• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.63-74
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• 2016

The purpose of this study is to expand a prospect of a few-remaining Byeolseo scenic sites of Gangwon-do(Province) through determining placeness formation, prospect characteristics, and landscape meanings of Gumi(Nine beauties) and Sipalgyung(18 scenic views) in Gumijeongsa. Gumijeongsa, which is located in a riverside of the Goljicheon(stream), a part of upstream of Namhangang, is the oldest existing Nujung architecture in the Jeongseon area. This study tried to unearth the Gumijonegsa's locational and formational characteristics through literature review and a field survey. Especially, through the field survey, this study tried to figure out the landscape meanings and contents of Gumi and Sipalgyung by Gumijeongsa's position and its prospect compositions. As a result of this study, Gumi and Sipalgyung of Gumijeongsa are variations of typical traditional culture of Gugok(Nine river bends) and Palgyung(Eight scenic views). Ja Lee, the founder, administrated Gumijeongsa as a core residence of Gugok culture. He established beautiful nine viewpoints from the building, named Gumi, and added 18 detailed landscapes(two landscapes for one beauties), instead of establishing nine river bends of the stream. The Gumi and Sipalgyung are formed by reflection of beautiful locational characteristics from the views in Gumijeongsa, thus the Gumi is the concept which is a unique variation of Gugok and Palgyung culture.

• Journal of the Korean Institute of Landscape Architecture
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• v.18 no.3 s.39
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• pp.11-22
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• 1990

Culture has long been associated with and advanced by stone as observed in prehistoric dolmen, menhir, megalith monuments, memo-rial stones, and others. The closs association of monuments is seen even in an earlist form of culture and is witnessed to evolve with human history. Korea, with its large quality granite repository, has been active with granite-based monuments in various forms of towers, bridges, and larterns. These stone structures are so abundant throughout Korea that Korea has been called the country of stone tower in Asia. With this historical background, we survey these Korean memorial stone and monuments, found at roadsides, momerial buildings, village entrances, scenic places, schools, sermon halls, public pleasure ground, and other common places. Based on installation orientation, location, and size, a particular emphasis is on the structural value, meaning, beauty, and function of these momnuments coupled with trees, shrubs, water and appropriative landscapes.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.2
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• pp.40-53
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• 2019

This study was conducted to investigate the changes in Scenic Spots by utilizing the "Sinjeungdonggukyeojiseungram(新增東國輿地勝覽)" and "Joseonhwanyeoseungnam(朝鮮?與勝覽)" to interpret "Joseonmyeongseungsiseon(朝鮮名勝詩選, 1915)". By examining the historical context when "Joseonmyeongseungsiseon" was published, it documented the Japanese's memories of 'Sino-Japanese War(淸日戰爭)' in 1894, which implies the 'policy of assimilation' by the Japanese Government-General of Korea after the Japanese annexation of Korea(1910). Detailed information about the author 'Narushima Sagimura(成島鷺村)' can be found in preface. In the "Joseonmyeongseungsiseon", it dedicates most of the part in describing the Scenic Spot especially in 'Anseong Do (15 lines)', where has the memories of war such as the 'First Sino-Japanese War'. The number of Scenic Spots, commonly mentioned in both "Sinjeungdonggukyeoji seungram" and "Joseonhwanyeoseungnam" in Cheonan province are 13 in total. Most of the content contains a similar structure. But 'Honggyeongwon(弘慶院)' and 'Seonghwanyeok(成歡驛)' has both the common Joseon Dynasty landscape point of view, and the additional historical context which are about the 'Jeongyujaeran(丁酉再亂)' or 'First Sino-Japanese War' consequently enlightens the 'placeness' of the Scenic Spots. Among the newly described Scenic Spots, 'Anseongdo(安城渡)' is the part that focuses on the memory of the 'Anseongcheon Battle' that gave Japan its first defeat in the Sino-Japanese War. Especially, by introducing the poetry of 'Sinobu Shunpei' it maximizes the appreciation through emphasizing the direct correlation between placeness and the poem itself. While the Joseon Dynasty poems are 10 pieces in total and their title and the subject matters are all related to historical spots, and the appreciation also maximizes when fully interpreted with understanding the historical context. However, it's contextual meanings are neglected by dividing the actual structures into separate pages. When looking at the location of famous historic sites, they come in many different types, considering the location, meaning, size, and conditions surrounding them. It appears as a service space for travelers, a place for sightseeing, relaxation or return, a temple space for paying respects or memorial services, a fortress facility for defense and protection, or a fishing area for wages, and an old battlefield. Especially, it is noted that the area is diverse as the cultural landscape of Cheonan, given that the battle space between the hermitage and the Donghangnongmin(東學農民) is shared with each other. It is necessary to establish policies for the preservation and restoration of local cultural assets based on these points in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.10-19
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• 2022

In this study, historical and cultural landscapes were reviewed focusing on Mangjinsan Mountain in Jinju, Gyeongsangnam-do, and the scenic value was examined through this. First, Mangjinsan Mountain was noted in history, as Ansan(案山, a mountain on the opposite side of a housing/grave site) in Jinju, where Bongsu(烽燧, the beacon fire station) is located. Information on Mangjinsan Mountain was gradually doubled due to its status, and the beacon fire station of Mangjinsan Mountain was in charge of defending the Jinju area. Mangjinsan Mountain was described as a symbolic landscape of Jinju. Regarding the etymology of Mangjinsan Mountain, Sung Yeo-Sin(成汝信) analyzed the geography of Jinju and suggested that it was a place name originating from the phoenix. However, looking at various records, it is confirmed that the name of Mangjinsan Mountain is maintained uniformly, but the inscription is not unified. Second, Mangjinsan Mountain became one of the major stage for the Japanese Invasion of Korea in 1592, and in 1597. It is confirmed to be a place which has joys and sorrows, for that it provided an opportunity to win the Siege of Jinju in 1592, but many casualties occurred in 1597. On the other hand, in the area of Mangjinsan Mountain Byeolseo(別墅), temples, and administrative facilities were located to establish cultural history of the time, and in the 19th century, Manggyeongdae Pavilion was built due to the scenic value of viewing Jinju Castle. These are examples of testimony how Mangjinsan Mountain has an important meaning in Jinju's history and culture. Third, in the late Joseon Dynasty, a poem reciting Mangjinsan Mountain appears, which shows that the Mountain has established itself as a scenic site in Jinju. The description of Mangjinsan Mountain is confirmed in the literature that lists the scenic sites of Jinju. On the other hand, writers who lived in Jinju paid attention to the beacon fire station, singing about the peaceful world without war and looking back the history. In the 19th century, Jeonbyeolyeon(a farewell party) was held, which seems to be the result of the beauty of viewing Jinju and overviewing the area. Through the facts, the symbolism and scenic value of Mangjinsan Mountain in Jinju were confirmed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.58-68
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• 2017

The conclusion of this research after analyzing and interpreting the landscape structure and meaning of Yeongsajeongpalkyung (永思亭八景) that appears in Yeongsajeongpalyeongsi(永思亭八詠詩) of Cheonggye(靑溪) Yang, Dae-bak(梁大樸, 1544~1592) and through document studies, poetry and painting analysis and interpretation, and site investigation, is as follows. Yeongsajeong and its nearby lands are the area of "Yeongsa", where the builder, Ahn, Jeon(安?, 1518~1571) worshipped towards the grave of ancestors, and Yeongsajeongpalkyung oversees a family burial ground in Namwon, centering around Yeongsajeong such as Yocheon, Geumseokgyo and Cheonggyedong, and Sunjagang River and Mountain Jiri, which are the foot hold and key points of advantageous scenic views in Namwon. Yeongsajeongpalkyung, unlike general Jeongjapalkyung, shows a panoramic bird's-eye structure overseeing the landscape and scenery of the Yocheon area and Sunjagang River, in addition to Yeongsajeong, while show in a transition of location, a multi-view structure and time. The trace of visual unity with Sosangpalkyung of China can be seen in many places in Yeongsajeongpalkyung, which seems to be a transitional feature of composing poems regarding Palgyeong during the mid-Joseon dynasty, which pursues harmony with the local landscape of the Namwon area. The 'Changsongchwijuk(蒼松翠竹)' appearing in each of the first and second scenic views of Palgyeong and Yeongsajeongpalyeong can be understood as an incarnation of Yang, Dae-bak, the author of Palyeongsi or Ahn, Jeon, the builder of Yeongsajeong. On the other hand, as a result of interpreting the yin-yang features of poetic diction and picture elements appearing in the subtitle of Yeongsajeongpalyeong, Palyeongsi seems mostly full of yin-like elements and Palgyeongdo. Moreover, as a result of comparing and analyzing the acts expressed in and acts described in Yeongsajeongpalyeong, based on the fact that the reis almost no common ground between the two media except for Soongangmowoo, the third scenic view, the formal similarity between the two media can be acknowledged, however, it is difficult to discover any substantive 'integrity of poetry and painting'.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.6
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• pp.97-109
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• 2008

This study first attempted to catch the transformational affairs and motives of the representative pavilion, Hanbyeok in Honam after its construction. Especially, it re-illuminated the morphologic, significant and functional change process of a pavilion after the early Joseon Dynasty by taking the local scenery, Hanbyeokdang as a sample, and considering the space and scenic characteristics, and diachronically understood its creation process and rebuilt its inherent positional meaning to reach the following conclusion. 1. Weoldanglu, at its early foundation, seems to have stressed the function of a private banquet and lecture hall to train younger students, and served as a reception space. Then the reception function gradually increased, and up to before 1530, it seems to have been called Weoldanglu(月塘樓) or Weoldangwon(月塘院). 2. In 1619, Governor Yoo Saek changed the pavilion name to Hanbyeokdang through the subject of a poem. 200 years after Weoldang's death, it became a public space called Hanbyeokdang, an amusement place in which scholars cultivated great morale, and participated in the sending-off and welcoming of predecessors and successors. This seems to have taken a foothold as a public event or entertainment space for the local administration, Jeonjuboo(全州府) through the remodeling process sponsored by the public. 3. Scenic language such as its indicating name, expression type and surrounding view through old map and so on, the shape of Hanbyeokdang evolved and changed to diverse types after the foundation of Weoldanglu, at the heart of which Hanbyeokdang with its two legs standing at a rock was located. 4. During the late 18th century, Hanbyeokdang seems to have been a wing corridor connected closely to the left corridor of the Jeonju stream bed, whose pattern is presumed to have existed even during the early 19308. Such changes in scenic language make us assume that diverse auxiliary space, a wing corridor, was erected for use as a public banquet and amusement spot of Jeonjuboo Castle, the inherent function of Hanbyeokdang after the mid 18th century. 5. Penetration of Hanbyeokgool and the erection of Hanbyeokgyo caused the change of the ancient shape of Hanbyeokdang. Specifically, a great Hanbyeokgyo passing by the pavilion changed the relative scale, so the pavilion image of pursuing unity with nature has lost the old inherent refinement and visual character.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.1
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• pp.55-64
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• 2022

This study aims to shed light on the cultural history of Hajodae(河趙臺) enjoyed by writers of the Joseon Dynasty by analyzing the origin and the contents of the landscape based on the literature materials of Hajodae in Yangyang(襄陽). The results of the study are as follows. First, Hajodae is a space that is said to have been visited by Ha Ryun(河崙) and Jo Jun(趙浚). However, since this story has not been confirmed in the literature, various opinions coexisted in history. Jo Wi-Han(趙緯韓) quoted the opinions of aged people who lived in Yangyang, saying that it could be Jo In-Byeok(趙仁壁), not Jo Jun(趙浚), and Jo Deok-Rin(趙德鄰) recorded it as "遐眺臺", which means "a stand for a distance view." There is a need to clearly present the origin of Hajodae by revealing the literary authority. Second, Hajodae was talked about as the best scenic site in Gwandong(關東) in the middle of the Joseon Dynasty. during the mid-Joseon Dynasty. The writers of the time mentioned Hajodae as one of the best scenic sites in Gwandong, which soon became a symbol of Yangyang. These records of Hajodae show a relatively decreasing trend entering the late Joseon Dynasty. It is believed to be the result of the slight degrading in the status of Hajodae as the Eight Views of Gwandong were established and Naksansa Temple(洛山寺) gained fame. Third, the writers of Joseon enjoyed the scenic sites through various landscapes of Hajodae. The open terrain on three sides allowed a sea view and provided an opportunity to develop a great spirit or to reflect on oneself. On the other hand, the strange rock formations and cliffs, which correspond to a close-up view, drew the attention of tourists, and the Rosa rugosa Thunb. blooming in the Hajodae area was enough to show a bizarre charm. This shows the various charms of Hajodae, suggesting that the management of such landscape is necessary. Fourth, a Chinese poem about Hajodae shows the spatial meaning of Hajodae. Looking into all sides of the Chinese poem about Hajodae, a case of unburdening one's mind on the landscape, and the aspect a person compared oneself to the natural landscape or projected one's consciousness onto it, and a case of recalling Ha Ryun and Jo Jun, illustrious retainers in the early Joseon Dynasty are confirmed. It can be seen that it results in the aspect of expressing one's impressions and looking back on history through the landscape.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.3
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• pp.129-143
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• 2006

This study is to review the printed cotton textile industry of Europe in 17th-l8th century, and specially investigate the development of the Toile do Jouy, printed French fabrics around the 18th century. Generally, the Toile de Jouy has two different meanings. The first meaning is the popular printed cotton textiles producted by wood block printing, copper plate printing and roller printing techniques at Jouy on Joas factory in France, around 18th century. The second meaning is the monochromatic upholstery fabrics printed by copper plate. Actually, this monochromatic printed textiles were the most popular printed cotton fabrics with large scale scenic designs with people, trees, birds, buildings, mythical heroes, protagonists of novel and country scenes of shepherds, sheep and other animals manufactured by Jouy on Joas factory. Main issue of this paper is to propose features of pattern, color and classify types of patterns expressed on the Toile de Jouy fabrics according to printing techniques such as wood block printing, copper plate printing and copper roller printing. And this study is also to analyze on origins of the variety of names called the printed cotton textiles in those days. The results of this study can help to understand the knowledge of printed cotton textiles in Europe and be effectively applied to develop printed fabric design in the textile industry.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.1
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• pp.90-102
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• 2008

This paper has aimed to determine how the Suwon Palkyong(水原八景: eight scenic wonders) were formed and the implicature of landscape, such as implicit intention and symbolic significance. For this, the significance and symbolic meaning of the Suwon Palkyong from the time of the 'Hwaseong Chunchu Palgyeong(華城春 秋入景)' have been investigated in order to determine the political and social arguments in Suwon Palkyong that surrounded the formation process and meaning. The 'Hwaseong Chunchu Palkyong' contains a variety of significant elements and factors of Pungmul(Korean drum & dance) as well as formative elements such as a castle. Plantings for beautiful scenery and water use for flood control have also been major elements in the development of Hwaseong. Therefore, it seems that the 'Hwaseong Chunchu Palkyong' is a catchphrase for the future image of the urban landscape. Most Suwon Palkyong sites such as Paldalsan, Namje, Yungneung, Manseokgeo, Chukmanje, Hwahongmun, and Yongji(a pond in Banghwa Suryujeong) are related to the 'Hwaseong Chunchu Palkyong'. 'Gwanggyo Jeokseol(光敎積雪: the landmark mountain, Mt. Gwanggyo with snow)' and 'Paldal Cheongnam(八達晴嵐: Mt. Paldal with shimmering air)' have also been added to Suwon Palkyong. Suwon Palkyong is either directly or indirectly related with water including the origin of Suwoncheon(水原川), an artificial reservoir for flood control and irrigation and Bibopungsu in Yungneung(隆陵), as well as the source of water for rituals after the death of King Jeongjo(正祖大王). Based on Suwon Palkyong, therefore, it can be said that water is a decisive medium in connecting old Suwon with Hwaseong New Town and essential element in the natural landscape. In conclusion, while Hwaseong is a 'Designed Landscape' that was created with a specific intention during the reign of King Jeongjo, the 'Hwaseong Chunchu Palkyong is a 'Desired Landscape' that envisioned a future landscape while Suwon Palkyong is an 'Evolved Landscape' related to the business affairs of the citizens. To completely restore Hwaseong, whose value and importance have been recognized internationally, therefore, the fundamental restoration of a cultural landscape as well as the restoration of the original form of the Hwaseong landscape including Suwon Palkyong is essential.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.4
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• pp.25-35
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• 1999

This thesis is to newly understand the value and the meaning of Chonju Palkyong(全州八景) by the specific gravity in making a counter-proposal in other to improve the landscape identity of modern city and at the same time. I intended to group the grafting device for the preservation and regeneration of modern history cultural environment through the interpretation of landscape construction. The meaning system of Chonju Palkyong showed the symbolic system which a landscape construction, four directions and two places has and exhibited the landscape shape possessing a luxuriant local feature peculiar to Chonju, preserving visual bound language of a classical Palkyong. Especially, it implies the use of the substantial landscape experienced factor, the expressions about natural phenomena and the matter which has melted human living circumstances. The landscape construction and it's form show the system which forms the different time field, a far landscape and a mid distance landscape and a near landscape, etc., under the visual, psychological, scenic influenced area, preserving the feature of the similar and typical type of Sosang Palkyoung（瀟湘八景) which intended to seek the local reappearance of the famous site experienced type and natural matter which famous place and local conduct were combined. The object space of Chonju Palkyong area representing the nature of historical landscape cultural assets, pushed by the greater part of the development based theory, shows injured aspects, but needs to play a part to seek such a up-to-date successive plan as the reconstruction of the destroyed historical landscape area which motivated Palkyong, the establishment of useful area, the embodiment of the cultural identity of Palkyong area and the becoming of the educational cultural life space. The analysis of the landscape construction of Chonju Palkyong and the grouping of the modern successive plan which I considered in this thesis, will be able to become a fundamental data to carry out the preservation of historical landscape and the landscape plan in the city.