• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.37-47
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• 2018

This study was attempted to understand present status and characteristics of landscape components of the domestic Korean Gugokwonlim created by the classical scholars in the Joseon Dynasty. The results are as follows. First, Distribution of Gukokwonlim in Korea shows that 55(51.4%) are located in Daegu and Gyeongsangbuk-do, and 22(20.56%) are located in Chungcheongbuk-do. Concentrated locations of Gugok are on the part of Baekdudaegan, from Sobaeksan mountain to Sokrisan mountain via Wolaksan mountain, and the Nakdong River basin of the Nakdong vein in the right bank. This consideration seems to be closely related to the academy of Yeongnam Confucianism and the their trend of Wonrim enjoyment. Second, according to the result of examining the distribution of Gugok according to the basic local government authority, The biggest number of the Gugok places(10 places, 9.35%) are located in Andong, which is called 'the capital of Korean spiritual culture.' Additionally in order, 9 places(9.45%) is located in Goesan, 8 places(7.48%) in Mungyung, 6 places(5.61%) in Bonghwa, and 5 places(4.67%) in Yeongju. Third, in order to the creating time of Gugokwonlim, 33 (33.0%) were created in $18^{th}$ century, and other 33 (33.0%) were created in $19^{th}$ century. In addition, 14 were created during $20^{th}$ century, while 13 were created in $17^{th}$ century. And 4 were created in $16^{th}$ century. Respectively. great number of $18^{th}$ and $19^{th}$ centuries shows that many(66.0%) Gugokwonrim were created between late 18th to 19th centuries. Fourth, There were 97(90.65%) of 'Gugok' in the form of collecting type, and a total number of bottom-up style Gugok were 99(92.5%) while top-down style Gugok were 8(7.5%). Fifth, Among the contents of Gugok, 67 were found in pome of Gugok(64.49%), 29 caved letters in rock(27.10%), and 16 in painting of Gugok(14.95%). Sixth, The most emerged landscape components of Gugok was Dae(臺) 124(13.05%), followed by Am(巖) 115[11.2%, including of Am(岩)] 115(11.2%), and Dam(潭) 73(7.68%), Jeong(亭) 48(5.05%), Dong(洞) 39(4.10%), San(山) 36(3.78%), Am(岩, rocks) 31(3.26 %), Bong(峯, peaks) 27(2.84%), Yeon(淵) 23(2.42%) and Chun(川) and Tan(灘) 22(2.31%). Mostly, common landscape components of Gugok are entrusted natural things. It is expected that more studies about the analysis of characteristics of Gugok's positioning types considering total distance and a gradient are required to understand more clearly characteristics and location distribution of true Gugok and its landscape components.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.84-94
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• 2015

This study is to examine how the admiration for Chutzu(朱子)'s achievement while he was preaching his policies after renouncing the world in Wuyi-Gugok(武夷九曲), Mt. Wuyi and Joseon-style transformation culture were unfolded and developed through Gugok management cases such as position, name, poetic diction, Jungsa(精舍) architecture and engraving of Muyi-Gugok set in Mt. Gugok, Snacheong. The results were as follows: Myungam(明庵) Jeong Sik(鄭拭, 1683~1746)'s Muyi-Gugok, which consists of Suhongkyo(垂虹橋, gok 1) - Oknyeobong(玉女峰) - Nhongwhaldam(弄月潭) - Nacwhadam(落花潭) - Daeeunbyeong(大隱屛) - Gwangpyungryea(光風瀨) - Jaewhaldae(霽月臺) - Gorooam(鼓樓巖) - Wharyongpok(臥龍瀑, gok 9) is the representative case where Chutzu's Wuyi-Gugok was exactly copied and fulfilled to the Joseon Dynasty. In a large frame, Gugok Wonlim culture, Myungam's Muyi-Gugok management has a will of succession of Dotong(道統) through admiration for Chutzu in a rigid way. Another name of Mt. Gugok is Mt. Muyi and Gugok's name is Muyi-Gugok and the residence existed between gok 4 and gok 5. In addition, the name of Jeongsa for Gugok management is also 'Muyi Jeongsa(武夷精舍)' and Gugok name and contents of Poetry are also similar and all of these are clear evidence that Myungam tries to copy Chutzu's Wuyi-Gugok to Mt. Gugok. Also, Gugok set before Myungam were located in Mt. Gugok and among them, verified four Gugok names are corresponded to those of Chutzu's Wuyi-Gugok and it tells that conforming behavior as one of admiration ways for Chutzu already arrived at Mt. Gugok before Myungam and this was an oppotunty to widen Mt. Gugok Muyi-Gugok's tradition and horizon. Also, considering that Myungam's gok 6, Gwangpyungryea and gok 7, Jewoldae are names from 'Gwangpungjewol(光風霽月)' Based on Chutzu's poem and they are closely related to Joseon's classical scholar spirit, they are associated with Joseon-style transformation of Chutzu's Muyi-Gugok. Meanwhile, gok 5 'Daeeunbyeong' was transformed to 'Nangaam(爛柯巖)' in gok 5 - "Deoksan-Gugok(德山九曲) of Jooko(竹塢) Ha Beom-Woon(河範運, 1792~1858) and those characters's engravings are handed down. In "Pome of Deoksan Gugok" transformed from Myungam's Muyi-Gugok, respect and admiration for Chutzu is weaken while Ha Beom-Woon admires Nammyeong(南冥) Cho shik(曺植, 1501~1572), a symbolic character of himself's school and from this, a movement to promote partisan unity is identified. After Myungam died, Muyi-Gugok in Mt. Gugok was transformed from a space to succeed Chutzu's Dotonga to one to commemorate the memory of ancient sages, but, it is a typicality case that widen the spectrum of Joseon's Gugok-Wonlim culture through Muyi-Gugok's imitation and transformation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Korean Journal of Environment and Ecology
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• v.23 no.2
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• pp.194-207
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• 2009

The study is to suggest a management method for improvement of natural and cultural landscape of Hwayang valley which is degraded in Songnisan National Park. It was carried out to study original shape of landscape of it and analyse nine major properties of Hoayang Gugok, based on old literatures. The landscape of Gugok was composed of rocks and small ponds, Pinus densiflora community and most of them were degraded by the situation of covered rocks by growth of vegetation, destructed small ponds by sedimented sands and degradation of natural landscape by artificial forest. Vegetation landscape of artificial forest composed of Populus tomentiglandulosa, Robinia pseudo-acacia, Pinus koraiensis in periphery of the valley was not matched with natural landscape. The goal of landscape management was established to conserve natural and cultural landscape in Joseon Dynasty. For this, It was needed to protect landscape values of gugok through the management of vegetation and visitors. In addition, it was required to provide opportunity to easily access to the landscape of Gugok. As a management method of vegetation, it was suggested to maintain P. densiflora community and to restore artificial forest to natural forest through the density management.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.3
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• pp.67-75
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• 2017

The culture of Gugok (九曲) and Dongcheon (洞天), which tries to reach the ideological culmination in Confucianism, was widespread throughout the Joseon dynasty. This was an extension of the spirit of studying and honoring Zhu Xi (學朱子, 尊朱子); thereby, Confucian scholars in Joseon expressed the will to follow the teachings of Zhu Xi (朱子) and comforted themselves that they were in the course of attaining the truth. As a realization of this expression of will, scholars designated and operated various scenic sites as Gugoks, following the example of Zhu Xi's Mui Gugok (武夷九曲), and Dongcheons, as a representation of the utopia. These designations are widespread nationwide, with around sixty Gugok locations that have now been reported in academia. However, the actual number of Gugoks exceeds this number, and many of them are currently not identified concerning the exact locations. Therefore, the purpose of this study is to identify the locations of Gugoks and Dongcheons scattered around Seoul, Gyeonggi and Gangwon regions. For the coordinates of Gugoks and Dongcheons, this study referred to the literature, web search and the books published by local cultural institutes. Based on the collected information, the researchers conducted field trips to investigate whether the record exists as a real location and, if so, acquired their coordinates. This study also provides the tables of Gugok or Dongcheon that only exists in the imagination, existed before but now are lost, or are inaccessible. Eight locations in Seoul, Gyeonggi, and Gangwon regions are understood as Gugok. Among them, Gogun Gugok and Okgye Gugok have relatively clear locations and records. Byeokgye Gugok and Suhoe Gugok, on the other hand, has many locations and titles overlapped, and their established time and managers are unclear. As for Ui Gugok in Seoul, it is known to be set by Hong Yangho, but some parts of its locations are confirmed, others are in dispute, and many locations are damaged. Thirty-eight locations in Seoul, Gyeonggi, and Gangwon regions are understood as Dongcheon. There are sixteen Dongcheons in Seoul area. Among them, those including Dohwa Dongcheon, Yangsan Dongcheon, and Ssangnyu Dongcheon actually exist but are forbidden to be accessed. There are thirteen Dongcheons in Gyeonggi area. The exact location of Onsu Dongcheon cannot be confirmed because of the development; Gwirae Dongcheon has historical records, but the actual existence cannot be confirmed. There are nine Dongcheons in Gangwon area. The researcher judged that Hwaeum Dongcheon is the misspelled record of Hwaeumdong Jeongsaji (華陰洞精舍址), which is located at the upstream of Gogun Gugok.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.50-65
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• 2021

In this study, the water flow system by measuring the flow-way type and distance of flow path that composes the Gugok through literature survey, field survey, and map work on Gugok gardens in Korea whose existence has been confirmed, while investigating and analyzing watersheds, river orders, and river grades. It was intended to reveal the watershed distribution and stream morphological characteristics of the Gugok gardens and to use them as basic data for future enjoyment and conservation of the Gugok gardens. The conclusion of the study is as follows. First, Of the 93 Gugok gardens that have been confirmed to exist, it was found that 11 places(11.8%) were found to have a descending(top-down) type of Gugok that develops while descending along a stream. Second, As a result of analysis of the length of the flow path for each valley, Okryudonggugok(玉流洞九曲, Namsan-gugok) in Gimcheon, Gyeongsangbuk-do was found to have the shortest length of 0.44km among the surveyed valleys, while the flow distance of Muheulgugok(武屹九曲) located in Seongju-gun and Gimcheon-si, Gyeongsangbuk-do was 31.1km, showing the longest flowing distance. The average flow path length of the Gugok Garden in Korea was 6.24km, and the standard deviation was 4.63km, indicating that the deviation between the 'curved type'e and the 'valley type' was severe. In addition, 14(15.1%) Gugok gardens were found to be partially submerged due to dam construction. Third, As a result of analyzing the waters area where Gugok garden is located, the number of Nakdong river basins was much higher at 52 sites(55.9%), followed by the Hangang river basin at 27 sites(28.7%), the Geum river basin at 9 sites(9.7%), and the Yeongsan river and Seomjin river basins at 5(5.4%). Fourth, All Gugok gardens located in the Han river region were classified as the Han river system, and the Gugok garden located on the Nakdong river was classified as the main Nakdong river system, except for 7 places including 5 places in the Nakdong Gangnam Sea water system and 2 places in the Nakdong Gangdong sea water system. As a result of synthesizing the river order of the flow path where Gugok garden is located, Gugok, which uses the main stream as the base of Gugok, is 3 places in the Hangang water system, 5 places in the Nakdong river system, 2 places in the Geumgang water system, and 1 place in the Yeongsangam/Seomjin river system. A total of 11 locations(11.5%) were found, including 36 locations(38.2%) in the first branch, 29 locations(31.2%) in the second branch, and 16 locations(17.0%) in the third branch. And Gugok garden, located on the 4th tributary, was found to be Taehwa Five-gok(太華五曲) set in Yonghwacheon Stream in Cheorwon in the Han river system, and Hoenggyegok(橫溪九曲) in Yeongcheon Hoenggye Stream in the Nakdong river system. Fifth, As a result of the river grade analysis of the rivers located in the Gugok garden Forest, the grades of the rivers located in the Gugok garden were 13 national rivers(14.0%), 7 local first-class rivers(7.5%), and 74 local second-class rivers(78.5%) was shown.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.95-105
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• 2014

Dosangugok is located at Dosan-myeon, Andong City, Gyeongbuk and its original landscape was analyzed based on Valley4 Buncheon among Dosangugok. In order to estimate original landscape of Dosangugok, landscape elements were extracted after investigating ancient literatures including 'Nongamjib' and poetry/prose relevant to Dosangugok, landscape elements that could be confirmed at local site survey were suggested and arrangement of Buncheon village was estimated based on painting works. In analysis of poetry/prose, 29 landscape elements were extracted and as a result of local site survey, 6 places including Jeomam (Jari-bawi), Nongam (Gwimeok-bawi), Sajaseok (Saja-bawi), Sangam (Elephant rock), Dae and Bungang were confirmed to be existed at present and in painting works, Rocks such as Aeildang on the rock adjacent to Bungang, Buncheon Seowon at its backyard village, Bungang Byeoneui Gwimeokbawi, Jeomam were confirmed to be expressed even though not expressed in detail. Survey was performed based on ancient site of Nongam head house in parallel with interview with 17th eldest grandson(Ph.D. Lee, sung won)of Nongam Lee, Hyeon Bo and local site survey and original landscape was reproduced by making its result as a drawing and preparing an estimated map around this area.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.115-131
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• 2020

Through literature research and field investigation, this paper attempts to study the distribution, morphology and the typification of the visual and perceptual stone inscription in Wuyi-Gugok of China. The results are as follows: First, there are 350 stone inscriptions in total from the 1^st Gok to 9^th Gok in Wuyi-Gugok. Second, according to the analysis of the stone inscription distribution, 74(21.2%) stone inscriptions in the 5^th Gok, 67(19.2%) in the 6^th Gok, 65(18.6%) in the 1^st Gok, 60(17.2%) in the 2^nd Gok and 53(15.2%) in the 4^th Gok are confirmed. The above five Goks contain 319(91.1%) stone inscriptions, so they have rich cultural landscape. Third, according to the survey, the number of the stone inscriptions existed in the Sugwangseok of the 1^st Gok are 41(22.6%), in the Homagan of Cheonyubong of the 6^th Gok are 29(8.3%), in the Jesiam of the 4^th Gok are 23(6.6%), in the Nyeongam of the 2^nd Gok are 22(6.3%), in the Hyangseongam of the 6^th Gok are 21(6%), in the Unwa of the 5^th Gok are 19(5.4%), in the Bokhoam of the 5^th Gok are 18(5.1%), in the Eunbyeongbong of the 5^th Gok are 17(4.9%), in the Daejangbong of the 4^th Gok are 14(4%), in the Daewangbong of the 1^st Gok and the Geumgokam of the 4^th Gok are 12(3.4%). Thus, a total of 228 (65.1%) stone inscriptions are concentrated in these 11 sites, which represent the popularity and cultural value of these rocks. Fourth, the stone inscription of Wuyi-Gugok, praising the landform and topographical geological landscape of Mount Wuyi, mainly describe the scenic name of each Gok related to Zhu Xi's Gugok culture, appreciate Zhu Xi's tracks and the stone inscription in the sacred land of Neo-Confucianism culture, and also record the Confucian edification of mencius thoughts, Muigun(武夷君) and the myths and legends related to the site names of Wuyi mountain, which can remind people of the worldview of the celestial paradise where the gods live and the fairyland of the land of peach blossoms. In addition, it indicates that the historical and cultural landscape, which is full of colorful history and myths and legends, including allusions related to Confucian, buddhist and Taoist celebrities and the ancestor ancient things related to traditional culture of China is very diverse. Fifth, the results of the classification, based on the content of the stone inscription in Wuyi-Gugok, are classified as the scenery name inscription, the praise scene inscription, the recording travel inscription, the recording event inscription, the philosophy inscription, the expressing emotion inscription, the religion inscription, the inscription for auspiciousness, the slogan and expressing ambition inscription and the official document notice inscription, among which there are 102(29.1%) praise scene inscriptions, 93(26.6%) scenery name inscriptions and 61(17.4%) recording travel inscriptions. The stone inscriptions of Wuyi-Gugok have the characteristics of the special emphasis on scenery names, landscape praise and commemorative tours. Sixth, the analysis of the intertext between the 「Figure of Wuyi-Gugok」 and Wuyi-Gugok rock letters, in the study found that the method of propagation between media was mostly the method of propagation of quotations and maintained intermedia through extension, repetition, extension, and compression.

• Korean Journal of Environment and Ecology
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• v.27 no.4
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• pp.487-497
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• 2013

This study was conducted to suggest vegetation management plan for Gugok landscape maintenance and improvement by deducing the vegetation landscape factors inherent in Yongha Gugok and understanding vegetation structure through the investigate of existing vegetation and plant community structure of Yongha valley in Woraksan National Park. There were broad and flat rocks, natural layered stones, clear water, light stones, stream, valleys, waterfalls, Pinus densiflora and Acer pseudosieboldianum as a result of deducing natural factors on poetry. There were P. densiflora and A. pseudosieboldianum appeared as one of main vegetation landscape elements. The actual vegetation analysis results were as followed. The natural vegetation occupied 67.5% and it was classified as P. densiflora community, Quercus variabilis community, Q. variabilis-P. densiflora community, Q. variabilis-Q. serrata community, Q. serrata community, Q. mongolica community, Q. mongolica-P. densiflora community, Deciduous broad-leaved tree community. The artificial vegetation(18.7%) was classified as Q. serrata community-Larix kaempferi community, Q. mongolica- Castanea crenata community, L. kaempferi community, L. kaempferi-C. crenata community, fruticeta, L. kaempferi-Q. mongolica community. The grassland area(2.0%) was classified as Miscanthus sinensis community, Phragmites communis community, and other areas were classified as landscape tree planting area, farm, orchard, residential area. The representative vegetation were P. densiflora community, Q. variabilis-Q. serrata community, L. kaempferi community, Deciduous broad-leaved tree community in Yongha Gugok. The species diversity index of Shannon was 0.6274~0.9908 on the whole. Yongha Gugok, as a symbol of succession on confucianism and reverence for nature, should be preserved natural valley landscape being clean and wijungchuksa at the end of Joseon Dynasty and Japanese Colonial era. In this historical and cultural Gugok, vegetation landscape management plan is needed to landscape maintenance with P. densiflora community, density control with L. kaempferi community. And it is considered when natural disasters and artificial damages happened, P. densiflora-oriented vegetation restoration plan should be applied in order to restore.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.22-43
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• 2019

Mureung Valley was designed as a place of scenic beauty. It was called a utopia because of its unexplored regions. Many people traveled to this place and wrote poetry and prose describing it. It represented a culturally historic site and an example of the changing of cultural spaces. Mureung Valley was one of the nameless valleys in Duta Mountain, but "Mureunggye" was named by Kim Hyon Won, who was a governor of Samcheok.. The valley acquired a reputation for many people's visiting. It was a famous space because local residents liked the place, and famous people also loved the place. This place was adapted into a cultural place with a link to the immortal world and an educational place by people's travel stories. The place maintained a reputation until now and took center stage as a famous travel space. One of the reasons it became a place of famous scenic beauty is travel. People who travel to Mureung Valley created poetry and prose containing their excitement and travel stories. As the poetry and prose had esthetic images of Mureung Valley, people understood the place. The poetry and prose showed the meaning of the place and the changing process. These codified the reputation in the place. Mureung Valley was pointed out in one of the Cheokju-Palkyoungs. However, Mugye-Palkyoung (only for Mureung Valley) was made. It was understood as the most beautiful scenery in the place and it had the meaning of the ethics place which embodied Neo Confucianism. Mureung Valley has a great natural landscape and cultural history background. That is how this place of scenic beauty was created.