• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.73-80
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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 landscape structure of the area around the Cheongshimru(淸心樓: pavilion). On the other hand, many Palkyung poems and Noojeongjeyong(樓亭) poems illustrating the Cheongshimru as the view point or the objective have clarified the scenic excellence when the Cheongshimru is the view point. The Yeoju Palkyung viewed from the Cheongshimru was described as constructing all around allocation structure, and six scenes are categorized as a distant view of the visual influence while the 7th scene Ireungdogyeon and the 8th scene Pasagwau are a psychologically influencing landscapes. The panoramic composition of the Yeoju Palkyung at the Cheongshimru is interpreted as the Seunggyeong distribution considering Palchaejigyeongsaek(八采之景色), where main viewpoint is the Cheongshimru and the distant landscape is Paldaejangrim. The reputation of the Cheongshimru, the central place of the Yeoju Palkyung, is confirmed by the technique of scene processing describing a various way of illustrating landscapes such as near view, distant view, pulling view and collecting view. The restoration of Cheongshimru and Paldaesup(八大藪) currently undertaken is the essential business for the full recovery of the Yeoju Palkyung, which will be not only for physical restoration but also for the shortcut to revitalize the history and the spirit of Yeoju. Furthermore, the business direction should be reconsidered to truly understand the meaning, the value, and the structure of the Yeoju Palkyung to ensure the pursuit of the sustainability aiming at the project "Local attractions", one of the Namhangnag Four rivers project of the ministry of Land, Transport and Maritime Affairs.

• 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.