활어(活魚)의 후방산란(後方散亂) 단면적(斷面的) 측정(測定)

박해훈 ( Hae Hoon Park ),장지원 ( Jee Won Chang ) 한국어업기술학회 1984 수산해양기술연구 Vol.20 No.1

중층트롤 어구의 그물저항과 전개판 간격

박해훈(Hae Hoon Park),윤갑동(Gab Dong Yoon) 한국수산과학회 2001 한국수산과학회지 Vol.34 No.3

중층트를 어구의 유체저항을 구하거나 전개판의 간격을 구하는 것은 어구설계나 어로작업에 유용하다. 본 논문에서는 끌줄에 관해 신장을 포함하여 간이해석적 (semi-analytic)으로 푼 3차원해석을 이용하여 중충트를 어구의 끌줄에 적용시키고, 줄의 형상에 대해 기존의 직선이라는 가정은 실제로 이루는 곡선과는 차이가 있기에, 여기서는 줄의 형상을 곡선 형태로 도입하였는데, 날개그물 끝에서 후릿줄, 뜸·발줄 및 (자루그물의) 힘줄에 미치는 세 힘의 합력을 역학적으로 고려하여 어구의 유체저항을 구한 방법을 나타낸 것으로서, 이때 전개판 (OB) 뒤쪽의 후릿줄 (hand rope), bridle 및 뜸 (발)줄의 형상을 곡선인 y_r=Ax_r^B의 형태 (B=2이면 포물선 (parabola)임) 로 가정하였다. 기존의 중층트롤의 실험자료에서 끌줄의 길이가 300m인 경우에 예망속도의 변화에 따른 여러가지 측정값을 이용하여 트롤어구의 유체저항을 구하는 새로운 방법을 제시하였는데, 10매로 구성된 망지의 유체저항 (R_n(kg))과 유속 (V)과의 관계는 1.34<V_(m/s)<1.99 범위에서 R_n=1204.6 V(m/x)^(1.99)의 관계가 있었다. 여기에서 제안한 방법을 이용하면 트롤어구의 그물만의 유체저항을 직접적으로 구할 수 있다. A method of estimating the fluid drag of a fishing gear and otter board spread in a midwater trawl on full scale was described by implementing a three-dimensional semi-analytic treatment of the towing cable (warp) of a trawl system with the field experiments obtained with the SCANMAR system. The shape of hand rope, bridle and float(or ground) rope attached behind otter boards in a horizontal plane was assumed to be of form y_r=Ax_r^B. The distance between otter boards (otter board spread) obtained by the three dimensional analysis of a towing cable must be equal to that obtained by the functional equation of the shape of ropes behind otter boards. The angle of attack of ropes which can be obtained from the functional equation enables one to estimate the fluid drag of trawl net (net drag) by subtracting the fluid drag of the hand rope and bridles from the drag component of the tension of hand rope attached just behind the otter boards.

시계열분석을 이용한 한국 명태어업의 어획량 예측: AIC

박해훈 ( Hae Hoon Park ),윤갑동 ( Gab Dong Yoon ) 한국어업기술학회 1996 수산해양기술연구 Vol.32 No.3

『비해당소상팔경시첩』과 조선 초기의 소상팔경도

박해훈 ( Hae Hoon Park ) 동양미술사학회 2012 동양미술사학 Vol.1 No.-

안평대군이 주도하고 군신들과 안견이 참여하여 제작된 ≪비해당소상 팔경시첩≫은 <몽유도원도>와 함께 조선 초기에 높은 수준을 이룩한 시화 제작의 전형이었을 것으로 생각된다. 1442년에제작된이 시첩에는 당대 문사들의 소상팔경시와 함께 소상팔경도가 그려져 있었으나 현재 그림은 산실되고 시문만 첩의 형태로 전한다. 여러 가지 정황으로 보아 ≪비해당소상팔경시첩≫에 소상팔경도를 그린 화가는 안견으로 추정된다. 안견은 조선초기에활약한 최고의 산수화가로 그가 이룩한 화풍은 당대는 물론 후대의 산수화에 지대한 영향을 미쳤다. 현존하는 조선초기의 소상팔경도중 상당수가 안견의 전칭을 지닌 점도 시사하는 바가 크다. ≪비해당소상팔경시첩≫제작의 계기가 된 남송寧宗의 팔경시는 여러가지로 중요한 의미를 지니고 있다. 남송영종의 팔경시는 팔경의 순서에 새로운 변화를 보여주며, 조선초기에 제작된 소상팔경도의 순서에 많은 안견이 그렸을 것으로 추정되는≪비해당소상팔경시첩≫의<소상팔경도>역시 영종의 팔경시의 순서를 따랐을 가능성이 높으며, 이 그림이 후대의 소상팔경도에 많은 영항을 주었을 것으로 추정된다. 조선초기의 소상팔경도중≪비해당소상팔경시첩≫과 가장연관이 깊은 작품은 구幽玄齋소장의<소상팔경도>로 생각된다. 그림의 순서와 화제의 표기방식 등이 유일하게 남송영종의 팔경시와 일치한다. 팔경이 개별적으로 독립된 작품 이면서 하나로 이어지는 유기적인 구성을 보이는 점 에서도 ≪비해당소상팔경시첩≫의 시의 내용과도 부합한다. <소상팔경도>에 그려진 각폭의 내용도 남송영종의 팔경시를 비교적 충실하게 따라 그린 듯이 크게 어긋남이 없다. 유현재본 <소상팔경도>는 북송대에서 명대에 이르는 李郭派화풍의 작품들과 많은 공통점이 있다. 아울러 소재와 표현에서 안견의 <몽유도원도>와도 유사성이 인정된다. 유현재본 <소상팔경도>는 안견이 그린것으로 추정되는 ≪비해당소상팔경시첩≫의 소상팔경도를 충실히 임모 하거나 방한 작품으로 생각된다. 조선 초기와 중기의 다른 소상팔경도 및 산수도 중에서 많은 작품이 유현재본 <소상팔경도>와 많은 연관을 보이는 것도 ≪비해당소상팔경시첩≫의 안견의 <소상팔경도>가 범본範本으로서 후대 작품에 미친 지대한 영향으로 추정된다. 앞으로 ≪비해당소상팔경시첩≫과 유현재본 <소상팔경도>의 연관이 보다 분명하게 밝혀진다면 산실된 안견의 <소상팔경도>에 대한 단서를 얻을수 있으며, 안견의 <소상팔경도>가 후대 작품에 미친 영향 및 조선 초기 소상팔경도의 전개과정에 대해 보다 구체적인 분석과 이해가 이루어질 것으로 기대된다. 《Bihaedang Sosang Palgyeong Sicheop 匪懈堂瀟湘八景詩帖》, Album of Poems for the Eight Views of XiaoXiang, was commissioned by Prince Anpyeong and mainly painted by Ahn Gyeon. And it is considered as a paragon of the production of poetry and painting along with the <Dream-journey to the Paradise of the Peach Blossom Land 夢遊桃源圖> in the early Joseon dynasty. This poem album, produced in 1442, originally consists of poems and paintings of the <Eight Views of XiaoXiang paintings>, however, only a form of poem album is transmitted. It is assumed that a painter of the <Eight Views of XiaoXiang paintings> in 《Bihaedang Sosang Palgyeong Sicheop》is Ahn Geyon. Ahn Geyon, the greatest painter in the early Joseon dynasty, established his own painting style and influenced greatly on later paintings. Furthermore, there is evidence that implies many of the existing Eight Views of XiaoXiang paintings from the early Joseon period were attributed by Ahn Gyeon. ``A poetry of depicting Eight views``, produced by Ninzong of the Southern Song dynasty, inspired on the 《Bihaedang Sosang Palgyeong Sicheop》. A poetry of depicting Eight views by Ninzong of the Southern Song dynasty changed orders of describing the Eight views. And it is believed that this change influenced the styles of Eight Views of XiaoXiang in the early Joseon period. <Eight Views of XiaoXiang paintings> of 《Bihaedang Sosang Palgyeong Sicheop》, possibly attributed by Ahn Gyeon, also followed the styles of Ninzong and this style influenced later versions of Eight Views of XiaoXiang as well. <Eight Views of XiaoXiang painting>, owned by past Yuhyeon Studio幽玄齋seems to have great relevance to 《Bihaedang Sosang Palgyeong Sicheop》. It coincides with ``A poetry of depicting Eight views`` of Ninzong in terms of depicting topics of scenary and placing the paintings in sequence. The idea of depicting ``Eight Views``, each painting has independent theme yet it is all organically connected, is correspond to the contents of 《Bihaedang Sosang Palgyeong Sicheo p》. Also, each content of the <Eight Views of XiaoXiang painting> follows the description of Ninzong`s ``A poetry of depicting Eight views`` relatively well. <Eight Views of XiaoXiang paintings>, possessed by past Yuhyeon Studio, has many similarities between paintings of Li-Guo Style李郭派, from the Northern Song dynasty to the Ming dynasty. Moreover, its themes and styles of depiction indicate <Dream-journey to the Paradise of the Peach Blossom Land> of Ahn Gyeon. Therefore, it seems that <Eight Views of XiaoXiang>, possessed by past Yuhyeon Studio, was inspired by 《Bihaedang Sosang Palgyeong Sicheop》, possibly attributed by Ahn Gyeon. Different versions of <Eight Views of XiaoXiang paintings> and landscapes from the early and the middle of the Joseon dynasty have many similarities to <Eight Views of XiaoXiang>, possess by past Yuhyeon Studio. It indicates that 《Bihaedang Sosang Palgyeong Sicheop》is the example of <Eight Views of XiaoXiang paintings> of Ahn Gyeon and the his painting inspired on later paintings greatly. If the interrelationship between 《Bihaedang Sosang Palgyeong Sicheop》and <Eight Views of XiaoXiang painting>, possessed by past Yuhyeon Studio, is more clearly identified, it may be possible to acquire related information to identify the <Eight Views of XiaoXiang> of Ahn Gyeon, disappeared. Furthermore, it can be expected to accomplish detailed analysis and better understand in regard to influence of Eight Views of XiaoXiang of Ahn Gyeon to later paintings and process of Eight Views of XiaoXiangin the early Joseon.

삼중자망에 의한 동해 심해 수산자원의 망목별 어획특성

박해훈 ( Hae Hoon Park ) 한국어업기술학회 2013 수산해양기술연구 Vol.49 No.1

The investigation for species composition and catch in the Korean deep-water of the East Sea (also known as Sea of Japan) was carried out with trammel nets of 7 mesh sizes (6.1~24.2cm) offshore Donghae (2006) and Yangyang (2007) of Korea. The catches were 1,268kg and composed of 37 species between 200m and 1,200m in depth. The principal species caught were Taknka`s snailfish, salmon snailfish, red snow crab, hunchback sculpin, snow crab, spinyhead sculpin, Tanaka`s eelpout, Alaska cod and so on. Those were target fish for commercial value except salmon snailfish. The mesh sizes for the largest catch were 10.6cm and 15.2cm in the fishing ground of Donghae and Yangyang, respectively. The habitat of snow crab was shallower than that of red snow crab in both areas. Trammel net enabled to investigate fish in deep-water with small fishing vessel and rather cheap expenses in contrast to bottom trawl that required too much of it. With increasing inner mesh size of trammel net the mean size of some principal species such as Taknka`s snailfish, spinyhead sculpin, hunchback sculpin, Pacific cod, snow crab, red snow crab and hybrid between snow crab and red snow crab tended to be large in certain range of mesh size.

자망 선택성에서 다항식을 사용한 경우의 Kitahara에 의한 최소제곱법과 최우법의 차이

박해훈 ( Hae Hoon Park ),황선재 ( Sun Jae Hwang ),배봉성 ( Bong Sung Bae ),안희춘 ( Hee Choon Ahn ),( Ussell B. Millar ) 한국어업기술학회 2010 수산해양기술연구 Vol.46 No.3

새우조망 어구의 막대 (빔)와 날개그물 길이에 따른 어획성능과 양망 작업에의 영향

박해훈 ( Hae Hoon Park ) 한국어업기술학회 2014 수산해양기술연구 Vol.50 No.3

Shrimp beam trawl fishery is one of the important coastal fisheries in Korea. It has a regulation to the length of beam (8m) and wing net (7m) of shrimp beam trawl that has been used in the district of Junlanam-do and Gyungsangnam-do. This regulation was made in relation to the size of shrimp beam trawler of 3-ton class at that time. Now the shrimp beam fishing vessel has a limit not greater than 5 tons in gross ton. Recently, with improvement of fishing industry and fishing vessel fishermen asked the expansion of the length of beam and wing net, therefore it is necessary to investigate the effect of lengthening the beam and wing net length. Three different beams (8m, 10m and 12m in length) and three different wing net (7m, 10m and 13m in length) were made and the experiment was conducted near Narodo of Goheng by two fishing vessels of 4.98 and 4.88 tons in gross ton between June 2011 and October 2012. When the length of wing net was increased from 7m to 10m and 13m, the relative catch ratio in total biomass was increased 25% and 79% for shrimp, (17% and 22% in total), respectively. And when the beam length was increased from 8m to 10m and 12m, the relative catch ratio was increased 35% and 84% for shrimp, (21% and 37% in total), respectively. The force exerted to the iron guide of inhauler`s with the beam length of 8m was about 30% greater than that with the beam length of 10m when hauling the shrimp beam trawl net.

동아시아 소상팔경 문화 조선 초기 소상팔경도에 대한 고찰

박해훈 ( Hae Hoon Park ) 온지학회 2013 溫知論叢 Vol.0 No.34

≪Bihaedang Sosang Palgyeong Sicheop匪懈堂瀟湘八景詩帖≫, Album of Poems for the Eight Views of XiaoXiang, was commissioned by Prince Anpyeong and mainly painted by Angyeon. And it is considered as a paragon of the production of poetry and painting along with the <Dream-journey to the Paradise of the Peach Blossom Land夢遊桃源圖> in the early Joseon dynasty. This poem album, produced in 1442, originally consists of poems and paintings of the <Eight Views of XiaoXiang paintings>, however, only a form of poem album is transmitted. It is assumed that a painter of the <Eight Views of XiaoXiang paintings> in ≪Bihaedang Sosang Palgyeong Sicheop≫ is Angeyon. Angeyon, the greatest painter in the early Joseon dynasty, established his own painting style and influenced greatly on later paintings. Furthermore, there is evidence that implies many of the existing Eight Views of XiaoXiang paintings from the early Joseon period were attributed by Angyeon. ``A poetry of depicting Eight views``, produced by Ninzong of the Southern Song dynasty, inspired on the ≪Bihaedang Sosang Palgyeong Sicheop≫. 「A poetry of depicting Eight views」 by Ninzong of the Southern Song dynasty changed orders of describing the Eight views. And it is believed that this change influenced the styles of Eight Views of XiaoXiang in the early Joseon period. <Eight Views of XiaoXiang paintings> of ≪Bihaedang Sosang Palgyeong Sicheop≫, possibly attributed by Angyeon, also followed the styles of Ninzong and this style influenced later versions of Eight Views of XiaoXiang as well. <Eight Views of XiaoXiang painting>, owned by past Yuhyeon Studio幽玄齋 seems to have great relevance to 《Bihaedang Sosang Palgyeong Sicheop》. It coincides with ``A poetry of depicting Eight views`` of Ninzong in terms of depicting topics of scenary and placing the paintings in sequence. The idea of depicting ``Eight Views``, each painting has independent theme yet it is all organically connected, is correspond to the contents of 《Bihaedang Sosang Palgyeong Sicheop》. Also, each content of the <Eight Views of XiaoXiang painting> follows the description of Ninzong`s ``A poetry of depicting Eight views`` relatively well. <Eight Views of XiaoXiang paintings>, possessed by past Yuhyeon Studio, has many similarities between paintings of Li-Guo Style李郭派, from the Northern Song dynasty to the Ming dynasty. Moreover, its themes and styles of depiction indicate <Dream-journey to the Paradise of the Peach Blossom Land> of Angyeon. Therefore, it seems that <Eight Views of XiaoXiang>, possessed by past Yuhyeon Studio, was inspired by ≪Bihaedang Sosang Palgyeong Sicheop≫, possibly attributed by Angyeon. Different versions of <Eight Views of XiaoXiang paintings> and landscapes from the early and the middle of the Joseon dynasty have many similarities to <Eight Views of XiaoXiang>, possess by past Yuhyeon Studio. It indicates that ≪Bihaedang Sosang Palgyeong Sicheop≫ is the example of <Eight Views of XiaoXiang paintings> of Angyeon and the his painting inspired on later paintings greatly. If the interrelationship between ≪Bihaedang Sosang Palgyeong Sicheop≫ and <Eight Views of XiaoXiang painting>, possessed by past Yuhyeon Studio, is more clearly identified, it may be possible to acquire related information to identify the <Eight Views of XiaoXiang> of Angyeon, disappeared. Furthermore, it can be expected to accomplish detailed analysis and better understand in regard to influence of Eight Views of XiaoXiang of Angyeon to later paintings and process of Eight Views of XiaoXiangin the early Joseon.

동해 심해 트롤 어획물의 어획실태와 종조성

박해훈 ( Hae Hoon Park ),정의철 ( Eui Cheol Jung ),배봉성 ( Bong Sung Bae ),양용수 ( Young Soo Yang ),황선재 ( Sun Jae Hwang ),박종화 ( Jong Hwa Park ),김영섭 ( Young Seop Kim ),이성일 ( Sung Il Lee ),최수화 ( Soo Hwa Choi ) 한국어업기술학회 2007 수산해양기술연구 Vol.43 No.3

한국 멸치어업의 어획량 분석과 예측 -ARIMA 모델 및 스펙트럼 해석-

박해훈 ( Hae Hoon Park ),윤갑동 ( Gab Dong Yoon ) 한국수산학회 1996 한국수산과학회지 Vol.29 No.2

우리나라 멸치어업에서의 1971~1992년 동안의 22년간 월별 어획량 자료를 시계열 분석하여 어획량을 분석, 예측하였다. 시계열 분석은 다른 생물학적, 해양학적, 사회 경제적인 요소가 없어도 단지 어획량 자료만으로 분석과 예측이 가능하다. 첫 20년간인 1971~1990년 사이의 월별 멸치 어획량 자료를 ARIMA 시계열 모형에 적용시켜 구한 결과는 다음과 같다. 로그 (대수) 변환시켰을 때의 ARIMA 모형: (1-0.381B)(1-0.027B12+0.141B24)(1-B1)(l-B12)Z1=(1-0.968B)(1-0.727B12)e(t) Box-Cox 변환시켰을 때의 ARIMA 모형: (1-0.0431B)(1-B12)Z1=(1-0.882B12)e1 위의 두 모형중 Box-Cox 변환시킨 것이 로그 (대수) 변환시킨 것보다 예측오차가 적었으며, Box-Cox 변환식은 Y1=(Y0.58-1)/0.58 이었다. 위의 두 모형 중 후자의 모형을 이용하여 1991~1992년 사이의 월별 어획량을 예측하였다. 예측 어획량과 실제 어획량과의 월별 오차범위는 1.0~63.2% (1991년에 1.6~63.2%이고, 1992년에는 1.0~60.4%)였다. 예측 어획량이 각 연도별로 148,201 M/T과 148,834 M/T인데 비해, 실제 어획량은 170,293 M/T, 168,234 M/T이었다. 2년 동안의 총어획량에 대한 오차는 12.3%였다. 또한 스펙트럼 분석은 순환변동의 주기가 2.2개월, 6.1개월, 10.2개윌, 12개윌 14.7개월에서 상대적으로 큰 성분이 있음을 나타내었다. 이 순환변동 성분은 적절한 ARIMA 모형을 결정하는 데도 도움이 된다. Forecasts of the monthly catches of anchovy in Korea were carried out by the seasonal Autoregressive Integrated Moving Average (ARIMA) model and spectral analysis. The seasonal ARIMA model is as follows: (1-0.431B)(1-B12) Z1=(1-0.882B12)e(t), where: Zt=value at month t; B(P) is a backward shift operator, that is, B(P)Zt=Z(t-p); and et=error term at month t, which is to forecast 24 months ahead the anchovy catches in Korea. The prediction error by the Box-Cox transformation on monthly anchovy catches in Korea was less than that by the logarithmic transformation. The equation of the Box-Cox transformation was Y1=(Y0.58-1)/0.58. Forecasts of the monthly anchovy catches for 1991~1992, which were compared with the actual catches, had an absolute percentage error (APE) range of 1.0~63.2%. Total observed annual catches in 1991 and 1992 were 170,293 M/T and 168,234 M/T respectively, while the predicted catches were 148,201 M/T and 148,834 M/T (APE 13.0% and 11.5%, respectively). The spectrum analysis of the monthly catches of anchovy showed some dominant fluctuations in the periods of 2.2, 6.1, 10.2, 12.0 and 14.7 months. The spectrum analysis was also useful for selecting the ARIMA model.