• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.40-51
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• 2011

The purpose of the study was to understand the symbol and locational meanings in building and relocating Gwangje-jeong(光霽亭) through the analysis and interpretation on the construction background, history, the location and its characteristics. Concerning physical environment, human activities, the symbol and meanings of the formal Gwangje-jeong site and the present location, the study was concluded about the site and its meaning of tradition as following. Gwangje, the name of the pavilion, represents the fidelity of Maedang(梅堂) Yangdon(楊墩) who refused as Seonbee(a man of virtue) to be tainted with the corrupt world, which was related with the situation at that time. It implies Maedang's feeling of realizing Noojeongjeyong(樓亭題詠) of Gwangje-jeong along with the high spirit of Gwangpoongjewol(光風霽月). According to the record about rebuilding Gwangje-jeong, Maedang was the very person who planted plum flowers at the pavilion and put up the tablet of its name, Gwangje. Even after his death, Gwangje-jeong was the symbol indicating Yangdon, given the triple high ground and the planting of plum flowers. Also, Sookho(宿虎) town at the entrance of Gwangje-jeong and Bokhoam(伏虎巖: a rock) at the right side of the pavilion signifies the location for praising Maedang Yangdon, and the Yangjipha's Oensi(五言詩: five words verse) engraved on the rock gives a good description about the place, Agyesa that worshiped Yangdon. As Agye-Sa(阿溪祠) where Yangdon was worshiped and praised had been abolished in the 5th year under the Kojong's reign(1868), the spirit praising Maedang had finally been used for the relocation of Gwangje-jeong. Despite the relocation of Gwangje-jeong, the old Gwangje-jeong site has remained at least for 359years at Hucheonli, and its surroundings have maintained the name 'Gwangje' as the front place name morpheme, for example, 'Gwangje-jeong,' 'Gwangje Town,' 'Gwangje Bridge' and 'Gwangje Creek,' for symbolizing the praising of Maedang. Gwangje-jeong, as the center place of solidarity among Namwon Yang's family clan, has been able to maintain its symbol and meanings in spite of relocation, mainly because of the fellowship among the descendants, family clan and alumni who respected virtuous achievements of ancestors and shared the agony of the time. In addition, the symbolism has been preserved since the spirit of Gwangpoonjewol of Yangdon and his high character were cherished along with the spirit of Bongseon(奉先) that inherited and kept virtuous achievements of ancestors.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.28-37
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• 2011

In this study, the series-poem, Bihaedangsasippalyoung(48 poems for beautiful scene of Bihaedang), written by scholars of Jiphyonjeon for Bihaedang garden of Anpyung-Daegun(Prince Anpyung, 1416-1453), was analyzed focusing on scenery lexeme to interpret the meaning of scenery and gardening culture of Sadaebu(noblemen) during the first term of Chosun Dynasty. The study result is as followings. First, the subtitle of Sasippalyoung(48 poems) written by Anpyung-Daegun while he grew Bihaedang garden on the foot of Inwang Mountain showed repetitive nomativity comparing joining of yin and yang, such as life and form of animal and plan, time and space, meaning and symbolism, etc. Among scenery lexemes, 38 are represented plant and flowers, and 8 are represented gardening ornaments and animals. Second, the names of gardens were expressed as Wonrim, Jongje, Imchon(Trees and Ponds), or Hwawon(Flower garden), or also presented as Gongjeong(Empty garden), Manwon(Full garden), Jungjeong(Middle garden), Huwon(Backyard), Wonrak(Inner court), or Byulwon(Seperated garden) depending on density and location. In addition, there were pavilions and ponds, stepping stones and stairs, a pergola, a flat bench, flowerpots, an artificial hill, oddly shaped stones, wells, aviary, flower beds, or hedges. A gardener was called Sahwa(flower keeper), planting and gardening of garden trees were called Jaebae(cultivation), a pond island was called Boogoo(floating hill), and miniature landscapes were called Chukjee(reduced land). Third, willows were planted on the outdoor yard, and plum trees were planted in front of the library, which led to bamboo woods road. Peony, camellia, tree peony and crepe myrtle were planted on the inner court with mossy rocks, small artificial hills, glass rocks, flower pots. There were rectangular ponds, while breeding deer, dove, rooster, and cranes. Fourth, landscape elements were enjoyed as metaphysical symbolic landscape by anthropomorphism, such as (1) gentlemen and loyalty, (2) wealth and prosperity, (3) Taoist hermit and poetical life, (4) reclusion and seclusion, (5) filial piety, virtue, introspection, etc. In other words, the garden presented a variety of gardening culture appreciating meaningful landscape, such as investigation of things, reclusion and seclusion, and building orientation of a fairyland yearning eternal youth and Mureungdowon(Taoist Arcadia) by making a garden blending beautiful flowers and trees, with precious birds and animals. Fifth, there were many landscape appreciation schemes, such as Angkyung(looking-up), Bukyung(looking-down), Jeokyung(looking-under), Chakyung(bringing outer space into inside), Yookyung(flower viewing), Yojeong(walking around the garden enjoying flowers), Hwasaekhyangbyuk(flower gardening), and Garden appreciation enjoying landscape through time and seasons with different inspirations.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.99-107
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• 2011

This study is aiming to acquire data for enhancing genuineness of restoration through reviewing external and internal scenery of Baegun-dong Wonlim such as Baegun-dong 8 Objects of Scenery(pines, bamboos, chrysanthemum, orchid, maehwa blossom, magnolia, fiddle and crane) and 12 Scenic Spots and reviewing internal and external scenery of Baegun-dong Wonlim such as views and scenery for plantation. For Baegun-dong 8 Young which sang songs about scenic spots of Baegun-dong Wonlim it seemed that its head words were formed through borrowing rhyming words from caption of Baegun-dong Yuseogi(白雲洞幽棲記). Accordingly it seemed these scenery secured its status of Wonlim from the beginning. Particularly the words of fiddle and crane in 琴棋書畵(Geumgisuhha) implied that playing Komungo and brushwriting were firmly rooted as romantic pursuits of classical scholars of that time. In consideration of distance upto Okpanbong which is one of 12 scenic spots of Baegun-dong radius of outer circumference is estimated to be around 1.6km. From Okgpanbong, the epicenter, Sandagyeong, Baegokmae, Hongokpok and Pungdan etc. correspond to transitional space. And inner scenery was formed with hub of thatched cottages and bowers surrounded with chrysanthemums, poenies, rhododendron, Phyllostachys bambusoides, pines and upper and lower water paths. Thus it seemed there was scenic structure of centrifugal nature as well as of multiplicity. Forms of majority of water paths with residual structure found in the country have streamlined forms on the other hand Baegun-dong water paths have straight line which almost dominate inner gardens in terms of scale and forms thus revealing its extraordinary idea and design. In order to promote genuine restoration of Baegun-dong Wonlim it will be necessary to have consideration from standpoint of managing perspective to assure presentation of gradual scenery with elements of scenic objects for outer view among 12 Scenic Spots.

• 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 the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.22-32
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• 2011

This study explored the architectural nature, the thought reflected in the place and the 'meaning-landscape' characteristic of a place, to where a retired scholar had lived. The object of the study is the Maechun-Byulup Toesu-jeong wonlim, which consists of a summer house and a garden forest. The results of the study are as following. Toesu-jeong wonlim is located at Daejeong-ri, Sannae-myeon, Namwon-si. It had been built by Maechun Park Chi-Gi in 1870 for his residence after retirement. It is a villa type pavilion and a garden forest which have Banseondaegi(伴仙臺記), Banseondae-10-yeong, Toesu-jeong(退修亭) Sangryangmun, a writing dedicated when putting up the ridge beam of a wooden house), Toesu-jeong Wonwun Byeongsoseo, hanging boards and tablets with poems written on them. In the Toesu-jeong wonlim, there are various 'meaning-landscapes' such as the Maechun-Byulup, Banseondae, Yabakdam and Simjinam together with engraved calligraphy related to the landscaping culture. It is also possible to find the remains of beautiful engraving on the stones and woods at Goksoo Yoogeo(曲水流渠) that suggest the banquets they had while discussing the elegant tastes and appreciating the landscape. The Toesu-jeong wonlim consists of the Toesu-jeong area(a pavilion), the Gwanseon-jae area(a shrine) area and the Gyejeong area(a garden with a brook) area. The pedantic 'meaning-landscape' elements, as the residence of retired scholar who spent his remaining life with elegant tastes, and the expertise of Maechun Park Chi-Gi, as a landscaping architect who built a villa and a garden forest in the motif of a Taoist hermit, can be extracted through the Banseondae-10yeong. The Banseondae-10yeong is the first Toesu-jeong poem and consisting of the Samseon-dae, Sejin-dae, Samcheong-dam, Yabak-dam, Samseo, Takgeum-dam, flat stones, caves, stone sculptures and harvest. The existing vegetation and plants in the Toesu-jeong wonlim are; natural pine forest in the rear garden, zelkova trees, wild cherry trees, apricot trees and pine trees bent to the waterfront direction. Except some ornament-species and shielding-species such as the poplars, most of current trees and vegetation keep the shape of the original Toesu-jeong wonlim landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.170-181
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• 2011

This Research will explore the meaning indicated in the landscape meaning and feature of literary group culture, focusing in Gurujeong(九老亭: pavilion for nine elders) and Samgaeseokmun(三溪石門: stone gate in three valleys) located in Dundeok-myun, Imshil-gun, and will seek to understand the implications by studying the cultural landscape spread out in the area. The place where Gurojeong and Samgaeseokmun is located is the meeting point of the three valleys, Dunnam stream, Osu stream, and Yul stream, which is the main location to view the beautiful scenery, which has the nickname as the dwelling place of a celestial being. Especially, based on the description of old maps, "Samgae(three valleys)" and "Samgaeseokmun" possesses significance as a landmark and shows a characteristic feature of landscape structures of low hills. Dangugurohwe(丹丘九老會: nine elders gathering on the dwelling of a celestial being) originated from Hyangsangurohwe(香山九老會: gathering of nine elders on a fragrant mountain), where Baekgeoi(白居易) of China was one of the main people. This group was organized by nine elders over the age of 60 desiring to view the scenery of Doyeonmyeong. The group enhanced the literary spirit on the low hill, erecting a tower, and enjoying the beautiful scenery changing every season with scholars from the same region. This phenomenon seems to have been formed upon the positive response to gatherings of elders, which were prevalent in the Joseon Dynasty. If the internal idea pursued by the group was "longevity," the external idea pursued can be summarized as "the spirit the respect for the elders." Naming the groups as 'Dangudae(place where the celestial being lives), Guseondong(valley of seeking a celestial life), Bangjangsan(mountain of a high priest), and Daecheondae(place of communicating with God) was likely a device to introspect oneself and symbolize one's life process. Furthermore, the reason Samgaeseokmun, which is an imitation of Choi, Chiwon's work, was built near Soyocheo, was probably to yearn the celestial land and based on the desire to follow Choi, Chiwon, who was the most self-fulfilling being presumed to have become a celestial being by practicing the pursuit of freedom, escaping from the reality. After tracing the symbolizing meaning of the four letters carved in the left side of the stone wall of Dangudae, the conclusion that this place was not only a place for literary gatherings of the nine elders of Saseong(four families), but was a place where the celestial being dwelled could be inferred. Corresponding with Dangudae and Gurojeong, which are places where the order of human and nature is harmonized and where its meaning associated with the location intensifies, arouses strong bond, can be said to be the symbol of the traces of celestial beings where the spirits of attachment to a certain place is embedded. The acts performed in Dangugurohwe were those of traditional leisure including strolling, viewing the scenery, drinking, composing poems, and playing instruments, and sometimes listening to stories, tea ceremony, prayers, and fishing were added, which indicates that the gathering had a strong tendency towards pastoral and hermit life.

• Korean Journal of Food Science and Technology
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• v.52 no.6
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• pp.565-572
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• 2020

The 3-monochloropropane-1,2-diol (3-MCPD) is a contaminant that occurs in foodstuffs in its free form as well as in its bound form. The objective of this study was to evaluate the effects of emulsifier, frying temperature, and the amounts of salt and oil on the formation of bound 3-MCPD in a fried snack model. Emulsifier affected the formation of bound 3-MCPD; furthermore, it was observed that the largest amount of bound 3-MCPD was detected in the fried snack model when glycerin esters of fatty acids were used as emulsifiers. Frying temperature also affected the formation of bound 3-MCPD, which increased significantly as the frying temperature increased from 145 to 190℃. In addition, salt affected the formation of bound 3-MCPD. As the amount of salt increased, the amount of bound 3-MCPD also increased significantly. Moreover, it was observed that the amount of oil did not affect the formation of bound 3-MCPD. These results will aid in the reduction of bound 3-MCPD in fried snacks.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.49-57
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• 2020

Traditional landscape is a cultural asset left by Seonhyeon to modern society, and it can not only understand the landscape culture of ancient tradition but also provides / provided a new creative material for modern landscape designs / designed. However, it is well known that Korea and China have a relationship between the development and exchange of landscaping in a global background, the succession of traditional landscape architecture culture in a global background covers many dimensions, including protection, development and innovation, and that "traditional and modern" and "regionally and internationality" should be harmonized with each other. This study uses traditional Korean and Chinese landscaping buildings as research subjects to extract and organize related data through various channels, including basic literature research that understands the history and culture of the two countries. I interpreted the cultural backgrounds of the two countries by dividing them into religious ideas, traditional culture, and natural views, and highlighted the history of development and the relationship between the two countries. Based on this, it analyzed the differences created by traditional landscaping between Korea and China, and also specifically analyzed the "creation of righteous army" and "the law of righteous army." In particular, this study sought to inherit and innovate traditional landscape culture for the internationalization of "One Belt, One Road" based on the characteristics of Korea and China's landscape through a comparative analysis of the construction elements and methods of Yihwawon of the Ming and Qing periods and Gyeongbokgung Palace of the Joseon Dynasty on the theoretical background of landscaping and the significance of landscaping. The direction for the development and exchange with landscaping between the two countries was presented in line with the development trend of Korea-China landscaping in the global environment. In the future, the development of landscaping between the two countries is expected to be key to international cooperation in traditional culture, creative combination of local characteristics, creation of a harmonious landscape architecture environment, and co-prosperity of various cultures.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.118-135
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• 2020

It is not uncommon in Korea to see the structure and function of a garden remain intact as well as its form. Yi Cheon-bo's Historic House (Gyeonggi-do Cultural Heritage Item No. 55), located in Sang-myeon, Gapyeong-gun, Gyeonggi-do, is considered an example of very valuable garden heritage, although its family history, location, and remaining buildings and natural cultural assets are not fully intact. Along with Yi Cheon-bo's Historic House, this study attempted to explore the possibility of restoration of the forest houses and gardens by highlighting the high value of Yi Cheon-bo's Historic House through research into the typical layout of private households in northern Gyeonggi Province and Gapyeong County, comparative review of aerial photographs from 1954, and interviews with those involved. The results of the study are as follows: In this study, the presence of Banggye-dongmun and Bansukam in the Banggyecheon area, where the location of the garden was well-preserved, was examined across the landscape of the outer garden, while the location of Yi Cheon-bo's Historic House, the appearance of feng shui, and the viewing axis were considered. Also, the appearance of the lost main house was inferred from the arrangement and shape of the Sarangchae and Haengrangchae that remain in the original garden, and the asymmetry of the Sarangchae Numaru and the hapgak shape on the side of the roof. In addition, the three tablets (Pyeonaeks) of Sanggodang (尙古堂), Bangyejeongsa (磻溪精舍), and Okgyeongsanbang (玉聲山房) were used to infer the landscape, use, and symbolism of the men's quarters. Also, a survey was conducted on the trees that existed or existed in the high prices. Incidentally, it was confirmed that information on boards and cultural properties of Yeonha-ri juniper (Gyeonggi-do Monument No. 61) was recorded to a much lesser extent than the actual required standard, and the juniper trees remaining in the front of Haengrangchae should also be re-evaluated after speculation. On the other hand, as a result of estimating the original shape as a way of pursuing completeness of the garden through restoration of the lost women's quarters and shrine, it is estimated that the main house was placed in the form of a '口' or a 'be warped 口' on the right (north) side of the men's quarters. By synthesizing these results, a restoration alternative for Yi Cheon-bo's Historic House was suggested.