• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.84-94
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• 2015

This study is to examine how the admiration for Chutzu(朱子)'s achievement while he was preaching his policies after renouncing the world in Wuyi-Gugok(武夷九曲), Mt. Wuyi and Joseon-style transformation culture were unfolded and developed through Gugok management cases such as position, name, poetic diction, Jungsa(精舍) architecture and engraving of Muyi-Gugok set in Mt. Gugok, Snacheong. The results were as follows: Myungam(明庵) Jeong Sik(鄭拭, 1683~1746)'s Muyi-Gugok, which consists of Suhongkyo(垂虹橋, gok 1) - Oknyeobong(玉女峰) - Nhongwhaldam(弄月潭) - Nacwhadam(落花潭) - Daeeunbyeong(大隱屛) - Gwangpyungryea(光風瀨) - Jaewhaldae(霽月臺) - Gorooam(鼓樓巖) - Wharyongpok(臥龍瀑, gok 9) is the representative case where Chutzu's Wuyi-Gugok was exactly copied and fulfilled to the Joseon Dynasty. In a large frame, Gugok Wonlim culture, Myungam's Muyi-Gugok management has a will of succession of Dotong(道統) through admiration for Chutzu in a rigid way. Another name of Mt. Gugok is Mt. Muyi and Gugok's name is Muyi-Gugok and the residence existed between gok 4 and gok 5. In addition, the name of Jeongsa for Gugok management is also 'Muyi Jeongsa(武夷精舍)' and Gugok name and contents of Poetry are also similar and all of these are clear evidence that Myungam tries to copy Chutzu's Wuyi-Gugok to Mt. Gugok. Also, Gugok set before Myungam were located in Mt. Gugok and among them, verified four Gugok names are corresponded to those of Chutzu's Wuyi-Gugok and it tells that conforming behavior as one of admiration ways for Chutzu already arrived at Mt. Gugok before Myungam and this was an oppotunty to widen Mt. Gugok Muyi-Gugok's tradition and horizon. Also, considering that Myungam's gok 6, Gwangpyungryea and gok 7, Jewoldae are names from 'Gwangpungjewol(光風霽月)' Based on Chutzu's poem and they are closely related to Joseon's classical scholar spirit, they are associated with Joseon-style transformation of Chutzu's Muyi-Gugok. Meanwhile, gok 5 'Daeeunbyeong' was transformed to 'Nangaam(爛柯巖)' in gok 5 - "Deoksan-Gugok(德山九曲) of Jooko(竹塢) Ha Beom-Woon(河範運, 1792~1858) and those characters's engravings are handed down. In "Pome of Deoksan Gugok" transformed from Myungam's Muyi-Gugok, respect and admiration for Chutzu is weaken while Ha Beom-Woon admires Nammyeong(南冥) Cho shik(曺植, 1501~1572), a symbolic character of himself's school and from this, a movement to promote partisan unity is identified. After Myungam died, Muyi-Gugok in Mt. Gugok was transformed from a space to succeed Chutzu's Dotonga to one to commemorate the memory of ancient sages, but, it is a typicality case that widen the spectrum of Joseon's Gugok-Wonlim culture through Muyi-Gugok's imitation and transformation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.77-94
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• 2020

Gugok poems were an important material for studying the Gugok landscape garden(九曲園林). the landscape feature(景物)that emerges from poetry is an important material that expresses the sense of placefulness and garden consciousness(園林意識). However, many studies are passive about plant materials that can explore the perception of nature or the aesthetic embodiment process. Therefore, this study seeks to discover various symbolic meanings and reveal the context of plants that have appeared in Gugok poems in order to expand the research material of the Gugok culture. To carry out the purpose of the study, I collected a total of 25 related poems from 18 Gugoks and found a total of 20 species of trees. I used 'R-program' to derive the meaning of trees and examined the meaning of trees by intertextuality. According to the study, the 20 species of trees contained symbolic meanings of world of Taoist hermit, pursuit of study, constancy, true pleasure, dignity, honest poverty, reign of peace, nostalgia. Many species focused on the symbolism of the 'world of Taoist hermit' and then on the 'dignity' was the most frequent. A number of species, except for the peach, zelkova and oak, had multiple meanings. Among them, pine trees and lotus had a wide range of symbolic meanings and different meanings depending on the characteristics of the surrounding landscape. While the Gugok culture generally targets natural scenery, Yongsan, Toegye, Deoksan, and Jusan showed the characteristics of strengthening or reproducing symbolic meanings through artificial plating and gardening. In order to overcome the limitations of the peach tree, which symbolizes 'Mureungdowon(武陵桃園)', Gugok poems used maple trees and reeds as alternative species. In accordance with the above context, the trees appearing in the Gugok poems expressed their symbolic meaning differently according to the landscape features, acts and purposes of the Gugoks, rather than sticking to the traditional meaning.