• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.37-48
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• 2019

This study, which starting from Yangyang Jukdo's topography formation and questioning revealed in landscape guide and landscape commentary board, is to sort out the characteristics of Jukdo natural landscape through literature research, field observation research and stakeholder interview as part of the proper recognition of Jokdo landscape and search for landscape resources, and pursued a review of nominations and criticism. The results of this study are summarized as follows. Yangyang Jukdo is an island named because it was full of blue bamboo. From before the first half of the 14th Century. to the middle of the 18th Century., there was a Gwanlan-pavilion to see the sea and the bamboo in the west. The time when the original island, the Jukdo, have been a land-tied island connected with the land by the tombolo formed by the erosion of the sand. It is located at the end of the 14th Century. and before the middle of the 18th Century. In Jukdo, colorful weathered terrains, coastal terrain, and structural terrain formed by long-time weathering are found. Among them, the type of weathering, the tafoni style and the gnamma style are the scenic landscapes with the key stories of legend and poetry that are brought to Jukdo. In addition, there are seven kinds of letters caved in the rocks in Jukdo. The rocks found on the coast, basketball cannons, shrines, and sutras are seen as shrouds based on a Taoist hermit motifs and style. In addition, it can be interred from the photography of "jeongssisejeog" that the souvenir of Jukdo was the family of Chogyejeong of mid 18th Century. In terms of observational geography and poetry, Jukdo has been handed down a great deal of missionary color with key motifs such as 'Jukdo-seongoo', 'Jukdo-Dolgooyoo', or 'Stone mortar of Taoist hermit' It is proved that the pearl which is called 'The stone of the Taoist hermit' is a porthole formed in a separate space rather than the topography of the geomorphology in terms of shape, size and function. Currently named Shun-tang is a product of the ridiculous 'naming' of interest. The present landscape guide and commentary is not only incompatible with the place of Jukdo, but also does not match the traditional cultural landscape. Future scenery information such as guide signs and commentary boards should be improved in the direction of positively highlighting the stories and motifs related to the present that are present in order to enhance the landscape identity of Yangyang Jukdo.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.36 no.3
• /
• pp.37-47
• /
• 2018

This study was attempted to understand present status and characteristics of landscape components of the domestic Korean Gugokwonlim created by the classical scholars in the Joseon Dynasty. The results are as follows. First, Distribution of Gukokwonlim in Korea shows that 55(51.4%) are located in Daegu and Gyeongsangbuk-do, and 22(20.56%) are located in Chungcheongbuk-do. Concentrated locations of Gugok are on the part of Baekdudaegan, from Sobaeksan mountain to Sokrisan mountain via Wolaksan mountain, and the Nakdong River basin of the Nakdong vein in the right bank. This consideration seems to be closely related to the academy of Yeongnam Confucianism and the their trend of Wonrim enjoyment. Second, according to the result of examining the distribution of Gugok according to the basic local government authority, The biggest number of the Gugok places(10 places, 9.35%) are located in Andong, which is called 'the capital of Korean spiritual culture.' Additionally in order, 9 places(9.45%) is located in Goesan, 8 places(7.48%) in Mungyung, 6 places(5.61%) in Bonghwa, and 5 places(4.67%) in Yeongju. Third, in order to the creating time of Gugokwonlim, 33 (33.0%) were created in $18^{th}$ century, and other 33 (33.0%) were created in $19^{th}$ century. In addition, 14 were created during $20^{th}$ century, while 13 were created in $17^{th}$ century. And 4 were created in $16^{th}$ century. Respectively. great number of $18^{th}$ and $19^{th}$ centuries shows that many(66.0%) Gugokwonrim were created between late 18th to 19th centuries. Fourth, There were 97(90.65%) of 'Gugok' in the form of collecting type, and a total number of bottom-up style Gugok were 99(92.5%) while top-down style Gugok were 8(7.5%). Fifth, Among the contents of Gugok, 67 were found in pome of Gugok(64.49%), 29 caved letters in rock(27.10%), and 16 in painting of Gugok(14.95%). Sixth, The most emerged landscape components of Gugok was Dae(臺) 124(13.05%), followed by Am(巖) 115[11.2%, including of Am(岩)] 115(11.2%), and Dam(潭) 73(7.68%), Jeong(亭) 48(5.05%), Dong(洞) 39(4.10%), San(山) 36(3.78%), Am(岩, rocks) 31(3.26 %), Bong(峯, peaks) 27(2.84%), Yeon(淵) 23(2.42%) and Chun(川) and Tan(灘) 22(2.31%). Mostly, common landscape components of Gugok are entrusted natural things. It is expected that more studies about the analysis of characteristics of Gugok's positioning types considering total distance and a gradient are required to understand more clearly characteristics and location distribution of true Gugok and its landscape components.