• Journal of the Korean association of regional geographers
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• v.7 no.3
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• pp.91-106
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• 2001

Local government takes an active role in the (re)making of local socio-economic space. To support such an argument, the three different actions by the local government of Taegu, urban planning and local industrial districts, the establishment of special educational institutions, and textile festival are analyzed. The division of the city's space into residential, commercial, and industrial area by local government constrained the location of local manufacturing industries. It also forced textile industry to move to the outskirts of Taegu. As the education level in South Korea rose after the late 1970s, the local government of Taegu as well as local industrial capitalists had to do something to acquire a stable supply of labor to local manufacturing industries, particularly textile one. After the late 1970s, the special classes for the education of local workers, especially textile ones were established within vocational high school and company-operated high schools were also built in Taegu. Finally, local government started a program of textile festival in 1985. Through textile festival, local government as well as local textile business people tried to reproduce textile industry as the main economic activity of Taegu.

• Economic and Environmental Geology
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• v.47 no.5
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• pp.467-477
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• 2014

Naturally occurring asbestos (NOA) occurs in rocks and soils as a result of natural weathering and human activities. The asbestos have been associated with ultramafic and mafic rocks, and carbonate rock. The previous studies on NOA were mainly limited to ultramafic and mafic rock-hosted asbestos in Korea. But, studies on carbonatehosted asbestos are relatively rare. Therefore, the purposes of this study were to investigate mineralogical characteristics of carbonate-hosted and metapelite-hosted NOA and to examine genesis of NOA occurred in the both rocks. The study area was Daerori, Seosan, Chungnam Province, Korea. The major rock formation consisted of limestone and schist which have been known to contain asbestos. Sampling was performed at outcrop which contained carbonate rock showing acicular asbestos crystals as well as pegmatitic intrusion that contacted with carbonate rock. PLM, XRD, EPMA, and EDS analyses were used to characterize mineral assemblages, mineralogical characteristics, and crystal habits of amphiboles and other minerals. BSEM images were also used to examine the genesis of asbestos minerals. The amphibole group was observed in all of the carbonate rocks, and actinolite and tremolite were identified in all rocks. These mineral habits were mainly micro-acicular crystals or secondary asbestiform minerals on the surface of non-asbestiform minerals appearing split end of columnar crystals produced by weathering. BSEM images showed residual textures of samples. The residual textures of carbonate rocks showed dolomite-tremolite-diopside mineral assemblages that formed during prograde metasomatism stage. Some carbonate rock also showed diopside-tremolite-talc mineral assemblages which were formed during retrograde metasomatism stage, as the residual textures. In result the presence of asbestos actinolite-tremolite in the carbonate rocks were confirmed in the areas where actinolite-tremolite asbestos was influenced by low temperature hydrothermal solution during metasomatism stage. These asbestos minerals showed the acicular asbestiform minerals, but even non-asbestiform minerals, a bundle or columnar shape, could transform to asbestiform minerals as potential NOA by weathering because the end of columnar shape of non-asbestiform minerals appeared as multiple acicular shaped fibers.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.1
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• pp.98-106
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• 2010

Bangseonmun(訪仙門) is the attractive spots where Shinseon(神仙: Taoist hermit) ideas that makes Mt. Younju(瀛洲山) or the current Mt. Halla mystique has still remained and situated at Hancheon(漢川) Valley. Bangseonmun, which is known as 'Landscape Setting Here($L_{SH}$)' of Youngguchunhwa(瀛丘春花), which is one of ten famous spots in Youngjusipkyung(瀛洲十景), and Deulreonggui refer to 'the gate to the place where Shinseon is living.' It is described as the path to Mt. Youngju for Shinseon and the boundary between the mundane world and the world beyond the mundane. The old scholars at Mt. Halla entered the gate and met Shinseon, carving the word or picture of Bangseonmun, Whanseonmun, Wuseondae or Deungyounggu so as to structure the enchanting image on Bangseonmun. It is the poetic expression of the taste for the arts, breaking from the troublesome mundane world and riding the white deer to become the Shinseon, the desire for the ideal world in Taoism, and the identity of four famous scenic spots of Bangseonmun. Besides its enchanting meaning and the locational value of Bangseonmun, geological features of the valley and river and ecological value prove its unique value as a natural scenic beauty. Not to mention the locational identity and enchanting meaning of the poets carved in Meeaegak of Bangseonmun and the scenic view of 'Youngguchunhwa' as the subject of 10 famous scenes of Youngju, it is the place for communing with nature with the natural beauty of Bangseonmun Valley. As the cultural place for being together with Jeju people, it simultaneously shows the typical model as a scenic spot in our living. Viewing the scenic value and standard from the aspect of the Cultural Properties Protection Law, Bangseonmun Valley in Jeju must be the typical place and space that meet the requirements to become scenic sites.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.14-28
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• 2010

By philological geography method for dismantling and reconstituting Buyeo's Palkyung(扶餘 八景), which best signify the image of ancient city Buyeo's landscape, this research is to demonstrate the fact that the place's inertia of certain historic sites has been passed down as a type of geographic code. Titled poems and retrospective poems about Buyeo's Palkyung and its spectacles and landscapes reveal the fact that the splendid and glorious cultural heritage of Baekje had faded but its traces have remained in the each eight views including Nakhwa-am(落花巖), Goran-sa(皐蘭寺), and Jayong-dae(釣龍臺). In addtion, the spectacles and historic sites of Buyeo's Palkyung appear as the symbol of Baekje's fall and loss in the poems. Thus, it can be said that Buyeo's culture and civilization have never escaped from the cultural and historical scars of Baekhe's fall, being dominated by the place's inertia originated from the identity as "Baekje'slastcapital". It is ironical that Buyeo's future development and prosperity are not free from its cultural and historical spectacles which bear the image of the fall of Baekje. 'Older Buyeos' Palkyung(扶餘舊八景)' and, Prior Buyeo's Palkyung(夫餘前八景), originate from nine views of an unknown builder and after the construction of pavilions and towers, 'Subuk-jeong eight views(水北亭八景)' by Heungguk Kim(金興國) and the eight poems of the, Retrospect of Buyeo(扶餘懷古八景), were created. 'Buyeo's later Palkyung(扶餘後八景), which are especially free from the site's inertia are known to have expanded the scope of Buyeo's landscape by deliberately demonstrating spectacles and sites different from those of existing views. Nakhwa-am, Goran-sa, Joryong-dae, Songwal-dae(送月臺), Youngwal-dae(迎月臺), and Pyungje-tap(平濟塔) are all located within a one kilometer radius of Banwol-sung(半月城), Buyeo's palace and the Baekma river(白馬江), Daewang-po(大旺浦), Busan(浮山) in a two kilometers radius. Jaon-dae(自溫臺), Subuk-jeong(水北亭), and Gyuam-jin(窺岩津) are located within a three kilometers radius. Even Chunjeong-dae(天政臺), which are located within a four kilometers radius of Banwol-sung are located alongside the Baekma river. This indicates the fact that these spectacles had not been established temporarily or impromptu but for a long period time by historic retrospect and the inertia of landscape's geographic cycle. In conclusion, the geographic phenomenon of historical and cultural inertia appeared because Buyeo had the geographic message of "fallen, ancient city". Therefore, Buyeo's Palkyung which have constant retrospective inertia is clearly an geographic code effective and helpful to understand not only the characteristics of historic sites and spectacles of Buyeo in the Sabi period but also the quality of the site itself.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.4
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• pp.22-34
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• 2016

The purpose of this study was to analyze commemoration characteristics of fifty-nine Vietnam war memorials in Korea(VWMK) including monuments and national cemeteries from landscape architectural point of view such as location, spacial characteristic, landscape detail, sculpture, and interpretive text. Based on the commemoration characteristics of the analysis, the commemoration culture among Vietnam, the U.S.A., and Korea were studied and differences compared. The results are as follows. First, monuments were mainly located in public open space such as national cemeteries, parks, and plaza, and some of them were elected along with Korea war memorials to honor Vietnam war veterans at the national level. Second, because the monuments were relatively small and memorial towers were conventionally built on a square platform, the memorial style had been simply standardized to stereotype the commemoration characteristics. Third, outmoded memorial towers, stone plates, emblems, and memorial walls were used as main landscape details and standardized facilities were considered from an artistic and social point of view. Fourth, realistic soldier statues to show heroic and humanitarian image were in majority, while symbolic and abstract sculpture were small in number, they were mostly conventional and unexpressive. Fifth, the causes of participation in the Vietnam War were predominantly expressed as 'defending freedom', 'keeping world peace', and 'national economic development' based on anti-communism and patriotism, and also the collectivity of Vietnam War veterans by troop and local level was emphasized through engraving each veterans's name on towers, plates, and walls. VWMK are mostly conventional and stereotyped in style and show strongly national official memory and the collectivity of veterans from a sociopolitical perspective, and aim for anti-communistic patriotism ideologically. Further study and projects will be required to make creative and innovative memorials and to study how to rethink sublime fundamental themes like war, death, and the individual veteran's experience in VWMK.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.23-36
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• 2010

The purpose of this study is to infer the aspects and significance of Musa basjoo of latter part of Chosun Dynasty by analyzing the planting tendency and planting location of Musa basjoos drawn in total 77 old paintings and the characteristics of the paintings where Musa basjoos appeared, while trying to understand symbolic meanings of floral languages as well as the images and significance of Musa basjoos which appeared in the prose and poetry of Chosun Dynasty, and the results are as follows; With its floral languages of 'waiting', 'parting' and 'beauty', Musa basjoo represented the wealth and resuscitation and it aroused the elegance of hermits in its Taoistic sense. And it also represented 'the unworldliness to get out of transient human affairs' in its Buddhistic sense. Musa basjoos which appeared in 'Garden Custom Painting(庭園雅集圖)', 'Gosa Figure Painting(故事人物圖)' and 'Gyehoe Painting(契會圖)' is considered a device to increase the unworldly atmosphere of gardens and to dignify the elegant meetings of scholars, reflected by the high appearance frequencies of cranes and deer. And it seems that the meaning of Musa basjoo in certain paintings like 'Life-time Paintings(平生圖)', 'Castle City Painting(盛市圖), and 'Cultivating and Weaving Painting(耕織圖)' is an aspiration for wealth and prosperity, and the Musa basjoos planted in temples are considered to have symbolic meanings of aspiration for 'Salvation through Belief' as well as a unworldly meaning which reminds the transiency of human affairs. In addition, the expected effect of experiencing 'the sound of rain falling on the leaves of Musa basjoo' has been pursued, which can be confirmed by the fact that Firmiana simlex with wide leaves similar to Musa basjoo can be frequently spotted near the houses. Meanwhile, Musa basjoos seem to have been planted mainly in front garden or side garden around detached house and Musa basjoos inside the houses seem to have been planted mainly in right side when viewed from the entrance, in relation with the location of bedrooms where it is easier to hear the sounds from the right side of the environment. And the paintings where Musa basjoos appear with strange rocks and bizarre stones among other things have greater part of all the paintings, which is considered a kind of intentional landscaping and a product of mixed materials for elegant appreciation. And the major characters of the painting were involved in the activities of scholars such as arts, and the activities of minor characters were greatly related to their everyday lives. Musa basjoo of Chosun Dynasty in $17^{th}$ and $18^{th}$ century was one of the symbols necessary for description of gardens. And it provided the images of rainy scenes together with scholar culture which had a meaning of self-discipline, and it is assumed that the planting of Musa basjoo with the spirit of cease lessen deavor of a new leaf pushing up the tree and the spirit of resuscitation had the same trace of wheels in the city space of our country as the decline of scholar culture of Chosun Dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.62-82
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• 2019

Taking the three Wuyi-Gugok Drawings, 『A Picture Showing the Boundary Between Mountains and Rivers: A』, 『Landscape of the Jiuqu River in the Wuyi Mountain: B』 and 『Eighteen Sceneries of Wuyi Mountain: C』, which were produced in the mid-Qing Dynasty as the research objects and after investigating the names recorded in the paintings, this paper tries to analyze the scenic spots, scene types and images in the literature survey. Also, based on the number of Scenic type and the number of Scenic name in each Gok, landscape richness(LR) and landscape similarity(LS) of the Gugok scenic spots, the cognitive characteristics of the landscape in the 18th century were carefully observed. The results are as follows. Firstly, according to the description statistics of scenic spot types in Wuyi Mountain Chronicle, there were 41 descriptions of scenery names in the three paintings, among which rock, peak and stone accounted for the majority. According to the data, the number of rocks, peaks and stones in Wuyi-Gugok landscape accounted for more than half, which reflected the characteristics of geological landscape such as Danxia landform in Wuyi-Gugok landscape. Secondly, the landscape of Gugok Stream(九曲溪) was diverse and full of images. The 1^st Gok Daewangbong(大王峰) and Manjeongbong(幔亭峰), the 2^nd Gok Oknyeobong(玉女峰), the 3^rd Gok Sojangbong(小藏峰), the 4^th Gok Daejangbong(大藏峰), the 5^th Gok Daeeunbyeong(大隱屛) and Muijeongsa(武夷精舍), the 6^th Gok Seonjangbong(仙掌峰) and Cheonyubong(天游峰) all had outstanding landscape in each Gok. However, the landscape features of the 7^th~9^th Gok were relatively low. Thirdly, according to the landscape image survey of each Gok, the image formation of Gugok cultural landscape originates from the specificity of the myths and legends related to Wuyi Mountain, and the landscape is highly well-known. Due to the specificity, the landscape recognition was very high. In particular, the 1^st Gok and the 5^th Gok closely related to the Taoist culture based on Muigun, the Stone Carving culture and the Boat Tour culture related to neo-confucianism culture of Zhu Xi. Fourthly, according to the analysis results of landscape similarity of 41 landscape types shown in the figure, the similarity of A and C was very high. The morphological description and the relationship of distant and near performance was very similar. Therefore, it could be judged that this was obviously influenced by one painting. As a whole, the names of the scenes depicted in the three paintings were formed at least in the first half of 18^th century through a long history of inheritance, accumulated myths and legends, and the names of the scenes. The order of the scenery names in three Drawings had some differences. But among the scenery names appearing in all three Drawings, there were 21 stones, 20 rocks and 17 peaks. Stones, rocks and peaks guided the landscape of Gugok Streams in Wuyi Mountain. Fifthly, Seonjodae(仙釣臺) in A and C was described in the 4^th Gok, but what deserved attention was that it was known as the scenery name of the 3^rd Gok in Korean. In addition, Seungjindong(升眞洞) in the 1^st Gok and Seokdangsa(石堂寺) in the 7^th Gok were not described in Drawings A, B and C. This is a special point that needs to be studied in the future.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.82-101
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• 2014

The purpose of this study was to survey and analyze the origin story and the legends associated with Yongyudam(龍遊潭, Dragon Creek), its scenic and spatial description in Climbing Writings(遊山記: Yusangi Notes), its geographical and geological features, its surrounding remains and letters chiseled on the rocks through the field study and the study on literatures associated with it so to identify its significance and value and then to ensure justification on preservation of Yongyudam scenic site. Conclusions of this study are as follow. As the traditional scenic place 'Geumdae-Jiri(金臺智異)' representing Hamyang-gun(咸陽郡) depicts Mount Cheonwangbong and 'Yongyudong Village(龍遊洞)', ancient maps and literatures have positioned Yongyudam as the center of Eomcheon-river Creek as well as the representing scenic site of Yongyudong Village. Core images in the spatial awareness of Yongyudam described in our ancestors' Climbing Writings Notes on Jirisan Mount are 'geographical and scenic peculiarity associated with swimming dragons', 'potholes in various shapes and sizes scattered on rocks', 'loud sound generated by swirling from shoals' and 'the scenic metaphor from the dragon legend', which have led scenic features of Yongyudam scenic site. In addition, significant scenic metaphors from legends such as 'Nine Dragons and Ascetic Majeog' and 'Kasaya Fish' as well as 'the Holy Place of Dragon God', the rain calling magic god have descended not only as the very nature of Yongyudam scenic site but also the catalyst deepening its mystic and place nature. On the other hand, Jangguso Place(杖?所, Place of Scholars) in the vicinity of Yongyudam was the place of resting and amusement for scholars from Yeongnam Province, to name a few, Kim Il-son, Cho Sik, Jung Yeo-chang and Kang Dae-su, where they experienced and recognized Jirisan Mount as the scenic living place. Letters Carved on the rocks at Jangguso Place are memorial tributes and monumental signs. Around Yongyudam, there are 3 stairs, letters chiseled on the rocks and the water rock artificially built to collect clean water, which are traditional scenic remains detectable of territoriality as the ritual place. In addition, The letters on the rock at Yongyudong-mun(龍遊洞門) discovered for the first time by this study are the sign promoting Yongyudam as the place of splendid landscape. The laconism, 'It is the Greatest Water in Jirisan Mount(方丈第一山水)' on a rock expresses the pride of Yongyudam as the representing scenic place of Mount Jirisan. Other than those, standing rocks such as Simjindae Rock, Yeong-gwidae Rock and Ganghwadae Rock show the sign that they are used as amusement and gathering places for ancestor scholars, which add significance to Yongyudam. By this study, it was possible to verify that Yongyudam in Mount Jirisan is not simply 'the scenic place in the tangible reality' but also has seamlessly inherited as the traditional scenic attraction spiritualized by overlapped historical and cultural values. Yongyudam, as the combined heritage by itself, shows that it is the product of the place nature as well as unique ensemble of cultural scenic attraction inherited through long history based on natural scenery. It is certain that not only the place value but also geographical, geological, historical and cultural values of Yongyudam are the essence of traditional scenic attraction, which should not be disparaged or damaged by whatever political or economic interests and logics.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.21-35
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• 2015

This study conducted a research on the position, construction of space and plants of Ten Evergreen's Garden(十靑園) and Oddly Shaped Stone Garden(怪石園) that are central gardens of Eunguhdang(恩居堂) in the poem 'Statement of Responsibility'(Heo Mok, 1595~1682) and Sochi(小痴) Heo Ryeon(許鍊)'s 'Taeyeongsipcheongwondo(漣川台嶺十靑園圖)' in order to bring light on the construction of space and characteristics of them as a garden of the deep pond, Eunguhdang that is a historic site of Misu Heo Mok(許穆, 1595~1682). The characteristics of Eunguhdang, and the meaning of it from the research are expected to be utilized as a basic data for future restoration of it. The results are as follow: In Eunghudang, there are the main building, a detached house, a separated building, and servants' quarters, and the garden consists of Ten Evergreen's Garden between the main building and a Byeolmyo(別廟), a backyard which leads to a green mountaintop, and Oddly Shaped Stone Garden including a pavilion in the front of the detached house. These gardens are thought to have utilized various oddly stones. From the analysis of existing documents such as 'Gwuimonwon(龜文園)' and several interviews, it is concluded that Gwuimunwon might have had Youngdoseo(龍圖墅) that imitated a stream, and Oddly Shaped Stone Garden might have had a garden which imitates Guimonwon standing for graffiti. The evergreen plants in Gwuimonwon correspond to the plants of Sipjangcheong(十長靑) in Youngdoseo, and through these facts, it is thought to have sought "The clean and cool". Furthermore, the diverse colors of flowering trees and flowers in Oddly Shaped Stone Garden and the surrounding of it is symbolizing dragon which is found in Gwuimonwon and that is contrasting with the evergreen plants in Gwuimonwon. The oddly shaped stones in the garden of Eunguhdang have a strange atmosphere which is felt across the whole buildings in Misu, and s a same aesthetic object that are thought to have created beauty of old greenery and antique appearance by utilizing oddly shaped stones. Misu is based on ever green plants seeking change with flowers along with stones that means spirit, body and bones, which is strengthening his intention.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.2
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• pp.90-103
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• 2009

The poem 'Kyungjusipiyung(慶州十二詠)' written by Seo, Geo-jeong(徐居正) describes sentiments felt for the ruined historical and cultural landscape of Silla's capital city, Kyungju. It differs from the existing 'Eight Sceneries(八景)' as it conveys the strong metaphorical aesthetics of ruins as the episodes and figures are sung, as well as the myths and stories related to the representative holy places of the Silla culture: Gyelim(鷄林), Banwolseong(半月城), Najeong(蘿井), Oneung(五陵), Geumosan(金鰲山), the scenic beauty of deep placeness, Poseokjeong(鮑石亭), Mooncheon(蚊川), Cheomseongdae(瞻星臺), Boonhwangsa(芬皇寺), Youngmyosa(靈妙寺) and Grave of the General Kim Yu-Sin(金庾信墓). Compared with the former "Eight Sceneries" Poems, including Seo Geojeong's 'Kyungjusipiyung', there is a difference in the content of theme recitation, as well as in structure and form, especially with the deep impression of the classical features of the meanings and acts. The sequence of theme recitation seems to be composed of more than two visual corridors visited during trips that last longer than two days. The dominant emotions expresses in this poem, through written in the spring, are regret and sadness such as 'worn', 'broken and ruined', 'old and sad', without touching on the beauty of nature and the taste for life that is found in most of the Eight Sceneries Poems. Thus, the feelings of the reciter himself, Seo, Geo-jeong, about the described sceneries and their symbolism are more greatly emphasized than the beauty of form. The characteristic aspect of his experiences of ruins expressed from 'Kyungjusipiyung' is that the experiences were, first of all, qualitative of the aura conveyed; that is, the quality omnipresent throughout the culture of Silla as reflected in the twelve historical and cultural landscapes. In this poem, the cultural ruins of the invisible dimension such as the myths and legends are described by repetition, parallelism, juxtaposition, reflection and admiration from the antiphrases, as well as the civilized ruins of the visible dimension such as the various sceneries and features of Kyungju. This seems to be characteristic of the methods by which Seo, Geo-jeong appreciates 'Silla' in the poem 'Kyungjusipiyung'. Ruins as an Aesthetic Object imply the noble pride of Seo, Geo-jeong in identifying himself with the great nature of ruins. In 'Kyungjusipiyung', the images of the ruins of Silla and Kyungju are interspersed in spite of his positive recognition of 'the village of Kyungju' based on his records. However, though the concept of ruins has a pessimistic tone connoting the road of extinction and downfall, the aspect here seems to ambivalently contain the desire to recover and revive Kyungju through the Chosun Dynasty as adominant influence on the earlier Chosun's literary tide. The aesthetics of the scenery found in Seo, Geo-jeong's 'Kyungjusipiyung' contain the strongest of metaphor and symbolism by converting the experiences of the paradoxical ruins into the value of reflective experiences.