• Journal of the Korean Geographical Society
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• v.43 no.3
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• pp.412-431
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• 2008

The achievements of the medieval mappaemundi should be evaluated on their own terms and in the context of their purpose. Medieval mappaemundi expressed christian world view which reflected Augustinian theology. These Christian world view and Greek and Roman classical geography were combined to form the cultural barkground of the medieval mappaemundi. These maps had a function to organize physical space according to religious principles. The Christian concept of the world as a temporal phenomenon, derived from the simultaneous creation of time and space as described in St. Augustin's theology was represented in these maps. The purpose of this paper is to consider geographic characteristics of earthly paradise expressed in medieval mappaemundi and their cartographic characteristics. For this, firstly, we reviewed medieval Christian scholars' opinions on earthly paradise. Secondly, centered on geographic location and representation method, we examined cartographic characteristics of medieval paradise mapping, Thirdly, we considered the shift of paradise according to chronological change. Fourthly, we examined the reason why earthly paradise disappeared from world map after fourteenth century.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.60-71
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• 2010

The purpose of this paper is to provide a unified examination of apparently quite different gardens in terms of Carl Jung's psychological concepts such as Archetypes, Individualization, and a natural tendency towards balance or wholeness. In Jung's psychological framework, Archetypes are innate, universal prototypes for ideas and function as the first original models upon which all other similar persons, objects or concepts are derived, copied or patterned. Jung proposes that Individualization be achieved through a natural tendency towards balance, especially the balance between the conscious and the unconscious. This paper deals with three gardens, each of which represents a distinct cultural region: Bu-Yong Ji(芙蓉池) at the Changdeok Palace(Oriental), the Patio of the Lions at the Alhambra(Islamic), and the Fountain of Apollo at the Versailles Palace(Western). It is argued that all of three have in common a natural tendency towards balance and symbolize mandala, the archetype of wholeness. Bu-Yong Ji is in the form of quadrangle which embodies Yin and Yang. In the Patio of the Lions, the basin at the center and the four channels, which symbolize the waterway of the Garden of Eden and the four rivers in Paradise respectively, are constructed in the form of a quadripartite composition. The overlapped circle and rectangular shaped pond of the Fountain of Apollo also represents mandala. Symbols representing the same archetype can vary from culture to culture. This explains the differences among the three gardens with respect to specific aspects of external forms. In other words, an archetypal image can give rise to various forms in different cultures, and thus quite different mediums of design or design details may be developed. In conclusion, the three gardens give us a good example as to how an archetypal image can be expressed in different ways from culture to culture and how seemingly different design details can be analyzed in a unified way.