• Korean Architects
• /
• s.616
• /
• pp.142-147
• /
• 2020

• Journal of the Korean Institute of Landscape Architecture
• /
• v.50 no.6
• /
• pp.15-29
• /
• 2022

The Byungsan Neo-Confucian Academy, a 17th-century World Heritage Site in Korea, is being praised as a manifestation of naturalness or non-artificiality of the traditional Korean borrowed scenery technique (借景, chagyeong). This study, however, aims to reinterpret the chagyeong of the Byungsan Academy (hereafter the Academy) as a device of illusion evoking an idealized vision of nature. In the process of interpretation, 'picture and frame'-a widely accepted expression that represents the chagyeong of the Academy-will be foregrounded as the pivotal concept mediating the change of perspectives from naturalistic to ideological. This study consists of the following three parts. First, it shows that 'picture and frame' represent a modern way of seeing the Academy as an architectural heritage in harmony with nature; it denotes pristine nature and the empty architectural frame that safely circumscribes the innate beauty of the natural landscape. Second, departing from the naturalistic perspective, this study argues that the architectural framework of the Academy composes scenography enticing the viewer to imagine the idealized, Confucian image of nature that compares to the landscape imagery found in the landscape poetry and paintings that were produced and appreciated by the 17th-century Confucian literati. Lastly, based on the above interpretation, this study stresses that the 'picture' one encountered at the Academy in the 17th century was not the framed scene of a natural landscape but the illusion it caused; the architectural 'frame' worked not as a symbol of naturalness but as an institutional apparatus of vision manipulating the way one sees-and therefore imagines-the landscape.

• The Optical Journal
• /
• s.136
• /
• pp.68-71
• /
• 2011

야경사진은 자연광 일색인 일상의 낮과는 달리 인공광과 자연광이 함께 어우러져 있는 밤의 풍경을 표현한다. 특히, 야경사진은 빛을 어떻게 효과적으로 이용할 것인가라는 문제에서 한 발 더 나아가 얼마만큼의 빛을 받아들일 것인가를 고민하게 하는 촬영이다. 바로 이 문제는 노출시간으로 연결되며 조리개 값을 실정하게 한다. 더불어 작가의 낭만적인 미적 감각을 함께 표현할 수 있는 촬영방법이다.

• Hwankyungkyoyuk
• /
• v.10 no.1
• /
• pp.115-128
• /
• 1997

MZ는 국제적 환경 생태 지대가 될 수 있으며, 황해의 한-임진 강어귀를 열곡 중심에 있는 철원 유역과 이으며, 동해안 바위투성이 해안에 있는 설악산과 금강산 사이의 태백산까지 잇는다. 이 통일의 자연 기념비는 인류의 희망의 성지와 많은 사람들이 목숨을 잃은 국경 지대에서 평화의 상정이 된 멸종 위기의 학의 보호 구역이 될 수 있다. White-napped 학 (Grus vipio), Red-necked 학 (Grus japonensis), 아시아에서 충성의 상징인 Hooked 학 (Grus monacha)은 곧 멸종할 운명에 처해 있다. 임진강 어귀 근처에서 시작되는 귀중한 풍경은 여러분의 유산을 재발경하고, 풍경에 내재된 본질적인 자연?문화적 가치를 포착하고, 그리고 환경적으로 건강한 개발을 하면서도 다음 세대를 위해 그것들을 보존할 완전한 자원망이다. 환경교육은 '고객으로서의 장소'의 모델과 연계된 환경 교육은 DMZ의 미래를 위한 일치된 의견을 이뤄내는 관문이 될 것이다.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.47 no.1
• /
• pp.26-38
• /
• 2019

This study is based on the analysis of the characteristics of waterfront scenery. Recently, waterfront development has expanded residentially, commercially and into leisure space. In the development of the waterfront, it is necessary to apply designs suitable for urban and various other waterfront areas. In this study, the natural scenery of the waterfront was researched with respect to the Korean Jingyeong landscape paintings and the main elements of the scenery were analyzed. In this study, 105 painting of Korean Jingyeong landscapes paintings were selected for the analysis of the waterside scenery. The paintings of Jeong Seon were studied to categorize streams topographically into mountainous, upper, middle, lower, and ocean types. In addition, major micro-topography elements, which are 13 water image elements and 13 staffage elements were analyzed. The main waterfront landscape elements are divided into 13 types. The waterfalls were divided into long waterfalls, short waterfalls, cascading waterfalls, and other aspects considered were line stream, curve stream, multi-curve stream, pond, water surface, flow surface, wave surface, rock side, pile sandy side, sandy side. There are 13 kinds of staffage elements, include pine forest, pine trees, fir trees, bamboo trees, willow trees, broadleaf tree, villages, houses, gazebo, boat, bridges, and people. The waterfront landscape by a river area was explained according to each characteristic of the waterfront landscape and staffage, and their changes were analyzed in each area. The 105 paintings were divided into 35 pieces of mountainous streams, 9 upper streams, 5 middle streams, 35 lower streams, and 21 oceans, and the change of each waterfront landscape and staffage was analyzed. Based on the topographical analysis of the waterfront landscape and staffage, the results can be summarized into 5 types of the waterfront landscape. Based on the micro-topographical characteristics of the waterfront landscape styles are as follow. In the mountainous streams, long waterfall and deep forest type are apparent, which depicts deep mountain waterfall scenery, and a multi-stream forest is the scenery of a picnic in the mountains, which is a representative form of mountainous streams landscape. In the upper-middle stream, the water-surface and gazebo type is predominant. In the lower stream, the sandy-gazebo typ scenery is predominant and the sandy depiction is unique to lower stream landscape. Pile sandy-dock type is life scenes where human activity highlighted, is a representative form of the lower stream landscapes. The characteristic of the coastal landscape is the serpentine rock scenery on the beach and the wave-serpentine rock type that forms the main coastal landscape. The study aims to propose significant design elements for a natural waterfront landscape planning based on the analysis of landscape in the paintings of Jeong Seon.

• Social Workers
• /
• no.4 s.36
• /
• pp.36-37
• /
• 2005

지금 부터 10년 전 1995년, 한신대지진이 일어났던 일본은 너무나도 갑작스런 큰 지진의 큰 비극을 잊지 못하고 있다. 그 때 전국 각지에서 모여든 자원봉사자들의 많은 활동과 의료복지 분야의 원조, 그리고 일반 회사원들도 장기휴가로 자원봉사 활동에 참가했던 풍경이 아직도 잊혀 지지가 않는다. 지진의 재해에서 피할 수 없는 일보 열도, 지금도 여기저기에서는 작은 지진이 일어나고 있다.

• Proceedings of the Speleological Society Conference
• /
• 1997.10a
• /
• pp.91-94
• /
• 1997

오대연지는 중국 흑룡강성의 덕도현 경내에 자리잡고 있는 화산지역이다. 본 지역에는 제4기이래에 형성된 화산들이 많이 분포되어 있는데 그 중심 부위에는 구슬 모양으로 된 다섯 개 못이 있기에 오대연지라 한다. 본 지역의 면적은 약 800$km^2$가 되는데 지형상에서는 주로 화산추와 용암대지로 이루어져 있다. 화산의 형성시대가 다르고 자연경관이 전형적이기 때문에 국내외에서 자연적인 화산박물관으로 널리 알려져 있다.(중략)

• Journal of the Speleological Society of Korea
• /
• v.36 no.37
• /
• pp.114-117
• /
• 1994

오대연지는 중국 흑룡강성의 덕도현 경내에 자리잡고 있는 화산지역이다. 본 지역에는 제4기 이래에 형성된 화산들이 많이 분포되어 있는데 그 중심부위에는 구슬 모양으로 된 다섯개 못이 있기에 오대연지라 한다. 본 지역의 면적은 약800$\textrm{km}^2$가 되는데 지형상에서는 주로 화산추와 용암대지로 이루어져 있다. 화산의 형성시대가 다르고 자연경관이 전형적이기 때문에 국내외에서 자연적인 화산박물관으로 널리 알려져 있다.(중략)

• Journal of the Korean Institute of Landscape Architecture
• /
• v.36 no.5
• /
• pp.82-93
• /
• 2008

This research focused on the process in which 'the same scenery' is recognized and represented as 'a different landscape' to determine the symbols and meaning of the scenery and landscape included in real-scenery landscape paintings of the 18th-19th centuries. As a result of analyzing the visual points, the content and expressions of 25 real-scenery landscape paintings of Chong Seok Jeong(叢石亭), it can be seen that the transmission of a kind of semiotic landscape on the basis of a specific symbol was accomplished naturally through imitation and representation for the purpose of the expression of Chong Seok Jeong-like idealized scenery. This shows that the unique images of Chong Seok Jeong have long been passed down after taking root as a unique benchmark The meaningful symbol of 'a strange Saseonbong(四仙峰)', which is broken by the spray after rising high, and 'a pine forest' have both been transmitted as being in the manner of Chong Seok Jeong. This has been equipped with the stereo-type scene by being a collective symbolization as the psycho-scenes in memory element of Chong Seok Jeong. Through the pictures of both Gyeomjae(謙齋) and Danweon(檀園), the process by which a specific painter's pictures become acculturated is highly interesting. The scenery expressed in these pictures was clearly that of a landscape of which its particularly emotions and remembrances were repainted through the experience of several places and original sketches. This can be explained as the concept in which the image from 'a specific scenery' gained through actual experience, that is, a personal feeling, has been expressed. The picture that was expressed as a different figure even at the same visual point for the same scenery is the result that was redefined through the scenery subject's recognition. Also, the modification of the scenery object can be colorful through meditation and Sachu(邪推: guessing with wicked doubt). The scenery recognized newly through adoption, omission and emphasis, it is 'the specific scenery' in the heart and is a figure having been more similar to 'a landscape' if the objective life reproduction before being acculturated is a figure similar to the scenery. So, the concept looks like being very persuasive that 'the nature with objectivity captured sensuously' simply is the scenery, and that 'the subjective phenomenon having acquired the cultural nature by being introspected in the method of aesthetic nostalgia is a landscape'.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.3
• /
• pp.69-81
• /
• 2014

Herman $F{\ddot{u}}rst\;P{\ddot{u}}ckler-Muskau$ is one of important figures in German landscape architecture who designed both Muskau Park and Branitz Park and published garden book Andeutungen ${\ddot{u}}ber$ Landschaftgartenerei (Hints on Landscape Gardening) in 1834. He was a German nobleman who governed Muskau estates while working as both a writer and a landscape gardener. German landscape gardening was grounded on Romanticism, which was represented in diverse ways such as the reconciliation between man and nature, the liberation of reason, and the pursuit of liberty. The intellectuals came to have an interest on landscape gardening since the garden carried the cultural connotation such as the idealized epitome of nature. This study is to investigate how his idea of landscape gardening had been developed through his personal life and social background and to find out his landscape gardening theory and its unique gardening techniques. Finally, the inventive aspect of his garden theory and contemporary significances in practices were discussed. $P{\ddot{u}}cklers^{\prime}$ personal experience and social background provide us to understand the idea of garden. First, there was a mixture between reality and fantasy in his garden theory. It was due to the influence of Romanticism and literary garden. Second, his gardening mentality and technique were influenced by the late 18th century English garden practices, which emphasized the expressive aspects. Third, $P{\ddot{u}}cklers^{\prime}$ inner disposition and personal experience were represented in his garden design. Fourth, the intention of creating landscape garden for the local people might be a self realization of his contradictory characters between falling nobleman and liberal social leader. The significant value of $P{\ddot{u}}ckler^{\prime}s$ garden idea might be closely related in the dual nature of humanistic garden tradition and garden practice for social agenda. Therefore, his garden idea pursued of the comprehensive landscape strategies toward ideal communities and ethical spirits while concerning ecological, social, economic sustainable development of the region. Furthermore, his landscape gardening aims at the total landscape encompassing garden to region as well as the Gesamtkunst combing the beautiful with the useful. $P{\ddot{u}}ckler^{\prime}s$ holistic attitude gives us fresh insights and new directions to contemporary landscape theory and practice.