• 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.32 no.4
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• pp.24-36
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• 2014

The result of the research conducted for the purpose of investigating the semantic value and the layout of the Cheongryu Gugok of Dorimsa Valley, which exhibits a high level of completeness and scenic preservation value among the three gugoks distributed in the area around Mt. Dongak of Gogseong is as follows.4) The area around Cheongryu Gugok shows a case where the gugok culture, which has been enjoyed as a model of the Neo-Confucianism culture and bedrock scenery, such as waterfall, riverside, pond, and flatland, following the beautiful valley, has been actually substituted, and is an outstanding scenery site as stated in a local map of Gokseong-hyeon in 1872 as "Samnam Jeil Amban Gyeryu Cheongryu-dong(三南第一巖盤溪流 淸流洞: Cheongryu-dong, the best rock mooring in the Samnam area)." Cheongryu Gugok, which is differentiated through the seasonal scenery and epigrams established on both land route and waterway, was probably established by the lead of Sun-tae Jeong(丁舜泰, ?~1916) and Byeong-sun Cho(曺秉順, 1876~1921) before 1916 during the Japanese colonization period. However, based on the fact that a number of Janggugiso of ancient sages, such as political activists, Buddhist leaders, and Neo-Confucian scholars, have been established, it is presumed to have been utilized as a hermit site and scenery site visited by masters from long ago. Cheongryu Gugok, which is formed on the rock floor of the bed rock of Dorimsa Valley, is formed in a total length of 1.2km and average gok(曲) length of 149m on a mountain type stream, which appears to be shorter compared to other gugoks in Korea. The rock writings of the three gugoks in Mt. Dongak, such as Cheongryu Gugok, which was the only one verified in the Jeonnam area, total 165 in number, which is determined to be the assembly place for the highest number of rock writings in the nation. In particular, a result of analyzing the rock writings in Cheongryu Gugok totaling 112 places showed 49pieces(43.8%) with the meaning of 'moral training' in epigram, 21pieces (18.8%) of human life, 16pieces(14.2%) of seasonal scenery, and 12pieces(10.6%) of Janggugiso such as Jangguchur, and the ratio occupied by poem verses appeared to be six cases(3.6%). Sweyeonmun(鎖烟門), which was the first gok of land route, and Jesiinganbyeolyucheon(除是人間別有天) which was the ninth gok of the waterway, corresponds to the Hongdanyeonse(虹斷烟鎖) of the first gok and Jesiinganbyeolyucheon of the ninth gok established in Jaecheon, Chungbuk by Se-hwa Park(朴世和, 1834~1910), which is inferred to be the name of Gugok having the same origin. In addition, the Daeeunbyeong(大隱屛) of the sixth gok. of land route corresponds to the Chu Hsi's Wuyi-Gugok of the seventh gok, which is acknowledged as the basis for Gugok Wollim, and the rock writings and stonework of 'Amseojae(巖棲齋)' and 'Pogyeongjae(抱經齋)' between the seventh gok and eighth gok is a trace comparable with Wuyi Jeongsa(武夷精舍) placed below Wuyi Gugok Eunbyeon-bong, which is understood to be the activity base of Cheongryu-dong of the Giho Sarim(畿湖士林). The rock writings in the Mt. Dongak area, including famous sayings by masters such as Sunsaeuhje(鮮史御帝, Emperor Gojong), Bogahyowoo(保家孝友, Emperor Gojong), Manchunmungywol(萬川明月, King Joengjo), Biryeobudong(非禮不動, Chongzhen Emperor of the Ming Dynasty)', Samusa(思無邪, Euijong of the Ming Dynasty), Baksechungpwoong(百世淸風, Chu Hsi), and Chungryususuk-Dongakpungkyung(淸流水石 動樂風景, Heungseon Daewongun) can be said to be a repository of semantic symbolic cultural scenery, instead of only expressing Confucian aesthetics. In addition, Cheongryu Gugok is noticeable with its feature as a cluster of cultural scenery of the three religions of Confucian-Buddhism-Taoism, where the Confucianism value system, Buddhist concept, and Taoist concept co-exists for mind training and cultivation. Cheongryu Gugok has a semantic feature and spatial character as a basis for history and cultural struggle for the Anti-Japan spirit that has been conceived during the process of establishing and utilizing the spirit of the learning, loyalty for the Emperor and expulsion of barbarians, and inspiration of Anti-Japan force, by inheriting the sense of Dotong(道統) of Neo-Confucianism by the Confucian scholar class at the end of the Joseon era that is represented by Ik-hyun Choi(崔益鉉, 1833~1906), Woo Jeon(田愚, 1841~1922), Woo-man Gi(奇宇萬, 1846~1916), Byung-sun Song(宋秉璿, 1836~1905), and Hyeon Hwang(黃玹, 1855~1910).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.22-32
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• 2011

This study explored the architectural nature, the thought reflected in the place and the 'meaning-landscape' characteristic of a place, to where a retired scholar had lived. The object of the study is the Maechun-Byulup Toesu-jeong wonlim, which consists of a summer house and a garden forest. The results of the study are as following. Toesu-jeong wonlim is located at Daejeong-ri, Sannae-myeon, Namwon-si. It had been built by Maechun Park Chi-Gi in 1870 for his residence after retirement. It is a villa type pavilion and a garden forest which have Banseondaegi(伴仙臺記), Banseondae-10-yeong, Toesu-jeong(退修亭) Sangryangmun, a writing dedicated when putting up the ridge beam of a wooden house), Toesu-jeong Wonwun Byeongsoseo, hanging boards and tablets with poems written on them. In the Toesu-jeong wonlim, there are various 'meaning-landscapes' such as the Maechun-Byulup, Banseondae, Yabakdam and Simjinam together with engraved calligraphy related to the landscaping culture. It is also possible to find the remains of beautiful engraving on the stones and woods at Goksoo Yoogeo(曲水流渠) that suggest the banquets they had while discussing the elegant tastes and appreciating the landscape. The Toesu-jeong wonlim consists of the Toesu-jeong area(a pavilion), the Gwanseon-jae area(a shrine) area and the Gyejeong area(a garden with a brook) area. The pedantic 'meaning-landscape' elements, as the residence of retired scholar who spent his remaining life with elegant tastes, and the expertise of Maechun Park Chi-Gi, as a landscaping architect who built a villa and a garden forest in the motif of a Taoist hermit, can be extracted through the Banseondae-10yeong. The Banseondae-10yeong is the first Toesu-jeong poem and consisting of the Samseon-dae, Sejin-dae, Samcheong-dam, Yabak-dam, Samseo, Takgeum-dam, flat stones, caves, stone sculptures and harvest. The existing vegetation and plants in the Toesu-jeong wonlim are; natural pine forest in the rear garden, zelkova trees, wild cherry trees, apricot trees and pine trees bent to the waterfront direction. Except some ornament-species and shielding-species such as the poplars, most of current trees and vegetation keep the shape of the original Toesu-jeong wonlim landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.14-26
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• 2011

Imdaejeong Wonlim is located on the verge of Sangsa Village in Sapyeong-ri, Daepyeong-myeon, Hwasun-gun Gyeongsangnam-do toward Northwest. It was planned by Sa-ae, Minjuhyeon in 1862 on the basis of Gobanwon built by Nam Eongi in 16th century against the backdrop of Mt. Bongjeong and facing Sapyeong Stream. As water flows from west to east in the shape of crane, this area is a propitious site standing for prosperity and happiness. This area shows a distinct feature of Wonlim surrounding the Imdaejeong with multi layers as consisting of 5 districts - front yard where landmark stone with engraved letters of 'Janggujiso of Master Sa-ea' and junipers are harmoniously arranged, internal garden of upper pavilion ranging from a pavilion to square pond with a little island in the middle, Sugyeongwon of under pavilionu consisting of 2 ponds with a painting of three taoist hermits, forest of Mt. Bonggeong and external garden including Sapyeong Stream and farmland. According to documentation and the results of on-site investigation, it is certainly proved that Imdaejeong Wonlim was motivated by Byeoseo Wonlim which realized the idea of 'going back to hometown after resignation' following the motives of Janggujiso, a hideout aimed to accomplish the ideology, 'training mind and fostering innate nature,' on the peaceful site surrounded by water and mountain, as well as motives of Sesimcheo(洗心處) to be unified with morality of Mother Nature, etc. In addition, it implies various imaginary landscapes such as Pihangji, Eupcheongdang, square pond with an island and painting of three Taoist hermits based on a notion that 'the further scent flies away, the fresher it becomes,' which is originated from Aelyeonseol(愛蓮說). In terms of technique of natural landscape treatment, divers techniques are found in Imdaejeong Wonlim such as distant view of Mt. Bongjeong, pulling view with an intention of transparent beauty of moonlight, circle view of natural and cultural sceneries on every side, borrowed scenary of pastoral rural life adopted as an opposite view, looked view of Sulyundaero, over looked view of pond, static view in pavilion and paths, close view of water space such as stream and pond, mushroom-and-umbrella like view of Imdaejeong, vista of pond surrounded by willows, imaginary view of engraved letters meaning 'widen knowledge by studying objectives' and selected view to comprise sunrise and sunset at the same time. In the beginning of construction, various plants seemed to be planted, albeit different from now, such as Ginkgo biloba, Phyllostachys spp., Salix spp., Pinus densiflora, Abies holophylla, Morus bombycis, Juglans mandschurica, Paulownia coreana, Prunus mume, Nelumbo nucifera, etc. Generally, it reflected dignity of Confucianism or beared aspect of semantic landscape implying Taoist taste and idea of Phoenix wishing a prosperity in the future. Furthermore, a diversity of planting methods were pursued for such as liner planting for the periphery of pond, bosquet planting and circle planting adopted around the pavilion, spot planting using green trees, solitary planting of monumentally planted Paulownia coreana and opposite planting presenting the Abies holophylla into yin and yang.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.97-109
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• 2015

This study was focused on the placeness of Nogosan Dokjae-dong and rock inscription located in Jangheung-myeon, Yangju-si, Gyeonggi-do. The purpose was to reveal the implication of Nogosan and Dokjae-dong Valley in terms of Historic cultural landscape by considering the characteristics of the place and its landscape, and inferring the significance of the letters engraved on the rock. The result is as follows.10) Samgaksan is one of the five famous mountains in Korea. It is the sacred mountain that stands behind the capital city of the Joseon Dynasty that lasted for 600 years. On the other hand, the placeness of Nogosan is significant since it was the place where people used to bow low to the three great summits of Samgaksan. Furthermore, Nogosan was the perfect place to view Samgaksan that represented the Joseon spirit. Many letters were engraved on the rocks around Dokjae-dong Valley by Misu Heo Mok(許穆) as part of his memories to describe his experience in the mountain and became a scenery. Chusa(秋史) Kim Jung-Hee(金正喜) also engraved letters of 'Mongjae' on the rock that contains a double meaning. Literally, it means 'a dreaming house' However, it also implies that even just a daydream is significant in a way. These letters are presumed to be the signs that are related to Sung-Jae(性齋) Heo Jeon(許傳)'s experience in Dokjae-dong since the letters were part of his famous book title. Below these two letters, Chusa also engraved letters that describe the sexagenary cycle including the year of the rat, horse, dog, and tiger. They are regarded as the letters that describe the fate of Chusa's friend, a scholar born in May 1804. Nogosan and Dongjae-dong Valley are very significant in terms of historic cultural landscape as a viewpoint to see Samgaksan; and a place that cherishes the traces of Misu and shows common values and cohesiveness of well-known scholars of the Joseon Dynasty including Song Wol-Jae(松月齋) and Sung-Jae as a of Gihonamin(畿湖南人). The engraved letters of Chusa and Misu also implicitly demonstrates the major trends of Korea's calligraphy history.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.37-50
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• 2016

Recognizing the problem of fallacy in geographical name of Changokbyeong(蒼玉屛), assumption has been made on the location of Changokbyeong through literature research on antique maps, ancient paintings, and old prose, through field survey on rock inscriptions and landscape characteristics, and through interviews with local people. Furthermore, Baegyeonwa, the Cuckoo Hut, and Iyangjung(二養亭), an annex to the cottage, both of which were managed by Saahm Park Soon(思菴 朴淳), the Subject of Jouissance, were studied in depth with emphasis on the spatial structure as well as special features of the area as a garden. The major findings are as follows: Changokbyeong is a spatial threshold that imparts a sense of unity with Okbyeng seowon(玉屛書院) and indeed Changokbyeong is presumed to have been the frontal river terrace of Okbyeng seowon according to the analysis of antique maps and rock inscriptions. This ancient location and the Ogari Stone Wall, the present day Changokbyeong, are only 460m away so that both areas are considered as falling under the influence of Changokbyeong landscape. The expression "Changokbyeong Geupsangeum(蒼玉屛及散襟)" written in an old prose tells us that the high rock wall with Sangeumdae inscribed on the rock might be the rock wall of Changokbyeong. In addition, while not a single rock inscription has been found on the Ogari Stone Wall, 11 rock inscriptions designed and ordered by Saahm Park Soon, the Subject of Jouissance, are found on every corner of the high rock wall standing in front of Okbyeng seowon, 8 of those 11 being place names and recitative poems(known as Jeyeongsi: 題詠詩) in close formation resembling the handwritings in a little notebook. This provides a strong evidence for assuming the location of Changokbyeong to be the frontal river terrace of Okbyeng seowon. The "Songgyun Jeoljo Suwol Jeongshin(松筠節調 水月精神)" rock inscription on Changokbyeong should be considered as the stamping ground and as the symbolic language of Changokbyeong that bears the high character and nobility of the Subject of Jouissance, Saahm Park Soon. The inscription should also be recognized as the handwritings of Wooahm Song Si-Yeol(尤庵 宋時烈) correcting the misconceptions that persisted until today. Meanwhile, the garden remains of Saahm's Changokbyeong are composed of four sites: Sangeumdae-Sugyeongdae-Cheonghakdae-Baekhakdae from the left. At the back of Sangeumdae, there is the original house, the Baegyeonwa(拜鵑窩), and on the fantastically shaped stone wall at the left of Baekhakdae, there is the annex, the Iyangjung, together creating a landscape composition that overlooks the splendor of the Ogari Stone Wall. The Iyangjung is located on the highest spot to the left of the four sites, and it is believed to have been a little outhouse and library for Saahm which remains to the present day as a place where Saahm's character can be felt. The drinking plates[窪樽] made of rock that are affectionately arranged on the broad flat rock in front of Iyangjung is part of the garden remains that reflects the artistic taste of Saahm regarding the drinking culture at the time.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.170-181
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• 2011

This Research will explore the meaning indicated in the landscape meaning and feature of literary group culture, focusing in Gurujeong(九老亭: pavilion for nine elders) and Samgaeseokmun(三溪石門: stone gate in three valleys) located in Dundeok-myun, Imshil-gun, and will seek to understand the implications by studying the cultural landscape spread out in the area. The place where Gurojeong and Samgaeseokmun is located is the meeting point of the three valleys, Dunnam stream, Osu stream, and Yul stream, which is the main location to view the beautiful scenery, which has the nickname as the dwelling place of a celestial being. Especially, based on the description of old maps, "Samgae(three valleys)" and "Samgaeseokmun" possesses significance as a landmark and shows a characteristic feature of landscape structures of low hills. Dangugurohwe(丹丘九老會: nine elders gathering on the dwelling of a celestial being) originated from Hyangsangurohwe(香山九老會: gathering of nine elders on a fragrant mountain), where Baekgeoi(白居易) of China was one of the main people. This group was organized by nine elders over the age of 60 desiring to view the scenery of Doyeonmyeong. The group enhanced the literary spirit on the low hill, erecting a tower, and enjoying the beautiful scenery changing every season with scholars from the same region. This phenomenon seems to have been formed upon the positive response to gatherings of elders, which were prevalent in the Joseon Dynasty. If the internal idea pursued by the group was "longevity," the external idea pursued can be summarized as "the spirit the respect for the elders." Naming the groups as 'Dangudae(place where the celestial being lives), Guseondong(valley of seeking a celestial life), Bangjangsan(mountain of a high priest), and Daecheondae(place of communicating with God) was likely a device to introspect oneself and symbolize one's life process. Furthermore, the reason Samgaeseokmun, which is an imitation of Choi, Chiwon's work, was built near Soyocheo, was probably to yearn the celestial land and based on the desire to follow Choi, Chiwon, who was the most self-fulfilling being presumed to have become a celestial being by practicing the pursuit of freedom, escaping from the reality. After tracing the symbolizing meaning of the four letters carved in the left side of the stone wall of Dangudae, the conclusion that this place was not only a place for literary gatherings of the nine elders of Saseong(four families), but was a place where the celestial being dwelled could be inferred. Corresponding with Dangudae and Gurojeong, which are places where the order of human and nature is harmonized and where its meaning associated with the location intensifies, arouses strong bond, can be said to be the symbol of the traces of celestial beings where the spirits of attachment to a certain place is embedded. The acts performed in Dangugurohwe were those of traditional leisure including strolling, viewing the scenery, drinking, composing poems, and playing instruments, and sometimes listening to stories, tea ceremony, prayers, and fishing were added, which indicates that the gathering had a strong tendency towards pastoral and hermit life.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.82-101
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• 2014

The purpose of this study was to survey and analyze the origin story and the legends associated with Yongyudam(龍遊潭, Dragon Creek), its scenic and spatial description in Climbing Writings(遊山記: Yusangi Notes), its geographical and geological features, its surrounding remains and letters chiseled on the rocks through the field study and the study on literatures associated with it so to identify its significance and value and then to ensure justification on preservation of Yongyudam scenic site. Conclusions of this study are as follow. As the traditional scenic place 'Geumdae-Jiri(金臺智異)' representing Hamyang-gun(咸陽郡) depicts Mount Cheonwangbong and 'Yongyudong Village(龍遊洞)', ancient maps and literatures have positioned Yongyudam as the center of Eomcheon-river Creek as well as the representing scenic site of Yongyudong Village. Core images in the spatial awareness of Yongyudam described in our ancestors' Climbing Writings Notes on Jirisan Mount are 'geographical and scenic peculiarity associated with swimming dragons', 'potholes in various shapes and sizes scattered on rocks', 'loud sound generated by swirling from shoals' and 'the scenic metaphor from the dragon legend', which have led scenic features of Yongyudam scenic site. In addition, significant scenic metaphors from legends such as 'Nine Dragons and Ascetic Majeog' and 'Kasaya Fish' as well as 'the Holy Place of Dragon God', the rain calling magic god have descended not only as the very nature of Yongyudam scenic site but also the catalyst deepening its mystic and place nature. On the other hand, Jangguso Place(杖?所, Place of Scholars) in the vicinity of Yongyudam was the place of resting and amusement for scholars from Yeongnam Province, to name a few, Kim Il-son, Cho Sik, Jung Yeo-chang and Kang Dae-su, where they experienced and recognized Jirisan Mount as the scenic living place. Letters Carved on the rocks at Jangguso Place are memorial tributes and monumental signs. Around Yongyudam, there are 3 stairs, letters chiseled on the rocks and the water rock artificially built to collect clean water, which are traditional scenic remains detectable of territoriality as the ritual place. In addition, The letters on the rock at Yongyudong-mun(龍遊洞門) discovered for the first time by this study are the sign promoting Yongyudam as the place of splendid landscape. The laconism, 'It is the Greatest Water in Jirisan Mount(方丈第一山水)' on a rock expresses the pride of Yongyudam as the representing scenic place of Mount Jirisan. Other than those, standing rocks such as Simjindae Rock, Yeong-gwidae Rock and Ganghwadae Rock show the sign that they are used as amusement and gathering places for ancestor scholars, which add significance to Yongyudam. By this study, it was possible to verify that Yongyudam in Mount Jirisan is not simply 'the scenic place in the tangible reality' but also has seamlessly inherited as the traditional scenic attraction spiritualized by overlapped historical and cultural values. Yongyudam, as the combined heritage by itself, shows that it is the product of the place nature as well as unique ensemble of cultural scenic attraction inherited through long history based on natural scenery. It is certain that not only the place value but also geographical, geological, historical and cultural values of Yongyudam are the essence of traditional scenic attraction, which should not be disparaged or damaged by whatever political or economic interests and logics.

• 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.