• Korean Journal of Fisheries and Aquatic Sciences
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• v.31 no.4
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• pp.453-462
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• 1998

Macrobenthic community structure was studied at thirteen stations in Taebudo subtidal area, Korea, from July to October 1996. Triple macrobenthos samples were collected using a van Veen grab (0.1 $m^2$) at each station during the study period. A total of 209 species of macrobenthos was sampled with a mean density of 1,093 ind./$m^2$ and biomass of 134,86 g/$m^2$. Of these, there were 72 species of polychaetes ($34.5\%$), 69 crustaceans ($33.0\%$) and 49 molluscs ($23.4\%$). Polyalaetes were represented as a density-dominant faunal group with a mean density of 608 ind./$m^2$, comprising $55.6\%$ of the total benthic animals. It was followed by crustaceans with 307 ind./$m^2$($28.1\%$ of the total density), Echinoderms were represented as a biomass-dominant faunal group with a mean biomass of 54.21 g/$m^2$($40.2\%$ of total biomass). Total number of species and diversity were low in the inner part of the study area with high mud content and high in the offshore stations of mixed sediments. Major dominant species were three polychaetes, Heteromastus filifomis, Scoloplos armiger and Tharyx sp. whose mean densities were 70 ind./$m^2$, 67 ind./$m^2$, and 66 ind./$m^2$, respectively. Cluster analysis showed that the study area could be divided into five stational groups based on the faunal composition, that is, the innermost stations, coastal stations, transitional stations and two offshore station groups. The species diversity of these groups increased from the inner stational group toward the outer groups.

• Korean Journal of Comparative Education
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• v.28 no.3
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• pp.135-159
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• 2018

This thesis compares and analyzes the dynamics between policy, knowledge and power of Myanmar's higher education development. The papers begins by exploring the dynamics during the Socialist Military Regime(1962~1988), the Collapse of Higher Education Era(1988~2010), Thein Sein's Reform Era(2010~2015) and the current Aung San Suu Kyi's Civilian Era(2015~Now). By highlighting recent dramatic policy changes, the article argues that the policy discourse on the subject of internationalization of higher education and the technocratization of education development policy by the current Civilian Government in its new policy discourse, that resulted in the active participation as well as the contributions of international donors has directly impacted on the policy dynamics around the Comprehensive Education Sector Review and the introduction of the National Education Strategic Plan 2016~2020. Further, by examining complex interaction between the current domestic education stakeholders and international donors in education sector in Myanmar, this thesis argues that the new analytical framework on the understanding of policy dynamics in developing countries goes beyond the national level. The paper argues that there needs to be broadening of the analytical framework towards the multidimensional analysis perspective that includes global, national as well as local level policy, knowledge and power dynamics in Myanmar's dynamically changing higher education sector.

• Korean Journal of Remote Sensing
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• v.37 no.5_2
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• pp.1329-1340
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• 2021

The intertidal zone, which is a transitional zone between the ocean and the land, requires continuous monitoring as various changes occur rapidly due to artificial activity and natural disturbance. Monitoring of coastal topography changes using remote sensing method is evaluated to be effective in overcoming the limitations of intertidal zone accessibility and observing long-term topographic changes in intertidal zone. Most of the existing coastal topographic monitoring studies using remote sensing were conducted through high spatial resolution images such as Landsat and Sentinel. This study extracted the waterline using the NDWI from the GOCI-II (Geostationary Ocean Color Satellite-II) data, identified the changes in the intertidal area in Gyeonggi Bay according to various tidal heights, and examined the utility of DEM generation and topography altitude change observation over a short period of time. GOCI-II (249 scenes), Sentinel-2A/B (39 scenes), Landsat 8 OLI (7 scenes) images were obtained around Gyeonggi Bay from October 8, 2020 to August 16, 2021. If generating intertidal area DEM, Sentinel and Landsat images required at least 3 months to 1 year of data collection, but the GOCI-II satellite was able to generate intertidal area DEM in Gyeonggi Bay using only one day of data according to tidal heights, and the topography altitude was also observed through exposure frequency. When observing coastal topography changes using the GOCI-II satellite, it would be a good idea to detect topography changes early through a short cycle and to accurately interpolate and utilize insufficient spatial resolutions using multi-remote sensing data of high resolution. Based on the above results, it is expected that it will be possible to quickly provide information necessary for the latest topographic map and coastal management of the Korean Peninsula by expanding the research area and developing technologies that can be automatically analyzed and detected.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.74-91
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• 2014

The stone statues in the site of Mireuksaji Temple(Iksan, South Korea) were created after the stone pagoda was built in 639. They, transitional statues between animal sculptures and human shaped statues made from the late Goryeo dynasty until the early Joseon dynasty, were set up at the four corners of the stone pagoda by way of guardians. In the case of three statues, their surfaces were denudated and their iconographies have been indiscernible. However, the one in the southwest clearly shows its iconography. It is inferior in properties to the other three statues in the northwest, the northeast and the southeast respectively, but on the other hand its iconography has been well maintained. The reason is related to exposure to harmful environments; specifically, the retaining wall, built around the stone pagoda in the 17th century, had the southwest statue inside and could naturally worked as a buffer against harmful environments. As a result, for about 400 years there has been difference in weathering conditions between the three stone statues and the southwest statue, which brought denudation, the consequent indiscernibleness of iconography and biological invasion to the three statues, notwithstanding superior properties(northwest statue:$176kgf/cm^2$, northeast statue:$109kgf/cm^2$, southeast statue:$273kgf/cm^2$). In contrast, the southwest statue significantly shows its iconography with black contaminants and granule decomposition, despite inferior properties($133kgf/cm^2$). Defenseless exposure to external environment is not recommended for the stone statues, because it is hard to preserve the extant iconography. Herein lies the application of the data on microclimate around Mireuksaji Temple. As regards the weathering zone in which the stone statues are located, Conservation increases in acidity and frequency as years go by, Hereat, in the approach to the Conservation of stone statues, the first consideration needs to be morphological historicity rather than geographical location.

• Korean Journal of Heritage: History & Science
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• v.45 no.2
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• pp.4-19
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• 2012

There remain many royal tombs of the Goryeo Dynasty in Gaeseong and Ganghwa. During the Goryeo Dynasty, these royal tombs were taken over tradition of tomb construction style from previous generation, and they completed their own inventive style. Furthermore they handed down those style to the Joseon Dynasty. The area of tomb was divided into 3 or 4 steps, and stone figures and T-shaped houses for sacrifice were arranged on each steps. It was the stone chamber of lateral opening style which had an entrance to southward, and it was formed as a rectangular box-shaped with a pile of stone walls and a flat ceiling. There was a coffin stand in the middle of floor, and traditional bricks were around them. The wall side and ceiling had been whitewashed and painted pictures. These are general characteristics for the tomb construction style of the Goryeo Dynasty. By the way, we can notice a number of features except those general things with inspection in detail. In early days, we confirmed 1step-parallel fulcrum ceiling, coffin stand of all in one stone, bier of burial artifact, and mural of plant material as a set, but they were changed as flat ceiling, Red-stone wall with rectangular stone, coffin stand set as stone pillar through the period of transitional form as of in the late 12th century. In case of several royal tombs, the fragments of king's epitaph which were confirmed from tombs could be defined owners clearly, and there were considerable timing difference between the large numbers of celadons which were excavated with the fragments of king's epitaph and recording chronologically of stone chamber structure. The reason for timing difference is that posterity artifacts were buried through repairing courses by occasion of destruction caused by robbing of the royal tombs. Meanwhile I inferred the existing hypothesis about owners of royal tombs and autonym ones in comparison the burial spot direction of hypothesis ones and outcomes of excavation. Therethrough, some hypothesis about owners of royal tombs such as Myung-neung which was assumed as tomb of the King Choongmok were not correct.

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.114-159
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• 2012

The Northern Song Dynasty Period (北宋時代) was a drastic transitional era in all aspect of Chinese society including the politico-economic system, ideology and cultural trait. These changes that began in the late Tang (唐) Dynasty Period accomplished in the Northern Song Dynasty. In this phase, the fundamental change influenced in all institutional area; and among them, the capital city planning and its associating building technology to pile stone walls shows one of the significant change of those time. Based on the geographical factor, confluences of many rivers, the Kaifeing (開封) area where the BianLieng palace had developed as a political and economical centre since the Tang Dynasty when the Grand Canal was constructed. According to archaeological researches, the central city structure of Dongjing Walled Town was begun to plan in the late Tang Dynasty and formed in Five Dynasties. The fundamental functional change of city completed in the Midnorthern Song Dynasty. In spite of the relatively late beginning of archaeological investigations to Kaifeng Walled Town and Dongjing Walled Town due to unfavourable natural environment, excavations inaugurated since 1981 have achieved the significant investigations including the actual measurement and excavation to the outer wall, the preliminary excavation to the inner city area, the investigation and excavation to the royal palace of Song and the survey to the royal palace of King Zho in the Ming (明) Dynasty. These surveys have provide important data to reconstruct the 변량 palace, and elucidate the characteristics of city plan in the Dongjing Walled Town and the institutional change of capital city plan of the Northern Song Dynasty. The basic layout of Dongjing Walled Town reflect the realisation of ideality of the late Chinese medieval capital city structure that establish the commercial and economic centre based on the intensification of emperor's power by means of the organisation of ethical institution and the development of commercial economy. Firstly, the central place of the Kaifeng area is encircled with triple walls. This emphasise the authority of emperor located on the summit in the hierarchical ethic system succeeding to the main capital city plan of the late phase of ancient China. Secondly, the location of Dongjing Walled Town was decided by the transport network and the commercial function and defence function. Thirdly, this site shows the change of city structure and landscape of the Northern Song Dynasty. The closed Fengri (坊里: block) system transferred the open Jiexiang (街巷: road) system. Fourthly, the capital city was characterised by the free market trade and the diversification of market place. Fifthly, a convenient transport network in the Bian River, a centre of the Grand Canals, enabled to construct the Kaifeng Walled Town. Therefore, the Northern Song Dynasty continuously accomplished the developed water system as concerning about the utilisation of waterways after the construction of city.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.318-345
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• 2013

This study was carried out with a focus on the factor on the periodical space organization of Daebodan (大報壇: the altar of great recompense) in Changdeok Palace, which is significant in terms of political history in the late Chosun Dynasty, and consider the factors in the formation of the structural system through historical records and drawings. Daebodan has the ideology of righteousness to the Ming Dynasty which the hierarchy of the Joseon Dynasty. who felt the crisis of the domination order, imposed as a solution after the Manchu war of 1636. In addition, Daebodan was built by complex factors that entailed the self-esteem of the 'Joseon Centralism Ideology (朝鮮中華)' and the desire of the sacrificial rituals for Heaven that were imminent to the kings of Joseon. Superficially, Daebodan has the spatial organization of the Sajik (社稷) Altar and the placement of an annex building, but had the applied placement due to limited topography and access to the backyard. Furthermore, the lateral structure of Daebodan multiply accepted various factors of the nine step's stairs, the hight of five cheok (尺), the circumstance of two floors that were showed in the altar and platform with small fences and an imperial order including the internal form of Hwangjangbang (黃帳房). Moreover, the name of the alter came from 'the Jiaote Sheng Book of Rites(禮記 郊特牲)' representing 'the suburban sacrifice ritual for Heaven (郊天)', and it was built by not only combining the system of the Sajik Altar in the Joseon Dynasty and China but also avoiding 'excessive etiquette (僭禮).' The point is a remarkable feature shown by the structural system of Daebodan. Thus, it is considered that the 'Notion of Confucian-Cultural Succession (中華繼承意識)' and the desire of the sacrificial rituals for Heaven were expressed by the structure and form of altar. This study examined the process of the creation, expansion, decline and disposal of Daebodan in a chronological order, and found that the ruling ideology of the governing elite by the political and cultural background of the era at each transitional point was reflected in the spatial formation of the altar. On the other hand, as a result of performing a field survey to find the location in accordance with Daebodan in drawing materials, there remains items such as worked stones from Daebodan, precast pavers and fragments of proof tile discovered in the surrounding of tora vine (Actinidia arguta) which is a natural monument of Changdeok Palace. As such, verification through future excavation and investigation is required.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.126-147
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• 2018

The compositions and iconographies of the three Illustrations of the Sixteen Contemplations produced in the early Joseon Dynasty effectively manifest the transitional period of Joseon society as well as the Joseon people's perception of the Pure Land. In particular, the painting at titled Chionji (知恩寺) dated 1435 and another painting at titled Chion' in (知恩院) from 1465, which were commissioned by the Joseon royal family and high-ranking monk, embody the Pure Land faith of the Tiantai School of Buddhism (天台宗) which thrived during the late Goryeo period. This indicates that the Joseon royal court continued to favor the Pure Land faith that emphasized salvation through "self-power" (自力), which was popular among both the royal family and the nobility of Goryeo. On the other hand, in the painting at titled $H{\bar{o}}rinji$ (法輪寺), which is presumed to have been made in the sixteenth century, the compositions and iconographies shown in late Goryeo examples of the Illustrations of the Sixteen Contemplations are disassembled. Moreover, a new iconographical motif, i.e. "welcoming the dragon boat" (龍船接引), emerged with this painting. This motif symbolizes the idea that the souls of the deceased are guided by Amitabha Buddha to rebirth in the Pure Land of Extreme Bliss, which is based on the "other-power" of the Pure Land faith that emphasizes the power of Amitabha Buddha in attaining salvation rather than the educational "self-power" of the Pure Land faith. The emergence of this motif demonstrates the transformation of the Pure Land belief into a faith that relied on the "other-power" of Amitabha in Joseon's Confucian society.

• Economic and Environmental Geology
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• v.54 no.1
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• pp.49-60
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• 2021

The Geumhwa Au-Ag deposit is located within the Cretaceous Gyeongsang basin. Mineral paragenesis can be divided into two stages (stage I and II) by major tectonic fracturing. Stage II is economically barren. Stage I, at which the precipitation of major ore minerals occurred, is further divided into three substages(early, middle and late) with paragenetic time based on minor fractures and discernible mineral assemblages: early substage, marked by deposition of pyrite with minor wolframite; middle substage, characterized by introduction of electrum and base-metal sulfides with Cu-As and/or Cu-Sb sulfosalts; late substage, marked by hematite and Bi-sulfosalts with secondary minerals. Changes in vein mineralogy reflect decreases in temperature and sulfur fugacity with a concomitant increase in oxygen fugacity. Fluid inclusion data indicate progressive decreases in temperature and salinity within each substage with increasing paragenetic time. During the early portion of stage I, high-temperature (≥410℃), high-salinity fluids (up to ≈44 equiv. wt. % NaCl) formed by condensation during decompression of a magmatic vapor phase. During waning of early substage, high-temperature, high-salinity fluids gave way to progressively cooler, more dilute fluids associated with main Au-Ag mineralization (middle) and finally to ≈180℃ and ≥0.7 equiv. wt. % NaCl fluids associated with hematite and sulfosalts (± secondary) mineralization (late substage). These trends are interpreted to indicate progressive mixing of high- and medium to low-salinity hydrothermal fluids with cooler, more dilute, oxidizing meteoric waters. The Geumhwa Au-Ag deposit may represent a vein-type system transitional between porphyry-type and epithermal-type.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.78-103
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• 2020

Transcribed Buddhist sutras generally consist of a frontispiece illustration, sutra illustrations, and sutra text, although some parts may be lost over time. Most transcribed sutras originally include an official record of the transcription (saseonggi) at either the beginning or end of the volume, which document various details of the production, including who commissioned the sutra and when it was transcribed. If such records are unavailable or difficult to decipher, the date of the sutra can only be estimated by comparison to other works with known production dates. This is the case with Korean Treasure #978, the "Transcription of the Avatamsaka Sutra (Zhou Version) in Gold on White Paper" (hereinafter, "Avatamsaka Sutra, Volume 29"), which does not contain any details of its production. Based on formal comparisons, the volume has been estimated to date from the early Joseon period. Important criteria for estimating the production date include the type of calligraphy script and the overall expression of the sutra illustrations. However, these features are missing from some early Joseon sutras, making it difficult to definitively assert which characteristics are representative of the period. Also, transcribed sutras from the late Goryeo period (after 1350) and early Joseon period are often very similar in terms of the expression of the frontispiece illustrations and sutra illustrations. From the late Goryeo period through the early Joseon period, the illustrations of transcribed sutras, which had previously been relatively detailed and realistic, gradually became more formalized and stylized. Significantly, Avatamsaka Sutra, Volume 29 includes illustrations showing both styles of expression (i.e., realistic and formalized). Moreover, the hemp leaf design on the frontispiece and the border around the sutra illustrations are unique features that have never been seen on any other transcribed sutras. Notably, however, Avatamsaka Sutra in Gold on White Paper, Volume 26 (hereinafter, "Avatamsaka Sutra, Volume 26"), which has not yet been introduced in academic research, is complete with frontispiece, sutra illustrations, and sutra text. This sutra is identical to Avatamsaka Sutra, Volume 29 in size, composition, and details, and is thus estimated to have been produced at the same time and by the same patrons. According to the record at the end of the volume, Avatamsaka Sutra, Volume 26 was commissioned in 1348 by Gi Cheol (d. 1365), which corresponds to the estimated date of Avatamsaka Sutra, Volume 29 derived by formal comparison. Based on this new information, Avatamsaka Sutra, Volume 29 was likely produced in the late Goryeo period rather than the early Joseon period, as has previously been presumed. The new study of Avatamsaka Sutra, Volume 26 also seems to confirm that both sutras were transcribed by highly skilled artisans in 1348 of the late Goryeo period, a transitional phase in the expression of sutra illustrations.