• Journal of The Geomorphological Association of Korea
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• v.21 no.4
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• pp.149-164
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• 2014

The representative landscapes in Jeju Island called as Ten sceneries of Yeongju originates with Ten sceneries of Tamra which were organized in the late seventeenth century by Jeju governor Lee Iktae. In order to compose ten representative sceneries in Jeju Island, he selected four strongholds such as Jocheon, Byeolbang, Seogwi and Myeongwol and six places of scenic beauty such as Seongsan, Baekrokdam, Yeonggok, Cheonjiyeon, Sanbang and Chwibyeongdam, and made a painting named as Ten sceneries of Tamra. Since the scenes of strongholds also exhibit a lot of geomorphic landscapes, the painting could be considered a collection of representative landforms in Jeju Island. The painting depicts several types of landform such as volcano, crater, river, waterfall, pool, wetland, cavern, tor and rocky coast. The volcanic edifice appears most frequently in the painting, reflecting the particular emotion of Jeju people on Mt. Halla and oreums. However, another volcanic landform, a lava tube, was not highly evaluated due to its negative images. Three famous waterfalls in Jeju Island were included in Ten sceneries of Tamra, and it suggests that they are essentially outstanding landforms, and besides, there are few sites related with fresh water in Jeju Island. The ten sceneries were entirely organized in spite of the limitation of selecting places at that time. The landscape images of Jeju Island, which had been shared as collective representation by Jeju people, were firstly externalized through Lee Iktae's painting, and have long been passed down and established a kind of scenic stereotype.

• Korean Journal of Environment and Ecology
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• v.38 no.2
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• pp.156-168
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• 2024

This study was carried out to provide fundamental data for forest land and the environment by investigating the vegetation structure and soil properties of forest land where Sarcodon impricatus are present. The study area was divided into the Quercus mongolica community, dominated by Q. mongolica and the Quercus variabilis community, a mixed forest with Q. variabilis, Q. mongolica and Pinus densiflora. Also, Calamagrostis arundinacea in the former community and Disporum smilacinum and Carex siderosticta in the latter community showed significant levels as indicator species. Both communities showed a strong correlation between available phosphate and pH, sand, and clay, and the high organic matter content and slightly acidic pH of the soil are believed to be related to the development of S. impricatus. The species appearing at the lower layer continue to dominate because the species appearing at the upper layer have secured realized niches. The site was distributed in a relatively humid place in a north-east direction, and soil was developed with a thin litter layer and low rock exposure. In the selected S. impricatus growing areas, vegetation centered on highly adaptable species to disturbance or external interference was developed. Therefore, it is expected to be used as fundamental data to promote the occurrence of S. impricatus during artificial cultivation, as it is possible to identify the stand where S. impricatus occurs indirectly.

• 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.