• Journal of the Korean Professional Engineers Association
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• v.18 no.2
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• pp.54-65
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• 1985

Korean Landscape Garden may be described according to its stage of development. In the primitive agricultural era, the garden was preceded by vegetable yards and at this time rock arranging (Soo-Sok garden) was initiated together with the megalithis culture of dolmens, heavenly altars and tumuli. In the early Three Kingdom period palace gardens were built on a grand scale and toward the end of fourth century temple garden were introduced along with Buddhism. These gardens evolved to the flourishment of "HWAGE"(terraced gardens) rock arrangements of ZEN, early KOR-YO period. Especially since the middle of KOR-Yo period the "IM-CHUN"(forest and pond) garden became popular, while during Cho-Son period "HWAGE" in the back yard, pond and pool garden and "IM-CHUN" style country villa became fashionable. The Korea traditional Landscape garde may be characterized that first it is a nature Landscape style, which makes the maximum accomodation with the surrounding nature. Secondly, the Korean garden is built creatively by utilizing the elements of its climate and topography, Kogu-Ryo, Paik-Je great-Kaya and Sil-Ra had developed original a castle town plans and beautiful gardens rock arrangements which precede the equivalent style of China and set the prototype for Japan. The Landscape art of waterfalls and rock arrangements at An-Ap-Chi garden of 7th century has no equals in China and set the origin of pond style of Japanese garden.

• Korean Journal of Heritage: History & Science
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• v.34
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• pp.60-79
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• 2001

We can infer from collections of prose in Cho-sun period that the main period is from King Se-jong's reign to King Yoeng-jo's or between the 15th and the 17th century. The ideological background and the dignity of the rock garden is derived from Taoist hermitism and Nitze and Jeng-je's quietism. The representation of the rock garden as tri-god mountain comprising Bong-lai, Bang-jang and Young-ju is based on the tradition of making the tripartite rock garden in a pond practiced in the three north-eastern countries, Korea, China and Japan. And it's the representation of quietistic world of eternal life that had been sought by the taoism. Making a pond in which they plant lotus and made rock garden. they enjoyed watching immaculately pure lotus flower bloom even in the mud. It is compared to the confucians' seeking for virtue even in the profane or defiled world. Another motive of intellectuals to make rock gardens is their love of nature and its landscapes and their preference of recluse and temperate life to attaching to high public office, which was the tendency of the learned, established by the influence of taoist and quietist tradition. The essays portray the fountain water, ponds, waterfalls. the hilltops, the mountain pass over the ridge. winded lanes, valleys, caverns, and other architectural elements. The technic of building rock gardens includes those of harmonizing each elements of landscapes in the water, that of irrigation, building formation, and those of piling up the mountains and hills. With some comments on planting trees, grass and flowers. The original location of rock garden, esp. in case of taoist Chae-su's rock garden with waterfalls, is Ian-ri, Ian-myon in the city Sang-ju. Since no relics of rock gardens are to be found in any examples of Korea's traditional gardening, the study of rock gardening by analyzing the prose collections of Cho-sun period can be significant for the study of designing water space that has been considered the center of a garden space.

• The Journal of the Petrological Society of Korea
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• v.27 no.2
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• pp.105-108
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• 2018

This study was on the rock garden among the school gardens as survey of 122 schools(60 elementary schools, 34 middle schools and 28 high schools) during 16 months from March 2017 to June 2018, There were 36 rock gardens (29.51%). 40% elementary schools and 18.18% secondary schools (middle and high schools) had the rock gardens. 3 items were surveyed; Was the rock sample in the rock garden related to the curriculum? Was the name of sample correct? Was the content of a sample's exhibition panel suitable? Elementary schools showed 36.7% in response to 'Was the rock sample in the rock garden related to the curriculum', 55.1% in response to 'Was the name of sample correct?' and 55.5% in response to 'Was the content of a sample's exhibition panel suitable?' Secondary schools showed the average 83.9% correlation in the aspect of curriculum, 82.8% accuracy in the aspect of sample name and 84.1% suitability in the aspect of the content of a sample's exhibition panel.

• Journal of the Korean earth science society
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• v.32 no.1
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• pp.113-123
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• 2011

The effective teaching of Earth Science in the classroom should be augmented by field studies of rocks and minerals in a competently designed school rock garden(SRG). The displayed specimens must be correctly identified, labeled and esthetically evaluated. SRG is more than a general garden with just landscaping and it should provide students with freedom of conducting independent inquiries. The composition of the selected specimens should be representative of the bedrocks of region as well as of Korea in general. There are 130 schools in Jeonju-city and 35 (26.9%) have established rock gardens. There is a pressing demand for more gardens and number of display samples in school. The existing displays need improvement because some samples are not correctly identified and labeled. In addition, there is a duplication of rock types as well as lack of important rock types. The number and composition of the displayed rocks and minerals should be related to the school curriculum and reflect representative bedrocks of Jeonju-city and region.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.3
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• pp.131-142
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• 1997

As a study on a traditional garden with historical value, the objective of this study is to comprehensively understand the internal meanings of the garden in a designer's personal perspective. Tasanchodangwon was designed Chung Yakyong who is a scholar of Practical Learning in late Chosun Dynasty. Considering the features of him and basic approach of this study, the internal eanings of the Tasanchodangwon was approached with the focus on the view of nature of him, and through general review of physical components of the garden. Additionally the meanings of the garden were also reviewed in his personal situation. The result of the study may be summarized as followings. First, according to the view of nature of Chung Yakyong, his intention to enrich life practically by building separate structures for education for his residence, creating lake by having water supply, and creating vegetable garden relates with the view of nature in Primary confucianistic perspective. In addition, the place served as a ground to support Chung Yakyong's attitude to become a man of virtue, Second, his preference to enjoyu tea culture allowed an opportunity for him to accept circumstance positively and discover the self. Components related to farming reflects his Practical Learning. The man-made rock mountain in the pond is a specific technique for Yi-Jing. And third, literatures authored by Chung Yakyong show that internal meaning of Tasanchodangwon is to pursue an utopia. This is closely related to solving his conflicts felt in reality. In short, Tasanchodangwon is a form reflecting the spiritual world of Chung Yakyong, and through interaction with his life, served as a ground to culture his mind.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.37-50
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• 2016

Recognizing the problem of fallacy in geographical name of Changokbyeong(蒼玉屛), assumption has been made on the location of Changokbyeong through literature research on antique maps, ancient paintings, and old prose, through field survey on rock inscriptions and landscape characteristics, and through interviews with local people. Furthermore, Baegyeonwa, the Cuckoo Hut, and Iyangjung(二養亭), an annex to the cottage, both of which were managed by Saahm Park Soon(思菴 朴淳), the Subject of Jouissance, were studied in depth with emphasis on the spatial structure as well as special features of the area as a garden. The major findings are as follows: Changokbyeong is a spatial threshold that imparts a sense of unity with Okbyeng seowon(玉屛書院) and indeed Changokbyeong is presumed to have been the frontal river terrace of Okbyeng seowon according to the analysis of antique maps and rock inscriptions. This ancient location and the Ogari Stone Wall, the present day Changokbyeong, are only 460m away so that both areas are considered as falling under the influence of Changokbyeong landscape. The expression "Changokbyeong Geupsangeum(蒼玉屛及散襟)" written in an old prose tells us that the high rock wall with Sangeumdae inscribed on the rock might be the rock wall of Changokbyeong. In addition, while not a single rock inscription has been found on the Ogari Stone Wall, 11 rock inscriptions designed and ordered by Saahm Park Soon, the Subject of Jouissance, are found on every corner of the high rock wall standing in front of Okbyeng seowon, 8 of those 11 being place names and recitative poems(known as Jeyeongsi: 題詠詩) in close formation resembling the handwritings in a little notebook. This provides a strong evidence for assuming the location of Changokbyeong to be the frontal river terrace of Okbyeng seowon. The "Songgyun Jeoljo Suwol Jeongshin(松筠節調 水月精神)" rock inscription on Changokbyeong should be considered as the stamping ground and as the symbolic language of Changokbyeong that bears the high character and nobility of the Subject of Jouissance, Saahm Park Soon. The inscription should also be recognized as the handwritings of Wooahm Song Si-Yeol(尤庵 宋時烈) correcting the misconceptions that persisted until today. Meanwhile, the garden remains of Saahm's Changokbyeong are composed of four sites: Sangeumdae-Sugyeongdae-Cheonghakdae-Baekhakdae from the left. At the back of Sangeumdae, there is the original house, the Baegyeonwa(拜鵑窩), and on the fantastically shaped stone wall at the left of Baekhakdae, there is the annex, the Iyangjung, together creating a landscape composition that overlooks the splendor of the Ogari Stone Wall. The Iyangjung is located on the highest spot to the left of the four sites, and it is believed to have been a little outhouse and library for Saahm which remains to the present day as a place where Saahm's character can be felt. The drinking plates[窪樽] made of rock that are affectionately arranged on the broad flat rock in front of Iyangjung is part of the garden remains that reflects the artistic taste of Saahm regarding the drinking culture at the time.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.3
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• pp.45-53
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• 2013

The purpose of this thesis is to identify the gardening method of Mus${\bar{o}}$ Soseki by looking into his works. Through this research, life and religious values of Soseki were studied, which gave a better understanding of the garden architect as an individual and seeker of religious truth. Among his works, the most widely known-four ponds, Eiho-ji, Erin-ji, Saiho-ji and Tenryu-ji were studied. The research found that based on the Zen of Buddhism, Soseki symbolized various philosophical ideas into space structures. In addition, through two gardening components, stone buildings and tributaries, he specifically materialized related themes. An absolute religious aesthetics of the creator could be found in the stone buildings that expresses the world of Buddhism and the Chinese letter 'Sim'(heart)-shaped tributaries. By experimenting new method away from a Chinese-style Japanese garden which was widely popular during his time, Soseki devised a garden as residential quarters of a high priest that can be set aside entirely for Zen-study, which became to represent Japanese garden style. If Soseki's gardening method had not been adopted, Japanese gardens could not have been developed as a personal garden that contains symbolic concepts. Unfortunately, in this study, to think of another Zen monk and Mus${\bar{o}}$ Soseki did not study is to compare. also the study on how another Zen monk and Mus${\bar{o}}$ Soseki's compare has to be continued.

• Journal of People, Plants, and Environment
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• v.23 no.1
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• pp.101-114
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• 2020

This study focused on the composition of the exterior space of Parkjinsagoga, the types of gardens and planting and the landscape characteristics of walls, and examined its meaning as modern garden remains. Parkjinsagoga is a modern Korean house that harmonizes traditionality and practicality, and is an invaluable material for research not only on architecture but also on changes in the gardens of upper-class gardens. Its exterior space can be divided largely into An-chae (inner house), Outer Sarang-chae (outer house) and Inner Sarang-chae areas, and a garden was created in each yard (inner garden). In particular, one thing noticeable is that the yard of Inner Sarang-chae, unlike traditional gardening styles, was actively decorated. At the center of the yard of Inner Sarang-chae, two atypical planters and artificial moundings were created and the traffic line of the garden was designed to enjoy them while walking. An atypical pond was created on one of the artificial moundings and trees and shrubs were densely planted. Natural stones were also placed. The style seemed to be affected by Japanese gardens. These characteristics observed in the gardens of Parkjinsagoga are closely related to the transitional characteristics that traditional gardens started to show in modern times. A total of 35 families and 57 species were planted in the gardens of Parkjinsagoga and there were 19 species of tall trees, 20 species of shrubs and 17 species of flowering plants. The number of species planted in the garden of Inner Sarang-chae was the highest, and a total of 22 species of tall trees and shrubs. The walls in Parkjinsagoga were basically earth and rock-fill walls but their materials and patterns differed depending on the type of spaces. Four types of walls were found to be introduced to the house.

• Journal of Forest and Environmental Science
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• v.37 no.3
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• pp.206-216
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• 2021

Deutzia paniculata Nakai, a rare and endemic plant, has limited distribution throughout the North and South Gyeongsang provinces of South Korea. The D. paniculata community grows mostly on the stony slopes of forests, valley edges, and rock layers at 250-960 m in altitude, where deciduous trees are dominant and high humidity is maintained. Correlation analysis of vegetation and environmental factors found that the Walter's dogwood-mulberry community was correlated with soil acidity (pH). Whilst the queritron community had correlations with distance from the valley, rock rate and slope. The natural habitat of the Palgongsan Mountain in Daegu is known to have high genetic diversity, had eight D. paniculata individuals recorded from 2014 to 2018, and 12 individuals recorded in 2020 (new individuals due to a newly created space within the herbaceous layer caused by grass mowing works), it is therefore unlikely that the community would perish unless there was an artificial disturbance. To conserve the natural habitats of D. paniculata, oppression by Sasa borealis, damage, increase in crown density of the upper layer, overexploitation, and absence of seedlings should be carefully investigated. In addition, response measures should also be established and the impact on seed fullness and the reproductive characteristics of D. paniculata recorded. To restore declined genetic diversity, individuals from high genetic diversity regions, such as Palgongsan Mountain, should be artificially transplanted.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.5
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• pp.113-121
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• 2010

Shumi-sen(須彌山), built by Nohjagong(路子工) in the southern garden of the Palace Garden during the Asuka Period, is understood as being Sumeru based on an Indian perspective of the theory of the origin of universe. It is also viewed as Mt. Myogoh from a Chinese Buddhist worldview. It is thought to be a type of assembled stone structure with Poong-ryoon (風輪)-Su-ryoon(水輪)-Geum-ryoon(金輪)-Ji-ryoon(地輪) carved into each of the 4 stone pieces. These building shapes are thought to have been utilized as stone for exterior construction as opposed to those structures built during the Shilla Period of China and Korea. Aside from Nohjagong's record of Shumi-sen, most of the records from Japan's period of the time suggest that Shumi-sen was an important element that played a role in the scenery of the seasonal outdoor gardens. It is also thought, from the sentences and expressions surrounding the records, that a combination of the seasonal sceneries was utilized centered on Shumi-sen, and that they were all used during festival events. From a perspective of analysis and interpretation dependent on the limited literature and on observation, it cannot be verified whether the Mt. Sumeru Stone(須彌山石) excavated from the Stone God Ruins is the same Shumi-sen that Nohjagong built along with Okyo(吳橋), but it is thought that the 'Shumi-sen type stone structure' that was later built repeatedly as part of the palace garden facilities is identical to the Shumi-sen built at the Imperial Palace's southern garden, or at least a re-built structure based on the Shumi-sen that Nohjagong built with stones and ponds used to create the foundation. Thus, Shumi-sen that Nohjagong supposedly built along with Okyo is suspected to be a figurative rock arrangement and, at the same time, a miniaturized scenic rock arrangement(縮景樹石) that maximized the shape of Buddhism's Shumi-sen. On the other hand, the surface pattern on Mt. Sumeru Stone is very similar to the multi -layers of mountainous pattern icons expressed in the patterns of the Great Golden Incense Burner(百濟金銅大香爐) or Mountain-Water Scenery Sculptural Brick(山水山景紋?) that were built during the Baekjae pcriod aod the rear side of Hwalsuk-jebul Basal Byungipsang(滑石諸佛菩薩竝立像); it is suspected that similar patterns would have been used if patterns were made on Shumi-sen that Nohjagong built. Also in consideration of the physical theory of MI. Sumeru Stone, the Siphon theory of using a pressure difference in water level was applied to the fountain facilities of Mt. Sumeru Stone that seemed to have been built from the practical rock arrangement perspective for the purpose of feasts, etc.