• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.5
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• pp.57-69
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• 2023

This study investigates the garden vision of the Ancient Rome, focusing on garden literature in the Natural History by Pliny the Elder. Ancient Roman garden's types, character, and forms greatly influenced the development of later Western gardens, to which the practical and professional texts of Pliny the Elder and others contributed. This study explores the garden visions projected in these texts, with an introduction of Roman garden forms and stylistic features. The Natural History and other garden and agricultural texts written during the Ancient Roman period are characterized by their focus on practical production spaces rather than abstract nature or garden art. In the Natural History, Pliny described botanics in terms of usefulness rather than pleasure, and his discussion is premised on the practical hortus. In ancient Roman society, gardens were not only spaces for practical production and relaxation, and places to reproduce or realize the ideals of Roman rulers and intellectuals, including Pliny. They shared the episteme that sought to encompass knowledge of the entire world they ruled and, in doing so, realize their vision of the Roman Empire. Through the Natural History, Pliny sought to embrace useful knowledges of his time into the vast civilized world of the Roman Empire, and the garden was an important place to practice this ideal.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.4
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• pp.84-95
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• 2010

This study is an introductory survey of the labyrinth/maze in gardens. The term 'garden labyrinth' may seem an oxymoron given that the garden represents the terrestrial paradise, while the labyrinth is a symbol of the most chaotic face of the world. In etymological and ontological terms, however, gardens are enclosed places and this characteristic corresponds to the character of the labyrinth, which is the one of the oldest signs in human civilization, symbolizing the paths of human life filled with uncertainty and complexity. The garden labyrinth has developed in various forms and shapes since the Renaissance period. Literature and paintings contributed to the dissemination of the concepts of the garden labyrinth, especially in the form of the 'garden of love'. While the labyrinths in ancient and medieval times focused on plane shapes and symbolic and/or spiritual meanings, later garden labyrinths emphasized the three dimensional form and synesthetic pleasures. New patterns, which deviated from the classical unicursal form, emerged in the Petit Parc at Versailles in the 17th century. The garden labyrinth/maze was easy to adopt in formal gardens because of its geometric form, but for that reason, it went on to decline during the fad of picturesque garden. In this study, a brief history of labyrinths, the patterns, forms, and arrangement of the garden labyrinths in the formal gardens of the Renaissance and Baroque periods and its meanings are reviewed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.1-11
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• 2015

Gyeongju, Silla capital, hasn't paid much attention to a value of fortress as advanced frame of landscape all the while. All have done until now were maintaining lots of fortress including Gyeongju and setting night landscape lighting for them or building a trail in mountain fortress. Hereupon, this study tried to take a look at historical and scenic value of fortress, landscape frame of Gyeongju-Silla capital, based on Wolseong and Myeonghwalseong and find the way to contribute to it on landscape architectural level. As Wolseong(月城) and Myeonghwalseong(明活城) functioned as royal palace in Silla Dynasty, they need some research and study on fortress inside in detail rather than restoring them by simply maintaining the shapes. While Wolseong has overall excavation investigation going on, Myeonghwalseong representing mountain fortress area is losing its value due to unbefitting management to a title of world heritage. If conducting close research and study on these remains, it seems like it could contribute a lot to landscape architectural research of Silla royal palace through tracks, which will be used as royal palace. Here I suggest research direction on landscape architectural level about fortress remains in Gyeongju area as followings. Firstly, away from all research focusing on fortress shape, consecration way, etc, we need to conduct a research comprisable of inner space of fortress. As Wolseong and Myeonghwalseong functioned as royal palace in Silla Dynasty, it'll be possible to research about ponds, Nu-Jeong(樓亭), drainage facilities, oddly shaped stones, moundings, pavements, circulation systems, planting traces, etc. For this, we need to research and study through comparison with cases of China, Japan and Goguryeo of the same age. Secondly, applying garden archaeological way is possible to translate objectively regarding research of ancient garden with low literature record. But attainable achievement and information will be limited if implementing excavation based on archaeology as excavations so far regarding excavation investigation of Wolseong. The alternative to such problem is participation plan of landscaping field through the foundation of garden archaeology. We might be able to attain many results on landscape architectural level from research, if conducting research and study about Silla capital including Wolseong by applying garden archaeology such as collection of environmental sample and discovery and analysis of remains through aerial photograph, archaeological research, analysis of historical building, surface exploration, excavation technique, analysis of soil and flowerpot, etc. For this, many people majored in landscape architecture need to try and acquire archaeological knowledge. Also, we need to call attention to internal garden archaeology through international academic symposium by inviting global experts in garden archaeology field. I've suggested the study of location of Wolseong and Silla fortress in Gyeongju area, plan research on using and treating trees about the space in and out of fortress and landscape architectural research direction of Wolseong fortress.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.1-19
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• 2013

This study tries to review 'Sakuteiki(作庭記)', the Book of Garden Making, compiled at the end of the 11th Century during the Heian Period of Japan, from the East-Asian perspective. 'Sakuteiki' is a Garden Theory Book, the oldest in the world as well as in Asia, and it contains the traditional knowledge of Japanese ancient garden culture, which originated from the continent(Korea and China). Traditional knowledge related to East-Asian garden culture reviewed in this paper is "Fungsu Theory"(風水, Asian traditional ecology: Fengshui in Chinese; Fusui in Japanese), stemmed from the culture to seek sound and blessed places to live in. Viewed from modern landscape architecture, the Fungsu Theory corresponds to ecology(science). The Fungsu Theory was established around the Han Dynasty of China together with the Yinyangwuxing(陰陽五行) Theory and widely used for making human residences including gardens. It was transmitted to Japan via Korea as well as through direct transaction between Japan and China. This study reinterprets garden design principles represented in Sakuteiki, which were selected in 5 key words according to the Fungsu Theory. The 5 key words for the Fungsu Theory are "the place in harmony of four guardian gods(四神相應地)", "planting trees in the four cardinal directions", "flow of Chi(氣)", "curved line and asymmetry", and "mountain is the king, water is the people". Garden design principles of "the place in harmony of four guardian gods(四神相應地)" and "planting trees in the four cardinal directions" are corresponding to "Myeongdang-ron(明堂論, Theory of propitious site)". The place in harmony of four guardian gods mentioned in Sakuteiki is a landform surrounded by the flow of water to the east, the great path to the west, the pond to the south, and the hill to the north. And the Theory originated from Zhaijing(宅經, Classic of dwelling Sites) of China. According to this principle, the city was planned and as a miniature model, the residence of the aristocrat during the Heian period was made. At the residence the location of the garden surrounded by the four gods(the flow of water, the great path, the pond, and the hill) is the Myeongdang(明堂, the propitious site: Mingtang in Chinese; Meido in Japanese). Sakuteiki explains how to substitute for the four gods by planting trees in the four cardinal directions when they were not given by nature. This way of planting originated from Zhaijing(宅經) and also goes back to Qiminyaoshu (齊民要術), compiled in the 6th Century of China. In this way of planting, the number of trees suggested in Sakuteiki is related to Hetu(河圖) and Luoshu(洛書), which are iconography of Yi(易), the philosophy of change, in ancient China. Such way of planting corresponds to that of Yongdoseo(龍圖墅, the villa based on the principle of Hetu) presented in Sanrimgyeongje (山林經濟), an encyclopedia on agriculture and living in the 17th Century of Korea. And garden design principles of "the flow of Chi(氣)", "curved line and asymmetry" is connected to "Saenggi Theory(生氣論, Theory of vitality)". Sakuteiki explains the right flow of Chi(氣) through the proper flow and the reverse flow of the garden stream and also suggests the curved line of the garden stream, asymmetric arrangement of bridges and stones in the garden, and indented shape of pond edges, which are ways of accumulating Chi(氣) and therefore lead to "Saenggi Theory" of the Fungsu Theory. The last design principle, "mountain is the king, water is the people", is related to "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory. Sakuteiki explains the meaning of garden through a metaphor, which views mountain as king, water as the people, and stones as king's retainers. It compares the situation in which the king governs the people with the help of his retainers to the ecological phenomena in which mountain(earth) controls water with the help of stones. This principle befits "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory which explains landform on the analogy of social systems, people, animals and things. As above, major garden design principles represented in Sakuteiki can be interpreted in the context of the Fungsu Theory, the traditional knowledge system in East Asia. Therefore, we can find the significance of Sakuteiki in that the wisdom of ancient garden culture in East-Asia was integrated in it, although it described the knowhow of a specific garden style in a specific period of Japan.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.90-98
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• 2011

This study aims to discuss the characteristics of garden architecture in Italian Renaissance Villa Lante that was constructed by the cardinal in Bagnaia at 16th century through actual survey and analysis of the garden's elements. To do this, it was studied in two ways: Analysis of the present conditions and review historical documents. The results are as follows. First, the buildings, the gardens and the surrounding landscapes are visually connected each other in relations between the topography and the surrounding landscapes. Second, the spatial composition accepted Neoplatonic law of multiple proportions and was influenced by ancient myth and "Liber ruralium commodorum" of Pietro de Crescenzi(1305). Third, the garden's elements consist of plants, buildings and items. In plants, the upper plants are fir tree, cypress and pine tree and the lower plants are english holly, box tree and sweet oleander. The buildings are casino, loggia and terrace. The items are pot, sundial, chair, viewing platform and fountain. The result of this study, the political and social, technical phenomena which constitute construction pattern affected the locational property and the spatial organization of the neighbor on Villa Lante.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.10-21
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• 2014

This study focuses on the landscape of Daegodae(大孤臺), a prominent rock placed at the side of Namgae Stream in Hamyang, and the person who enjoy the landscape. Through the analysis of the letters such as names carved on the rocks based on ancient poetry and stone walls, the study examines the characteristics of the landscape and the space of Daegodae and the phase of hegemony to enjoy the landscape and space. The result of this study is as follow.2) There are 5 Seowon(書院: lecture halls) nearby Daegodae identified in the ancient map has 5 auditoriums nearby, and three-dimensional volume and eccentricity of the Daegodae is impressive. Daegodae, named by Noh Jin(1518~1578) in 16th century, was used in a variety of ways, including viewing, game, recreation, and meeting, by the staff of the lecture halls including Namgae Seowon(南溪書院), as a result of analyzing the ancient document Go-dae-il-Loc(孤臺日錄) written by Jung Kyung-Woon(鄭慶雲: 1556~?). The structure of Daegodae is that there is Chunggeunchung(淸近亭) on the rock face of the top and Sanangjae(山仰齋) to the west around the memorial stone for Yang Hee(梁喜: 1515~1581). The upper part of the foundation of Daegodae with 11m high and $10m^2$ wide to the east and west was widely used for lecturing and poetry reading. To the north and west of the foundation were the writing of Kim Jeong-Hee(金正喜: 1786~1856) with the words 'Seoksong Chusa(石松 秋史)' carved on the rock and the remains of a dead tree that is presumed to have been called as 'Seoksong'. They are the landscapes that further enhance the history and authenticity of this place. The two kinds of letters carved on the rock 'Daegodae Gaeeunseo(大高臺 介隱書)' and 'Mukheon JungGeunSang(鄭近相: 1893~1934)' were recorded each by Jung Jae-Gi(1811~1879) and his grandson Jung Geun-Sang, which are, as the outcome of exclusive space possession and space hegemony, the signatures indicating that they were the persons who enjoyed this place during the late Joseon and Japanese colonial era. In other words, Daegodae had some implied meaning of preoccupancy of the place as Gujolyangseonsengjangguso since the middle of Joseon, and the place was passed down as a buddhism lecturing and memorial venue called "Dungbukganghoiso Cheonryungjaeseonhyunjangguso" after going through the space hegemony of Jung Jae-Gi and Jung Geun-Sang during the late Joseon and Japanese colonial era each, Nevertheless, a number of letters carved on the rock identified also imply that 'Hadong Jung(河東鄭氏)' and 'Pungcheon Noh(豊川盧氏)' were those who enjoyed the landscape of Daegodae and the center of the space hegemony. The "letters carved on the rock of Daegudae" is another case of cultural landscape and traditional gardening space that serves as the representation of the will of enjoying the landscape in this place and the history of space hegemony.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.65-89
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• 2004

Up to now, the studies for a pond of ancient palace of Korea are mainly achieved in a landscape architectural field. In fact, we can't grasp the general aspects but we are only heard about the fragmentary ruins and remains by the people who are in charge of an archaeological excavation. In this thesis, therefore, I attempt to grasp the relational categories of the ponds of an ancient palace of Korea, and find out the ideological backgrounds of the ponds of a palace construction through classify them excavated so far. The ancient ponds of Korea are divided to the class of square ponds(I) and curved ponds(II) according a shapes of planes. The class of square ponds(I) are subdivided to the form IA of the class of square ponds and form IB of the class of square ponds by whether it has an island, artificial hill and ornamental stone or not. And the class of the curved ponds(II) are divided to the form IIC that is only composed of curves in shore and the form IID that is composed of curves and straight lines. According the size, it is divided to a small size that is below the maximal diameter, 20m, and a large size that is more than 45m, after all, the ponds of the ancient palaces are devided to IAa, IAb, IBa, II Ca, IICb, IIDa. The square ponds and the curved ponds are co-exist from the initial stage when a pond of a place was found in our country and are succeeded or changed after Silla unified the three Kingdoms. In other words, we can infer a continuity from the earlier stage from the fact that there is a flat figure ground mainly constituted by the ponds of a palace mixed up of a straight line and a curved line in United Silla Kingdom while it succeeds the ponds of a palace that has a square form of Goguryo in Balhai. Different from the successional relation of the flat figure grounds, in an aspect of the elements of the construction, the site of the arbor at the top of the island and the bridge facilities in a field of a palace those are not exist in three Kingdoms period are appeared in United Silla Kingdom. The point that this aspect is simultaneously appeared in a neighboring country, or Japan, allows us to infer that there may be some motivations cause the changes in a construction of the ponds of a palace of Korea, China and Japan from the latter half of the 7th century to the first half of the 8th century. The ideological backgrounds of the ponds of a palace construction are divided roughly into Taoism and Buddhism. We can recognize that the ponds of a palace made up of the islands, the artificial hills and the garden rocks reflect Taiosm, considering the records of the ponds a palace of Korea and China are all use the term, Taoism, or the concrete statement represents that the islands, the artificial hills and the garden rocks are used in the description of the ponds of a palace of Korea. Both two are, therefore, obviously differentiated from the ponds of a palace that doesn't include them. We can conclude that the ponds of a palace that doesn't include them are colored by Buddhism since they are overtly distinguished from the class of curved ponds that reflect Taoism at the same period and they are identical with the site of an ancient temples in an aspect of their type and construction.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.2
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• pp.1-9
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• 2011

This study concerns the Baekje Traditional Garden, one of the open spaces in the Lotte Resort in the Baekje Historical Reappearance Complex, which is part of the comprehensive plan for specific areas in the Baekje cultural area. The Baekje Traditional Garden has historic value, and its excellent garden style influenced the ancient Japanese gardens. This study dealt with three issues: (1) The context in which Lotte Buyeo Resort accepted the Baekje Traditional Garden, particularly the background and process of such; (2) The original form of the Baekje Traditional Garden; and (3) How the Baekje Traditional Garden should be represented in the open space of the resort. Representation is accomplished in two ways: using the structure of the original garden and in the borrowing of elements. For representation using the structure of the original garden, Imrugak was used as the main entrance space, and Wolsunjung was represented from the Ganbuklee remains. In the rear garden are wave watercourses and other garden facilities of the Wanggungri site in Iksan. Borrowing of elements, on the other hand, was accomplished in the plant plan and detailed development. In addition, mountaintops (three mountains and five mountain summits), a clean stream between mountains, and a pine forest are visualized in the garden. This is the representative landscape of the Taoist hermit world that appeared in the Baekje Gilt Bronze Incense Burner and Landscape pattern. The significance of this study is twofold. First, the Baekje Traditional Garden is a fresh trail because there has been no previous research concerning it. Second, while past research concerning traditional spaces focused on the results of representation, this study focused on the process of representation. This means that this research work tried to extend the study concerning the representation of traditional spaces from the conceptual to the practical approach. This study, however, also has its limitations. The authenticity of the representation suggested in this study may be questioned later because efforts have been made to preserve the original Baekje Traditional Garden. In addition, this study should seek a balance between authenticity on one hand and amusement and diversity of experience on the other, because the site is a resort.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.4
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• pp.1-14
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• 2022

The ancient North-East Asian royal garden is divided into three types, located in the north inside the palace, in the north outside the palace, and in the south inside or outside the palace, depending on the location relationship between the royal capital and the royal palace. The first is a typical royal garden that follows the ancient Chinese court system of the Chao-hu-chim(前朝後寢). The second is a royal garden located independently of the royal palace, which extends to Geumwon(禁苑). The third is located in the south of royal palace and is the royal garden specialized in Yurak(遊樂) or Hyangyeon(饗宴). The types of ancient North-East Asian royal gardens are classified according to the relationship between main palace(正宮) and secondary palace(別宮), detached palace(離宮), and Geumwon(禁苑), and each has unique characteristics. The first has been established as the garden of the main palace, including the royal garden at Wanggung-ri site in Iksan(益山 王宮里 遺蹟), Han Chang'an capital(漢 長安城), BeiWei Luoyang capital(北魏 洛陽城), Jiankang capital in Southern Dynasties(南朝 建康城), and Daminggong(大明宮) in Tang Dynasty. Here, the royal garden is divided into Naewon(內苑) inside the royal palace and Geumwon(禁苑), outside the royal palace. On the other hand, the second is the royal garden that the royal palace and Geumwon(禁苑) are united. The third is the royal garden that forms part of the royal palace or is independent of the royal palace, and has been specialized as a secondary palace(別宮) and detached palace(離宮). China created the model of ancient North-East Asian royal gardens, and based on this, Baekje, Silla, and Japan of Korea influenced each other and developed a unique palace by showing their originality. The royal garden at Wanggung-ri site in Iksan(益山 王宮里 遺蹟) was influenced by royal gardens of Wei-Jin and Northern & Southern Dynasties(魏晉南北朝). And royal gardens of the Sabi Capital(泗沘都城) were influenced by royal gardens of Jin(秦), Han(漢), Sui(隋), and Tang(唐), and royal gardens of Silla(新羅) were influenced by the royal gardens of Baekje(百濟) and Silla. However, each of these royal gardens also has its own unique characteristics. From this aspect, it can be seen that the ancient North-East Asian court had different lineages depending on the region. Anhakgung Palace in Pyongyang(平壤 安鶴宮) is more likely to be viewed as the Three Kingdoms period than the Goryeo Dynasty. However, it is difficult to raise it to the 5th and 6th centuries due to the overlapping relationship and relics of the lower part of Anhakgung Palace(安鶴宮), and it is generally presumed to be the middle of the 7th century. The royal garden at Anhakgung Palace is a secondary palace(別宮) or detached palace(離宮) that corresponds to the palace of Jang-an capital(長安城) in Pyongyang and is believed to have influenced Dongwon garden(東院庭園) of Heijokyu(平城宮) and Donggung(東宮) and Wolji(月池) in Gyeongju. From this point of view, Dongwon garden(東院庭園) of Heijokyu(平城宮) seems to be related to the palaces of Goguryeo, Baekje, and Silla. This study has many limitations as it focuses on its characteristics and transitions due to the location of the palace in the large framework of ancient North-East Asian royal capital. If these limitations are resolved little by little, it is expected that the understanding of ancient North-East Asian royal gardens will be much wider.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.4-31
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• 2013

본고는 중세도시연구의 관점에서 도성 헤이안쿄(平安京)가 중세 교토(京都)로 변화하는 계기와 그 의미, 그것이 새로운 무가(武家) 정권도시(政權都市)에 어떤 영향을 미쳤는지에 대하여 논하였다. 율령제 마지막 도성인 헤이안쿄는 천황을 절대적 정점으로 한 중앙집권이 동심원구조로 구현된 '왕성(王城)의 땅'이었으나, 10세기 후반 이후 도성의 구심점이었던 내리(內裏)가 헤이안큐(平安宮) 밖으로 나오는 등의 변화가 시작되었고, 도성의 이념과 틀이 급속하게 해체 변용되었다. 또 고대왕권을 대신하여 새로운 형태로 왕권과 여러 권력을 담당한 원(院)과 롱관가(瀧關家), 대두하는 무가권력 등이 그 본거지에 권력의 개성과 시대성을 반영한 새로운 경관과 공간원리를 생성하였다. 그것은 다음과 같은 공통점을 갖는다. (1) 큰 정토정원을 갖는 御堂(사찰)과 세트를 이룬 御所(천황의 거소). (2)황통(천황가 내의 계통)과 가족의 상징으로서 조상을 모신 분묘를 중심으로 한 도시형성. (3) 내리를 기점으로 남북으로 주축을 갖는 고대도성과 달리, 어당과 어소가 동서로 배열된 동서가로를 주축으로 한 도시계획. (4) 수도와 외부를 잇는 교통의 결절점에 입지하였고, 특히 하천변을 향해 적극적으로 확장된 도시. 일본 중세는 무가정권의 시대를 맞이하여 도고쿠(東國) 초기 무가정권의 본거지 히라이즈미(平泉)와 최초의 막부가 열린 가마쿠라(鎌倉)가 모델로 한 것은 '도성 헤이안큐'가 아니라 헤이안큐 수도 밖 신도시의 경관과 공간원리였다. 특히 히라이즈미와 가마쿠라 등이 가정기관(家政機關)과 조상의 묘를 중심으로 한 '가족 원리'에 따른 정권도시를 적극적으로 수용한 것은 단순한 도시의 모방이 아니라 주종관계를 축으로 의제적인 '집(家) 원리'로 권력이 형성된 무가에는 더욱 어울리는 논리이며, 또 고대와는 다른 새로운 시대의 논리였기 때문이다. 그 한편으로 무가의 대들보로서 무사들에 의해 추대된 초기 무가정권은 도시의 논리와 경관을 도입하였을 뿐 아니라 그들과 공통의 가치관을 표현하는 것도 중요한 요소였다. 그것이 최신의 도시를 모방한 어당과, 그것과는 대조적인 도고쿠 무가의 전통적인 어소의 병립이라는 종교공간과 정치 일상공간에서의 권위표상의 의식적인 분리에 의해 표현되었다. 히라이즈미와 가마쿠라에서는 유통, 상공업 등의 도시기능과 도시적인 경관이 정비되기까지 약 50년의 시간이 경과할 필요가 있었다. 12세기 일본의 무가정권은 스스로의 거점으로서 도시를 기획, 형성하는 의식과 실현하는 능력을 얼마나 가지고 있었는가 검토가 필요하다. 명확한 동아시아모델의 도성을 실현함으로써 왕권의 존재를 드러낸 고대 율령정권과의 차이점은 매우 크다. 이후 무가가 권력의 의도를 도시구조로서 명확하게 드러낸 것은 15세기 후반의 전국시대 다이묘(大名)의 죠카마치(城下町)로부터이다. 특히 16세기 후반부터 천하통일을 실현한 오다 노부나가, 도요토미 히데요시의 연합정권에서는 구체적인 성(城)과, 그 성을 중심으로 한 계층성을 명시한 죠카마치의 공간설계가 있었다. 여기서는 다시금 '도시의 경관'이 명확한 권력의 상징으로서 기능하게 된 것이다.