• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.90-102
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• 2012

Sansuyucheop by Heojoobugun(虛舟府君) as the subject of this study is a 십이-width picture album by the eldest grandson of 11 generations for Goseong Lee family, Lee Jong Ak(李宗岳: 1726-1773), a figure having five habits(五癖) for ancient documents(古書癖), playing the gayageum(彈琴癖), flowering plant(花卉癖), paintings and calligraphic works(書畵癖) and boating(舟遊癖) etc., who boated with 18 relatives, and those by marriage from old home, home of mother's side, wife's home, and his home for 5 days Apr. 4 through 8, 1763, starting from Imcheonggak, through Yangjeong(羊汀), Chiltan(七灘), Sabin Auditorium(泗濱書院), Seonchang(船倉), Nakyeon(落淵), Seonchal(仙刹), Seonyujeong(仙遊亭), Mongseongak(夢仙閣), Baekwoonjeong(白雲亭) and Naeap Village(川前里), Iho(伊湖), Seoeodae(鮮魚帶) to the returning point, Bangujeong(伴鷗亭), cruised magnificent views around Banbyeoncheon called 'Andong 8 Gyeong' or 'Imhagugok', and whenever the boat anchored, appreciated the scenery at each point, and enjoyed and loved arts playing the geomungo. This study reached following findings through grasping physical, ecological, visual and aesthetic changes about the places, sceneries, plant elements and past and current scenery of the width pictures expressed at this Sansuyucheop. The refinement on the boat seeing the clear river water, white sand beach, fantastically-shaped cliffs expressed at this Sansuyucheop, exchanging poems and calligraphies, and enjoying the geomungo is a good example displaying the play culture of high-class in Joseon Dynasty. Also construction of Imha Dam and Andong Dam has caused serious visual and ecological changes, making us not enable to feel the original mood of the background spots such as Yangjeonggwabeom(羊汀過帆), Chiltanhuseon(七灘候船), Sasubeomjoo(泗水泛舟), Seonchanggyeram(船倉繫纜), Nakyeonmosaek(落淵莫色), Mangcheonguido(輞川歸棹), Ihojeongdo(伊湖停棹), but only discern then landscape or sentiment through the landscape described at the canvas. The 1st picture(Donghohaeram, 東湖解纜), and the 11th picture(Seoeobanjo, 鮮魚返照) of Heojoobugun's Sansuyucheop expressed trees thought to be fallen, brad-leaf tall trees, and the 9th picture(Unjeongpungbeom, 雲亭風帆) formed a pine forest called 'Gaeho(開湖)' by Uncheongong planting 1,000 pine trees with the village people in 1617. In addition, Seunggyeongdo expressed ever-green needle leaf trees at the natural topography, and fallen-leaf tall trees around the pavilion and building. Comparative consideration of Heojoobugun's Sansuyucheop and Shinam's Dongyusipsogi(東遊十小記) showed that the location of Samgok is assumed to be Macheon and Chiltan, so Imhagugok is assumed to start from Baekunjeong of Ilgok, Igok from Imcheon and Imcheon auditorium, Samgok from Mangcheon and Chiltan, Sagok from Sabin Auditorium of Sasoo, Ogok from Songseok, Yukgok from Sooseok of Seonchang, Chilgok from Nakyeonhyeonryu, Palgok from Seonchalsa and Seonyoojeong, and Gugok from Pyong Yuheo. This study can be significant in that it could clarify that Heojoobugun's Sansuyucheop is judged to be valuable in exquisitively expressing the coast of Banbyeon River, the biggest branch stream in the Nakdong River at the latter half of Joseon Dynasty, and as a vital diagrammatical historical data to make a comparative analysis of currently rarely-seen ancestors' life traces and landscape factors with present ones.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.16-25
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• 2018

Initially from the Taoist scriptures, 'Dongcheon' is a term that can be regarded as a symbolic place in the real world for the enlightened ones who received relief and peace by restoring the human nature taught in the Confucian school. The long for an ideal world apart from the reality embodied as the labeling some places 'Dongcheon,' and the term was used to refer to a scenery where the ideal fairyland is reproduced. Besides, 'Dongcheon' was a term often used by Confucian scholars for various purposes including the attachment to the nearby landscapes, expressing homogeneity and superiority through placeness and the beautification of settlement spaces. This paper is the result of a field study on 'Dongcheon' in the Gyeongsang-Do. The research was conducted from March to August 2018, and we carried out firsthand location surveys on Dongcheons, of which some were lost, others were fairly preserved, and still others could not be located as only their existences were passed down orally. According to the field survey, there were total 111 inscriptions or engravings on the plates in Gyeongsang-Do that include the term 'Dongcheon.' There were 79 'Dongcheon' inscriptions confirmed in the Gyeongsangbuk-Do region: twenty in Yeongju-City, sixteen in Bonghwa-Gun, eleven in Andong-City and seven in Yeongyang-Gun and Ulgin-Gun. Among them, two were in the form of a wooden sign, and six were erected as rock signposts. Fourteen stops reported in the literature were lost or unidentified. Also, among the sixteen signs in Bonghwa-Gun, nine were cursive engravings. Meanwhile, there were 26 Dongcheon inscriptions in the Gyeongsangnam-Do region. Hamyang-Gun and Sancheong-Gun anf Hadong-Gun each housed three inscriptions, and seven places were in the form of rock signposts. 'Hwagaedongcheon' and 'Geumsandongcheon' could not be identified in inscriptions although they appear in Jibong Yuseol and Taengniji with stories of Choi Chiwon. The significance of this study is as a reference for future researches in traditional scenery, epigraphs, or as primary data that helps cultural exploration in the region.