• Proceedings of the EASDL Conference
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• 2008.10a
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• pp.15-29
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• 2008

"떡"을 대표로 하는 중국 밀 문화는 선사시기의 야생 식물 재배는 역사상의 가공과 이용으로부터 현대 사회의 정밀 가공, 더 깊은 가공의 광범위한 이용에 이르기까지 수천 년의 긴 역사과정을 거쳤다. 그러나 20세기말 이전까지만 해도 밀가루는 중국 사람의 주식 원료 구성에서 그다지 중요하지 않은 위치에 있었다. 하지만 분명해야 할 것은 어떤 종류의 곡물이 한 민족의 주식 원료 구성에서의 높고 낮은 비중이 결코 간단하게 그 사회 의미와 문화가치의 높고 낮음과는 동일시할 수 없다. 중국 사람의 밀 식용 역사가 바로 하나의 전형적인 사례이다. 선진(先秦)시기, 밀의 재배와 식용은 주로 식량 공급이 줄곧 긴장된 상태에 처해있는 각 정권의 "接濟靑黃"(구제식량)하는 전략적 물자였다. 그러나 선진(先秦)시기에서 밀은 경제가치가 아주 높은 곡물은 아니었다. 그 원인은 밀의 무(畝)생산량이 상대적으로 낮을 뿐만 아니라 종자의 수요량도 상대적으로 크기 때문이다. 묵은 곡식은 다 사용되고 새 곡식이 무르익지 않은 공백기에 있는(청황불접) 시기에 전략적 곡식의 사회와 정치 의미 외에 강한 적응성, 광범위한 분포와 낮은 단가가 또한 밀의 상대적 장점으로 될 수 있다. 밀의 경제와 문화가치는 주로 한대(漢代)이후 차츰 드러났다. 혁명적인 변화는 바로 가루 음식의 섭취와 계속적인 확대이다. 밀을 가루로 내어 식용한 후 차츰 기타 곡물의 편의식품 전통 공간을 대체하였고, 한대(漢代)의 딤섬류 식품 "한구(寒具)(고대에 곡물가루 튀김 음식물 현재의 타래떡 등)"에 사용되는 재료도 거의 밀가루를 사용하였다. 오늘날 중국 사람이 자랑으로 여기는 전통식품인 국수, 만두, 혼돈(餛飩), 포자(包子), 소맥(燒麥), 떡, 찐빵(饅頭), 고(糕) 및 공업화 식품인 과자, 빵, 라면, 햄버거 등은 모두 밀가루를 기본 원료로 사용하고 있다. 나아가서 더욱 정밀하고, 다양한 딤섬 종류도 밀가루를 기본 원료로 한 주요 무대이다. 20세기말 이후 밀 소비 인구가 계속 확대되는 추세였으며 높은 소비량은 밀의 재배 면적 확대와 재배지역 확장을 결정하였다. 밀 소비량은 중국 사람의 주식 원료 소비에서 이미 근근이 벼 뒤를 잇는 지위에 올랐다. 통계 자료에 따르면 1949년 중국 밀 면적은 2,185만 헥타르로, 전국 식량 작물 총 면적의 19.6%, 총 생산량 1,380만 톤으로 전국 식량 작물 총 생산량의 12.2%에 달한다. 1980년에 이르러 면적은 2,884만 헥타르로, 총 생산량은 5,416만 톤에 달하였으며, 각각 식량작물 총면적의 24.8%, 총 생산량의 17.0%를 차지하였다. 1981이후 중국 밀 생산량은 또한, 새로운 발전을 가졌으며, 주로 단위 면적 생산량이 비교적 크게 증가되었고 총 생산량도 큰 폭으로 증가되었다. 1981~1985년과 1976~1980년의 5년 평균치를 비교한 결과 재배 면적은 같았으나(단지 0.2%만 증가), 단위 면적당 생산량 및 총 생산량은 46% 증가하였으며, 연평균 증가율이 9.2%에 달하여 50년 이래에 증가 속도가 가장 빠른 시기였다. 비록 지금 중국인의 "배부르게 먹기"문제는 이미 기본적으로 해결되었으나 장기적으로 "배부르게 먹기"의 물질적 보장은 여전히 취약하다. 농사가 가능한 경지면적의 급속한 격감으로 단위 면적당 생산량의 압력을 증가되었다. 국가 표준에 따르면 품질이 좋은 밀은 "탄력이 강한 고품질 밀"과 "탄력이 약한 고품질 밀" 두 가지로 구분된다. 지금 중국 시장의 추세를 보면 밀 품종의 선택에서 주로 탄력이 강한 고품질 밀을 선택하는데 즉 글루텐량이 높고 탄력이 강하며 품질이 좋은 전문 용도에 사용되는 밀을 선택한다. 탄력이 강한 고품질 밀은 주로 빵, 라면, 만두 등 밀가루 탄력을 요구하는 음식을 만드는데 사용된다. 그 중에서 모든 빵은 탄력이 강한 고품질 밀을 사용하고 밀에 대한 품질 요구도 또한 높다. 빵가루의 품질을 높이기 위하여 일부 전문 밀가루 생산 공장에서는 국산 고품질 밀에 수입 고품질 밀을 첨가하여 사용한다. 만두가루를 가공할 경우도 고품질 밀을 첨가하여 밀가루의 품질을 높이고 음식을 맛을 증가한다. 일부 품질이 떨어진 밀에 대하여 고품질 밀을 첨가하여 내부의 품질을 개선하고 찐빵이나 기타 밀가루 음식으로 가공한다. 예를 들면 중국 동북 지역에서는 고품질 밀과 봄밀을 섞어 밀가루의 봄밀의 품질을 개선한다. 총괄적으로 밀에 대한 욕구는 계속 장기적으로 벼에 버금가는 위치를 유지할 것이며 고품질 밀에 대한 욕구는 더욱 강한 추세로 발전할 것이다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.81-97
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• 2019

The purpose of this study is to examine what people in Korea recognize the cultural symbolism and the planting patterns of 'Guǐmok', pagoda tree(Sophora japonica). The species planted in the 'Guǐjeong' was empirically investigated and analyzed to determine which species of pagoda tree or Zelkova tree(Zelkova serrata) was taken through literature surveys, field surveys, and interviews with persons. This 'Guǐjeong' was combined to track how the culture of the 'Guǐmok' planting introduced in China was ultimately accepted and transformed in Korea. In this study, we tried to analyze the meaning implicit in the mystery while checking the distribution of the mystery and the form of the mystery, the name of the pavilion and its relevance to the contrast medium. Essentially, the trees that govern the characterization of the nectar plant, regardless of the region, are considered to be a pagoda tree, which is considered an internal factor in which the pagoda tree culture was not completely transformed into a zelkova tree. It was recognized throughout the Joseon Dynasty that the species representing 'Prime ministers(三公)' was judged from all the Joseon Dynasty periods, based on the builder of Guǐjeong's Aho(雅號) and Dangho(堂號). It was confirmed that the tree was very likely to be planted in place of the painting tree. But now is selectively zelkova tree is in accordance with the preparation of planting site conditions and areas on behalf of the Change is very high probability that is planted. Cultural variables that led to the cultural transformation of the 'Guǐmok' seem to have been deeply involved in the geographical space of China and Korea, Confucian practices of the Choson society, comings and goings and letter bridge, and network strength with China through the book spread. In addition, the culture of 'Guǐmok' is presumed to have led to cultural custom of the upper class, not the whole class, in the Yeongnam region, it can be said that the independent adaptation to act to recognize 'Guǐmok' as a pagoda tree, that is a Sophora japonica, has occurred very strongly. The difference between the cultural areas of Yeongnam and non-Yeongnam is also considered to be an internal factor that has played a major role in the cultural transformation of planting of 'Guǐmok'.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.78-88
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• 2015

In the 1920s, the period of cultural governance ruled by Japan, the diverse media were founded and various events were conducted to boost circulation. Under the Japanese colonial period in 1920s, a number of media - newspapers and magazines - were published and often they carried out entertaining events in order to obtain more subscribers. A hobby magazine, Samchunri, for instace, set up a media event to selecting Korea's eight beautiful scenary (Bandopalgyong) for the first edition in 1929. The paper aims to analyse and understand the perception of landscape in 1929 through the media event carried out by Samchunri. In particular, the selection was made by well-known writers within Japanese colonial period 1910 - 1945). The selection process and views from the writers on landscape were analysed; firstly, the selection of Bandopalgyong was carried out by questionnaires to writers in 1929 where Korea is under Japanese colonial rules. The conditions of the selection were unknown; however, the purpose was enlightening the people specially the youngs and introduction of beautiful places in Korea. As a result, views and opinions on Bandopalgyong by the writers were progressed. Secondly, within the Bandopalgyong, the natural landscape areas include Gumgansan(金剛山), Daedonggang(大洞江), Buyeo(扶餘), Gyongju(慶州), Myongsasipri (明沙十里), Haundae(海雲臺), Baekdusan(白頭山), and Choksukru(矗石樓). Those chosen places were not cohesive nor did not have any consistant reasons to be chosen in terms of size and location; however, some writers claimed that there were other places to match the chosen ones and therefore, the selection process was highly dependent on access (i.e. transport). Thirdly, the travelogue on Baekdusan and Nackwhaam(洛花岩) illustrated interesting views on landscape in particular. Baekdusan landscape were described in overlaping with long history and national soul. In the Nackwhaam travelogue, it described 'Buyeo (夫餘) was an ancient capital of Backjae Dynasty and empty place' as well as denying Chosun Dynasty. It was assumed that the two places weren't visited but rewritten with existing literatures. Fourthly, edited by Kim Dong Whan, a travelogue style book, 'Bandosanha' was published in 1941. It did repeat the selection of Bandopalgyong, but this time, it was classified the eight beautiful landscape into two categories; historic/cultural places and natural landscape. This paper was able to analyse and understand the perception of landscape in 1929 through the travelogue of Samchunri. It is an empirical study on the process and perception on Korea landscape under Japanese colonical period by views of the selected writers.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.21-30
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• 2015

Bulguksa Temple, a typical temple of Silla was lost during Japanese Invasion of Korea and there are records of reconstructing in its record, Bulguksa Sajeok. There is no record after that. And reconstructing was stopped due to lack of money and repair works were conducted for two times in Japanese colonial era. First repair work was from 1989 to 1919 and second repair work was conducted from 1922 to 1925. After Liberation, Bulguksa Temple Restoration Committee was established in 1969 and the construction has started since 1970 after excavation investigation to complete in 1973. The shape of south arcade without walls in the main temple of Bulguksa was found in a blue print of Bulguksa in Japanese colonial era in National Archives of Korea now and a picture of Bulguksa in 1902 taken by Sekino Tadashi. It verified the correlation between Gupumyeonji which was discovered in restoration work in 1970s and a legend of Muyoungtap. And a stair from the hall of Paradise to the main temple was introduced as a stair including Pure Land Buddhism doctrine in many literature materials, but a blue print of Bulguksa in Japanese colonial era and reports of excavation investigation in 1970s verified that it was a temporary stair built by Japan and its meaning was given later. This research checked the scenery of Bulguksa Temple before Japanese colonial era and it is intended for basic data to conduct restoration or reconstruction project in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.1
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• pp.18-39
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• 2016

The study pertains to reviewing and discussing of the master plan of the main buildings in the palaces of Joseon Dynasty regarding on a Feng Shui concept that has been implemented on the palace axis that is originated from the main mountain. Gyeongbokgung (景福宮) Palace is located on the northwest coner of Hanyang (漢陽) and on the tip of the main mountain which is in contrast a quite distinguishable from the location of the Fobidden city in Beijing located in the middle of a vast basin. Changdeokgung (昌德宮) Palace as well is also located on the tip of Eungbong (鷹峯), a part of Samkaksan (三角山) mountain, of which the locations were designed for the palaces to receive the benevolent force from the main mountain. The same concept was also applied to appointing the ideal location of the maJor buildings such as Jungjeon (正殿: The throne hall), Pyunjeon (便殿: The king's office) and Chimjeon (寢殿: The king and queen's residence) in the palace that must receive the benevolent force from the qui stream also originated from the main mountain, as such that the buildings have in close relationship with the king. Amisa (蛾眉砂) had been considered as an important geographical milestone of the estate where the palace is located, especially as the guiding landmark for other buildings that must be on the land axis. The land axis with the Amisa as the starting point attributed the Feng Shui as an important measure that determines the location and the shape of other buildings. The buildings location was appeared as having the conceptual buildings location as 'front office-back bedroom building (前朝後寢)' and 'three gates-three sectors (三問三朝)' as per the Rites of Zhou (周禮). On both palaces, Amisa is located on the benevolent point of the land, and the king's bed room buildings are located near the Amisa. The main offices were located on the south of the king's bed room buildings. By practicing this type of concept, consequently the king can receive the pure benevolent force first. In the case of the clearly distinguished locations of the buildings in Gyeongbokgung Palace, Chimjeon, Pyunjeon and Jungjeon were located on the same main qui stream. However, in Changdeokgung Palace where scattered qui stream is observed, the buildings are located on the scattered qui stream. The study found that the type of location of Jungjeon receives least amount of benefit from the Feng Shui but reflects primarily the king's authority rather than order and formality of the space.

• 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.32 no.2
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• pp.1-11
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• 2014

This study aimed at investigating the content and meaning of royal garden(宮苑) sightseeing event in Pyoam Gang, sehwang's "Hogayugeumwongi" As the research method, descriptive research method was used, which is to consider and interpret the content and meaning in the historical records. Research results are summarized as follows. 1. "Hogayugeumwongi", which recorded the event that the King personally guided and explained the palace to the vassals, is a very precious historical records in Korean landscape gardening cultural history. Such thing is unprecedented in Joseon Dynasty as well as China. 2. The person who recorded this event was famous for shi seo hwa samjeol in the time, and the point that he was Pyoam, who was appreciated as 'the head(總帥) of artistic and literary circles(藝苑)', adds more value to the future generations. 3. The characteristic of this sightseeing event was to praise the vassals' labor, who contributed to the completion of Kyujanggak, to establish King Jongjo's direct rule in the early period of seizure of power, and eojin(御眞) dosa(圖寫), etc., which expressed the King's dignity. Jongjo utilized Geumwon, a forbidden place in the palace, to give a special privilege to the vassals' effort, who took a great part in realizing his political ideal. 4. One of sightseeing lines toward the backyard of Changdeok Palace could be identified. Though the sightseeing lines toward the backyard were not fixed, however this might be the best sightseeing line which Jongjo intentionally chose to enjoy that day's flavor of autumn. 5. The characteristic of this event was informal and somewhat extemporary 'sightseeing'. Therefore, it is considered, that day's event was relatively private and free 'play(遊)', while 'sanghwaeojoyeon(賞花漁釣宴)', which Jongjo gave to the vassals middle after his reign, was a royal 'banquet', which prepared frames, such as event holding time and form, qualification for participation, e.g. flower viewing, fishing, writing poems, etc. This research has a significance that it considered the content and meaning in historical records including the front and the rear context that "Hogayugeumwongi" was written through the consideration of related historical materials. "Hogayugeumwongi" can be utilized as a material for storytelling with regard to royal garden sightseeing in future as a valuable cultural content, also, follow-up study on this is necessary.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.38-47
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• 2013

This study was performed in order to preserve and protect the scenic sites and surrounding environment is located in the Urban Residential Area. After classifying the type of area surrounding parcels of Seongbuk-dong is located in Seongragwon, Satisfaction Survey, scenic sites designated areas for residents living near the analyzed. Research methods, Cadastral research, literature survey, field survey, and the survey was conducted. Cultural heritage awareness about the collected questionnaires of frequency analysis, and reliability analysis for cultural heritages around satisfaction, satisfaction analysis by parcel area, parcel area for the verification of specific differences regression analysis for the full-on relationship satisfaction, one-way ANOVA was conducted for each. Overall Cultural awareness analysis results, the residence is located close to the Seoul Seonjamdanji, Seongragwon, Simujang, Sanghoe Lee Tae-Joon's houses, Seoul Hanyang castle showed that cultural heritage were know unfulfilled cultural heritage. The purpose of cultural heritage visit was to break/walks. Preservation was usually level and there is no inconvenience caused as a cultural heritage. Regulatory intensity level was usually level and showed a positive reaction to the impact of cultural heritage in Seongbuk-dong image mostly. cultural heritage have a positive impact on the image of the town. but access to cultural heritage is not easy and doesn't affect the life is expected. Overall satisfaction for cultural heritages in the surrounding space, the larger the size of the lot, and higher satisfaction. Seongbuk-dong most of the residents satisfaction was higher. Small lots of residents showed low satisfaction for safety when walking at night, heritage value rise, private ownership of heritage use, harmony with surrounding environment, Building exterior, non-physical uniqueness like culture art mental. It can be interpreted that small lots of residential environment quality is low compared to the large lots, influx of residents in other regions due to the redevelopment of one of Seongbuk-dong, private ownership of heritage use. And generally lower satisfaction on the harmonization of the facility(street lights, signs, etc.). Therefore cultural heritage signs for facility expansion, cultural educational programs, will be needed to maintain the uniqueness village when scenic sites in the city center around the area of management strategy.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.3
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• pp.76-93
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• 2017

This thesis recapitulates the current status of Nujeongs(樓亭) by the Han River(漢江) from the late Joseon dynasty, and to contemplate the possible options regarding their restoration. The book Yeon-gang-jeong-sa-gi(沿江亭?記) written by Eom Gyeong-su(嚴慶遂) in 1716 was selected as an object of study. After Hanyang was selected to be the capital of Joseon, Han River was considered to be the greatest venue to visit to take some time off and enjoy the view. The nobleman of the Joseon dynasty built Nujeongs around the riverside and enjoyed boating inthe current status of Nujeongs(樓亭) Han River. Eom Gyeong-su, after traveling on a boat to personally collect information, combined such information with preexisting information to create a well-organized and thorough list of the 29 Nujeongs built by the riverbank, which can be found in his book Yeon-gang-jeong-sa-gi. It is probable that a closer look into Yeon-gang-jeong-sa-gi will reveal more information regarding the general atmosphere of the era, which focused on the history and culture of Han River, and will also enable a more thorough research involving the Han River Nujeongs. The Nujeongs listed in Yeon-gang-jeong-sa-gi were analyzed in this paper. Based on the explanations found in Yeon-gang-jeong-sa-gi, the locations of the 29 Nujeongs were checked and reconfirmed, and the origins and the meanings behind their names were analyzed. In addition, the history of the Nujeongs were recapitulated with information gained from the basis of the fact that Yeon-gang-jeong-sa-gi was written in 1716, The origin of each Nujeongs were revisited, and the history of their change and demise were analyzed. Lastly, the sceneries around each Nujeongs were analyzed based on the poetries that were written and read in the respective Nujeongs, and the general taste for the arts in the era was analyzed. Some Nujeongs remain in the form of paintings, enabling us to take a closer look at the institutions and other aspects of the era. The analysis of Yeon-gang-jeong-sa-gi by this paper has revealed the location of some Han River Nujeongs that were unknown previously. Also, the revelation of some history regarding certain Nujeongs that were unknown previously has created an opportunity for the reinterpretation of the spaces surrounding Han River, and also the opportunity for a new story. Han River has lost most of its old self due to repeated exploitation. However, there are some areas where traces of the original form remains and that may be restored, and some areas may be relocated and restored based on existing paintings. Yeon-gang-jeong-sa-gi in particular may provide us with numerous possible options to reinvigorate and restructure the riverside with a more modern interpretation, especially in relation to the Han River cruise ship, as it is a book written after traveling Han River on a boat.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.2
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• pp.11-26
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• 2013

Designing large parks such as Yongsan Park requires the open-ended process-oriented design approach in complex layers rather than the conventional self-completed master plan method. This study aims to examine the characteristics of process-oriented design in the eight invited entries of "International Competition for the Master Plan of the Yongsan Park, Korea"(2012). For this purpose, it analyzed each entry according to three criteria: objects of process-oriented approach, time factor and its features of phasing plan, and presentation method of the process. This analysis can not only critically review the current level of the process-centered design methodology but also suggest strategic future directions for Yongsan Park. The objects of process-oriented design in the eight works were order of physical space development, restoration process of ecosystem, recovering process of publicity, and economic operation and management. Main considerations in the objects were connections to adjacent urban fabrics, links to regional green and water system, reuse of existing buildings and infrastructures in the site. The temporal criteria of the phasing plan had two aspects. One was planning a certain time and period, and the other was just establishing an order of phases. Most of the presentation method of process was the phasing plan, but some of the entries suggested a scenario plan. The eight works of "International Competition for the Master Plan of Yongsan Park" did not attempt process-oriented designs entirely and completely. Rather, they tried to introduce the phasing plan as part of a process-centered design. Also, they took an eclectic approach between master plan and process-oriented design instead of rejecting the conventional master plan approach.