• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.2
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• pp.104.2-104.2
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• 1997

Ji Cheng''''s great work on garden design theory, the ''''Yuanye'''', written in 1631 and originally published in 1634 is the first surviving treatise and most famous and comprehensive work on the suvject in the Chinese tradition. He constructed Dongdiyuan in Changzhou about 1623, Wuyuan in Yizheng in 1631, and Yingyuan in Yangzhou about 1634. But no poems and paintings written by him still exist, and none of his known gardens has survived. Therefore his design philosophy is able to be interpreted only by his work, Yuanye. This study aims at investigating the garden design theory in Yuanye. The results were summarized as follows. 1) Yuanye reflected the garden tastes of literati, and Ji Cheng endeavored to express the deas of literati painting into gardens. 2) The essence of the garden design theory is Xingzao, and Yindi, following the existing lie of the land, and Jiejing, to borrow from the scenery, are two major activities of Xingzao. 3) Ji Cheng''''s design theory build up on the basis of recognizing the existence of masters. 4) Yindi is the environmental and ecological planning and design method. This is the activity to reach the state of artistry through suitability. 5) Jiejing is not merely borrowing the landscape but the making use of scenery around the garden. And only the master has the skill in fitting in with the form of the land. 6) Ji Cheng pursuits the garden which will look like something naturally created though manmade. It is the goal of the Chinese traditional gardens and ideal situation. 7) Ji Cheng aims to unify the environment and landscape design dialectically into Xingzao.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.2
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• pp.117-134
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• 1997

Ji Cheng's great work on garden design theory, the 'Yuanye', written in 1631 and originally published in 1634 is the first surviving treatise and most famous and comprehensive work on the suvject in the Chinese tradition. He constructed Dongdiyuan in Changzhou about 1623, Wuyuan in Yizheng in 1631, and Yingyuan in Yangzhou about 1634. But no poems and paintings written by him still exist, and none of his known gardens has survived. Therefore his design philosophy is able to be interpreted only by his work, Yuanye. This study aims at investigating the garden design theory in Yuanye. The results were summarized as follows. 1) Yuanye reflected the garden tastes of literati, and Ji Cheng endeavored to express the deas of literati painting into gardens. 2) The essence of the garden design theory is Xingzao, and Yindi, following the existing lie of the land, and Jiejing, to borrow from the scenery, are two major activities of Xingzao. 3) Ji Cheng's design theory build up on the basis of recognizing the existence of masters. 4) Yindi is the environmental and ecological planning and design method. This is the activity to reach the state of artistry through suitability. 5) Jiejing is not merely borrowing the landscape but the making use of scenery around the garden. And only the master has the skill in fitting in with the form of the land. 6) Ji Cheng pursuits the garden which will look like something naturally created though manmade. It is the goal of the Chinese traditional gardens and ideal situation. 7) Ji Cheng aims to unify the environment and landscape design dialectically into Xingzao.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.3
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• pp.79-93
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• 2016

The present study aimed to understand the taste of literati appearing in the Korean-Chinese garden by comparing "Yanghwasorok(養花小錄)" and "Zhangwuzhi(長物志)", which are one of the representative gardens in Korea and China. The main subject of comparison is plants; the research results are as follows. First, Gang Hui-an stated that the ultimate purpose of growing and appreciating the gardening plants is the completion of oneself, while Wen Zhen-heng(文震亨) used gardening plants as a means to practice a life of reclusiveness(隱逸). Second, Gang Hui-an claimed that growing plants is human's cultivation of virtue on the basis of Confucian view's gaining knowledge by the study of things(格物致知), whereas Wen Zhen-heng realized the taste of 'elegance(雅趣)' through form of plants or planting method. Third, although plant preference of literati of both countries is similar in many parts, there is a slight difference for putting gardening plants in pots and appreciating them. For example, even for selecting or placing pots, simplicity and lightness are characteristically reflected from Gang Hui-an while splendor and refinedness are characteristically shown from Wen Zhen-heng. Moreover, in light of the taste of appreciation of literati of the Song Dynasty(宋代), which is a sample of literati spirit, Gang Hui-an inherited the inner world of the spirit whereas Wen Zhen-heng expressed 'literati-ness' in visual images.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.1-21
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• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.21-29
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• 2023

The Northern Song Dynasty, the heyday of cultural and artistic achievements, brought significant changes to the history of gardens in China. The developments and contemplations that had evolved during the previous Tang Dynasty became intertwined with literature, painting, and art, leading to garden being perceived as works of art. In particular, the emergence of Su Shi(蘇軾) that permeated literature and art during the Northern Song Dynasty, had an impact beyond individual garden creation, influencing the development of public gardens and the diversification of garden. His long exile periods served as an opportunity to understand and reflect the local culture and characteristics, influencing the development of the garden. This study focuses on the ideology of Su Shi(蘇軾) that managed various gardens, examining the relationship between his exlie life and ideology. To do so, the study examines the form of the literati's gardens managed by Su Shi(蘇軾), with a particular emphasis on the Baiheju(白鶴居) garden in Huizhou, revealing the following characteristics and values. First, Su Shi(蘇軾), who was proficient in the Three Houses: Confucianism, Buddhism, and Taoism, combined his philosophy and unique perspective techniques with the location and composition elements of Baiheju(白鶴居) to enjoy the landscape. Although the ancient residence has a simple form, it possesses expansiveness through the combination of internal and external views. The interior is designed to be perceived as a single space, but it allows overlapping experiences of space and simultaneous appreciation of different sceneries. On the other hand, the spatial layout incorporates a hierarchical order to establish a sense of order. Second, the garden reflects the local characteristics, featuring numerous tropical plants and presenting vibrant and contrasting colors with structures. The planting forms embrace the concept of "huosei seikou" (活色生香) to enhance the color harmoniously. Additionally, the garden incorporates the poet's spiritual world, projecting it onto the garden as a contemplative place for spiritual nourishment and exploration of the ideal realm. For the pursuit of serenity and profound contemplation, the selected plantings are simple yet distinctive, providing rhythm and depth to the garden space. Third, Baiheju(白鶴居) has undergone changes over the years, but fundamentally, the form and elements of the garden shaped by Su Shi(蘇軾)'s descendants persist, confirming its heritage value.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.4
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• pp.113-124
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• 1999

The purpose of this study is to search into the relation between the chinese seclusion culture and the gentleman's gardens by means of the historical and aesthetic approach. The periodic limits of this study is from pre-Qin to Tand. For gentleman's gardens in Tang dynasty at once got out of the noble's gardens which had imitated the imperial gardens until Tang, and became the origin of the gardens of the literati appearing in post-Tang dynasty. The major findings are as follows : First, in pre-Qin period, the origin of the seclusion culture is classified as the metaphysical seclusion of Taoism and the physical seclusion of Confucianism. Although Pu, Yuan, and Uou which could be said the first step of the chinese gardens were inquired, the clear relation between the seclusion and them is not found. Second, during Qin-Han dynasty, the role of the gardens, as the settings of the seclusion, are comparatively minor, too. But uan Kuang-Han's garden considerably escaped from that of pre-Qin in the aspect of function, and it has the characteristics of recreation. Third, during Wei-Chin and Liu dynasty, two types of the seclusions emerged. One is the small seclusion, and the other the Great Seclusion. Though, as formerly, the contemporary gardens did not escaped from the imperial gardens, Shi Chong's garden can be the setting of the Court Seclusion. But the seven Righteous in Bamboos' and Tao Yuan-Ming's settings of the seclusion were real natural environments rather than gardens. Forth, in Tang dynasty, in spite of relatively low status, Bai Ju-Yi's theory of the middle Seclusion enabled gentlemen to make seclusion in sinecures unlike the court Seclusion. The theoretical background of the Middle Seclusion was Zen Buddhism and the State Examinations System and Bai Ju-Yi's private social position also had an important effect on it. In Tang dynasty, there being nobiliary gentleman's gardens, Bai Ju-Yi's garden, Lushan Caotangyuan, was the setting of the Middle Seclusion. It can be called a real gentleman's garden, for it is simple and small unlike the imperial gardens or the nobiliary gentleman's gardens.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.1
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• pp.76-84
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• 2019

This study was conducted for the purpose of examining the Outstanding Universal Value, World Heritage Values, in Suzhou classical gardens and the operational method of the protection management of historic gardens, and the results of the study are as follows; The first, as a world heritage, Suzhou gardens proved OUV by showing the taste and lifestyle of the literati, the unique class of Chinese history, to the natural environment of the East Yangtze Delta region. In addition, it showed the exchange of international culture with unique Chinese garden techniques. Second, a authentic reconstruction of garden have original value because it exist records of the near past. The 20th-century archives described by the contemporary language and describing the heritage through images using such media as photography and drawing played a decisive role in restoring gardens. Third, the protection management of Suzhou gardens, which began in the 1950s, was carried out in detail, including the reconstruction of components such as buildings, the restoration of plant materials and horticulture technique, the creation of a list through the records of trees, the maintenance of props such as plaque, furniture, and the project to improve water quality and restore waterscape. The last, after the World Heritage inscribing, Garden's protection management was proceeded in two directions. One is that through the reorganization of the administrative management system and the enactment of laws related to Suzhou classical Gardens, the listing heritage is strictly protected and managed, and the other is that the historical gardens are used to establish urban masterplan and urban identity in Suzhou. The range of garden properties greatly expanded by distinguishing the principle of conservation from protection to rational use and the grade of protection, such as whole protection, maintenance protection and protection of historical sites.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.83-92
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• 2014

This study has researched the uses and plant materials of bamboo screen from the gardening books in Ming Dynasty: Yuanye (園冶), Zhang wu ji (長物志) and Xian Qing Ou Ji (閑情偶寄). The results were as follows; first, though these books nearly were written nearly at the same period, the bamboo screen was seen in a negative viewpoint or positively endorsed by authors. These show the extinctive process which had used bamboo screen creating for urban seclusion in early Ming Dynasty and that the meaning was changed by the social economic changes in Late Ming Dynasty. Second, the bamboo screen was devised as a support which was trained the branches of the creepers. This was an equipment to maximize ornamental effectiveness with some rose families which produced nearly all year round, and it was involved cultural enjoyment of Chinese indigenous custom. Finally, the bamboo screen was used rose families for the beautiful flowers. And this was constructed as a multipurpose facility which was used as the flower screen in blossoming season as well as the role as wall.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.39-51
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• 2011

This study is explored the relationship of cultural history between the culture of mental stroll about nature and the traditional landscape architecture spaces, which showed various aspects of developments, based on the records as to landscape architecture spaces. The philosophical view on nature was turned into the esthetic view with the mellow ripeness of multifarious cultures in Choseon period, since the life of literati had to be a comprise between the Confucius' life and the Taoist life. Around the seventeenth century, as the culture of enjoying a secluded life in city had been descended, the aspiration to appreciate nature in daily life with the changed view on nature. Those desires made the Wa-yu culture, which has a meaning of mental stroll about nature, and drew the attention and various kinds of the Wa-yu culture had bloomed. In the field of Korean literature, the record of strolling in nature had flourished, while the realistic landscape painting had emerged in the field of art. In the field of landscape architecture, the building of places where the vivid experience of nature was realized in the aspect of impressions was performed to express their utopia. Indeed, the space of traditional landscape architecture in the reality meant more than the actual nature.