• Cartoon and Animation Studies
• /
• s.50
• /
• pp.327-347
• /
• 2018

From the end of the 18th century to the end of the 19th century, the late 19th century was a genre of a new art that was in contrast to the distribution between social class and low class, and it was also a popular culture that attempted to transform the late Joseon Dynasty's social class. It is no exaggeration to say that it is the origin of the Korean folk art, started as popular art concepts, use colorful techniques and decorations which doesn't yield to ordinary iconography. But, because of the attempt of this technique was used by lower class, the meaning of the idea was lowered from iconography to secular picture. Ethics character picture, passed on to the present from going through the upheaval cultural time, was started from secular picture and transformed into hyukpil time illustration, and it represented popular arts until now. This thesis aims to reflect the meaning, various visual expressions and the lifestyle of Ethics Character Picture of filial piety and brotherly love, which is a unique genre of popular arts. Also, propose to suggest about the kinetic typography using video media, and how the traditional ethics character picture, which are combined with video technology, effects to the advertisements. These kind of attempts will show the world about the korea's traditional contents, and through the various media information it can be recreated as national symbolic key words. Furthermore, its meaningful to pass down the noble and cultural Ethics Character Picture of filial piety and brotherly love to younger generations. And by realigning to modern expression, it is predicted that it will be significantly meaningful to pass down and make the younger generations to understand to spirit of the ancestors. This will allow various attempts to reconstruct various items of contents from Korea's traditional contents to new media content that merged with video media.

• (The) Research of the performance art and culture
• /
• no.36
• /
• pp.185-221
• /
• 2018

This study examined the process of the formation of Deoneum, Sugungga(水宮歌), and its tendency of the change through the trace of the Pansori masters who worked in 19th century. The time that the main group of the Sugungga masters appeared in the Pansory history is estimated in early 19th century. The Sugungga masters in this time could be divided in two groups, one is the early days masters who worked in early 19th century and the other is the latter days masters who worked in middle and late 19th century. Kwon Sam-deuk(權三得), Song Heung-lok(宋興祿), Yeom Gyeo-dal(廉季達), and Shin Man-yeob(申萬葉) are the Sugungga masters who worked in early 19th century. By the records they left, I could confirm that they used the description about the dramatic characteristics in the work and Soritjo(Pansori master's tonality), like the appearance of 'Bangge(crab)' and 'Tiger', and particularly they developed which has the scene of the Rabbit's deceiving the Dragon King and Rabbit's return, 'Goandaejangja(寬大長者)', 'Gaja-Eoseoga', 'Sojinowha(笑指蘆花)', 'Apnae-Beodeuleun' and the scene of 'Rabbit's curse(the part that Rabbit curses Byeljubu)' etc. I could understand that the interest of the early days Pansori masters about Sugungga is on the characters and the latter part of the work. The separation of Dongpyeonje(東便制) and Seopyeonje(西便制) of Pansori was done in the middle and late 19th century. As the Dongpyeonje master, Song Wu-ryong(宋雨龍), Park Man-sun(朴萬順), Song Man-gab(宋萬甲), Shin Hak-jun(申鶴俊) and Yu Seong-jun(劉成俊) worked. As the Seopyeonje masters, Park Yu-jeon(朴裕全), Kim geo-bok(金巨福), Kim Su-yeong(金壽永) and Baek Gyeong-jun(白慶順) etc. sang Sugungga. The Dongpyeonje masters developed the 'Toggigibyeon(토끼奇變)' related Deoneum paying attention on the latter part of Sugungga same as the early days masters. Meanwhile it looks like that they had interest in developing the parts which belong to the middle and early parts of Sugungga like 'Toggiwhasang(토끼畵像)', 'Gogocheonbyeon(皐皐天邊)' and 'Tobyeolmundab(兎鱉問答)'. The Seopyeonje masters developed the parts belong to the early part of Sugungga, which are related to Dragon King and the courtiers in Sugung palace, like 'YongwangTansik(龍王歎息)'. And I could confirm that they developed the parts influenced by Shin Jaehyo's editorials like 'Tosahobi(兎死狐悲)' and 'Goguksancheon(故國山川)' etc. In short, I could confirm the trend that the Pansori masters in 19th century had interest in from the latter part to the early part of Sugungga. If taking a look focusing on main characters, they moved their interest in from Rabbit to the courtiers including Byeoljubu(鱉主簿) and Dragon King in Sugung palace, and it could say that, in this trend, Sori part and Deoneum were developed.

• Korean Journal of Heritage: History & Science
• /
• v.40
• /
• pp.307-323
• /
• 2007

One of the distinguishing features of late Jeosun s Hanshi (poem in Chinese) is the numerous creation of Yeonjachyung Keesokshi (serial poem on folklore) which describes the folk manner and folk way of life in detail. Keesokshi s subject matter is the folklike in general including local features, geography, climate, local production, humanity, social conducts, and daily labor for living as well. By its material characteristics, Keesokshi reflects detailed life conditions of the society members in each levels, and represents the local customs as well as the folk emotions. Among the several kinds of Keesokshis, a Sesi Keesokshi focuses only in reciting the folk customs on each seasonal festival days, and the great numbers of such serial poems appear during the latter part of the Jeosun Dynasty. Its overall background is the transition of artistic trend which came after many social changes such as expansion of realism, uprising national consciousness, shaken status system, and the rising of 'Jeosun si motives in the Hansi history. Moreover, each writers various experiences and their interests in the reality and critical minds of common people contributed a crucial roll in creation of Sesi Keesokshi. 178 of the 584 remaining serial Sesi Keesokshi are written particularly about the folk customs in The Grand Full Moon Festival (the first full moon of a year by the lunar calendar). These Hanshis widely reflect the common ways of living by directly accepting the seasonal folk customs as the subject matters. Especially, close to the reality, these poems positively express the people's simple vigorous lives and create unrestrained lively image by describing the joys and sorrows of the folk ewistence along with their craving. Also, it is notable to have customs such as 'Shil-Ssa-Um' and 'No-gu-ban-kong-yang' as subjects for its rarity in other literatures.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.98
• /
• pp.130-153
• /
• 2020

Using stylistic analysis and historical documents, this paper examines the production details of images enshrined in Myeongbujeon (Hall of the Underworld) at Magoksa Temple in Gongju, focusing on the wooden seated Ksitigarbha Bodhisattva and the stone Ten Kings of Hell. Inside Myeongbujeon, the wooden seated Ksitigarbha Bodhisattva is placed at the center, flanked by standing images of Mudokgwiwang and Domyeong-jonja, with images of the Ten Kings and their attendants along the walls. All of these images were transferred to Magoksa Temple in the latter half of the 1930s. The wooden seated Ksitigarbha Bodhisattva came from Jeonghyesa Temple in Cheongyang, the other sculptures came from Sinheungsa Temple in Imsil, and a painting of the Ten Kings came from Jeongtosa Temple in Nonsan. The wooden seated Ksitigarbha Bodhisattva is known to have been produced in 1677, around the same time as the stone sculptures of the Ten Kings. A close analysis of the details of the bodhisattva sculpture-including the facial features, body proportions, and drapery characteristics-strongly suggests that it was produced in the 1620s or 1630s by the monk sculptor Suyeon (who was active in the early half of the seventeenth century) or his disciples. In particular, the rendering of the drapery on the lower half of the body closely resembles Buddhist sculptures produced by Suyeon that are now enshrined at Bongseosa Temple in Seocheon (produced in 1619) and at Sungnimsa Temple in Iksan (produced at Bocheonsa Temple in Okgu in 1634). According to the votive inscription, the stone sculptures of the Ten Kings and their attendants were produced in 1677 under the supervision of the monk sculptor Seongil. However, these are the only known Buddhist images produced under Seongil, and no details about other monks involved in the production have ever been found, making it difficult to speculate about their lineage. Historical records do suggest that Seongil worked on other projects to produce or repair sculptures with disciples of the monk sculptors Hyehi or Unhye, indicating amicable relations between the two groups. Unlike most such images in the Honam or Yeongseo regions, the Ten Kings at Magoksa Temple are made from stone, rather than wood or clay. Also, the overall form and the drapery conform to statues of the Ten Kings that were popularly produced in the Yeongnam region. Thus, the images are believed to be the work of monks who were primarily active in Yeongnam, rather than Honam. In the future, a systematic investigation of wooden seated Ksitigarbha Bodhisattva images and stone Ten Kings of Hell images produced in the Chungnam region could illuminate more details about the production of the images at Magoksa Temple, and perhaps shed light on the conditions that led to the production of stone Buddhist sculptures in the Honam area during the late seventeenth century.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.2
• /
• pp.80-98
• /
• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.5
• /
• pp.255-262
• /
• 2023

In the early 20th century, Yeomjae Song Tae-hoe (念齋 宋泰會, 1872-1941), a disciple and onetime adopted son of teacher Song Su-myeon(宋修勉, 1847-1916), moved to Gochang and laid the foundation for Gochang calligraphy and painting, and it can be seen that a full-fledged flow began. Yeomjae Song Tae-hoe was a scholar and calligrapher of the late Joseon Dynasty and modern period from Hwasun, Jeollanam-do. He is a person who created the foundation of Gochang calligraphy and painting while working as an educator in Chinese literature, calligraphy, and painting, mainly in his hometown of Hwasun and Gochang, while engaging in creative activities. He was intelligent from a young age and showed an extraordinary talent for calligraphy. At the age of 16, he passed the Jinsa exam (童蒙進士) and became the youngest student to study at Sungkyunkwan. He was active by holding exhibitions nationwide based in Gochang and Jeonju, and was also an educator who fostered younger students by establishing Gochang High School (currently, Gochang Middle and High School) to cultivate national spirit and history. Yeomjae drew strong and healthy landscape paintings under the absolute influence of the painting style of Saho Song Su-myeon, and dealt with various materials of southern school literati paintings such as flowers and birds and four plants. In particular, he is a representative calligrapher who encompasses the early modern era and the modern era in that he expressed his interest in new cultural artifacts as well as the realization of a modern-oriented realistic landscape based on Korean natural beauty. He laid the foundation for modern and contemporary calligraphy and painting. Goam Lee Eung-no (顧菴 李應魯, 1904-1989), a world-renowned painter, learned the basics of ink painting from Yeomjae in his late teens.However, compared to his various artistic and social activities, it is regrettable that he is limited and evaluated as a local writer.

• (The) Research of the performance art and culture
• /
• no.22
• /
• pp.287-325
• /
• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.39 no.2
• /
• pp.15-28
• /
• 2021

'Cheonunjeongsa (天雲精舍)', designated as Gyeongsangbukdo Folklore Cultural Property No. 76, is a Siksanjeongsa built in 1700 by Manbu Lee Shiksan. In this study, we investigate the life and perspective of Manbu Lee in relation to Siksanjeongsa, and estimate the feng shui location, territoriality, and original landscape by analyzing 「Nuhangnok」 and 「Nuhando」, the results of his political management. The following results were derived by examining the philosophy that the scholar wanted to include in his space. First, Manbu Lee Shiksan was a representative hermit-type confucian scholar in the late Joseon Dynasty. 'Siksan', the name of the government official and the nickname of Manbu Lee, is derived from the mountain behind the village, and he wanted to rest in the four areas of thought(思), body(躬), speech(言), and friendship(交). During the difficult years of King Sukjong, Lee Manbu of a Namin family expressed his will to seclude through the title 'Siksan'. Second, There is a high possibility of restoration close to the original. Manbu Lee recorded the location of Siksanjeongsa, spatial structure, buildings and landscape facilities, trees, surrounding landscape, and usage behaviors in 「Nuhangnok」, and left a book of 《Nuhangdo》. Third, Manbu Lee refers to the feng shui geography view that Oenogok is closed in two when viewed from the outside, but is cozy and deep and can be seen from a far when entering inside. The whole village of Nogok was called Siksanjeongsa, which means through the name. It can be seen that the area was formed and expanded. Fourth, the spatial composition of Siksanjeongsa can be divided into a banquet space, an education space, a support space, a rest space, a vegetable and an herbal garden. The banquet space composed of Dang, Lu, and Yeonji is a personal space where Manbu Lee, who thinks about the unity of the heavenly people, the virtue of the gentleman, and humanity, is a place for lectures and a place to live. Fifth, Yangjeongjae area is an educational space, and Yangjeongjae is a name taken from the main character Monggwa, and it is a name that prayed for young students to grow brightly and academically. Sixth, the support space composed of Ganjijeong, Gobandae, and Sehandan is a place where the forested areas in the innermost part of Siksanjeongsa are cleared and a small pavilion is built using natural standing stones and pine trees as a folding screen. The virtue and grace of stopping. It contains the meaning of leisure and the wisdom of a gentleman. Seventh, outside the wall of Siksanjeongsa, across the eastern stream, an altar was built in a place with many old trees, called Yeonggwisa, and a place of rest was made by piling up an oddly shaped stone and planting flowers. Eighth, Manbu Lee, who knew the effects of vegetables and medicinal herbs in detail like the scholars of the Joseon Dynasty, cultivated a vegetable garden and an herbal garden in Jeongsa. Ninth, it can be seen that Lee Manbu realized the Neo-Confucian utopia in his political life by giving meaning to each space of Siksanjeongsa by naming buildings and landscaping facilities and planting them according to ancient events.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.155-180
• /
• 2019

Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.

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