• 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 Korea Convergence Society
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• v.10 no.2
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• pp.133-139
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• 2019

A Convergence Research Study of Southern Fujian Region in China during the Song Dynasty analyzing the Export of Ceramics During the Song Dynasty in China ceramics made in the Southern Fujian (also known as Minnan) region were exported to different countries in Southeast Asia including the Philippines, Thailand and more. They were even exported to Korea, Japan and through trade they traveled as far as Africa. Ceramics was one of the three main sea route export item of China at the time and there were active commercial trading between Korea as well as other countries, enabling ceramics to develop rapidly. The harmonious reciprocal relationship between the geographical, political, cultural, economical characteristics of Southern Fujian enabled a unique type of celadon ware widely recognized to develop. Ceramics of this region is one of a kind in terms of history when we relate it to research on integrating different elements. It suggests a unique convergence of culture when we study its forms and its industrial characteristics. The study attempts to analyze the influence of geography, politics, economy and culture on the different phenomena found in ceramics. Different paradigms associated with changes of environment reflect on continued development in the field of ceramics.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.113-119
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• 2010

This study examined figurative characters of rice terraces, and is intended to seek figurative possibility of a natural scene by selecting Gyeongnam Area Namhae Gacheon rice terraces, Sancheong Imcheon rice terraces and Hamyang Macheon rice terraces through an analysis of the target land. As a theoretical background, studies of a natural scene and figuration-related literature were looked into, and for figuring a natural scene on the basis of the results, the character of the topography of rice terraces was divided into 9 items as follows by generalizing the inspiration obtained from the natural scenic character and spatial character of rice terraces represented from the topography: (1) Inclination showing the degree of the slope of rice terraces, (2) The bending showed by unevenness of the edge line of rice terraces, (3) The degree of parallelism of the up-and-down edge line, (4) The size of the width of the section of each rice terrace, (5) The area of the total rice terraces, (6) Step gap that indicates the difference of high and low of the up-and-down small rice terraces, (7) Figuration as an image represented by the external form of the total rice terraces, (8) Naturalness and artificiality kept by the total scene, (9) Softness of cornerstones or soil that forms small rice terraces, an atmosphere produced by the total scenes, etc. The results of analysis made through GIS, with rice terraces of Gyeongnam Namhae, Sancheong and Hamyang Area as the target land, are as follows. First, the steeper the inclination is, the higher the step difference of cornerstones becomes, and the steeper the inclination, the narrower the area and width become, so that it could be known that, in rice terraces, inclination is proportional to step difference and the area is inversely proportional to the width. Second, it is considered that line showed in rice terraces, area elements and reiteration, repeated changes, and changes in the scene affected by the surrounding environment including those according to season can be converted into a variety of images according to an individual disposition. Third, it was decided that it is possible to figure repetitive composition and directivity, motility, order and change, etc. into a common type drawn from each target land. This paper, as a study of basic materials for expressing figuration in an environment field, investigated and analyzed the surrounding environment of the target land, and is significant in that it attempted the possibility of being able to generalize the environmental beauty of the target land as one figurative element. More precise studies are expected to be made later.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.75-87
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• 2017

This study is the research about Okcheonjeong(玉泉亭) located in the backyard of Namhansanseong(南漢山城)'s temporary palace(行宮). Okcheonjeong was not only built by a government inside Namhansanseong but it was also representative garden which is shown the culture of the nobility. It became famous garden ruins recently because it has remained many carved stones. However, there has been no study about Okcheonjeong yet. We studied Okcheonjeong to establish basic knowledge by literature analysis and field investigation. We tried to discover garden style by deciphering carved stones, and estimate Okcheonjeong's location by documentary research. Sim, Sang-Gyu became Gwangjuyusu(廣州留守) in 1816, and he built Okcheonjeong on the backyard of Namhansanseong's temporary palace in 1817. It was located in the foot of a mountain beside a stream. It consisted of Pungaepok(楓靄瀑: waterfall), Chusudam(秋水潭: a little pond), and Okcheon(玉泉: a stone wall). The stone for sign stands in front of the entrance of Pungaepok to show Okcheonjeong, and there is Yeongyeondae(泠然臺) above the waterfall. We thought that Okcheonjeong was typical Imcheon-garden(林泉庭苑). Okcheonjeong is located in the foot of a mountain following Gamigyeong(歌薇逕) 60 meters so it was able to see the whole temporary palace from the Okcheonjeong. It was the garden pavilion of temporary palace, but it was used in semi public garden(半公的庭苑). Okcheonjeong is the only graden ruins which was located in Namhansanseong, so we have to preserve as cultural heritage. We expect to make use of primary datas to restore Namhansanseong soundly which was world heritage.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.28-37
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• 2011

In this study, the series-poem, Bihaedangsasippalyoung(48 poems for beautiful scene of Bihaedang), written by scholars of Jiphyonjeon for Bihaedang garden of Anpyung-Daegun(Prince Anpyung, 1416-1453), was analyzed focusing on scenery lexeme to interpret the meaning of scenery and gardening culture of Sadaebu(noblemen) during the first term of Chosun Dynasty. The study result is as followings. First, the subtitle of Sasippalyoung(48 poems) written by Anpyung-Daegun while he grew Bihaedang garden on the foot of Inwang Mountain showed repetitive nomativity comparing joining of yin and yang, such as life and form of animal and plan, time and space, meaning and symbolism, etc. Among scenery lexemes, 38 are represented plant and flowers, and 8 are represented gardening ornaments and animals. Second, the names of gardens were expressed as Wonrim, Jongje, Imchon(Trees and Ponds), or Hwawon(Flower garden), or also presented as Gongjeong(Empty garden), Manwon(Full garden), Jungjeong(Middle garden), Huwon(Backyard), Wonrak(Inner court), or Byulwon(Seperated garden) depending on density and location. In addition, there were pavilions and ponds, stepping stones and stairs, a pergola, a flat bench, flowerpots, an artificial hill, oddly shaped stones, wells, aviary, flower beds, or hedges. A gardener was called Sahwa(flower keeper), planting and gardening of garden trees were called Jaebae(cultivation), a pond island was called Boogoo(floating hill), and miniature landscapes were called Chukjee(reduced land). Third, willows were planted on the outdoor yard, and plum trees were planted in front of the library, which led to bamboo woods road. Peony, camellia, tree peony and crepe myrtle were planted on the inner court with mossy rocks, small artificial hills, glass rocks, flower pots. There were rectangular ponds, while breeding deer, dove, rooster, and cranes. Fourth, landscape elements were enjoyed as metaphysical symbolic landscape by anthropomorphism, such as (1) gentlemen and loyalty, (2) wealth and prosperity, (3) Taoist hermit and poetical life, (4) reclusion and seclusion, (5) filial piety, virtue, introspection, etc. In other words, the garden presented a variety of gardening culture appreciating meaningful landscape, such as investigation of things, reclusion and seclusion, and building orientation of a fairyland yearning eternal youth and Mureungdowon(Taoist Arcadia) by making a garden blending beautiful flowers and trees, with precious birds and animals. Fifth, there were many landscape appreciation schemes, such as Angkyung(looking-up), Bukyung(looking-down), Jeokyung(looking-under), Chakyung(bringing outer space into inside), Yookyung(flower viewing), Yojeong(walking around the garden enjoying flowers), Hwasaekhyangbyuk(flower gardening), and Garden appreciation enjoying landscape through time and seasons with different inspirations.

• The Journal of Korean Philosophical History
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• no.32
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• pp.309-336
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• 2011

There were various linking points that connect Li xue(Neo-Confucianism) to aesthetics in Song Dynasty as following. 1. The traditional moral as "pursuing pleasure of Kong-zi and Yan Hui" 2. Esteem of "life and vitality". Scholars of Li xue in Song regarded the pleasure of acting up to "benevolence" as a beauty, and this benevolence originated in the "heaven and earth; the universe". "Benevolence", that is to say, is name of the nature that continuous reproduction breed in an endless succession by "Yin-Yang the universe", thus the natural "life and vitality" of the "heaven and earth" as the matter of course is the perfect beauty. 3. An idea of "serene contemplation". Originally the "serene contemplation" belongs to discipline of "Li xue", however simultaneously this conception was entirely applicable to aesthetic point of view. 4. Cosmological consciousness. In the same manner, the "pleasure" which is moralistic and moreover aesthetic is indivisible from cosmic contemplation itself. Because of this point, the art and aesthetics of Song Dynasty self-consciously had the cosmological consciousness in its fullness. 5. Respect of beauty of nature. Scholars of "Li xue" considered as : no matter what "Li" or "Qi" that producing all things is "coming of itself", that is by no means artificially operated or prearranged in advance. Such standpoint was applied to creative art and made art of Song Dynasty esteem beauty of nature (coming of itself) exceedingly. 6. Laying stress on "disposition". Scholars of "Li xue" ordinarily valued much of "disposition of a sage", consequently this tendency influenced on aesthetics. "disposition" indicates the whole impression that one who has appearance and the inside(personality, temper, thought, etc.) gives to others. By putting that impression into practice of art and literature, it is to materialize the works of art as a unity of form and subject, also as an expression of human existence that breathed into one's sensibility on the whole. 7. Principles of "completing inquiry", "study the laws of nature by close access" of "Li xue". These principles made art and literature of Song Dynasty take a serious view of "Li" of all over the universe, so made them close investigate things, and after all have achieved very remarkable characteristic in art and literature, especially in paintings of Song Dynasty. Theory of painting in Song Dynasty had occupied considerably high position in Chinese aesthetic history. It was positively superior to former generations no matter what in quantity or in theoretical minuteness and its systematic level. Undoubtedly the Chinese theory of painting had been achieving development time after time since Song Dynasty. However if we could make a comparison it with every single period (ex. Yuan, Ming, and Qing Dynasties), there is no prominent period than Song Dynasty in theory of paintings. Song period had number of essays of Landscape painting.