• Sijohaknonchong
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• v.30
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• pp.91-107
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• 2009

This study is to examine how Sijo is being accommodated to modern Gagok by comparing them. In details, the work is about comparison between three verses in Sijo and twofold grouping in modern Gogok, JoongYuUm in traditional Gagok, YuBak in Sijo, the interlude, ADanSungJang, and changing verses in modern Gagok. First point is about three verses in Sijo and a rhythm of twofold grouping in modern Gagok. In particular, modern Gagok is treated as a group of twofold leaving three verses of Sijo. The way is chosen that whether it sets on an interlude into a song or the third part of three verses in Sijo is extended to avoid its logic of music and poem. Second, the discussion moves points on between an interlude in traditional Gagok and in Sijo. In the process of grouping twofold in modern Gagok, the parts which are interludes of both in traditional Gagok and in Sijo, combined with the interlude of the modern Gagok. It shows that the modern Gagok is affected on both the traditional Gagok and the Sijo. In addition, it explains elements of ADanSungJang - - tones and sounds in the modern Gagok. Originally, the traditional Gagok and sijo are composed of tones and sounds. At this point, tones are short, whereas sounds should be longer. This kind of way in the song has appeared on the modern Gagok of Hong, Nan-Pa. Lastly, the factors is about changing verses of modern Gagok. The one of differences between the modern Sijo and traditional Sijo is verses. For example, when it comes to sijo by Lee, Eun-Sang, he used to create his sijo with three verses. Hence, he did not change verses on his works. Whereas, the modern song "The Spring Lady" by Hong, Nan-Pa has shown the phenomenon that is separating three verses into six verses. It is noticeable that this phenomenon in "The Spring Lady" has the same bases with the modern Sijo.

• Journal of architectural history
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• v.26 no.6
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• pp.29-40
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• 2017

Soswaewon as a typical villa garden of Korea is a symbolic garden that its diverse compositions imply a specific meaning. This study reviewed the purpose of introduction, meaning, and location of the landscape plants as one of the compositions and covering quite a large part of Soswaewon through 48 Yeong (meaning 48 poems of Soswaewon) and Soswaewondo (meaning Map of Soswaewon). In 48 Yeong, 27 verses describe landscape plants as their key poetic matters. The most frequently mentioned top 3 plants are bamboos, pine trees, and Japanese apricots. The three plants are called Sehansamwoo(歲寒三友) showing constant fidelity and loyalty in any changing situations, which was regarded to represent the nature of scholars. And also the study examined the frequency and planting location of the plants in Soswaewon by comparing 48 Yeong and Soswaewondo, and the result showed some differences between them. That seems to be caused by the limitations in the comparison, because in case of 48 Yeong, the location and frequency of landscape plants can be examined only through the context of the verses, and Soswaewondo showed different production time from 48 Yeong and expressed them only in a form of drawing. The plants have symbolic meanings multi-layered and ambiguous. With their symbolic meanings, the landscape plants reviewed through 48 Yeong consistently represent fidelity and loyalty, man of virtue, and hermit. That is, Soswaewon is the garden granting some significance to its compositions by interacting with the things.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.1-9
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• 2017

The present study is designed to examine categories and characteristics of the scenic sites depicted in the "Joseon MyungSeung SiSun(Collection of Poems on Joseon Dynasty Scenic Sites, 朝鮮名勝詩選)" written by Narushima Sakimura(成島鷺村) during the early period of the Japanese Colonization to introduce the scenic sites of the Korean Peninsula. Introduction and forewords are construed in order to define the purpose of the Collection, and thorough analysis are conducted on category, location, and distinct characteristics of approximately 1,700 scenic sites described in the body. From the study, it is identified that there are twice as many cultural landscapes introduced in the Collection than natural landscapes, and the most frequently introduced sites are historical Buddhist sites, pavilions, famous mountain in the respective order. Further, the study reveals that the Collection makes reference of the verses written by virtuous Korean scholars in order to broaden the significance of the scenic sites, and also that the Collection marks the time period when the new scenic sites with symbolic implications of the modern period at the turn of the Japanese colonial period are began to be introduced. Such new scenic sites include modern parks and commemorative structures, beaches, train stations, etc. Nevertheless, the scope of study presents limitation as its scope of analysis does not take the changing perceptions of people on scenic sites before and after the colonial period into consideration, and also further comparative analysis on other documentations made record on the scenic sites of the Korean Peninsula will need to be continued in the future studies.