• Korean Journal of Heritage: History & Science
• /
• v.44 no.1
• /
• pp.52-71
• /
• 2011

This study was initiated with the intent to consider the features of Gugokwonlim and to compare Gabsagugok(甲寺九曲) to Yongsangugok(龍山九曲) against the backdrop of Mt. Gyeryong by revealing their nature and confirming the names and exact locations. A literature review, interviews with local people and field studies confirmed that Gabsagugok and Yongsangugok are each composed of 9 seasonal features. The former is made up of Yongyuso(龍遊沼) - Iilcheon(二一川) - Baengnyonggang(白龍岡) - Dalmuntaek(達門澤) - Geumgyeam(金鷄?) - Myeongwoldam(明月潭) - Gyemyeongam(鷄鳴巖) - Yongmunpok(龍門瀑) - Sujeongbong(水晶峰) while the latter is made up of Simyongmun(尋龍門) - Eunnyongdam(隱龍潭) - Waryonggang(臥龍剛) - Yuryongdae(遊龍臺) - Hwangnyongam(黃龍岩) - Hyeollyongso(見龍沼) - Ullyongtaek(雲龍澤) - Biryongchu(飛龍湫) - Sillyongyeon(神龍淵). Both Gabsagugok and Yongsangugok are part of Gugokwonlim built in the valleys of Mt. Gyeryong in the late Joseon Dynasty by Byeoksu Yun Deok-yeong (1927) and Chwieum Gwon Jun-myeon (1932), respectively, with a 5 year difference. Gabsagugok was supposedly designed to reflect an individual taste for the arts and to admire principles of Juyeok (ch. Zhouyi) and the beauty of nature. On the contrary, Yongsangugok appears to be the builder's expression of his longing for independence day, likened to the life of a dragon after receiving the sad news of Japan's annexation of Korea. Such differences show that these two builders had very different intentions from one another. The letters of Gabsagugok have a semi cursive style and were deeply engraved on the rock in a square shape. Consequently they have not been worn away except for those in Yongyuso, the first Gok. In contrast, the letters in Yongsangugok have an antiquated, cursive-Yija style but because they were engraved relatively lightly, serious wear and damage occurred. In terms of location, Gabsagugok was built around Ganseongjang adjacent to the 5th Gok while Yongsangugok was set up around the 5th Gok, Hwangnyongam. Meanwhile, the important motif which forms the background of Gabsagugok seemingly highlights the geographic identity of Mt. Gyeryong using the dragon and the chicken as themes. It also appears to symbolize the principles of Juyeok focusing on Kan of the Eight Trigrams for divination; this requires an in-depth study for confirmation. The main motif and theme of Yongsangugok is the dragon. It infuses the builder's intentions in Sangsinri Valley by communicating with nature through a story of a dragon's life from birth to ascension. It is assumed that he tried to use this story to express his hope for restoring the national spirit and reconstructing the country.

• Journal of Life Science
• /
• v.29 no.5
• /
• pp.555-563
• /
• 2019

This study was undertaken to investigate the effect of an ethanol extract of Elaeagnus umbellata leaves (EUL-EE) on skin-related biological activities. Previously, we have reported that gallic acid was the major phenolic compound in EUL-EE through quantitative analysis and that EUL-EE had an inhibitory effect against the proliferation of liver cancer HepG2 cells. In the present study, the inhibitory effects of EUL-EE on melanin production and tyrosinase activity in ${\alpha}$-melanocyte-stimulated hormone-stimulated B16-F0 cells were determined to assess the effects of EUL-EE on skin whitening. The anti-wrinkle effect using UVB-irradiated CCD-986sk cells was examined by the expression of type I procollagen and metalloproteinase (MMP)-1 release. The EUL-EE significantly decreased intracellular melanin production (33.0% inhibition at $100{\mu}g/ml$) when compared with untreated B16-F0 cells. Tyrosinase activities in the stimulated B16-F0 cells were also decreased by EUL-EE (47.8% inhibition at $100{\mu}g/ml$). The EUL-EE also dose-dependently increased the production of type I procollagen (up to 1.74-fold at $250{\mu}g/ml$) in CCD-986sk cells when compared with UVB-irradiated controls. EUL-EE showed no cytotoxicity at concentrations up to $500{\mu}g/ml$. In addition, EUL-EE at $10-500{\mu}g/ml$ inhibited the release of MMP-1 to the medium from UVB-irradiated CCD-986sk cells. Taken together, these observations indicate that EUL-EE has high potential for use as inner beauty and cosmetic materials due to its whitening and anti-wrinkle effects.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.3
• /
• pp.4-23
• /
• 2021

The purpose of this study was to classify the types of tweezers used across time and to examine the social culture of periods through the use of tweezers. Chapter II summarized the terms for tweezers and looked at the use of tweezers in two cases related to the social culture and politics of a period. The first is the use of tweezers for beauty purposes. Men used tweezers as a kind of self-management to maintain their social status and power, and thus they helped develop a wide range of tweezers cultures. People with gray hair are usually old. The perception that we should step down from politics when we are aged has become strong. Therefore, politicians pulled out gray hairs with tweezers to maintain only black hair and show youth, which indicates that their social influence is still strong. The second is the use of tweezers for first aid. Chapter III classified tweezers by type during the Goryeo and Joseon periods. The tweezers are largely divided into basic and composite types. The basic type of tweezers is a form that has been continued since the Three Kingdoms Period and consists of tongs and handles, and a fixed type of tweezers with a fixed ring appeared. Composite tweezers are made by grafting earpick or multipurpose knives. Composite tweezers are all-in-one tweezers with an earpick and an all-in-one knife. Tweezers are usually all-in-one. Among the composite tweezers, rivet separation and ring separation are characterized by separation, unlike the all-in-one tweezers. The method of connecting is divided into rivets and connection rings. The all-in-one tweezers appear only during the Goryeo Dynasty and are characterized by the lifestyle that provides a glimpse of the tastes of contemporary users. The manufacturing takes shape after making a thin metal plate. Decorative techniques are carved on soft metal tweezers, such as silver and bronze with a line, point, and a pressed angle. These tweezers are presumed to have been used by the royal family or aristocrats. However, most tweezers are made of strong bronze or iron. Therefore, the majority of simple X-shaped patterns are sampled or without patterns. The biggest reason why there are such diverse types of tweezers is that the culture of tweezers was widespread regardless of the times. In addition, the basic type of tweezers has been used since the Three Kingdoms Period and has been modified and used together as necessary because the shape of tweezers is a practical daily tool. Study of metal crafts have been limited to royal objects and Buddhist crafts. We hope that research on everyday tools such as tweezers will continue to serve as an opportunity to examine the social and cultural aspects of the times in various ways.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.4
• /
• pp.242-275
• /
• 2022

This study tries to reveal the structure of the "Kisun"(senior envoy ship) taken by senior envoys for the 10^th to 12^th visits to Japan from the perspective of professional shipbuilding engineering focusing on the theory of the ship in the travel logs of royal envoys to Japan (Sahaengrok) written by Joseon Tongsinsa that includes 12 visits to Japan for about 200 years from 1607 to 1811. The results of the study showed that the size of Kisun for the 10^th to 12^th envoy visits was 19 Pa (把) and a half in length and 6 Pa (把) and 2 Cheok (尺) in width. The height of the Sampan was found to be 2 Pa (把) and 1 Cheok (尺) based on records in Gyemisusarok and Jeungjeonggyorinji. The structure of Kisun was different for each visit but, it was found that Kisun was mainly composed of a main deck, bow (bow plate, stem plate), stern (stern plate), Sampan, Meonge (support), Garyong (support), Sinbang, Gungji, deck, two masts and sail, Gurejjak (mast support), Panok, stern Panok, Taru, dodger, anchor reel, stairs, rail, rudder, oar, and anchor. In addition, wood and iron nails were used together for connection. It was also found that the sail was made of herbage and cotton. This study found that Kisun, which was operated for the 10^th and 12^th envoy visits, was big in terms of length and height among the Joseon Tongsinsa fleet to show the authority and dignity of Joseon and that it had passages outside on the sides of the vessel and paddles were located between the sides and Panok structure and rails were installed on four sides on the Panok, improving stability and linear beauty. The walls of Panok were decorated with the royal Dancheong pattern and fancy murals. In addition, it was found that they wished for a safe voyage by drawing a demon face on the bow. Therefore, it was revealed that Kisun, which was taken by envoys as recorded in travel logs, was made by the state and equipped with structures and functions that enabled international voyages.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.5
• /
• pp.255-262
• /
• 2023

In the early 20th century, Yeomjae Song Tae-hoe (念齋 宋泰會, 1872-1941), a disciple and onetime adopted son of teacher Song Su-myeon(宋修勉, 1847-1916), moved to Gochang and laid the foundation for Gochang calligraphy and painting, and it can be seen that a full-fledged flow began. Yeomjae Song Tae-hoe was a scholar and calligrapher of the late Joseon Dynasty and modern period from Hwasun, Jeollanam-do. He is a person who created the foundation of Gochang calligraphy and painting while working as an educator in Chinese literature, calligraphy, and painting, mainly in his hometown of Hwasun and Gochang, while engaging in creative activities. He was intelligent from a young age and showed an extraordinary talent for calligraphy. At the age of 16, he passed the Jinsa exam (童蒙進士) and became the youngest student to study at Sungkyunkwan. He was active by holding exhibitions nationwide based in Gochang and Jeonju, and was also an educator who fostered younger students by establishing Gochang High School (currently, Gochang Middle and High School) to cultivate national spirit and history. Yeomjae drew strong and healthy landscape paintings under the absolute influence of the painting style of Saho Song Su-myeon, and dealt with various materials of southern school literati paintings such as flowers and birds and four plants. In particular, he is a representative calligrapher who encompasses the early modern era and the modern era in that he expressed his interest in new cultural artifacts as well as the realization of a modern-oriented realistic landscape based on Korean natural beauty. He laid the foundation for modern and contemporary calligraphy and painting. Goam Lee Eung-no (顧菴 李應魯, 1904-1989), a world-renowned painter, learned the basics of ink painting from Yeomjae in his late teens.However, compared to his various artistic and social activities, it is regrettable that he is limited and evaluated as a local writer.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.2
• /
• pp.81-89
• /
• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Asia Marketing Journal
• /
• v.14 no.2
• /
• pp.127-156
• /
• 2012

A lot of interest in the baby-boomer generation, those who were born after World War II, has emerged since their retirement has been accelerated. The retirement of baby-boomers has caused many health, public welfare, social policy and family relationship problems. However, their increased purchasing power has made them more attractive consumers than any other generation, and they have become a fascinating niche market in the depressed economy. This research selected middle-class women of the baby-boomer generation who have had powerful effects on society and have emerged as an attractive niche market, and attempted to understand their lives intensively. Based on research activities, the purpose of this research is to identify baby-boomer generation middle-aged women's life values. Qualitative research methodology was used to achieve research objectives, and this research aimed to suggest marketing implications to connected industries based on the research results. The research objectives are as follows. 1. understanding the lives of baby-boomer middle-class women who have powerful effects on socio-economic phenomena 2. identifying the life values of baby-boomer middle-class women 3. generating marketing implications based on an understanding of baby-boomer middle-class women's lives and life values This research conducted FGIs(focus group interviews), one of the qualitative research methodologies, to figure out baby-boomer middle-class women's life values intensively and selected 10 women living in Seoul for data collection. The qualitative data of collected FGIs were analyzed with spiral data analysis methodology proposed by Creswell(2007). The most effective factors to influence these middle-class women's lives powerfully were 'time' and 'independence'. Their consciousness of the importance of using time affects their life pattern generally, and their independence also impacts greatly on the way they exploit time and on their diverse relationships. They maximized their self-realization and showed long-term partnership with their surrounding circumstances because of those effective factors. Baby-boomer middle-class women's self-realization was divided into two areas. One was their outside activities and another was perfect management of their physical appearance and home interior. Like the results of this research, their need for social entrance will be reinforced more strongly since their internal and external activities aim for the achievement of self-realization. In addition, this research suggests that baby-boomer middle-class women's activities are connected with their management of their physical appearance and home interior decorations, and that such management is caused not only by a simple interest in fashion and beauty but also a profound desire for self-realization. On account of their consciousness, which is different from other generations, Korean baby-boomer middle-class women are able to maintain positive partnerships with their surrounding circumstances; however, they also show ambivalent emotions to retain effective partnerships. To overcome those stressful situations, they make greater efforts to keep up their health and youth, and also engage in diverse activities to maintain their mental health. Finally, they generate positive attitudes toward their economic situation and extra time to develop self-realization and pursue happy, youthful and healthy lives. Based on those results, this study suggests the following implications. First, industries targeting the baby-boomer generation should develop innovative products and services which help the baby-boomer generation maximize their efficiency of time since time is one of the most important factors powerfully impacting the baby-boomer generation. They will engage in various activities to fill up their extra time and consume helpful products and services. Second, such industries should supply the baby-boomer generation with opportunities which propose new ways of self-realization since this generation shows a great desire for self-realization because of their self-efficacy. With customized strategies of satisfying their needs, the baby-boomer generation would discover opportunities to utilize their abilities, relationships and aesthetic senses, and industries would develop a niche market. Third, market segmentations which target the baby-boomer generation's desire to maintain their physical appearance and home interior should be executed since such activities are the main strategies to develop this generation's self-realization. The baby-boomer generation's desire to study those areas would be expanded, and those education systems should produce innovative products and services targeting the baby-boomer generation. This implication also offers to government officials new policies related with the baby-boomer generation. This exploratory study utilized qualitative research methodology to understand baby-boomer middle-class women's lives, and proposed propositions and limitations for further researches. As for the limitations, first, it is hard to generalize the research results so that they may apply to all areas and economic classes of the baby-boomer generation since this research selected only 10 women living in Seoul for the data collection process. To overcome this limitation, extended data collections of subjects from diverse regions and economic classes should be designed. Second, quantitative research should be conducted to supplement the findings with validities. Third, this research focused on only general ideas of the baby-boomer generation's lives since the range of this study was focused on their overall lives. Therefore, intensive research related to specific areas of their lives should be conducted.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.32 no.12
• /
• pp.1837-1847
• /
• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.35 no.2
• /
• pp.26-44
• /
• 2017

Regarded as Korea's traditional pond, Gungnamj Pond was surmised to be "Gungnamji" due to its geological positioning in the south of Hwajisan (花枝山) and relics of the Gwanbuk-ri (官北里) suspected of being components to the historical records of Muwang (武王)'s pond of The Chronicles of the Three States [三國史記] and Sabi Palace, respectively, yet was subjected to a restoration following a designation to national historic site. This study is focused on the distortion of authenticity identified in the course of the "Gungnamji Pond" restoration and the invention of tradition, whose summarized conclusions are as follows. 1. Once called Maraebangjuk (마래방죽), or Macheonji (馬川池) Pond, Gungnamji Pond was existent in the form of a low-level swamp of vast area encompassing 30,000 pyeong during the Japanese colonial period. Hong, Sa-jun, who played a leading role in the restoration of "Gungnamji Pond," said that even during the 1940s, the remains of the island and stone facilities suspected of being the relics of Gungnamji Pond of the Baekje period were found, and that the traces of forming a royal palace and garden were discovered on top of them. Hong, Sa-jun also expressed an opinion of establishing a parallel between "Gungnamji Pond" and "Maraebangjuk" in connection with a 'tale of Seodong [薯童說話]' in the aftermath of the detached palace of Hwajisan, which ultimately operated as a theoretical ground for the restoration of Gungnamj Pond. Assessing through Hong, Sa-jun's sketch, the form and scale of Maraebangjuk were visible, of which the form was in close proximity to that photographed during the Japanese colonial period. 2. The minimized restoration of Gungnamji Pond faced deterrence for the land redevelopment project implemented in the 1960s, and the remainder of the land size is an attestment. The fundamental problem manifest in the restoration of Gungnamji Pond numerously attempted from 1964 through 1967 was the failure of basing the restorative work in the archaeological facts yet in the perspective of the latest generations, ultimately yielding a replication of Hyangwonji Pond of Gyeongbok Palace. More specifically, the methodologies employed in setting an island and a pavilion within a pond, or bridging an island with a land evidenced as to how Gungnamji Pond was modeled after Hyangwonji Pond of Gyeongbok Palace. Furthermore, Chihyanggyo (醉香橋) Bridge referenced in the designing of the bridge was hardly conceived as a form indigenous to the Joseon Dynasty, whose motivation and idea of the misguided restoration design at the time all the more devaluated Gungnamji Pond. Such an utterly pure replication of the design widely known as an ingredient for the traditional landscape was purposive towards the aesthetic symbolism and preference retained by Gyeongbok Palace, which was intended to entitle Gungnamji Pond to a physical status of the value in par with that of Gyeongbok Palace. 3. For its detachment to the authenticity as a historical site since its origin, Gungnamji Pond represented distortions of the landscape beauty and tradition even through the restorative process. The restorative process for such a historical monument, devoid of constructive use and certain of distortion, maintains extreme intimacy with the nationalistic cultural policy promoted by the Park, Jeong-hee regime through the 1960s and 1970s. In the context of the "manipulated discussions of tradition," the Park's cultural policy transformed the citizens' recollection into an idealized form of the past, further magnifying it at best. Consequently, many of the historical sites emerged as fancy and grand as they possibly could beyond their status quo across the nation, and "Gungnamji Pond" was a victim to this monopolistic government-led cultural policy incrementally sweeping away with new buildings and structures instituted regardless of their original space, and hence, their value.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.3
• /
• pp.106-115
• /
• 2011

This study, based on (edited in 18th century), analysed the landscape system and cultural landscape elements of Yuhoidang(Hageowon 何去園) Garden in Musu-dong, Daejeon, and the findings are as in the following. YuHoidang(Gwon Yijin 權以鎭) managed Hageowon Garden in Musu-dong, located on the southern branch of Mt. Bomun, to realize his utopia. The completion of Hageowon Garden was only possible due to his installation of a variety of facilities in family gravesite on the hill behind his house: Shimyoso(Samgeunjeongsa 三近精舍, in 1707), Naboji(納汚池, in 1713), Banhwanwon(in 1714) and expended exterior space(in 1727). With regard to the landscape system of the village, the main range of mountains consists of Mt. Daedun, Mt. Odae and Mt. Bomun. The main high mountain of the three is Mt. Bomun, where 'Blue Dragon' hill branches off on the east side(Eungbong), 'White Tiger' in the west(Cheongeun and Sajeong) and Ansan(inner mountain) in the south. The landscape system is featured by 'mountains in back and rivers in front'. The river in the south-west, with its source in Mt. Juryun is called as the 'Stream of outer perfect spot', while the 'Stream of inner perfect spot' rises from Eungbong, passing through the east part of the village into the south-western direction. Banhwanwon Garden(盤桓園) was created with the stream in the east and natural bedrocks, and its landscape elements includes Naboji, Hwalsudam, Gosudae, Sumi Waterfall, Dogyeong(path of peach trees), Odeeokdae(platform with persimmon trees), Maeryong(Japanese apricot tree), springs and observatories. An expanded version of Banhwanwon was Hageowon garden, where a series of 'water-trees-stone' including streams, four ponds, five observation platforms, three bamboo forests and Chukgyeongwon(縮景園) of an artificial hill gives the origin forest a scenic atmosphere. When it comes to semantics landscape elements, there are (1) Yuhoidang to cherish the memory of a deceased parents, (2) Naboji for family unification, (3) Gosudae to keep fidelity, (4) Odeokdae to collect virtue and wisdom, (5) Sumi Waterfall to aspire to be a man of noble character, (6) Yocheondae for auspicious life, (7) Sumanheon and Gigungjae to be in pursuit of hermitic life, (8) Hwalsudam for development of family and study, (9) Mongjeong to repay favor of ancestors, (10) Seokgasan, a symbol of secluded life, (11) Hageowon to enjoy guarding graves in retired life. The spatial composition of Hageowon was realized through (1) Yuhoidang's inside gardens(Naboji, Jucheondang, Odeokdae, Dogyeong, Back yard garden and others) (2) Sumanheon(收漫軒) Byeolup or Yuhoidang's back yard gardens (Seokyeonji, Yocheondae, Sumanheon, Baegyeongdae, Amseokwon and others) (3) Chukgyeongwon of the artificial hill(which is also the east garden of Sumanheon, being composed of Hwalsudam, Sumi Waterfall and Gasan or 12 mountaintops) (4) the scenic spots for unifying Confucianism, Buddhism and Taoism are Cemetry garden in the back hill of the village, the temple of Yeogyeongam, Sansinkak(ancestral ritual place of folk religion) and Geoeopjae(family school). On top of that, Chagyeongwon Garden(借景園) commands a panoramic distant view of nature's changing beauty through the seasons.