• 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.40 no.1
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• pp.65-73
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• 2022

This paper analyzed the characteristics of ancient villages in Hongcun and the method of resetting the preservation area for the preservation of the changed historical and cultural space in Hongcun through the process of change. To this end, the current status of preservation areas and utilization areas in the village was identified through ancient documents, old paintings, policy materials, and interviews related to the village, and through this, the problem of resetting the preservation area was examined. As a result, the following conclusions were drawn. First, Hongcun is a village built under the influence of Confucianism, Buddhism, and Taoism, and the spatial organization was created according to the hierarchy of Confucianism. As a result, it was possible to inherit and preserve the heritage of ancestors even though the central government did not preserve it. Second, the concept of preservation in a limited sense has been applied as Hongcun has been recognized as a cultural heritage that has been passed down since ancient times, but the Great Leap Forward and the Cultural Revolution brought about changes in the village space. Since then, ancient buildings, water systems, and forests have been preserved through regulations on new construction and expansion of a building with the Hongchon preservation plan, but the development within the preservation area is underway due to changes in the lives of original inhabitants, which were followed by continued development pressure and reform and opening. Third, the original inhabitant of ancient villages had a high perception of the value of the heritage, but they demanded the preparation of measures to improve living conditions and create profits, and the active use of villages for this. Fourth, the forest consisting of old trees is being restored, but the gardens in the old house are showing a phenomenon that the garden space is reduced or transformed for use. The bridges and parking lots were newly built in the southern area, which was extended from the western area, the original entrance to the ancient village, resulting in changes in the existing entrance. This was found to be the primary cause of the spatial change of the ancient village, as the road system was modified to make it convenient for tourists to enter and exit. Fifth, the existing preservation area should be reset and preserved by resetting the preservation route centered on Wolso(half Moon Pool), while the surrounding area should be set as a direct and indirect experience space, and according to the hierarchy of each space, the utilization should proceed while the preservation is carried out by crossing the preservation and the utilization.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.29-38
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• 2010

A moat is a pond or waterway paved on the outside of a fortress that is one of the facilities to prevent enemy from approaching the fortress wall or classify it as the boundary space, and this study was undertaken to find out the characteristics of the moat that was existed in the East and the West from ancient time to medieval time with the following result. First, the moat in the East was installed of natural moat and artificial moat at the same time while the moat in the West had the fortress built in naturally advantageous site to use natural most substantially more. Second, the moats of Korea were smaller in scale compared to other countries (Japan, China and the Western countries). Third, the fortresses in the East were built to protect towns or royal palace while the West had the fortress to protect the residence of kings, lords, great wealthy persons and the like, and they were used jointly with the natural moat and artificial moat to defend against the infiltration of enemy. Fourth, the Pungsujiri in the Orient is one of the numerous ideologies forming the supplementary ideologic system of Korean people that could not be denied as the perception that influences on Korean people after the Silla Dynasty, and this Pungsujiri was considered when determining the location of the castle. The moat surrounding the castle had the role to keep the good energy in the castle from escaping away. Fifth, the Ha-Ha technique in the west was designed to prevent the external power from infiltration by digging the ditch on the place applicable to the boundary of the garden site, rather than the fence. While walking around along the water-side path without knowing the existence of this ditch, when the road is discovered with the cut off in the ditch, people had the exclamation without actually recognizing such astonishment. It was originally the dike for military purpose during the medieval time that was designed to look into the garden without physical boundary surrounded with the vertical fence in the garden that by having the deep ditch like shape on the boundary line of the garden which was designed to form the farm by preventing various types of cattle from coming inside the garden and bring in the garden element for farms, forestry, agricultural land and the like.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.65-89
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• 2004

Up to now, the studies for a pond of ancient palace of Korea are mainly achieved in a landscape architectural field. In fact, we can't grasp the general aspects but we are only heard about the fragmentary ruins and remains by the people who are in charge of an archaeological excavation. In this thesis, therefore, I attempt to grasp the relational categories of the ponds of an ancient palace of Korea, and find out the ideological backgrounds of the ponds of a palace construction through classify them excavated so far. The ancient ponds of Korea are divided to the class of square ponds(I) and curved ponds(II) according a shapes of planes. The class of square ponds(I) are subdivided to the form IA of the class of square ponds and form IB of the class of square ponds by whether it has an island, artificial hill and ornamental stone or not. And the class of the curved ponds(II) are divided to the form IIC that is only composed of curves in shore and the form IID that is composed of curves and straight lines. According the size, it is divided to a small size that is below the maximal diameter, 20m, and a large size that is more than 45m, after all, the ponds of the ancient palaces are devided to IAa, IAb, IBa, II Ca, IICb, IIDa. The square ponds and the curved ponds are co-exist from the initial stage when a pond of a place was found in our country and are succeeded or changed after Silla unified the three Kingdoms. In other words, we can infer a continuity from the earlier stage from the fact that there is a flat figure ground mainly constituted by the ponds of a palace mixed up of a straight line and a curved line in United Silla Kingdom while it succeeds the ponds of a palace that has a square form of Goguryo in Balhai. Different from the successional relation of the flat figure grounds, in an aspect of the elements of the construction, the site of the arbor at the top of the island and the bridge facilities in a field of a palace those are not exist in three Kingdoms period are appeared in United Silla Kingdom. The point that this aspect is simultaneously appeared in a neighboring country, or Japan, allows us to infer that there may be some motivations cause the changes in a construction of the ponds of a palace of Korea, China and Japan from the latter half of the 7th century to the first half of the 8th century. The ideological backgrounds of the ponds of a palace construction are divided roughly into Taoism and Buddhism. We can recognize that the ponds of a palace made up of the islands, the artificial hills and the garden rocks reflect Taiosm, considering the records of the ponds a palace of Korea and China are all use the term, Taoism, or the concrete statement represents that the islands, the artificial hills and the garden rocks are used in the description of the ponds of a palace of Korea. Both two are, therefore, obviously differentiated from the ponds of a palace that doesn't include them. We can conclude that the ponds of a palace that doesn't include them are colored by Buddhism since they are overtly distinguished from the class of curved ponds that reflect Taoism at the same period and they are identical with the site of an ancient temples in an aspect of their type and construction.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.1-11
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• 2020

Noksan is a green area in the form of a hill located inside Gyeongbokgung Palace, unrecognized as a cultural heritage space. This study analyzed the literature and the actual site to derive its landscape meaning by examining the background for the formation of Noksan and how it changed. As a result, the identity of Noksan was related to the geomagnetic vein, pine forest, and deers, and the following are its landscape meaning. First, several ancient maps, including the 「Map of Gyeongbokgung Palace」 depicted the mountain range continuing from Baegaksan(Bugaksan) Mountain to areas inside Gyeongbokgung Palace, and Noksan is a forest located on the geomantic vein, which continues to Gangnyeongjeon Hall and Munsojeon Hall. On Bukgwoldo(Map of Gyeongbokgung Palace), Noksan is depicted with Yugujeong Pavilion, Namyeogo Storage, office for the manager of Noksan, the brook on north and south, and the wall. It can be understood as a prototypical landscape composed of minimal facilities and the forest. Second, the northern palace walls of Gyeongbokgung Palace were constructed in King Sejong's reign. The area behind Yeonjo(king's resting place) up to Sinmumun Gate(north gate of the palace) was regarded as the rear garden when Gyeongbokgung Palace was constructed. However, a new rear garden was built outside the Sinmumun Gate when the palace was rebuilt. Only Noksan maintained the geomantic vein under the circumstance. However, the geographical features changed enormously during the Japanese colonial era when they constructed a huge official residence in the rear garden outside the Sinmumun Gate and the residence of the governor-general and road in the site of the Blue House. Moreover, Noksan was severed from the foothill of Baegaksan Mountain when 'Cheongwadae-ro(road)' was constructed between the Blue House and Noksan in 1967. Third, the significant characteristics and conditions of the forest, which became the origin of Noksan, were identified based on the fact that the geomatic state of the northeastern side of Gyeongbokgung Palace, the naecheongnyong area in geomantic terms(the innermost 'dragon vein' among the veins that stretched out from the central mountain toward the left side), and they planted pine trees to reinforce the 'ground vein' and the fact that it was expressed as the 'Pine Field' before the Japanese Invasion of Korea in 1592. The pine forest, mixed with oaks, cherries, elms, and chestnuts, identified through the excavation investigation, can be understood as the original vegetation landscape. Noksan's topography changed; a brook disappeared due to mounding, and foreign species such as acacia and ornamental juniper were planted. Currently, pine trees' ratio decreased while the forest is composed of oaks, mixed deciduous trees, some ailanthus, and willow. Fourth, the fact the name, 'Noksan,' came from the deer, which symbolized spirit, longevity, eternal life, and royal authority, was confirmed through an article of The Korea Daily News titled 'One of the seven deers in Nokwon(deer garden) in Gyeongbokgung Palace starved to death.'

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.134-147
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• 2014

The purpose of this study is, focusing on the ancient paintings and literatures, by examining Flowering Plants and drawing their cultivating methods, to provide a ground of utilizing them on the modern landscaping. In the scope and method of this study, 766 pieces of ancient paintings(6 garden paintings and 760 folk paintings) which were available and had value as literatures, and 8 of ancient literatures were intensively examined. Main results extracted from them are as follows. First, the most frequently used Flowering Plants in Joseon Dynasty were Prunus mume, pbyllostachys, Nelumbo nucifera, Chrysanthemum morifolium, Musa basjoo, Rosa spp., Rhododendron mucronulatum, Paeonia lactiflora, which appeared 11 times to 16 times in total. Next frequently(4 times to 8 times) used Flowering Plants were Gardenia jasminoides, Punica granatum(8 times), Dianthus chinensis, Vitis vinifera(7 times), Orchidaceae, Syringa velutina, Impatiens balsamina, Hemerocallis fulva, Celosia cristata, Hibiscus Syriacus, Rhododendron indicum(6 times), Rhododendron, Rhododendron obutusum, Acorus calamus, Althaea rosea, Kerria japonica, Citrus junos(5 times), Hibiscus mutabilis, Lychnis cognata, Calendula officnalis, Begonia rex., Helianthus annuus, Papaver spp., Narcissus tazetta, Daphne odora, Hosta plantaginea(4 times). Second, usage of the Flowering Plants in Joseon Dynasty can be divided into character building and horticulture for pleasure through positive, scientific approach attempt. It suggests that there might have been classes in the use of them and we can estimate which plants were particularly preferred. Third, in the symbolicity of the usage of Flowering Plants, it can be divided into three parts: The case of representing integrity, gentleman, honesty and nobility and the thought of loyalty and filial piety under the influence of Confucianism. The case of representing Taoism's thought of hermit and perennial youth and long life. The case of representing wish on wealth and prosperity. So if we make a good use of it, we may draw a meaning of cultivation of Flowering Plants from it. This is your target audience or the good luck to all he plants is aimed at, you can see the occurred. Fourth, the Joseon Dynasty was the use of flowering plants are the line of rain wanted to be more consistent with the spirit world. This is shown as a symbol of their ancestors. Joseon Dynasty was used, resulting in a kind of flowering plant and is not a subjective judgement criteria A psychological approach to the side when interpreting the Joseon Dynasty flowering plants to take advantage of the landscape of the area will widen in scope.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.58-65
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• 2015

Compared to pavement of Chinese palace gardens, those of private gardens in south part of the Yangtze River(長江) in China shows variety of patterns. In order to figure out what causes the difference in paving pattern, this article focuses on the traditional Chinese ideologies during the all time. An analysis on 'Classical Gardens of Suzhou', which has been designated as UNESCO World Heritage, was used to determine how ideologies have influence on paving pattern of Classical Gardens. As a result, various Chinese ideologies such as Nature worship, Totemism, Confucianism, Taoism, Buddhism, and Folk Culture were found in paving patterns of the private gardens. Pattern of sun in the Retreat & Reflection Garden(Toisawon) is an example of Nature worship among primitive beliefs of ancient China. Phoenix pattern of the Couple's Retreat Garden(Ouyuan, Liuyuan) reflects Totemistic beliefs. Confucianism is the underlying philosophy of Eight Square pattern, Six Square pattern, and Cross Square pattern. These patterns were mainly used to pave large area and easily found in many gardens. Patterns reflect Taoism are "Wufu holding life" pattern(the Five blessing holding life, 五福捧壽), Flat peach pattern, and Alluding Eight Immortals pattern. Paving patterns related to Buddhism are patterns of 'Eight treasures' and Endless knot pattern appears most frequently since it expresses concept of reincarnation well. Paving patterns shows folk culture and beliefs of the time in China are bat, butterfly, dragonfly, frog, carp, and coin(ingot).

• Journal of Ginseng Research
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• v.37 no.3
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• pp.355-360
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• 2013

Ginseng cultivated and grown naturally under mountainous forest is formally called "Lin-Xia-Shan-Shen" (LXSS) and grown in manual condition is called garden ginseng (GG) according to Chinese pharmacopoeia (2010 edition). Usually the growing condition of LXSS is similar to wild ginseng and mostly used in Chinese folks in ancient times. The antioxidant properties of LXSS with different growing years were evaluated by their inhibitions of thiobarbituric acid-reactive substance (TBA-RS) formation in liver homogenate and 2, 2-diphenyl-1-picrylhydrazyl (DPPH)-radical scavenging activity comparing with those of GG. The inhibitions of different polar extracts (n-butanol and water) of LXSS and GG on TBA-RS formation were also evaluated. The results showed that the antioxidant effects of LXSS were higher than those of GG and the TBA-RS formation inhibition of LXSS with longer growing years were stronger than those with shorter growing years, while the DPPH-radical scavenging activity of LXSS did not show significant difference with the change of the growing year. The results indicated that the inhibitory effect of TBA-RS formation and the DPPH-radical scavenging of LXSS were correlated with the contents of ginsenosides. In adddition, the starch contents of LXSS and GG were determined by micro-amount method with spectrophotometer. It showed that the starch content in GG was higher than that of LXSS whose starch decreased gradually with the growing year.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.212-240
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• 2022

This study is a multi-layered exploration of 「The Thirty-Six Scenery of Seongdeok Summer Mountain Resort(承德避暑山莊三十六景)」 (The 36th view of Kangxi) recited by Emperor Kangxi of China through literature study, ancient calligraphy diagrams, and field studies. The conclusion of tracing the landscape characteristics and implications contained in 「The 36th view of Kangxi」 through the analysis of the headword(標題語) and the interpretation of the Jeyeong poem(題詠詩) is as follows. 「The 36th view of Kangxi」 is an extension of the outer edge of the Eight Sceneries, and when compared to the existing Eight Sceneries peom and Eight Sceneries painting, it is found that the landscape is centered on the 'viewpoint' rather than the landscape object. In particular, it aimed to create a structured landscape centered on nine types of buildings represented by 'Jeon(殿)' and 'Jeong(亭)' was given. In particular, Yeouiju, located in Lake district, is a scenic country endowed with the character of a gardens in Garden, which is composed by collecting famous representative Chinese landscapes and landscapes of Sansu-si and Sanshu Painting. As a result of headword analysis to understand the characteristics of landscape components, 14 landscapes (38.9%) related to water elements and 13 landscapes(36.1%) related to mountain elements, the elements related to architecture and civil engineering were classified in the order of 3 cases(8.3%), and the elements related to the skylight were classified in the order of 2 cases(5.6%). However, in Jeyeong-si, the mention of landscape vocabulary for climate elements was overwhelming. In other words, in the poems of 「The 36th Scenery of Kangxi」, scenery vocabulary symbolizing 'coolness' such as 雲(cloud), 水(water), 泉(spring), 清(clear), 波(wave), 流(wave), 風(wind) and 無暑(without heat), etc. It is not a coincidence that it appears, and it is strongly attached to the sense of place of Summer Mountain Resort in Rehe(熱河). Among the 23 landscapes whose seasonal background was confirmed, the fact that the lower landscape is portrayed as the majority and the climate elements of the resort area are portrayed in three-dimensional and multi-dimensional ways are closely related to the period of enjoying the gardens of Kangxi, the main subject of the landscape. In addition, many animal and plant landscapes appearing in Jeyeong-si appear to be in the same context as the spatial attributes of not only recreation, but also contemplation and hunting. On the other hand, in Jeyeongsi, there are 33 wonders(91.7%) citing famous people and famous books through ancient poems, old stories, and ancient stories tends to be prominent. It is inferred that this was based on Kangxi's understanding and pride in traditional Chinese culture. In 「The 36th view of Kangxi」, not only a book-writing description of the feelings of being entrusted to the family sutras, but also the spirit of patriotism, love, self-discipline and respect for mother and filial piety are strongly implied. Ultimately, 「The 36th view of Kangxi」 shows the real scene of the resort, as well as the spiritual dimension, in a multi-faceted and three-dimensional way, and the spirit of an emperor based on the dignity of the royal family and the sentiments of a writer it deserves to be called a collection of imperial records that were intended to reveal.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.3
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• pp.61-74
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• 2013

This study examined and analyzed ancient writing and poetry regarding cases of appreciating plants by using pots in a garden of a palace or private houses by ancestors, and examined shape and planting method of plant species and potted plants, arrangement and preference of potted plants. As for the method of the study, description research method which examines and interprets poem and painting based on potted plants. The results of this study is summarized like the following. First, the plants which were favorably used for potted plants include 19 kinds such as Prunus mume, Pinus densiflora, Pinus pumila, Phyllostachys spp., Camellia japonica, Punica granatum, and Gardenia jasminoidesa, and as for herbs, 12 kinds such as Chrysanthemum monifolium and Nelumbo nusifera . Second, the species which were specially arranged into artificial shapes include Prunus mume and Pinus densiflora. The two plants made the shape of severe curves of stems such as Wangpi. Gyuban, and Bangan, and there are Pinus densiflora dwarfed potted plant whose roots are stretched on Prunus mume grafted into a strange stump and an oddly shaped stone. For the beauty of the dwarfed tree shape, pine cones are added to an old Pinus densiflora or Parthenocissus tricuspidata is planted to stems, and additional method of making moss on the soil, which is called 'Jongbunchuigyeong'. As for planting method, water culture, planting on a stone, planting on a charcoal, and assembled planting are expressed in poetry. Third, as for external space for potted plants, a place where a king stays, a bed room for a king, surrounding areas and gardens of private houses, and step stones were used as a space which adds artistic effects. Potted plants are placed on a table in a library, on a desk, on a drawer, and near a pillow as a small items in a room, and scholars enjoyed original characteristics and symbolism of the potted plants. Fourth, at the time of flowering of Prunus mume, poetry event was held to enjoy the tree and writing poetry begun. And at the time of flowering of Chrysanthemum monifolium, the flowers were floated in a liquor glass or shadow play was enjoyed. Fifth, potted plants played the role of garden ornaments in elegant events of a palace, the gentry, wedding ceremony, and sacrificial rites. Sixth, potted plants were used as tributes between countries, donation to a king, or a gift of a king. In addition, there were many cases where scholars exchanged potted plants and there is the first record of giving a potted plant in 'Mokeunsigo' by Mokeun Isaek, scholar in the late era of Goryeo. Seventh, at the time of flowering Prunus mume, Chrysanthemum monifolium, Gardenia jasminoides, Nelumbo nusifera, and Narcissustazetta var. chinensis, they enjoyed the particular fragrance and express it into poetry. Eighth, plant species from southern parts such as Camellia japonica, Daphne odora, Gardenia jasminoides, Citrus unshiu, Phyllostachys spp., Punica granatum, Rosa rugosa, and Musa basjoo, or foreign plant species, and species weak against the cold were utilized as pot plants for enjoying green trees indoors in northern central province in harshly cold winter.