• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.48-58
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• 2013

The results of this research to study forms, structure, changes, symbolic meanings of 16 Hahoe sceneries through analyses of "Hahwaesipyukgyeong" and "Hahwaenakgangsanghaildaedo" are as belows. The coherence of headword is not discovered in 16 Hahoe sceneries, but based on various variables and sense dependence, endemicity with original natural scenes, human's life and phenomena of riverside village are spread in 3km viewing areas within 200m from Gyeonamjeongsa(謙巖精舍) and Okyeonjeongsa(玉淵精舍). As the viewing points of Gyeonam and Okyeonjeongsa are symmetrically facing and separately independent, while viewing angles do not intersect at Wonjijeongsa (遠志精舍) and Binyeonjeongsa(賓淵精舍) because of Buyongdae(芙蓉臺), and crating each independent viewing area, we can see 16 Hahoe sceneries are perfect views by supplementing Gyeonam and Okyeon Jeongsa, as well as points of views from Wonji and Binyeonjeongsa. Meanwhile, as the view point of 16 Hahoe sceneries, Gyeomam, Okyeon, Binyeon, and Wonji Jeongsa are clearly described, and 12 natural sceneries, which are Hwasan(花山), Ipam(立巖), Maam(馬巖), Jando(棧道), Bangi(盤磯), Hoengju(橫舟), and Honggyo(虹橋), among landscape elements of 16 Hahoe sceneries that can be expressed on canvas in the Haoedo are realistically described, there is high possibility that Haoedo is the 'Mental Stroll about Nature(臥遊) of 16 Hahoe sceneries. The belted forest surrounding the village in the painting is assumed to be an erosion control forest, and considering row-expressed trees, the south belted forest may be a different broad-leaved forest from current Mansongjeong(萬松亭) pine forest. In 16 Hahoe sceneries, there is Neo-confucianism tendency, which connects the nature and human life, and moreover prioritize human life than the nature. Especially as seen in the 'Choljae(拙齋)', the pen name of 16 Hahoe sceneries' author park, the 16 Hahoe scenery poet suggests 'Beauty of Jolbak(拙撲美)' based on the simple life that upright classical scholars pursued as the basic emotion. The thinking system shown in the poet is interpreted as Neo-confucianism category including one's sense and emotion depended on natural features or phenomena. Ultimately, 16 Hahoe sceneries are landscape that reflects moral world views of Confucianism scholars who wanted to express ideal thoughts based on natural features and phenomena in reality at Jeongsa in Buyongdae and Hahoe Village.

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