• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.72-84
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• 2010

This study was attempted in order to offer basic data for implementing and applying Samjonseokjo(三尊石造), which is one of traditional stone construction method, by confirming how the constructive principle is expressed such as proportional beauty, which is contained in the modeling of Triad of Buddha Carved on Rock that was formed in the period of the Three States, centering on Triad of Buddha Carved on Rock in Susan. The summarized findings are as follows. 1. As a result of analyzing size and proportion of totally 17 of Triad of Buddha Carved on Rock, the average total height in Bonjonbul(本尊佛) was 2.96m. Right Hyeopsi(右挾侍) was 2.19m. Left Hyeopsi(左挾侍) was 2.16m. The height ratio according to this was 100:75:75, thereby having shown the relationship of left-right symmetrical balance. The area ratio in left-right Hyeopsi was 13.4:13.7, thereby the two area having been evenly matched. 2. The Triad of Buddha Carved on Rock in Seosan is carved on Inam(印岩) rock after crossing over Sambulgyo bridge of the Yonghyeon valley. Left direction was measured with $S47^{\circ}E$ in an angle of direction. This is judged to target an image change and an aesthetic sense in a Buddhist statue according to direction of sunlight while blocking worshipers' dazzling. 3. As for iconic characteristics of Buddha Carved on Rock in Seosan, there is even Hyeopsi in Bangasang(半跏像) and Bongjiboju(捧持寶珠) type Bosangipsang. In the face of Samjon composition in left-right asymmetry, the unification is indicated while the same line and shape are repeated. Thus, the stably visual balance is being shown. 4. In case of Triad of Buddha Carved on Rock in Seosan, total height in Bonjonbul, left Hyeopsi, and right Hyeopsi was 2.80m, 1.66m, and 1.70m, respectively. Height ratio in left-right Hyeopsibul was 0.60:0.62, thereby having been almost equal. On the other hand, the area ratio was 28.8:25.2, thereby having shown bigger difference. The area ratio on a plane was grasped to come closer to Samjae aesthetic proportion. 5. The axial angle of centering on Gwangbae was 84:46:50, thereby having been close to right angle. On the other hand, the axial angle ratio of centering on Yeonhwajwa(蓮華坐: lotus position) was measured to be 135:25:20, thereby having shown the form of inequilateral triangle close to obtuse angle. Accordingly, the upper part and the lower part of Triad of Buddha Carved on Rock in Susan are taking the stably proportional sense in the middle of maintaining the corresponding relationship through angular proportion of inequilateral triangle in right angle and obtuse angle. 6. The distance ratio in the upper half was 0.51:0.36:0.38. On the other hand, the distance ratio in the lower half was 0.53 : 0.33 : 0.27. Thus, the up-down and left-right symmetrical balance is being formed while showing the image closer to inequilateral triangle. 7. As a result of examining relationship of Samjae-mi(三才美) targeting Triad of Buddha Carved on Rock in Susan, the angular ratio was shown to be more notable that forms the area ratio or triangular form rather than length ratio. The inequilateral triangle, which is formed centering on Gwangbae(光背) in the upper part and Yeonhwajwa(lotus position) in the lower part, is becoming very importantly internal motive of doubling the constructive beauty among Samjae, no less than the mutually height and area ratio in Samjonbul.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.86-103
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• 2016

'Sukchunjeahdo' illustration-book, which was left by Han, Pil-gyo(韓弼敎 : 1807~1878)in the late Joseon Dynasty, includes pictorial record paintings containing government offices, Eupchi, and Feng Shui condition drawn by Gyehwa(界畵) method Sabangjeondomyobeop(四方顚倒描法) and is the rare historical material that help to understand spatial structure and landscape characteristics. Youngyuhyun(永柔縣) and Sincheongun(信川郡) town, the case sites of this study, show Feng Shui foundation structure and placement rules of government offices in the Joseon Period are applied such as 3Dan 1Myo(三壇一廟 : Sajikdan, Yeodan, Seonghwangdan, Hyanggyo), 3Mun 3Jo(三門三朝 : Oeah, Dongheon, Naeah) and Jeonjohuchim(前朝後寢) etc. by setting the upper and lower hierarchy of the north south central axis. The circulation system is the pattern that roads are segmented around the marketplace of the entrance of the town and the structure is that heading to the north along the internal way leads to the government office and going out to the main street leads to the major city. Baesanimsu(背山臨水 : Mountain in backward and water in front) foundation, back hill pine forest, intentionally created low mountains and town forest etc. showed landscape aesthetics well suited for the environmental comfort condition such as microclimate control, natural disaster prevention, psychological stability reflecting color constancy principle etc. and tower pavilions were built throughout the scenic spot, reflecting life philosophy and thoughts of contemporaries such as physical and mental discipline, satisfied at the reality of poverty, returning to nature etc. For government office landscape, shielding and buffer planting, landscape planting etc. were considered around Gaeksa(客舍), Dongheon(東軒), Naeah(內衙) backyard and deciduous tree s and flowering trees were cultivated as main species and in case of Gaeksa, tiled pavilions and pavilions topped with poke weed in tetragonal pond were introduced to Dongheon and Naeah and separate pavilions were built for the purpose of physical and mental discipline and military training such as archery. Back hill pine tree forest formed back landscape and zelkova, pear trees, willow trees, old pine trees, lotus, flowering trees etc. were cultivated as gardening trees and Feng-Shui forest with willow trees as its main species was created for landscape and practical purposes. On the other hand, various cultural landscape elements etc. were introduced such as pavilions, pond serving as fire protection water(square and circle), stone pagoda and stone Buddha, fountains and wells, monument houses, flagpoles etc. In case of Sincheongun town forest(邑藪), Manhagwan(挽河觀), Moonmujeong(文武井), Sangjangdae(上場岱) and Hajangdae(下場岱) Market place, Josanshup<(造山藪 : Dongseojanglim(東西長林)>, Namcheon(南川) etc. were combined and community cultural park with the nature of modern urban park was operated. In this context, government office landscape shows the garden management aspect where square pond and pavilions, flowering trees are harmonized around side pavilion and backyard. Also, environmental design technique not biased to aesthetics and ideological moral philosophy and comprehensively considering functionality (shielding and fire prevention, microclimate control, etc.) and environmental soundness etc. is working.

• The Journal of Small Business Innovation
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• v.19 no.2
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• pp.53-68
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• 2016

Motivation and activities for technological learning, entrepreneurship, innovation, and creativity are driving forces of economic development in Asian countries. In the early stages of technological development, technological learning and entrepreneurship are efficient ways in which to catch up with advanced countries because firms can accumulate skills and knowledge quickly at relatively low risk. In the later stages of technological development, however, innovation and creativity become more important. This study aims to identify a) the factors (learning capabilities) that influence technological learning performance and b) barriers to enhancing innovation capabilities for the creative economy and organizations. The major part of this study is related to learning capabilities in the post-catch-up era. Based on a literature review and observations from Korean experiences, this study proposes a technological learning model composed of various influencing factors on technological learning. Three hypotheses are derived, and data are collected from Korean machine tool manufacturers. Intense interviews with CEOs and R&D directors are conducted using structured questionnaires. Statistical analysis, such as correlation and ANOVA are then carried out. Furthermore, this study addresses how to enhance innovation capabilities to move forward. Innovation enablers and barriers are identified by case studies and policy analysis. The results of the empirical study identify several levels of firms' learning capabilities and activities such as a) stock of technology, b) potential of technical labor, c) explicit technological efforts, d) readiness to learn, e) top management support, f) a formal technological learning system, g) high learning motivation, h) appropriate technology choice, and i) specific goal setting. These learning capabilities determine firms' learning performance, especially in the early stages of development. Furthermore, it is found that the critical factors for successful technological learning vary along the stages of technology development. Throughout the statistical and policy analyses, this study confirms that technological learning can be understood as an intrinsic principle of the technology development process. Firms perform proactive and creative learning in the late stages, while reactive and imitative learning prevails in the early stages. In addition, this study identifies the driving forces or facilitating factors enhancing innovation performance in the post catch-up era. The results of the preliminary case studies and policy analysis show some facilitating factors such as a) the strategic intent of the CEO and corporate culture, b) leadership and change agents, c) design principles and routines, d) ecosystem and collaboration with partners, and e) intensive R&D investment.

• Journal of Science of Art and Design
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• v.11
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• pp.153-199
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• 2007

The East has recognized 'similar forms' and 'similar spirits' as important topics in expressing an object. Figure painting, in particular, has attached importance to 'transmission of spirit'. Gu Kaizhi (345-406) definitely presented the transmission concept and made it the moot important criterion in painting criticism. By identifying the possibility of revealing spirit through a form, he recognized the 'expression of will' in a creator's work and the experience of such 'expressed will' by an appreciator to be the essential acts of art. Thus, he said, a figure painting revealed the character and nature of the depicted object rather than reproducing its form. Regarding art as a person creating the saintly way of life via developing own character, he attached importance to the will of an artist as the central aesthetic subject. This dissertation explores the keynote of the spirit expressing an artist's inner world and the external shape of a figure. It is carried out by investigating the process of Gu Kaizhi's theory (namely spirit transmission and revelation in painting) leading to Su Dongpo's assertion that "the nature of things" and later leading to Yun Duseo's "theory of the way of painting" as the spirit-transmission theory faithful to the principle of revealing spirit through a form in Chosun. The chronological study of the aforementioned works reveals that the relation between an artist and an object is important at the stage of setting aim in producing a work, and this dissertation analyzed it with four elements: (1) creating work based on the viewpoint of nature that heaven and man are one; (2) reflection of the creator's character (including his/her nature, temperament, spirituality, and emotion during the creation) and the artistic merit of a picture; (3) the dialectic unification between the true and the false through space which is a volitional state as creative thinking space; (4) importance of artist's will above the technique used such that a purposeless, inactive and plain work (where human will is combined with heavenly one) was pursued because the picture is regarded coming from the mind created in the unity of host/artist and guest/object. Thus, through his/her intuitive insight is the world where self is united with the cosmos symbolized. Such expression of an artist's inner world and the external shape of a thing pursues the stage of materialization and creates the new modes such as using space, a variety of brushstrokes, and accidentality and improvisation of India ink. In particular, the writer sees that such expression which enables a creator to express his/her nature or personality (and even the emotion) at the time of creation will be highly worth studying in the future, in accord with the pursuit of contemporary painting being expressed as an abstract aspect.

• Journal of Science of Art and Design
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• v.11
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• pp.201-220
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• 2007

From two viewpoints the writer investigated the beauty of space by overall arrangement and composition of a picture in Oriental painting. In particular, she examined the expanded representation and significance of space use which had not properly been recognized in the field of a colored picture contrary to a painting in India ink. She studied that the boundary for the representation and appreciation of space was unlimited to one field of painting by studying and analyzing it in connection with other fields of art which had something in common with it in techniques or languages of representation. The writer considered the aspects of similar forms and spirits as the methods of understanding and representing the essence of an object in creating a work. She generally considered the aspect of perfecting knowledge by studying the principle of an actual thing for the representation of revealed forms corresponding to the aspect of similar forms, and tried to reach the stage of 'materialization' united with the spirit of the subject of creation for the formless forms corresponding to the aspect of representing an artist's inner world as well as the external shapes of things. She tried to reach the stage of spiritual cultivation in pursuit of the boundary between 'mental vanity' and 'sitting quietly and attaining the state of perfect selflessness', which were presented by Chuang-tzu, to express the spirituality internal to it. She recognized that the projection of the cultivation on a work could convey internal essence as well as external forms to a picture. It was because the image of the form represented in a picture was based on the aesthetic experience got from realty. In the concept of space and a method of representing it, she explored and analyzed the basic concept of space, arranged the concept of space shown in Oriental ideas dividing it into the concepts of space in Confucianism, Taoism and the Zen sect. What she felt acutely through this study was that she should establish the identity of her work by succeeding to, changing and re-creating tradition based on the historical heritage left by successive excellent painters and theorists. Putting together all these things showed that establishing the identity in the world of work pursued and oriented by her required searching the direction in future works by mixing tradition with modern times in a creative way, which is just the purpose of study in this thesis.

• Proceedings of the Korean Information Science Society Conference
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• 2007.06a
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• pp.17-18
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• 2007

데이터베이스 튜닝은 일반적으로 데이터베이스 어플리케이션을 "좀 더 빠르게" 실행하게 하는 일련의 활동을 뜻한다[1]. 데이터베이스 관리자가 튜닝에 필요한 주먹구구식 룰(Rule of thumb)들을 모두 파악 하고 상황에 맞추어 적용하는 것은 비싼 비용과 오랜 시간을 요구한다. 그렇게 때문에 서로 다른 어플 리케이션들이 맞물려 있는 복잡한 서비스는 필수적으로 자동화된 데이터베이스 성능 관리와 튜닝을 필 요로 한다. 본 논문에서는 이를 해결하기 위하여 지식 도매인(Knowledge Domain)을 기초로 한 자동화 된 데이터베이스 튜닝 원칙(Tuning Principle)을 제시하는 시스템을 제안한다. 각각의 데이터베이스 튜닝 이론들은 지식 도매인의 지식으로 활용되며, 성능에 영향을 미치는 요소들을 개체(Object)와 콘셉트 (Concept)로 구성하고 추론 시스템을 통해 튜닝 원칙을 추론하여 쉽고 빠르게 현재 상황에 맞는 튜닝 방법론을 적용시킬 수 있다. 자동화된 데이터베이스 튜닝에 대해 여러 분야에 걸쳐 학문적인 연구가 이루어지고 있다. 그 예로써 Microsoft의 AutoAdmin Project[2], Oracle의 SQL 튜닝 아키텍처[3], COLT[4], DBA Companion[5], SQUASH[6] 등을 들 수 있다. 이러한 최적화 기법들을 각각의 기능적인 방법론에 따라 다시 분류하면 크게 Design Tuning, Logical Structure Tuning, Sentence Tuning, SQL Tuning, Server Tuning, System/Network Tuning으로 나누어 볼 수 있다. 이 중 SQL Tuning 등은 수치적으로 결정되어 이미 존재하는 정보를 이용하기 때문에 구조화된 모델로 표현하기 쉽고 사용자의 다양한 요구에 의해 변화하는 조건들을 수용하기 쉽기 때문에 이에 중점을 두고 성능 문제를 해결하는 데 초점을 맞추었다. 데이터베이스 시스템의 일련의 처리 과정에 따라 DBMS를 구성하는 개체들과 속성, 그리고 연관 관계들이 모델링된다. 데이터베이스 시스템은 Application / Query / DBMS Level의 3개 레벨에 따라 구조화되며, 본 논문에서는 개체, 속성, 연관 관계 및 데이터베이스 튜닝에 사용되는 Rule of thumb들을 분석하여 튜닝 원칙을 포함한 지식의 형태로 변환하였다. 튜닝 원칙은 데이터베이스 시스템에서 발생하는 문제를 해결할 수 있게 하는 일종의 황금률로써 지식 도매인의 바탕이 되는 사실(Fact)과 룰(Rule) 로써 표현된다. Fact는 모델링된 시스템을 지식 도매인의 하나의 지식 개체로 표현하는 방식이고, Rule 은 Fact에 기반을 두어 튜닝 원칙을 지식의 형태로 표현한 것이다. Rule은 다시 시스템 모델링을 통해 사전에 정의되는 Rule와 튜닝 원칙을 추론하기 위해 사용되는 Rule의 두 가지 타업으로 나뉘며, 대부분의 Rule은 입력되는 값에 따라 다른 솔루션을 취하게 하는 분기의 역할을 수행한다. 사용자는 제한적으로 자동 생성된 Fact와 Rule을 통해 튜닝 원칙을 추론하여 데이터베이스 시스템에 적용할 수 있으며, 요구나 필요에 따라 GUI를 통해 상황에 맞는 Fact와 Rule을 수동으로 추가할 수도 었다. 지식 도매인에서 튜닝 원칙을 추론하기 위해 JAVA 기반의 추론 엔진인 JESS가 사용된다. JESS는 스크립트 언어를 사용하는 전문가 시스템[7]으로 선언적 룰(Declarative Rule)을 이용하여 지식을 표현 하고 추론을 수행하는 추론 엔진의 한 종류이다. JESS의 지식 표현 방식은 튜닝 원칙을 쉽게 표현하고 수용할 수 있는 구조를 가지고 있으며 작은 크기와 빠른 추론 성능을 가지기 때문에 실시간으로 처리 되는 어플리케이션 튜닝에 적합하다. 지식 기반 모률의 가장 큰 역할은 주어진 데이터베이스 시스템의 모델을 통하여 필요한 새로운 지식을 생성하고 저장하는 것이다. 이를 위하여 Fact와 Rule은 지식 표현 의 기본 단위인 트리플(Triple)의 형태로 표현된다, 트리플은 Subject, Property, Object의 3가지 요소로 구성되며, 대부분의 Fact와 Rule들은 트리플의 기본 형태 또는 트리플의 조합으로 이루어진 C Condition과 Action의 두 부분의 결합으로 구성된다. 이와 같이 데이터베이스 시스템 모델의 개체들과 속성, 그리고 연관 관계들을 표현함으로써 지식들이 추론 엔진의 Fact와 Rule로 기능할 수 있다. 본 시스템에서는 이를 구현 및 실험하기 위하여 웹 기반 서버-클라이언트 시스템을 가정하였다. 서버는 Process Controller, Parser, Rule Database, JESS Reasoning Engine으로 구성 되 어 있으며, 클라이 언트는 Rule Manager Interface와 Result Viewer로 구성되어 었다. 실험을 통해 얻어지는 튜닝 원칙 적용 전후의 실행 시간 측정 등 데이터베이스 시스템 성능 척도를 비교함으로써 시스템의 효용을 판단하였으며, 실험 결과 적용 전에 비하여 튜닝 원칙을 적용한 경우 최대 1초 미만의 전처리에 따른 부하 시간 추가와 최소 약 1.5배에서 최대 약 3배까지의 처리 시간 개선을 확인하였다. 본 논문에서 제안하는 시스템은 튜닝 원칙을 자동으로 생성하고 지식 형태로 변형시킴으로써 새로운 튜닝 원칙을 파생하여 제공하고, 성능에 영향을 미치는 요소와 함께 직접 Fact과 Rule을 추가함으로써 커스터마이정된 튜닝을 수행할 수 있게 하는 장점을 가진다. 추후 쿼리 자체의 튜닝 및 인텍스 최적화 등의 프로세스 자동화와 Rule을 효율적으로 정의하고 추가하는 방법 그리고 시스템 모델링을 효과적으로 구성하는 방법에 대한 연구를 통해 본 연구를 더욱 개선시킬 수 있을 것이다.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.

• 대한공업교육학회지
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• v.34 no.1
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• pp.87-112
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• 2009

The aim of this research is to suggest the model of reconstruction and remodelling of S high school of broadcast for converting into a specialized one in the section of broadcast industry. The method of reconstruction of the laboratories by each department is as follows. First, the names of laboratories, ground plans, and perspective drawings are designed according to the principle of constructionism. Second, each department is recommended to install 7 laboratories. For the department of broadcasting facilities, a laboratory of processing broadcasting machines, a laboratory of broadcasting machines, and a laboratory of screen picture machines are needed. For the department of broadcasting, electricity, and communication, a laboratory of image and sound edition, a laboratory of broadcasting and communication, a laboratory of broadcasting system, and a laboratory of stage illumination. For the department of broadcasting stage construction, a laboratory of broadcasting stage building, a laboratory of broadcasting stage design, a laboratory of broadcasting stage decoration and etc. Third, an office room is designed by department in the form of seminar room and places for practice is formed by department to be a laboratory. Fourth, a room for industrial-educational cooperation is installed by department, by which education of industrial-educational cooperation is carried out harmoniously. And one example of a remodeled laboratory by one department is shown with laboratory name, ground plan, perspective drawing, and running method. Especially employment of teachers working both school and business, professional club which is concerned with broadcasting technique, and attraction of enterprise in school is suggested as important elements to manage broadcasting laboratories efficiently. Finally, it is desirable for us to attract private capital, that is, Build-Transfer-Lease(BTL) because much budget is required for purchasing the broadcasting equipments and remodelling the laboratories to succeed as specialized high school on broadcasting section.

• Nuclear Medicine and Molecular Imaging
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• v.41 no.2
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• pp.172-180
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• 2007

Among the nuclear medicine imaging methods available today, $H_2^{15}O-PET$ is most widely used by cognitive neuroscientists to examine regional brain function via the measurement of regional cerebral blood flow (rCBF). The short half-life of the radioactively labeled probe, $^{15}O$, often allows repeated measures from the same subjects in many different task conditions. $H_2^{15}O-$ PET, however, has technical limitations relative to other methods of functional neuroimaging, e.g., fMRI, including relatively poor time and spatial resolutions, and, frequently, insufficient statistical power for analysis of individual subjects. However, recent technical developments, such as the 3-D acquisition method provide relatively good image quality with a smaller radioactive dosage, which in turn results in more PET scans from each individual, thus providing sufficient statistical power for the analysis of individual subject's data. Furthermore, the noise free scanner environment $H_2^{15}O$ PET, along with discrete acquisition of data for each task condition, are important advantages of PET over other functional imaging methods regarding studying state-dependent changes in brain activity. This review presents both the limitations and advantages of $^{15}O-PET$, and outlines the design of efficient PET protocols, using examples of recent PET studies both in the normal healthy population, and in the clinical population.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.97-110
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• 2012

This study aimed at considering the original shape of Iljiam Tea Garden at Mt. Daedun. In order to accomplish our goal, we tried to strengthen the authenticity of construction of Iljiam by comparing its space structure depicted in the poetry of Choeui(艸衣) the monk with its current restored state. According to the clues and situation in the poetry along with symbolic words like 'Choeui' and 'Ilji(一枝)', Iljiam seemed to be a tea garden with elegant and celestial beauties, and with a nice view where Choeui the famous monk searched for the highest state of enlightenment by enjoying and living in nature. When we compared the plural aspects of Iljiam like Dacheon(茶泉), Dajo, Mulhwak, Darim(茶林), Chaewon(菜園), and Yeonji(蓮池) with those of Dasan Tea Garden[茶山草堂], we could see that the basic components of tea-culture space of both gardens are the same, showing the organizational principle of the top and bottom area to stress reading and studying. When it is restored, the authenticity of Iljiam should be pursued by linking spatial, historical, and landscaping characteristics as the space of which Choeui the monk carried out Zen meditation and mastered tea. However, the recent grand scale Buddhist business like the expansion of access road and construction of Buddhist sanctuary and Seolimdang became the biggest threat to the authenticity. Especially, it was emphasized many times in various poetry that the view from Iljiam and its surroundings is extraordinary, so it is critical to get rid of obstacles to the view from Iljiam and its surroundings in order to restore Iljiam as its genuine form. The current Iljiam should be re-made because it is like a leaf-roofed garden, not like a hermitage. However, the opinion that Jawoohongryeon-sa(紫芋紅蓮社) is somewhat a Taoistic and Taoist hermit space with a special shape adopted the pattern of building of the Joseon period rather than a Buddhist building can be accepted as long as other convincing historical evidences are found out, considering the ideology of uniting Confucianism and Buddhism and the spirit of Taoist hermit found out from poetry of Choeui and his friends. In conclusion, the restoration of Iljiam in 1979 was carried out to restore the place of Iljiam rather than to restore the originality of Iljiam by combining and referring domestic cases of tea gardens. However, there is not much material for restoration even though the main frame of Iljiam was distorted. Nevertheless, the top and bottom ponds should be constructed as a rectangle shape. In addition, it can be improved much in terms of plants and trees. It is necessary to restore bamboo forest, which was razed in order to make a tea plantation around Seolimdang, to set vines of arbors above the upper limbs, to plant pine trees and willow trees inside of the garden, and to put Dajeolgu under the corner of the eaves. Especially, the bamboo forest emphasized in poetry and took care of by Choeui himself should be restored inside of the garden.