has a better use and recognition rate than the 'B' school. Second, the purposes of using meditation forests were rest (49.6%), weekday lunchtime (63.6%), with friends (65.0%) or colleagues (60%), and short (less than 10 minutes) rests (68.6%). They preferred flowers (30.0%) and shading plants (28.9%), mainly using shelters (57.9%) and walking trails (37.1%). Third, as a result of the importance of satisfaction analysis, the average score of the 24 items importance (3.81), higher than the satisfaction (3.62). The 24 items positioned in 4 quadrants are as follows: Nine items are in the I quadrant for 'persistent maintenance'. Three items are in the II quadrant for 'priority correction'. Seven items are in the quadrant III for 'low priority in the management and operation'. Five items are in the quadrant IV for 'avoid over effort'. For the comparison of two middle schools' satisfaction, 'A' school satisfaction was higher than 'B' school for 16 items, which showed a statistically significant difference. It is believed that the users in 'A' school are more satisfied than 'B' school because it has more forests and trails, better accessibility, and a variety of plant types and planting areas in the A school meditation forest. The results of the overall satisfaction analysis showed a significant difference between 'A' school (68.0%) and 'B' school (47.2%) as 'A' school has better shelters and trails. The rankings of the most satisfying space are walking trails (1st place) and shelters (2nd place). The reason for the highest satisfaction was for rest (stress relief and emotional support) in both 'A' and 'B' schools.

• FLOWER RESEARCH JOURNAL
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• v.18 no.2
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• pp.125-135
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• 2010

To discover the main characteristics of Korean traditional flower arrangement, they were compared with different articles and old paintings used in royal court ceremonies. The primary research involved principle of design. The times periods used were the Joseon Dynasty era of Korea, the Ming era of China, and the Edo eras of Japan. The result, which shows both the similarities and differences, of the research is summarized as follows. The similarities were that they all respect the features of nature, and their image expresses their creator's thinking. There was one technique, called 'Suje', in which a part of the stem is coming out from one branch. Also, each three eras preferred flowering trees and ornamental trees more than annuals or foliage plants. one of the differences was that korea used a simple number of materials. The work had volume and appeared mild by using a soft curved line which was repetitive and massive. The Joseon Dynasty era advanced a sense of beauty with artistic symmetry and balance. The work seemed soft and natural because of the little change in blank space, with almost no angle of line. The form had a characteristic preference of being taller than the typical Japanese arrangement. It appeared simple, calm, and rustic by using only one kind of material. In contrast, the Chinese style was gorgeous and displayed volume in a non-symmetrical tripodal form, which incorporated various colors and materials. Also, they avoided processing the materials in order to emphasize the original beauty of nature. Chinese flower arts did not become formalized because they did not consider the formality seriously the formal. The Japanese style was also gorgeous because it incorporated various materials and angles. It included an extreme technique in which an artificial line divided the blank space delicately. The line was both strong and delicate in an established form. The restriction of the main branch gave a light feeling, as well as more strain as in a balance sense. The Japanese eras emphasized more the use of line and a sense of blank space.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.3
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• pp.85-95
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• 2008

The City of Seoul enforces the 'Median reserved bus lane', a revised public transportation system, in order to achieve both a faster and more convenient transit system. This study examines the visual image and preference of the median bus stops in accordance with the operation of the median reserved bus lanes. In order to evaluate and clarify the distinct landscape of each bus stop in a different environment, our team selected 3 representative bus stops with different environments on main roads and conducted landscape simulations so as to evaluate visual preference. The sites were on a narrow range road, wide width road in the downtown area and wide width road on the outskirts of the city. The preference degree for each selected bus-stop environment was compared. The comparison conditions were a median bus stop with preexisting landscape, a median bus stop with planted trees, and a landscape without a median bus stop. The results of the study can be Summarized as follows: First, the visual influence on median bus stops depends on the visual complexity of the environment where they are located. People had an affinity for the median bus stop in which the visual complexity was low, while the preference degree of median bus stop was low in a highly complex area. Secondly, regardless of regional environment where median bus stops are located, research showed that it is more "impressive" to have a median bus-stop with planted trees than landscape without a median bus stop. Thirdly, the median bus stop with plants highly preferred over one without moreover, the landscape with planted trees would provide a comfortable mind for people. This study reveals that planting-oriented design concepts in median bus stops exhibit significant differences in the preference assessment factors. Thus, for further median bus stop construction, planting is desirable to create an impressive streetscape and better scenic quality.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.