• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.22-36
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• 2019

This research identified landscape characteristics of Chilitan(칠리탄) area, which had been managed by Son Giyang(1559~1617, p. Ohhan), in order to understand the political viewpoint and ideal landscapes, sought after by Confucian scholars in the 16~17th century. As the research method for the interpretation of each scene's spatial strucutres and meanings, paintings and poems in Chiltanjungsipyukgyeongdo(the Paintings of the 16 Scenes of Chiltanjung Area) were analyzed, which were followed by the on-site survey. Son lived hermit life with the nature after he decided to retire into the country for the chaotic political environment in the 4^th year of Gwanghaegun's reign. Admiring Eum Jareung(B.C. 39-41, p. Eumgwang)'s hermit life, he named a headstream to Chilitan, erected pavilion and made place for angling by the stream, as Eum did in the hermitage. However he worried the king and royal politics in spite of his hermit life, which showed his political viewpoint of Confucianism. In addition, every column of buildings in the garden was named in order to imply both thoughts of Neo-Confucianism and Idleness Naturalism, which highlight a moral training and being comfortable amid poverty and taking pleasure in and honest life style. The present landscape of wonlim could be back to 1936, where Unganru, Byeokripjae and Chiltanjung are surrounding Eupcheondang. Chines character, such as Jimamsuseok, Giam, Ohhansonsunseongjanggujiso and Jogi, are inscribed on the rocks in the landscape garden, from which placeness could be inferred. According to the record of the construction, pine, fir, paulownia, ginkgo, peach trees, bamboo and lotus were planted, and ginkgo, bamboo, crape myrtle, pine and chestnut tress are still living in the garden, which mean plants had been planted in the light of their practical values as well as symbolic meanings. The method for describing 16 scenes of Chiltanjung could be characterized to the structure of 「Place+Scene(a particural activity, event, or action), and these placeness could be analyzed by categorizing the scene to near, middle and far views. Each scene symbolically presents a hermit, noble man, Taoist ideology, homeland, or peacetime, which were adpoted to depict landscapes of Chiltanjung area as the Confucian utopia.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.14-22
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• 2012

The position, size and landscape of the former Donam SeoWon as well as the physical organization of the old site, are studied to extract data for the enhancement of the authenticity of Donam SeoWon since its registration as a world heritage site. The results are as follows. The 'Donam(豚巖)' encaved rock, the tombstone of teacher Sagye(沙溪), Kimjipsadang(金集祠堂), the head of the Gwangsan Kim family, the Sagye stream in front of them, and the Gyeryong and Daedun mountains in the distance are united in the former Donam SeoWon as landscape elements that clearly show the characteristics of the former site, which was called 'Donam-Wollim(豚巖園林).' Moreover Yangseongdangsipyoung(養性堂十詠), adds the garden elements of a medical herb field, twins pond, a bamboo forest, a school, and a peach field. On this site, one can also engage in activities that are related to the land and are closely related to Neo-Confucianism such as fish watching, conferencing, visit in seclusion(訪隱), looking for monks, and overseeing farming. The former site facing east is assumed to have Sau(祠宇) - Eungdodang(凝道堂) - Ipdeokmum(入德門) - Sanangru(山仰樓: estimated). Jeonsacheong seems to have been located to the left of the Sau area, Yangseongdang, which contained upper and lower twin lotus ponds, on the right and was surrounded by various plants. As it has been used as a lecture hall for the past 250 years, the former Donam SeoWon, located 1.8km away from the current area, must be preserved, and the landscape should be formed to establish the authenticity of Donam SeoWon.

• Korean Journal of Heritage: History & Science
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• v.50 no.3
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• pp.110-125
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• 2017

The purpose of this study is to investigate the constructional facts and the operational features of Hamchunwon(含春苑), a wonyu(苑?, a royal garden) constructed in Dongbu(Eastern District) of the capital city of Hanyang. As the living quarters of the queen dowagers were scheduled for relocation after the construction of Changgyeonggung Palace(昌慶宮) during the reign of King Seongjong(成宗), it is presumed that the screening tree planting project discussed around tongmangcheo(通望處, a place allowing open view) was the original form of Dongbu Hamchunwon. Dongbu Hamchunwon was a longitudinal royal garden built in the area across the section from Wolgeunmun Gate(月覲門) to Seoninmun Gate(宣仁門), which were both attached to the east side walls of Changgyeonggung Palace. The area corresponds to the west side area of the newly built main building of Seoul National University Hospital today. During the Joseon Dynasty, only royal gardens built within a palace were referred to as geumwon(禁苑, a palace garden). But Dongbu Hamchunwon which was built outside a palace was recognized as a symbolic and hierarchical space comparable to geumwon. The site location of Donbu Hamchunwon was an important place that corresponded to Naecheongnyong(內靑龍) according to Hanyang's geomancy, and large-scale public works were prohibited in order to protect the vein of Naecheongnyong. During the reign of King Injo(仁祖), part of Dongbu Hamchunwon was partitioned as a ranch. The area around the ranch was called Madongsan(馬東山) and Bangmawon(放馬苑) and was an open space used for rest and pleasure (amusement). In the early days of Hamchunwon's construction, fast growing trees were planted to screen the view to Changgyeonggung Palace. However, after the construction of Gyeongmogung Shrine(景慕宮), a broad scale tree planting project was undertaken to complement Naecheongnyong's vapor of the earth. In particular, after the construction of Yugeunmum Gate(?覲門) and Yucheommun Gate(?瞻門) during the reign of King Jeongjo(正祖), Dongbu Hamchunwon functioned as a key point on the King's progress for paying respects to the ancestors, which followed the route of Palace(Changgyeonggung)-Wonyu(Hamchunwon)-Ancestral Shrine(Gyeongmogung).

• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.140-157
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• 2012

The result of a study on the useful trend of plants related to landscape and how to plant and cultivate through 'ImwonGyeongjaeji Manhakji'of Seoyugu is as follows: First, 'ImwonGyeongjaiji Manhakji', composed of total 5 volumes (General, Fruit trees, vegetables and creeper, plants, others) is a representative literature related to landscape which described the names of plants and varieties, soil condition, how to plant and cultivate, graft, how to prevent the insect attack etc systematically. Second, he recorded the tree planting as Jongjae(種栽) or Jaesik(栽植), and the period to plant the trees as Jaesusihoo(栽樹時候), transplanting as Yijae(移栽), making the fence as Jakwonri(作園籬), the names of varietieis as Myeongpoom(名品), the suitable soil as Toeui(土宜), planting and cultivation as Jongye(種藝), treatment as Euichi(醫治), protection and breeding as Hoyang(護養), garden as Jeongwon(庭園) or Wonpo(園圃), garden manager as Poja(圃者) or Wonjeong(園丁). Third, the appearance frequency of plants was analyzed in the order of flowers, fruits, trees, and creepers and it showed that the gravity of deciduous trees was 3.7 times higher than that of evergreen trees. The preference of flower and trees, fruit trees and deciduous trees and broad-leaved trees includes (1) application of the species of naturally growing trees which are harmonized with the natural environment (2) Aesthetic value which enables to enjoy the beauty of season, (3) the trend of public welfare to take the flowers and fruits, (4) the use of symbolic elements based on the value reference of Neo-Confucianism etc. Fourth, he suggested the optimal planting period as January(上時) and emphasized to transplant by adding lots of fertile soil and cover up the seeds with soil as high as they are buried in accordance with the growing direction and protect them with a support. That is, considering the fact that he described the optimal planting period as January by lunar calendar, this suggests the hints in judging the planting period today. For planting the seeds, he recommended the depth with 1 chi(寸 : approx. 3.3cm), and for planting a cutting, he recommended to plant the finger-thick branch with depth 5 chi(approx. 16.5cm) between January and February. In case of graft of fruit trees, he described that if used the branch stretched to the south, you would get a lot of fruit and if cut the branches in January, the fruits would be appetizing and bigger. Fifth, the hedge(fence tree) is made by seeding the Jujube tree(Zizyphus jujuba var. inermis) in autumn densely and transplanting the jujube tree with 1 ja(尺 : approx. 30cm) interval in a row in next autumn and then binding them with the height of 7 ja(approx. 210cm) in the spring of next year. If planted by mixing a Elm tree(Ulmus davidiana var. japonica) and a Willow(Salix koreensis), the hedge whose branch and leaves are unique and beautiful like a grating can be made. For the hedge(fence tree), he recommended Trifoliolate orange(Poncitus trifoliata), Rose of sharon(Hibiscus syriacus), Willow(Salix koreensis), Spindle tree(Euonymus japonica), Cherry tree(Prunus tomentosa), Acanthopanax tree(Acanthopanax sessiliflorus), Japanese apricot tree(Prunus mume), Chinese wolf berry(Lycium chinense), Cornelian tree(Cornus officinalis), Gardenia(Gardenia jasminoides for. Grandiflora), Mulberry(Morus alba), Wild rosebush(Rosa multiflora) etc.

• Journal of the East Asian Society of Dietary Life
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• v.25 no.5
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• pp.739-751
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• 2015

This study investigated the table settings used in Bul-chun-wi sacrificial rituals in Sangju, Gyeongpook Province. This study took place from May 2014 to April 2015 and incorporated field research and literature review. The subjects of the study were Sojae jongga (family head), Wolgan jongga, Ubook jongga and Ipjae jongga. There were four rows in the table setting of the Wolgan, whereas there were five rows in the other jonggas. In row 5, there were fruits, seeds and confections. In row 4, there were vegetables. In row 3, there was tang (stew); in row 2, juk (steamed meats or fishes) and pyun (rice cake); and in row 1, meh (boiled rice), geng (soup) and myun (noodles). The common food setting was arranged in the order of meh, geng, myun, ganjang (Korean soy sauce), poh (dried meat/fish), chimchae (water kimchi), dates, chestnuts, pears, persimmons, walnuts, bracken, bellflowers, croaker, pyun, and ssam (rice wrapped in lettuce leaves). Ubook jongga had the most number of stews at seven. Sojae and Ipjae jongga each had five stews, and Wolgan jongga had three. The smaller Wolgan jongga had gehjuk (boiled chicken), uhjuk (steamed fish) and yookjuk (boiled meat) arranged in a neat pile on one dish used for rituals, whereas Ubook jongga had gehjuk, uhjuk and yookjuk arranged separately. Sojae and Ipjae jongga had gehjuk arranged separately while yookjuk and uhjuk were arranged as dojuk (gehjuk, uhjuk, yookjuk). The uhjuk was arranged separately. In Wolgan jongga, po was arranged on the right while in the other jonggas, it was arranged to the left. For raw meat Ubook jongga, raw mackerel; Ipjae jongga, raw croaker, and Sojae jongga Yukhoe (beef tartare) were set. However, pork, chicken and croaker were cooked. Other ritual food were used in seasoning and boiling. In the geng Wolgan and Ipjae jongga used miyeokguk (seawood soup), whereas Sojae and Ubook jongga used tangguk (meat soup with vegetables). For the ritual food, most jongga ordered yoogwa, yakgwa and bonpyun as one part, rice cakes (steamed rice cake, glutinous rice cake, jeungpyun, gyungdan), and jehju (alcohol). The other ritual food was prepared on the day by jongga.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.87-96
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• 2012

This study aimed at empirically identifying how the cultural phenomena of localisation and attachment are implemented through Mohyeonjeong and Supodae at Gajo-myeon, Geochang-gun, Gyeongnam. 'Daehakdong', the name of the place where the Mohyeon-jeong and Supodae is located, has a meaning of the place where Geong-Pil Kim(金宏弼) the Hanhwondang(寒暄堂), one of the 5 eastern sages, and Yeo-Chang Jeong(鄭汝昌) the Ildu tought Neo-Confucianism. In addition, in case of Mt. Odo(1,134m) embracing the garden, the meaning of Odo is the five virtues in Confucianism, so we can see that Confucianism was strong in that area. The meaning of 'Mohyeon(慕賢)', "missing and thinking of sages", reflects the emotion of attachment to the place where people pay a tribute to the memory of Seon-Saeng Yang the Hwondu, one of the 5 eastern sages and the creator of Neo-Confucianism in Kyeongnam, and Suk-Ryang Choi(崔淑梁) the ancestors Pyeongchon. In addition, Odojae(吾道齋), Kijeok monument to pay a tribute to the memory of Pyeongchon, the persimmon tree symbolizing Hanhwondang, and Jidongam(志同巖) standing in front of Mohyeon pavillion represent the united wills of the above 3 people to show their Dohak(道學) spirit by practicing it, and also a reiterated expression of attachment to the place. 'Hwonduyangseonsaeng janggujiso' and 'Pyeongchonchoigong ganghakjiso(坪村崔公講學地所)' engraved on the rock of Myeongso Supodae where they gave a lecture of Neo-Confucianism to local Confucianists for many years and enjoyed nature make us to identify the intrinsic meaning of the location that was inherited in the memory of people. Along with this, most of the content of poetry, restoration records, and Sangryang articles are filled with the content reminding of the historical meaning and origin of Mohyeon-jeong and Supodae, so we can see from this that the place had the spatial meaning of Jangsujiso(藏修之所), 'the place of lecturing and communicating' and respecting ancient sages. This spatial tradition is the result of positive attachment to the place, and Mohyeon-jeong and Supodae is the place where the attachment to the place was made spontaneously througth the localisation. To sum it up, Mohyeon-jeong and Supodae was the place of attachment where one paid a tribute to the memory of ancient sages, and Mohyeonjeong and Supodae rocks were the representative examples of the localisation to show the meaning of the place by implication. Studying the process of attachment and localisation of the place does not only enable us to infer the genuine form of the traditional memorial space and park, but also to reproduce the place with the modern concept.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.1-11
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• 2015

This study sheds light on a pond design process which is a core facility of Hwaseol-dang in Muan, the Jeonnam. The plasticity of the pond was analyzed and interpreted for the design process using methods such as "literature search, interview, site visits, aerial pictures, aerial photographing, drawing figures of configuration plane via measurements, internet search, etc.", to trace the developing process of the design and the implications therein. The study results being centered on the developing process of the pond design are summarized herein below. The position of the Hwaseol-dang, being formed on a low hill having low competence as a place for a pavilion, draws more attention regarding its implications from the aspect of inner design. The pond Hwaseol-dang is in a rectangular shape of 1 : 1.2 ratio, in which the depth is a bit higher on the pond edge of the Hwaseol-dang thus being slanted, and Crape Myrtle, which is not known whether introduced during the formation of the pond, is cultivated on the island in the center widespread toward the southeast region. The planar design of the pond is interpreted as "rectangular pond" but it has a smooth half-moon shape where a part is excluded to remove edge. In particular, the three islands in rectangular pond, due to the narrow area, put one island and two half-moon-shaped islands in juxtaposition, and thus, although only being one island, resultantly exhibits the existence effect of proliferated three islands. This is allegedly due to the intentional formation aiming at the effect of hybrid while minimizing the overlap due to merging and adding from the aspect of constituting a design. Furthermore, the pond Hwaseol-dang is extended northwest along with Hwaseol-dang, and also the island in the center is thought to additionally have one or two, but the widespread phenomenon of the island in the center appears to consider the effect of "sit view on the floor of the pavilion of Hwaseol-dang". Considering that even a few examples of ponds having the three islands among the private house gardens in the nation are all curved ponds, the characteristics of the rectangular Hwaseol-dang pond establishing the garden effect of the three islands by modifying the one island in rectangular pond is highly notable. Considering that the three islands of "Yeongju, Bangjang, and Bongrae" is the original shape of the pond garden gestating Taoist ideology, as a symbolic design of a pond, it is regarded as the characteristics of the pond shape in Jeonnam area, and the so-called three treasures "Hwaseol-dang, Camellia, and oddly shaped stones, etc." are concentrated as the symbolism of Hwaseol-dang pond.

• Korean Journal of Environment and Ecology
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• v.24 no.3
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• pp.235-248
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• 2010

This study was carried out to the actual conditions and improvement of the eco-forests master plan in South Korea, and suggested its problems and improvement direction. Results from survey and analysis of limiting factors or constraints in the construction plans of eco-forests in Korea revealed that there were highly frequent problems involving site feasibility, topographic aspect, and existing vegetation. The results of survey on the status of land use indicated that the average ratio of the use of private estate was 29.7%, so then it was estimated that a great amount of investment in purchase of eco-forest site would be required. Results from survey on major introduced facilities showed that there was high frequency of introduction of infrastructure, building facility, recreational facility, convenience facility, and information facility, and that there was low frequency of introduction of plant culture system, ecological facility, structural symbol and sculpture, and the likes. There was just one eco-forest park where more than 500 species of plants grew, and the result of investigation indicated that the diversity of plant species in 11 eco-forest parks was lower than the standards for construction of eco-forest. Results from analysis of the projects costs revealed that investment cost in facilities was higher than planting costs, and that a large amount of investment was made in the initial stage of the project. There was no planned budget for the purpose of cultivating and maintaining the plants and vegetation after construction of eco-forest. The basic concepts in construction of eco-forests were established according to the guidelines presented by the Korea Forest Service; however, the detailed work of the project was planned with its user-oriented approach. Then the construction of eco-forest was being planned following the directions, which would lead to development of a plant garden similar to arboretum or botanical garden. Therefore, it is required that the architect who designs eco-forest as well as the public officer concerned firmly establish the concepts of eco-forest, and that, through close analysis of development conditions, a candidate site to fit the purpose of constructing eco-forest be selected, and also a substantive management plan be established upon completion of construction of eco-forest.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.46-57
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• 2014

This study contemplated the gardening culture from the pictures, which the scholars of late Joseon Dynasty, the aspects of garden landscapes and garden use behaviors are drawn as follows. 1. The yard by the detached house for men and guest in front of the premises(Sarang Madang) and backyard were the major places for Ahoi(social gatherings of the scholars). The mansions had interests in the management of the outer garden beyond the house wall with building structures like the pavilions on the high walls and side gates. This management and the selection of location anticipating in advance of the management are noteworthy. 2. Only house gardens had plant pots with flowers and the small flower bed(Hwa-O) at Sarang Madang occasionally had plant pots without flowers and oddly shaped stone pots and equipped pine branch eaves and traditional awnings made of plant material like a trellis. 3. The oddly shaped stones were significant landscape elements in the gardens of houses and villas. Some of them were depicted as the Taihu stone and this draws attention to the question of whether the Taihu stone was actually used in the garden of late Joseon Dynasty. 4. The gardens in villas accommodated the borrowed scenery with various materials like wooden fences, bamboo or reed fences, mud walls. They also had the artificial gardens with some odd shaped stones, old pines, bamboos, Japanese apricots, willows, paulownia trees, lotuses and plantains in the secured Madangs. 5. Gyeong Hwa Sa Jog(The scholars of the ruling class adapted to the 18th century's new historical aspect) of late Joseon Dynasty built the villas at the beautiful scenery closed to the their houses. 6. The Gardens around pavilions were located high closed to the mountain streams with nature like beautiful forests, oddly formed rocks, precipitous cliffs and viewing stones. The back side of the pavilion was enclosed by bamboo forests and the front had pines, ginkgoes and willows as shade trees. 7. The beautiful scenery which was preferred as the place for Ahoi was basically with fantastic peaks and precipitous cliffs which forms the distant view harmonized with a waterfall. Broad and flat rocks at the summit of a mountain which commands a bird's-eye view or on a mountain streamside with pine forest, willows and plum trees were chosen as the optimal places for Ahoi. 8. Pine trees were presumed to be more preferable than other species in the garden, especially an single planted old pine tree accented symbolism. 9. Portable tea braziers for boiling tea were adopted in all four types of the gardens. 10. The gardens mixed with auspicious landscape elements were the places of the arts for an unworldliness Ahoi through GeumGiSeoHwa(enjoying strings, go, writing and painting) and boiling tea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.149-159
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• 2018

The study is aimed at establishing basic data to identify the original forms of the garden in Unbo's House. Through interviews and related data comparison analysis the ideas and major events of the person involved in establishing a garden in Unbo's House. Also, derived the direct and indirect effects of these people on gardening. The results are as follows: First, Those directly related to garden in Unbo's House are representative figures of cultural heritage and traditional art in Korea. Based on their expertise and abundant experience in traditional spaces, they contributed greatly to the creation of Unbo's House as a traditional space. Unbo Kim, Gi-Chang who directly influenced Unbo's House gardening, which affected the site selection, location, and the installation of major garden plant plants and traditional landscaping facilities. Hyegok Choi, Soon-Woo recommended Wabon Kim, Dong-Hyun at the request of Kim Ki-Chang and was involved in the overall plan. Housing design, space design and design of major facilities such as pond were confirmed Wabon Kim Dong-Hyun. Second, Kim, Gi-Chang's wife Jeong, Rae-Hyun, who motived to construct a garden. Nosan Lee, Eun-Sang and Korean artist Lee, Seok-Ho were created a signboard and board of the Pillar to encourage simple life in paintings. The themes of the article motived image as creative. In addition, Kim, Hyeong-Sik and Kim, Wan who son of Unbo, has been with Unbo for a long time, watching and influencing garden changes in Unbo's House. Third, The main factors that influenced the garden by character are as follows. Unbo Kim, Ki-Chang had a thorough record-setting spirit and his longing for his mother and wife affected the selection of the site and setting the direction of the garden. His art world with the symbolic emphasis of traditional landscapes, including traditional facilities, and especially plant materials. Choi, Sun-Woo reflected his traditional consciousness and experience in the construction of Unbo's House. Kim, Dong-Hyun applied the basic framework of a traditional building based on Yeonkyongdang hall in Changdeokgung palace. He also reflected on the traditional landscaping design the facilities of ponds acquired through excavation of Donggung Palace and Wolji Pond, Gyeongju. Nosan Lee, Eun-Sang and Lee, Seok-Ho completed their unique place in Unbo's House. Kim, Hyung-Sik was involved in the process of changing, while Kim Wan ran the Unbo's House which he inherited from Kim, Ki-Chang.