• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.48-63
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• 2013

The results of the study on the space planning and landscape design of Unjoru(雲鳥樓) through the 'Jeolla Gurye Omidong Gado(全羅求禮五美洞家圖)' drawn using GyeHwa(界畵) technique are as follows. First, 'Omidong Gado' is believed to date back to the period when Unjoru(1776~1783) was established for the following reasons: (1) The founder, Yoo-IJu(柳爾?), sent the drawing for the house while he was serving as the governor of YongCheon county(龍川府史). (2) It shows the typical dwelling houses' space division and its location is in a good spot with mountain in the back and water in front(背山臨水) and there is every indication of scheme drawing. (3) Front gate was changed and remodeled to a lofty gate in 1804. Second, Nogodan & Hyeongjebong of Jiri Mountain sit at the back of Unjoru, and faces Obong mountain and Gyejok mountain. In addition, the Dongbang stream flowing to the east well illustrates the Pungsu theory of mountain in the back and water in the front. Third, the house is structured in the shape resembling the character 品, divided into 5 areas by hierarchical order in the cross line from all directions. The site, which includes the outdoor yard and the back garden, consists of 5 blocks, 6 yards and 2 gardens. Fourth, the outdoor yard with aesthetical value and anti-fire function, is an ecological garden influenced by Confucianism and Taoism with a pond (BangJiWonDo Type, 方池圓島形) at the center. Fifth, the Sarang yard(舍廊庭) is decorated with terrace garden and flower garden, and the landscaping components such as oddly shaped stone, crane, plum, pine tree, tamarisk tree and flowering plants were used to depict the ideal fairy land and centrally placed tree for metaphysical symbolism. The upper floor of Sarangchae commands distant and medium range view, as well as upwards and downwards. The natural landscape intrudes inside, and at the same time, connects with the outside. Sixth, pine forest over the northern wall and the intentionally developed low hill are one of the traditional landscaping techniques that promotes pleasant residential environment as well as the aesthetics of balanced fullness.

• 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.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.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.32-51
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• 2016

This study examines, based on the database of the Institute for the Translation of Korean Classics(ITKC), the garden plants and their symbolism, and the landscape culture recorded in 'Jipkyungjaeyoungsi(the Series of Poems on Gardens Poetry)' in relevance to traditional houses. First, Jipkyungjaeyoungsi had been continuously written since mid-Goryeo dynasty, when it was first brought in, until the late Joseon dynasty. It was mainly enjoyed by the upper class who chose the path of civil servants. 33 pieces of Jaeyoungsi(題詠詩) in 25 books out of a total of 165 books are related to residential gardens. The first person who wrote a poem in relation to this is believed to be Lee GyuBo(1168~1241) in the late Goryeo dynasty. He is believed to be the first person to contribute to the expansion of natural materials and the variation of entertainment in landscape culture with such books as 'Toesikjaepalyoung(退食齋八詠)', 'Gabeunjeungyukyoung(家盆中六詠)'and 'Gapoyukyoung(家圃六詠)'. Second, most of the poems used the names of the guesthouses. Out of the 33 sections, 19(57.5%) used 8 yeong(詠), then it was in the sequence of 4 yeong(詠), 6 yeong, 10 yeong, 14 yeong, 15 yeong, 16 yeong, 36 yeong(詠) and so on. In the poem writing, it appears to break the patterns of Sosangpalkyung(瀟湘八景) type of writings and is differentiated by (1) focusing on the independent title of the scenery, (2) combining the names of the place and landscape, (3) focusing on the name of the landscape. Third, the subtitles were derived from (1) mostly natural landscape focused on nature and garden plants(22 sections, 66.7%), (2) cultural landscape focused on landscape facilities such as guesthouses, ponds and pavilions(3 sections), (3) complex cultural scenery focused on the activities of people in nature(8 sections). Residents enjoy not only their aesthetic preferences and actual view, but the ideation of the scenery. Especially, they display attachment to and preference for vegetables and herbs, which had been neglected. Fourth, the percentage of deciduous tree population(17 species) rated higher(80.9%) compared to the evergreens(4 species). These aspects are similar results with the listed rate in 'Imwonkyungjaeji(林園經濟志)' by Seo YuGu [evergreen 18 species(21.2%) and deciduous trees 67 species(78.8%)] and precedent researches [Byun WooHyuk(1976), Jung DongOh(1977), Lee Sun(2006)]. Fifth, the frequency of the occurrence of garden plants were plum blossoms(14 times), bamboos(14 times), pine trees(11 times), lotus(11 times), chrysanthemum(10 times), willows(5 times), pomegranates(4 times), maple trees(14 times), royal foxglove trees, common crapemyrtle, chestnut trees, peony, plantains, reeds and a cockscombs(2 times). Thus, the frequency were higher with symbolic plants in relations to (1) Confucian norms(pine trees, oriental arbor vitae, plum blossoms, chrysanthemums, bamboos and lotus), (2) living philosophy of sustain-ability(chrysanthemum, willow), (3) the ideology of seclusion and seeking peace of mind(royal foxglove ree, bamboo). Sixth, it was possible to trace plants in the courtyard and outer garden, vegetable and herb garden. Many symbolic plants were introduced in the courtyard, and it became cultural landscape beyond aesthetic taste. In the vegetable and herb garden, vegetables, fruits and medicinal plants are apparently introduced for epigenetic use. The plants that were displayed to be observed and enjoyed were the sweet flag, pomegranate, daphne odora, chrysanthemum, bamboo, lotus and plum blossom. Seventh, it was possible to understand garden culture related to landscaping materials through poetic words such as pavilions, ponds, stream, flower pot, oddly shaped stones, backyard, orchard, herb garden, flower bed, chrysanthemum fence, boating, fishing, passing the glass around, feet bathing, flower blossom, forest of apricot trees, peach blossoms, stroking the pine tree, plum flower blossoming through the snow and frosted chrysanthemum.