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

• Journal of the Korean association of regional geographers
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• v.6 no.3
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• pp.53-81
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• 2000

The purpose of this study is to examine the chracteristics of the location of Zen Buddhist temples which are the Nine-Mountain Sects of Zen(九山禪門) from feng-shui perspective. A large number of temples have been built for about 1600 years since Buddhism had influenced on Korea. They have been built nationwide in different times by different sects of Buddhism. The pattern of location of Buddhist temples is different according to background of the times (political, economic, cultural aspect) and of tenet(difference in sects of Buddhism) when the temples were built. But the general location of Korean Buddhist temples is in accordance with feng-shui theory. Feng-shui is a traditional geographic thought in China and Korea. It is necessary to understand feng-shui in order to understand Korean landscape and cultural geography. It had given a tremendous impact on Korean landscape through choosing site of cities, settlements, houses, mounments, temples, pagodas, and so on. Before feng-shui was prevailing in Korea, Buddhist temples were mostly built on sacred place which was connected with folk beliefs. In the case of the late Silla Dynasty when Zen Buddhism was prevailing, feng-shui became popular and many. temples were built in accordance with feng-shui. The typical examples are found in the site of Nine-Mountain Sects of Zen temples. The interpretation of geomantic site of Nine-Mountain Sects of Zen temples will show us how feng-shui was applied to and reflected in the Korean peninsula. In Zen Buddhism, feng-shui was applied to the choice of the temple site. Also feng-shui theory was usually used to choose the site of stupa(Budo) where the remains of the founder of sect. In this study, I will interpret the geomantic characteristics of Nine-Mountain Sects of Zen temples. The geomantic interpretations of the temples are as follow. 1. The temples are located at the foot of a hill with surrounding mountains and a watercourse in front. Feng-shui texts often describe it as an ideal site. This geomantic situation is well equipped with natural drainage; protection from cold wind from the north or evil spirits; a good view with open space to the front; protection from unnecessary weather damage; and security and protection from strangers and invaders. 2. The sitting and facing direction of the temples correspond to the oncoming dragon's direction. 3. Many feng-shui texts discuss the types of Sa(surrounding mountains) in detail and morphologically describe them with certain animate and inanimate auspicious objects. In case of Nine-Mountain Sects of Zen temples, the geomantic landscape of these can be compared to auspicious objects. This is morphological marker for the description of configulation features of these temples. 4. Most auspicious places are not perfect, but the shortcomings can be overcome by many means. We can observe modification of landscape for the purpose of fulfilling the geomantic harmony of the temple.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.2
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• pp.37-51
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• 2016

Modern optical mechanisms slanted toward Ocular-centrism have neglected diverse functions of vision, judged objects in abstract and binary perspectives, and organized spaces accordingly, there by neglecting the function of eyes groping objects. Recently, various experiences have been induced through communication with other senses by the complex perception beyond the binary perception system of vision. Haptic perception is dynamic vision that induces accompanying bodily experiences through interaction among the various senses; it recognizes the characteristics of material properties and various sensitive stimulations of human beings. This study elaborates on the major features of haptic perception by examining the theoretical background of this concept, which stimulates the active experience of the subject and determines how characteristics of haptic perception are displayed in picturesque gardens. In order to identify the major features of haptic perception, this study examines how Adolf Hildebrand's theory of vision is developed, expanded, and reinterpreted by Alois Riegl, Wilhelm Worringer, Walter Benjamin, Maurice Merleau Ponty, and Gilles Deleuze in the histories of philosophy and aesthetics. Based thereon, the core differences in haptic perception models and visual perception models are analyzed, and the features of haptic perception are identified. Then, classical gardens are set for visual perception and picturesque gardens are set for haptic perception so that the features from haptic perception identified previously are projected onto the picturesque gardens. The research results drawn from this study regarding features of haptic perception presented in picturesque gardens are as follows. The core differences of haptic perception in contrast to visual perception can be summarized as ambiguity and obscureness of boundaries, generation of dynamic perspectives, induction of motility by indefinite circulation, and strangeness and sublime beauty by the impossibility of perception. In picturesque gardens, the ambiguity and obscureness of boundaries are presented in the irregularity and asymmetric elements of planes and the rejection of a single view, and the generation of dynamic perspectives results from the adoption of narrative structure and overlapping of spaces through the creation of complete views, medium range views, and distant views, which the existing gardens lack. Thus, the scene composition technique is reproduced. The induction of motility by indefinite circulation is created by branching circulation, and strangeness and sublime beauty are presented through the use of various elements and the adoption of 'roughness', 'irregularity', and 'ruins' in the gardens.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.1-11
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• 2015

This study sheds light on a pond design process which is a core facility of Hwaseol-dang in Muan, the Jeonnam. The plasticity of the pond was analyzed and interpreted for the design process using methods such as "literature search, interview, site visits, aerial pictures, aerial photographing, drawing figures of configuration plane via measurements, internet search, etc.", to trace the developing process of the design and the implications therein. The study results being centered on the developing process of the pond design are summarized herein below. The position of the Hwaseol-dang, being formed on a low hill having low competence as a place for a pavilion, draws more attention regarding its implications from the aspect of inner design. The pond Hwaseol-dang is in a rectangular shape of 1 : 1.2 ratio, in which the depth is a bit higher on the pond edge of the Hwaseol-dang thus being slanted, and Crape Myrtle, which is not known whether introduced during the formation of the pond, is cultivated on the island in the center widespread toward the southeast region. The planar design of the pond is interpreted as "rectangular pond" but it has a smooth half-moon shape where a part is excluded to remove edge. In particular, the three islands in rectangular pond, due to the narrow area, put one island and two half-moon-shaped islands in juxtaposition, and thus, although only being one island, resultantly exhibits the existence effect of proliferated three islands. This is allegedly due to the intentional formation aiming at the effect of hybrid while minimizing the overlap due to merging and adding from the aspect of constituting a design. Furthermore, the pond Hwaseol-dang is extended northwest along with Hwaseol-dang, and also the island in the center is thought to additionally have one or two, but the widespread phenomenon of the island in the center appears to consider the effect of "sit view on the floor of the pavilion of Hwaseol-dang". Considering that even a few examples of ponds having the three islands among the private house gardens in the nation are all curved ponds, the characteristics of the rectangular Hwaseol-dang pond establishing the garden effect of the three islands by modifying the one island in rectangular pond is highly notable. Considering that the three islands of "Yeongju, Bangjang, and Bongrae" is the original shape of the pond garden gestating Taoist ideology, as a symbolic design of a pond, it is regarded as the characteristics of the pond shape in Jeonnam area, and the so-called three treasures "Hwaseol-dang, Camellia, and oddly shaped stones, etc." are concentrated as the symbolism of Hwaseol-dang pond.

• Journal of the Korean Institute of Landscape Architecture
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• v.48 no.6
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• pp.16-24
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• 2020

The purpose of this study is to analyze the usage behavior of Seoullo 7017, the first public garden in Korea, to understand the usage status by analyzing blogs, and to present usage behavior and improvement plans for Seoullo 7017. From June 2017 to May 2020, after Seoullo 7017 was open to citizens, character data containing 'Seoullo 7017' in the title and contents of NAVER and·DAUM blogs were converted to text mining and socialization, a Big Data technique. The analysis was conducted using social network analysis. The summary of the research results is as follows. First of all, the ratio of men and women searching for Seoullo 7017 online is similar, and the regions that searched most are in the order of Seoul and Gyeonggi, and those in their 40s and 50s were the most interested. In other words, it can be seen that there is a lack of interest in regions other than Seoul and Gyeonggi and among those in their 10s, 20s, and 30s. The main behaviors of Seoullo 7017 are' night view' and 'walking', and the factors that affect culture and art are elements related to culture and art. If various programs and festivals are opened and actively promoted, the main behavior will be more varied. On the other hand, the main behavior that the users of Seoullo 7017 want is 'sit', which is a static behavior, but the physical conditions are not sufficient for the behavior to occur. Therefore, facilities that can cause sitting behavior, such as shades and benches must be improved to meet the needs of visitors. The peculiarity of the change in the behavior of Seoullo 7017 is that it is recognized as a good place to travel alone and a good place to walk alone as a public multi-use facility and group activities are restricted due to COVID-19. Accordingly, in a situation like the COVD-19 pandemic, more diverse behaviors can be derived in facilities where people can take a walk, etc., and the increase of various attractions and the satisfaction of users can be increased. Seoullo 7017, as Korea's first public pedestrian area, was created for urban regeneration and the efficient use of urban resources in areas beyond the meaning of public spaces and is a place with various values such as history, nature, welfare, culture, and tourism. However, as a result of the use behavior analysis, various behaviors did not occur in Seoullo 7017 as expected, and elements that hinder those major behaviors were derived. Based on these research results, it is necessary to understand the usage behavior of Seoullo 7017 and to establish a plan for spatial system and facility improvement, so that Seoullo 7017 can be an important place for urban residents and a driving force to revitalize the city.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.70-83
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• 2013

To widen prospect of villa as Korea traditional garden, the result of the research about constructional characteristics of Seogo-jeongsa and Sameun-jeong of Yeoju Lee family at Toero-ri, Miryang-si, Gyeongsangnam-do, Korea, is abstracted as below. Seogo-jeongsa(西皐精舍) and Sameun-jeong(三隱亭) was intended to practise retirement with sense of unity with the head residence, since Seogo-jeongsa was 340m far and sameun-jeong was 630m far away from head residence, which set within 1km. Although Seogo-jeongsa's basic prop, Sameun-jeong's timber, which are both from designer's pen name and head residence name, "Hangjae(恒齋)" and "Yongjae(庸齋)," and Hanseoam have each different exposure, it is homogeneous as space configurational side in order to optimize the gaze leading effect and appreciated domestic trees from the pond, which is center of the garden and the significant facility. Method of direction of Seogo-jeongsa's Hwalsudang(活水塘) and Sameunjeong's pond of Sameun-ji(三隱 池) gets attention by distinction. Especially, directing of 3 step water flow from behind to front and traditional pond method, called Bangji-Bangdo(方池方島), were very unique that any other place can be found. Also, the middle islet on the pond at both villa, which isn't more supper, but more for the symbolic molding that seek a stone pagoda(石假山), is more interesting directing method as considering the relationship of the 3 stone pagoda imageries on the surface of Ghwayukchon(果肉泉) At the same time, Seogo-jeongsa and Sameun-jeong shows very different characteristics from traditional villa that adopted both domestic trees and foreign trees. Particularly, it is extremely exceptional case to plant vigorous needleleaf tree, such as Chamaecyparis pisifera, C. obtusa, Pinus bungeana, P. palustris, Sciadopitys verticillata, Metasequoia glyptostroboides and Cedrus deodara, on Sameun-jeong. Moreover, adopting foreign wild needleleaf trees for landscaping trees, such as a Torreya nucifera, Taxus cuspidata, P. parviflora, and foreign landsacping trees, such as P. bungeana, Cryptomeria japonica and C. obtusa tells planting trend of the late Joseon dysnasty era. Also, as we can know from 2 Jipgyeong(集景), which is 'Seogo-jabyoung 17 young(西皐雜詠十七詠)', and 'Sameun-jeong 12 Gyoung(三隱亭十二景)' which are set on both villa, the intend to expand the garden area is strongly shown by the natural forest directing. As a result, Seogo-jeongsa and Sameun-jeong, located at Toero-li Miryang, are sharing the traditional Joseon dynasty era's custom, such as space and visual composition; however, it is different and attractive garden remains as a point of view of water directing, stone pagodas, and adopting foreign landscaping trees.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.24-37
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• 2021

This study was conducted to newly examine the original landscape of Buyongjeong(芙蓉亭) and Juhamnu(宙合樓) areas in Changdeokgung Palace(昌德宮), focusing on the modern period including the Korean Empire, and to derive useful research results for restoration and maintenance in the future. The study results can be summarized as follows. First, the artificial island in Buyongji(芙蓉池) was originally made up of a straight layer using well-trimmed processed stone. However, during the maintenance work in the 1960s and 1970s, the artificial island in Buyongji was transformed into a mixture of natural and processed stones. The handrail installed on the upper part of the artificial island in Buyongji is a unique facility that is hard to find similar cases. The handrail existed even during the Korean Empire, but was completely destroyed during the Japanese colonial period. Second, Chwibyeong(翠屛), which is currently located on the left and right of Eosumun(魚水門), is the result of a reproduction based on Northern bamboo in 2008. Although there is a view that sees the plant material of Eosumun Chwibyeong as Rigid-branch yew, the specific species is still vague. Looking at the related data and circumstances from various angles, at least in the modern era, it is highly probable that the Eosumun Chwibyeong was made of Chinese juniper like Donggwanwangmyo Shrine(東關王廟) and Guncheongung(乾淸宮) in Gyeongbokgung Palace(景福宮). Third, the backyard of Juhamnu was a space with no dense trees on top of a stone staircase-shaped structure. The stone stairway in the backyard of Juhamnu was maintained in a relatively open form, and it also functioned as a space to pass through the surrounding buildings. However, as large-scale planting work was carried out in the late 1980s, the backyard of Juhamnu was maintained in the same shape as a Terraced Flower Bed, and it was transformed into a closed space where many flowering plants were planted. Fourth, Yeonghwadang Namhaenggak(暎花堂 南行閣), which had a library function like Gyujanggak(奎章閣) and Gaeyuwa(皆有窩), was destroyed in the late 1900s and was difficult to understand in its original form. Based on modern photographs and sketch materials, this study confirmed the arrangement axis of Yeonghwadang Namhaenggak, and confirmed the shape and design features of the building. In addition, an estimated restoration map referring to 「Donggwoldo(東闕圖)」 and 「Donggwoldohyung(東闕圓形)」 was presented for the construction of basic data.

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.30-51
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• 2011

During the process of modernization, many rural villages in Korea have experienced degeneration and breakdown, losing sustainability. However, Oeam village in Asan City, South Chungcheong Province (State-designated cultural heritage, Important Folk Material No. 236) has established itself as a unique folk village, which evolves with sustainability, pursuing the revival of Neo-traditionalism. Oeam village is a tribal village of the Yis from the Yean region and has maintained environmental, economic, and social sustainability and soundness for over five centuries. Thus, the village has sustained itself well enough to be a cultural asset with 'Outstanding Universal Value', in terms of its value as world cultural heritage. The village maintains its own identity, filled with a variety of traditional and scenic cultural assets that symbolize a gentry village. Those assets include Confucian sceneries (head family houses, ancestral shrines, tombs, gravestones, commemorative monuments, and pavilions), various assets of folk religion (totem poles, protective trees at the entrance of a village, shrines for mountain spirits, village forests), tangible and intangible cultural assets related to daily lives (vigorous family activities, rigorous ancestral rituals, family rituals, collective agriculture and protection of ecosystem), which have all been well preserved and inherited. In particular, this village is an example of a well-being community with a well-preserved folksy atmosphere, which is based on environmentally sound settlements (nature + economy + environment + community) in a village established according to geomancy, East Asia's unique principle of environmental design. In addition, the village has kept the sustainability and authenticity for more than 500 years, combining restraint towards the environment and the view of the environment which respects the natural order and cultural values (capacity + healthy + sustainability). Therefore, the Oeam folk village can be a representative example of a folksy and scenic Korean community which falls into the category of IV (to exemplify an outstanding type of building, architectural or technological ensemble, or landscape which illustrates significant stages in human history) and V (to exemplify an outstanding traditional human settlement, land-use, or sea-use which is representative of cultures, or human interaction with the environment especially when it has become vulnerable under the impact of irreversible change) of Unesco's World Cultural Heritage.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.14-27
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• 2011

The study reviewed the content and the meaning of the present Yeoju Palkyung(eight scenery) through analyzing and interpreting the Palkyung poems, old maps and paintings, and classic materials transmitted in Yeoju area, and investigated the transmission process. Although five scenes of the Yeoju Palkyungs illustrate abstract landscapes derived from the Sosang Palkyung, there are mixed with local sceneries showing famous historical ruins in the area and local life of the Yeogang(驪江: river). Seunggyeong(勝景) of Yeoju, highlighted in old paintings, has been emphasized through duplication the object and the view point field of Yeoju Palgyeong(驪州八詠), which is usually symbolized to sailing boats along the Yeogang, forests around Cheongshimru, and the layer Jeontap and Maam above Shinreuksa(神勒寺) Dongdae(東臺). It is quite undoubtful that the Yeoju Palyong of Choi Sukjeong and Seo Geojung is the copy of the present Yeoju Palkyung, but the present version is found to be all included in the Cheonggijeongsipyoung(淸奇亭十詠) of Cho Moonsu since the 17th Century, which shows that the Cheonggijeongsipyoung is viewed that it played an important role for the transmission of the Yeoju Palkyung. Also, it. is concluded that the Yeoju Palyong recorded in Yeojidoseo(與地圖書) is the same landscape collecting with the presend Yeoju Palkyung, which would be dated back at least until the mid 18th Century. In addition, given the fact that the studied old maps show Eight scenery, Sachoneohwa, Shinreukmojong, Yeontanguibum, Paldaejangrim, Yangdonagan, Ibanchungam, Pasagwau, and Yongmoonjeukchui, recorded consistently in the same time order, the eight scenic points in the old maps had been apparently established as the typical copy of the Yeoju Palkyung in the 18th Century. Therefore, the transmission route of the Yeoju Palkyung follows two separate versions, one starting from the Yeoju Palyong(Choi Sukjeung, Seo Geojeong) to Cheonggijeongpalyong to Yeoju Palyoung(Yeojidoseo) to the present. Yeoju Palkyung, and the other from the Yeoju Palyoung Geumsa Palyong(金沙八詠) to the old map Palkyung to the Yeoju Palkyung(the late 18th C). These two transmission processes have their own cultural sceneries having the same origin, which are different only in perspective which attempts to cover the representative scenic landscapes including Yeoju and Geumsa.

• Journal of Cadastre & Land InformatiX
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• v.47 no.1
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• pp.127-142
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• 2017

The purpose of this study is to examine the status of urbanization of Namyangju-Si from 2001 till 2008, analyze the correlation of the change of surrounding land use according to the change of accessibility and analyze the correlation of the change of land use. Based on the result from correlation analysis, I simulated from the view point of interactions between agents of land use and transportation accessibility by using MAS. I tried to forecast, based on space, the change of surrounding land use caused by the change of accessibility. I conducted landscape analysis by using a land registration map. Also, I conducted GIS analysis statistical analysis simulation analysis of traffic data, land use data in order to analyze the correlation of the change of surrounding land use according to the change of accessibility. I could find out a certain pattern that new roads and railroads causes the within 500m adjacent land to change into urban land use, which led me to construct a system through which land use changing phenomenon can be expected according to the change of accessibility. It is expected that it can make the best use of selecting the location where new transportation facilities are constructed.