• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.61-72
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• 2014

Throughout analyzing and construing the words, contexts, and expressive languages used for depicting the pine tree in the novel "Honbul" written by Choi, Myung-Hee the symbolism of the pine and folksy languages used for scenery can be condensed as written below: First, it is explicit that the scenery-words for illustrating the pine tree in "Honbul" are emerged through diverse means methods and expressions. Namely, the reference forms of the pine tree and the expressive means of utilizing words portrays the use of the pine are various and subdivided. Second, the scenery-words found in vocabularies and the contexts of "Honbul" imply various symbolic representation. They not only perform to describe inherent image and symbolism of the pine, but they work for reifying the image of "Honbul" in the narrative structure in "Honbul" as being intrinsic scenery-word. Third, the scenery-words used for expressing aesthetics emerge as synesthetic expressions through the linear beauty and the texture of the pine as well as through five-senses. Forth, on the basis of the inherent symbolism and the image of the pine, the landscape of the background described in "Honbul" deems as a symbolic backdrop. As with then narrative structure of the novel, the pine tree performs as a mediation of the heaven and the earth, god and man, as well as the sacred and the secular. Fifth, scenery-words used for depicting the pine tree are a symbol that represents the spirit and emotion of the character in the novel. Moreover, it is a tool for pursuing the personification of the nature, the deification of the object, and the cosmos of the space. It is also utilized as a device that definitize the ideational image applied to express the landscape of the background of the novel. As mentioned above, the expressions, vocabularies and textures about pine tree represented from "Honbul" are expected to be the beginning of understanding the landscape-images and landscape-languages of pine in not only the setting for this novels, Namwon but also the entire districts of Korea.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.6
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• pp.23-34
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• 2012

This Study is about the "Comprehensive Landscape Improvement Plan for Gu-ryoung Seaside Village that was one of most exhibited projects for developing sea villages." The formulations of the plan were supervised by the Ministry of Land, Transport, and Maritime Affairs and were executed by the Goheung Country. Rather than proposing renovations for the landscape, this study maintains the existing order and attempts to examine the plan by scrutinizing the vernacular design language of the landscape. In the study, community members had the opportunity to express their opinions and ideas about the community through workshops composed of community participation programs, and participated in the decision-making process through consultation meetings. The conclusion of this study was relevant to the activities of the committee on landscape improvement. The Comprehensive Landscape Improvement Plan has three objectives: (1) resorting and modifying the natural landscape, (2) restructuring the roadways, and (3) modifying key spaces. In the end, the role of Gu-ryong Mountain as a background of the landscape was focused on tree planting drives that were undertaken, and accessibility to the sea front was improved. Second, in restructuring the roadways, rough roads were restored and unconnected roads were connected to ensure a network of roads along the sea front, inner roads in the village, roads at the Fringes Mountains, and stone roads on the mud flat. In addition, roads were named according to the character of the landscape and signs were installed. Finally, the existing key spaces, in which community members came together, were restored and new key spaces were created for the outdoor activities of the inhabitants and the diverse experience of visitors. A guideline was also created to regulate private areas such as roofs, walls, fences of residential buildings, and private container boxes and fishing gear along the sea front. The strength of this study is that it is seeking to determine the greatest potential of the landscape and set the plan by examining the lives of community members. Some problems were found during the development of this study. Further, there were problems in the community's understanding as elaborated below. First is the gap between community members' awareness and practice. Even though they were aware of the problems with the village landscape, they hesitated to implement improvements. Second, community members have misunderstandings about the landscape the improvement plan. The local government and the residents have understood this plan as a development project; for example, new building construction or the extension of roads. Third, residents are not aware that continuous attention and improvements are required for the upkeep of the landscape in the sea village. The plan to improve the landscape should promote a balance between making the area as a tourist attraction and maintaining the lives and cultural activities, because the sea village system incorporates settlements, economy, and culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.58-68
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• 2017

The conclusion of this research after analyzing and interpreting the landscape structure and meaning of Yeongsajeongpalkyung (永思亭八景) that appears in Yeongsajeongpalyeongsi(永思亭八詠詩) of Cheonggye(靑溪) Yang, Dae-bak(梁大樸, 1544~1592) and through document studies, poetry and painting analysis and interpretation, and site investigation, is as follows. Yeongsajeong and its nearby lands are the area of "Yeongsa", where the builder, Ahn, Jeon(安?, 1518~1571) worshipped towards the grave of ancestors, and Yeongsajeongpalkyung oversees a family burial ground in Namwon, centering around Yeongsajeong such as Yocheon, Geumseokgyo and Cheonggyedong, and Sunjagang River and Mountain Jiri, which are the foot hold and key points of advantageous scenic views in Namwon. Yeongsajeongpalkyung, unlike general Jeongjapalkyung, shows a panoramic bird's-eye structure overseeing the landscape and scenery of the Yocheon area and Sunjagang River, in addition to Yeongsajeong, while show in a transition of location, a multi-view structure and time. The trace of visual unity with Sosangpalkyung of China can be seen in many places in Yeongsajeongpalkyung, which seems to be a transitional feature of composing poems regarding Palgyeong during the mid-Joseon dynasty, which pursues harmony with the local landscape of the Namwon area. The 'Changsongchwijuk(蒼松翠竹)' appearing in each of the first and second scenic views of Palgyeong and Yeongsajeongpalyeong can be understood as an incarnation of Yang, Dae-bak, the author of Palyeongsi or Ahn, Jeon, the builder of Yeongsajeong. On the other hand, as a result of interpreting the yin-yang features of poetic diction and picture elements appearing in the subtitle of Yeongsajeongpalyeong, Palyeongsi seems mostly full of yin-like elements and Palgyeongdo. Moreover, as a result of comparing and analyzing the acts expressed in and acts described in Yeongsajeongpalyeong, based on the fact that the reis almost no common ground between the two media except for Soongangmowoo, the third scenic view, the formal similarity between the two media can be acknowledged, however, it is difficult to discover any substantive 'integrity of poetry and painting'.