• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.172-203
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• 2023

<Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.

• Proceedings of the Plant Resources Society of Korea Conference
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• 2002.11b
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• pp.30-30
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• 2002

꿩의비름 (Sedum erythrostichum)은 매우 우수한 지피식물이며 건조에 강한 대표적 식물로 바위정원 (rock garden)을 가꾸는데 있어서 중요한 수종으로 이용되며, 유럽등지에서는 지붕에 식재하기도 하며 최근에는 빌딩옥상녹화의 대표적 수종으로 식재되고 있다. 또한 한방에서는 경천이라 불리우기도 하는데 피부상처 치유 및 미백효과가 탁월하다고 알려져 있다. 본 연구에서는 Agrobacterium을 매개로한 꿩의비름의 형질전환 시스템을 개발하고 아울러 phosphinothricin-N-acetyltransferase (PAT) 유전자를 도입하여 제초제 저항 식물을 개발하고자 수행되었다. 꿩의비름 잎을 Agrobacterium에 담근후 0.5 mg/l NAA와 2 mg/1 BA가 첨가된 MS 배지에 3일간 공동배앙 하였다. 그 후 300 mg/1 cefotaxime이 첨가된 같은 배지에 옮겨 계대하면서 Agrobacterium을 제거하였다. 약 3주후에 잎 절편으로 부터 직접적으로 부정아가 형성되기 시작 하였는데 이 시기부터 잎 절편을 25 mg/1 kanamycin이 첨가된 선발배지에 옮겨 주었다. 이 결과 배양된 잎 절편 절편 중 3.75%에서 kanamycin에 저항하는 부정아를 얻을 수 있었다. 형질전환체는 X-gluc 반응, PCR, Southern, Nothern analysis를 통하여 확인하였다. 약 94%의 형질전환 식물체는 성공적으로 토양에 옮길 수 있었으며 약 3개월후에 꽃을 피웠다. 형질전환체는 제초제인 Basta ($^{(R)}$ phosphinothricine at 200 mg/1)를 살포하여 주었을 경우 생존함을 확인 하였다.

• Journal of Practical Agriculture & Fisheries Research
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• v.24 no.4
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• pp.35-44
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• 2022

This study was conducted to develop a mass production for a commercial use by cutting of 4 kinds of V. glabrifolia Kitag., V. pusanensis Y.N.Lee, V. glabrifolia Kitag. × V. Spicata 'Alba' and V. spicata 'Ulster Blue Dwarf' × V. longifolia. Veronica L. Effects of shade, media and concentrations of plant growth regulators on the rooting of Veronica L. were examined. The rooting rate of V. glabrifolia Kitag. was higher as a 60% than the V. pusanensis Y.N.Lee as a 20% in the control of commercial media. In shading treatment, the rooting rate was highest at 30% or 60% shading, and the 30% shading was the best in number of root and root length, but the 90% shading was lower than no shading treatment. For cutting media, the rock wool and 100% perlite increased the rooting rate by more than 10% compared to commercial media, and increased the number of roots by 2 or 3 times. However the Cocopeat of media was lower of rooting rate, root number, and root length compared to another treatment. In the plant growth regulator treatment, the rate of rooting increased in all treatment compared to control, and was highest at IBA 1,000mg·L^-1 as a 82.2% and NAA 200 or 400mg·L^-1 as a 82.2% or 84.4% respectively, in the V. glabrifolia Kitag. × V. Spicata 'Alba'. However, the root number and root length was decreased as the concentration of growth regulators increased.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.1-13
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• 2017

This thesis aims to research the original landscape of an area in Chirwon by comparing and interpreting the current and the former landscape of the time around 1860, in which was created. Inside the painting, MuGi-YeonDang(舞沂蓮塘), its nearby garden facilities and landscape are described. The conclusions of the research are as follows. Around the inner garden(內園) called Gukdam(菊潭), core spaces of Mugi-YeonDang were Hahwanjeong(何換亭) and Pungyongnu(風浴樓). After 1971, Chunghyosa(忠孝祠), Yeongjeonggak(影幀閣) which was built as inheritance of Giyangseowon (沂陽書院), and other buildings were added. On the opposite of Hahwanjeong, there is a designed pond inside Gukdam, in which three pieces of bizarre stones and colorful flower plants and trees reside. In the middle of the pond, there is an center island(中島), constructed with Bonghwangseok(鳳凰石) and Napduseok(衲頭石). Two different kinds of trees are settled on top of the stones, and one of them is identified as a maple. In the external scenery(外境), Jakdaesan Mountain and Cheonjusan Mountain are located at the upper part of Mugi-Yeondang, and Bibo Forest(裨補林), which does not exist anymore, was located at the lower part of it. A notable achievement in own research was to discover the Ju family's graveyard(朱氏墓群) consisted of more than 10 murals at the lower part of Mt. Jakdaesan in the outer space and the remains of 'Byeoreop(別業) Yuhoejeong(有懷亭)' at the nearby Sanjeong-ri(山亭里) area, which was the Ju family's gravesite(Seonsan, 先山). The discovered remains showed the presence of a square pond(方塘) and an island in the center of it(中島) in the form of Seokgasan(an artificial mountain made with stones), a stone monument called Mangchudae(望楸臺), etc. The Seokgasan was consisted of processed natural stones, and layers of the stones were piled up for it. On the side of the layered stones, 'Gyeongam(敬嵒)' and 'Sesim(洗心)' are engraved. Especially, Gyeongja(letter Gyeong, 敬字) is a copy of the Gyeongja Rock(敬字岩) of Sosu-Seowon(紹修書院), which is a symbolic garden language mutually used in the signboards of Pungyongnu and Musansa(武山祠), a place built to enshrine Ju, Sebung(周世鵬). Through the written names of the building found in , it can be assumed that the name of the square pond with Seokgasan was Taehwaji or Jeongwudang, and the name of the Seokgasan was Sogeumgang(小金剛) or Sobangjang(小方丈). The names correspond to the names of the Seokgasan of Gukdam, which was Yangsimdae(養心臺) and Bongnaesan(蓬萊山). By means of the corresponding names, it can be inferred that the relations between the spaces were intended. was originally created as 'a manor painting(莊園圖)', led by the 15th generation of the Ju family who moved into Chirwon-ri, Haman. The painting describes not only the back garden but also the external scenery, thus it provides important evidences for understanding Mugi-YeonDang and its nearby landscape, and is helpful to its maintenance and restoration.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.9-22
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• 2010

This research is attempted to investigate Dongcheon-rock inscription- to understand symbolic meanings from inscribed texts and to find its construction purpose. For the investigation, 25 target areas were selected for field exploration and literature review regarding Dongcheon were also performed. Several design characteristics of Dongcheon are as follows: First, Dongcheon has four criteria according to creation purpose: residential type(家居地型), hermitage type(隱棲地型), nature excursion type(山水遊覽型), aesthetic scenery type(勝景型), moral training type(修身型) and spiritual discipline type(修道地型). This category shows that Dongcheon is constructed at residential area, shelters, and place for leisure, mortal training and spiritual discipline. Second, Dongcheon is also classified by its location: location on village entrance in a deep forest(深山同口型) and location on near stream(溪流隣接型); location on near stream has also two types(連繫型, 單一領域型): location on an independent territory and location horizontal ground(平地型). Through garden creators' managing their garden in forest, valley and scenic spots, they pursue utopia. Third, naming is a way to create new landscape places. By naming a certain natural landscape as Dongcheon, the landscape is symbolized as utopia, appearing fairyland. Designer's desire and thoughts are saturated in Dongcheon.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.111-120
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• 2012

This study regards a series of achievement on Wonlim(Garden) Cultural Properties Excavation Project, led by field of landscape architecture. It will mainly describe excavation results of Gwiam(龜巖: Turtle rock) and historical value of it in terms of Nakseojae(樂書齋) restoration in Bogil-do Yun,Seondo Wonlim(Scenic Sites, No.34). Gwiam(Turtle rock) was found 14.6m apart from the north of Nakseojae, and it covered with 10~15m topsoil tilted toward Nakseojae, The size of Gwiam, which was Granite, was 360cm length, 270cm width, 95cm high. The Edge of Gwiam's North west part was of triangular shape forming Turtle head. The back of the Turtle head was form of Tortoise-shell because of wide backboard with both side groove. The southeast part of Gwiam projected was Turtle's tail. This Granite was obvious Turtle shape artificially made, and there are less likely to relocate from place to place. This Turtle-shaped Gwiam is important landmark for Nakseojae, which is one of the four spiritual creatures written in Bogildoji(甫吉島識) and Gosanyugo(孤山遺稿) by Yunwi. According to Bogildoji, it is estimated that Gwiam were on the axis with Soeunbyung(小隱屛), Nakseojae and was buried when Yiguan(Gosan's grandson) reconstructed a building. Also, it was place for enjoying the moon. But, Even after three times excavation in Nakseojae, there was no way to identify further information regarding Gwiam, so it was a matter of mystification. As a result of this study, Gwiam is laid bare to light in at least 260 years, so it is good example for boosting importance of landscape architecture field and restoring Nakseojae. Furthermore, firm base-soil was discovered in 135m high Rock Mass below, so natural ground of Nakseojae can be estimated by this basis. To be conclusion, Preservation Process for Gwiam and Estimation Space through interpretation of four spiritual creatures(四靈) in Gosan's Poetry should be continue.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.3
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• pp.13-21
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• 2017

The Cho-yeon Pavilion located in the Wangdae village in Samcheong-ri, Songgwang-myeon, Suncheon-si, was transformed into a place of refuge, a shrine, a vacation home, a lecture hall for kings. Based on the change, the current study has explored the periodic changing placeness and the transformation of cultural landscape and has figured out the meaning. The result of this study is as follows. First, "Cho-yeon", named by Yeonjae Song, Byeong-Seon, originated from Tao Te Ching of Lao Tzu. The concept is found not only in the Cho-yeon Pavilion in Suncheon but also in various places, such as, the Cho-yeon-dae in Pocheon, of the Cho-yeon-dae in Gapyeong, of the Cho-yeon-dae of the embankment behind the Gioheon of Changdeok-gung Garden, Cho-Yeon-Mul-Oe old buildings, including Jung(亭), Dae(臺), Gak(閣), of Ockriukag in Yuseong, etc. This shows that taoistic Poongrhu was naturally grafted onto confucian places, which is one of the examples of the fusion of Confucianism, Buddhism, and Taoism. Second, the placeness of the Cho-yeon Pavilion area is related to a legend that King Gong-min sought refuge here at the end of the Koryo Dynasty. The legend is based on the Wangdae village(king's region), Yu-Gyeong(留京)(the place where kings stayed), rock inscription of Wang-Dae-Sa-Jeok, Oh-Jang-Dae (the place where admiral flags were planted), and the Mohusan Mountain. Third, the Cho-yeon Pavilion not only has a base(the vacation home) that reflects confucian values from the rock inscription(趙鎭忠別業, 趙秉翼, 宋秉璿) of the beautiful rock walls and torrents but also has territoriality as taoistic Abode of the Immortals (there are places where people believe taoist hermits with miraculous powers live within 1km of the pavillion: Wol-Cheong(月靑), Pung-Cheong(風靑), Su-Cheong(水靑), Dong-Cheon(洞天). The Cho-yeon Pavilion also reflects the heaven of Neo-Confucianism for, pursuing study, and improving aesthetic sense by expanding its outer area and establishing the nine Gok: Se-Rok-Gyo(洗鹿橋)., Bong-Il-Dae(捧日臺), Ja-Mi-Gu(紫薇鳩), Un-Mae-Dae(雲梅臺), Wa-Ryong-Chong(臥龍叢), Gwang-Seok-Dae(廣石臺), Eun-Seon-Gul(隱仙窟), Byeok-Ok-Dam(碧玉潭), and Wa-Seok-Po(臥石布). In sum, the Cho-yeon Pavilion is a complex cultural landscape. Fourth, the usage of the Cho-yeon Pavilion was expanded and transformed: (1)Buddhist monastery${\rightarrow}$(2)Confucian vacation home${\rightarrow}$(3)Vacation home+Taoistic Poongrhu Place${\rightarrow}$(4)Vacation Home+Taoistic Poongrhu Place+Lecture Hall(the heaven of Neo-Confucianism). To illustrate, in 7978, the place served as Buddist Monk Kwang-Sa's monastery; in 1863, Cho, Jin-Choong established a vacation home by building a shrine in front of the tomb of his ancestor; in 1864, Cho, Jae-Ho expanded its usage to a vacation home to serve ancestors as a taoistic place by repairing the pavilion with roof tiles; and after 1890, Cho, Jun-Sup received the name of the pavilion, Cho-yeon, from his teacher Song, Byeong-Seon, and used the Pavilion for a lecture hall.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.1-12
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• 2013

Korea's traditional Sokgasans(a artificial rock mountain) are elements of our excellent rock garden culture that have been inherited from Goryeo Era to Chosun Era. This study is to analyze how the culture of Sokgasans in the Goryeo and the Chosun Eras has been has been representated the implications and inherited in terms of historical aspects. Korea's traditional Sokgasans, which were created in the Goryeo Era by imitating the landscape of mountain ranges, created a small artificial mountain made of oddly shaped stones, imitating a real mountain. People in those days would reproduce mountain landscapes through a miniaturization technique, enjoying the pleasure of deep mountains and valleys as they lay on their gardens at home while having an aesthetic experience of the landscape that supported their emotional stability and healing. The inner side of these Sokgasan was intended to represent the world of the Taoist hermit with miraculous powers in terms of utopia, expressing 5 Ak mountains(Song Shan, Taishan, Huashan, Heng Shan and Hyeong Shan) where the mountain of 3 Gods(Youngju, Bongrae and Bangjang) wishing for 'No aging and living long' and idea of the Taoist hermit with miraculous powers are concentrated beyond the beauty of form in the landscape itself. In addition, people could refine their minds by practicing the Confucianist lesson of loving the mountain and water by watching the Sokgasan and imitating 'Famous mountains and lakes" from China and they had been changed and advanced embracing various implications in inner side of Sokgasans. Korea's traditional Sokgasans not only made it possible for people to experience aesthetic landscapes as a practical element of the scenery but also had deep symbolic implications that go beyond their formal beauty and were sublimated as an ideational space of unlimited imagination.

• Journal of Korean Society of Rural Planning
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• v.23 no.3
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• pp.83-96
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• 2017

This study aims to contemplate the archetypal landscape of a scenic site, Suseungdae area in Hwangsan-maeul village, Geochang-gun by reference research and field surveys and drew the results as follows. First, Since Seong Yundong(成允仝; 1450-1540) embarked on operating the Suseungdae in Eonari(魚川) in 16th century, Shin Gwon(愼權, 1501-1573) and Im Hun(林薰, 1500-1584) took a major role of establishing the archetypal landscape of the area. Henceforth, numerous scholars had kept exploring the scenery and completing the archetypal landscape of the area until the 19th century. Second, the locations of 50 archetypal landscape elements, including "Guyeon-dong sipgugyeong(龜淵洞十九景)" which are dispersed along the Wicheon, has been identified. On the base of this, the archetypal landscape of Suseungdae area is figured out as the 'Guyeon-dong(龜淵洞)' area coming down from 'Cheoksuam(滌愁巖)' to 'Byeoram(鼈巖)'. Third, many archetypal landscape elements are from the locations along the river. Among them, the ones named with rock: Am(巖) and Seok(石), which are shapes of turtles or terrapins, take the high rate and so do the ones named with 'Dam(潭)', which are waterscape. Fourth, among the cultural landscape elements, there are many garden structures such as Nujeong(樓亭) and Seowon(書院), which are located at the spots of viewing the landscape and the structures like banks, bridges and dams are also included. Furthermore, the letters engraved on the rocks are mainly about the landscape elements and are sometimes about the records of building and operating the landscapes by the people who were appreciating the arts and nature. Based on the range and characteristics of the archetypal landscape in Suseungdae area from this study, it is needed to take follow-up studies on the guidelines for efficient management by means of classifying the detailed fields so that there are no negative factors conflicting with the adjacent land use.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.5
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• pp.98-108
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• 2009

The purpose of this study is to analyze the characteristics of limited methods, economics and breeding appropriateness of native and imported ground cover plants in the methodology of a shallow soil rooftop garden. The new shallow soil rooftop gardening method uses a total of 13cm in soil thickness, including 4.5cm of top soil on a 7.5cm rock-wool-mat stacked onto a 1cm roll-type-draining plate. The total construction cost for each method of soil level within the design price standard for SEDUM BLOCK is 89,433won/$m^2$, and for DAKU is 92,550won/$m^2$. By comparing those two methods, the construction cost of the shallow soil artificial foundation methodology is 45,000won/$m^2$; this shows the new method is 50% less expensive than the existing method of shallow soil rooftop gardening. The experiment was executed on the rooftop of the Korean National Housing Corporation to ensure validity of the shallow soil artificial foundation planting, and the sample plants which were imported and grown now in native covering. A list investigating the growing plants was made of the cover rate in each plant class, both while alive and the dry plant weight. The native ground cover plants, Sedum kamtschaticum, Sedum middendorffianum, Allium senescens, Sedum sarmentosum, Aquilegia buergariana, and Caryopteris incana increased the cover rate, live weight and dry weight in the shallow soil artificial foundation method. Among the imported cover plants, Sedum sprium and Sedum reflexum, the cover rate increased and growth conditions improved. However, some species needed weed maintenance. After examination with the less expensive shallow soil artificial foundation method and growth analysis, it was found that rooftop gardens are a low-cost option and the growth of plants is great. This result shows the new method can contribute to the proliferation of rooftop gardens in urban settings.