• Title/Summary/Keyword: pavilion

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The Existence and Design Intention of Jeong Seon's True-View Landscape Painting <Cheongdamdo(淸潭圖)> (겸재 정선(謙齋 鄭敾) <청담도(淸潭圖)>의 실재(實在)와 작의(作意))

  • SONG Sukho;JO Jangbin ;SIM Wookyung
    • Korean Journal of Heritage: History & Science
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    • v.56 no.2
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    • pp.172-203
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    • 2023
  • <Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.

Remodeling and Damage of the Garden According to the Park Project in Deoksugung Palace During the Japanese Colonial Period (일제강점기 덕수궁(德壽宮) 공원화에 따른 정원의 개조와 훼손)

  • OH Junyoung
    • Korean Journal of Heritage: History & Science
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    • v.56 no.3
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    • pp.234-252
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    • 2023
  • This study looked at the modification of major gardens while making Deoksugung Palace (德壽宮) a park in the Japanese colonial era. This is because landscaping work was carried out in various places from 1932 to 1933 to open Deoksugung Palace, which used to be an imperial palace, as a public recreation space. In particular, major gardens such as the front yard of Seokjojeon Hall (石造殿), the back yard of Hamnyeongjeon Hall (咸寧殿), and the back yard of Jeukjodang Hall (卽阼堂) were greatly transformed into different shapes from the original. During the first phase of construction in 1932, a water tank was installed in Seokjojeon Hall Garden, creating the first water space. This water tank was originally a structure installed in the front yard of Injeongjeon Hall (仁政殿) of Changdeokgung Palace (昌德宮). Around 1909, a water tank installed in the front yard of Injeongjeon Hall was relocated to Seokjojeon Garden in the process of turning Deoksugung Palace into a park. The water tank moved from the front yard of Injeongjeon Hall was a factor that transformed the central area of Seokjojeon Garden into a water space, and a fountain installed to replace the water tank remains to this day. The backyard of Hamnyeongjeon Hall was also renovated into a new shape during the first phase of construction. Originally, there was a terraced flowerbed called Hwagye (花階) in the backyard of Hamyujae Hall (咸有齋) and Hamnyeongjeon Hall, and it was restored from the construction that took place after the Great Fire of Deoksugung Palace. In the process of turning Deoksugung Palace into a park, a three-stage stonework was built in the front yard of Jeonggwanheon Pavilion (靜觀軒) which renovated the Hwagye in the backyard of Hamyujae Hall and Hamnyeongjeon Halll. The stonework built at that time was used as a peony garden to provide visitors with attractions after the opening of Deoksugung Palace, and it remains today with the name Jeonggwanheon's Hwagye. The backyard of the Jeukjodang Hall area is a case of damage in the second phase of construction in 1933. Like the backyard of Hamnyeongjeon Hall, the backyard of Jeukjodang Hall, where the Hwagye was originally built, was converted into a Japanese-style garden in the process of turning Deoksugung Palace into a park. The site where the Hwagye was demolished was decorated with a Japanese-style garden centered on mounding, small roads, and landscaping stones, as well as topographic control and planting work. Although there have been minor changes since liberation, the backyard of the Jeukjodang Hall area is still based on a Japanese-style garden created by turning Deoksugung Palace into a park.

A Study on the Transitions and Site of temporary palace(Onyanghaenggung) according to the <Oncheonhaenggungdo>(1795) (<온천행궁도(溫泉行宮圖)>(1795)의 온양행궁지 추정 및 온양행궁 변천 고찰)

  • LEE Jeongsoo;KIM Ilhwan;LEE Kyeongmi;JI Wonku;CHOI Jaeseong
    • Korean Journal of Heritage: History & Science
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    • v.56 no.4
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    • pp.94-108
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    • 2023
  • Onyanghaenggung Palace(temporary palace at Onyang) is an important cultural heritage that can substantially confirm the king's onhaeng(溫行) base on literature records such as <Ongungyeonggoedae(溫宮靈槐臺)>, <Oncheonhaenggungdo(溫泉行宮圖)> of 『Ongungsasil(溫宮事實)』『, Younggoedaegi(靈槐臺記)』and cultural property such as Yeonggoedae(靈槐臺) and Shinjeong Monument(神井碑). As the Onyang Tourist Hotel is located in the presumed site of the Onyanghaenggung Palace, even the identity of the Onyanghaenggung Palace site is being threatened without restoration efforts. The purpose of this study is to estimate the location of Onyanghaenggung Palace based on <Oncheonhaenggungdo> before the damages during the Japanese colonial period. To achieve these purposes, records related to Onhaeng during successive kings' terms in the Joseon Dynasty are first reviewed, before changes in the architecture of Onyanghaenggung Palace that took place in the Joseon Dynasty and damage suffered during the Japanese colonial period are summarized, and finally <Oncheonhaenggungdo>, <Eupji>, <Ancient Maps>, <Jijeokwondo> are reviewed. Based on these processes, the location of Onyanghaenggung Palace is estimated by comparing the current Onyang Tourist Hotel and the surrounding area. The results of this study are as follows. First, if the 1,758 cheok(尺) of 「Onyanggun eupji」 and 「Hoseo eupji」 are converted in Jucheok(周尺), the scope of Onyanghaenggung Palace is close to the inner circumference of the site(垈) in Jijeokwondo(1914). Second, the streamlet leading to Oncheoncheon(溫泉川) from the southern side of Onyanggwan(溫陽館), the hot spring hole in use of <Distribution Map of Hot Spring(溫泉分布見取圖)>(1925, 1928), and considering the relationship of the inner east gate(內東門), Bigak(碑閣), Sinjeong(神井) of <Oncheonhaenggungdo>, the building of Hermann Gustav Theodor Sander and the Copyright Commission's Onyang Hot Springs photograph can be estimated as the Onyanghaenggung Palace Hot-spring, namely Tangsil(湯室). Third, in the process of developing to amusement park, the transfer and relocation of the Yeonggaedae site(a governmentowned property) was requested by Gyeongnam Railway Company, but Chungcheongnam-do denied transfer and relocation of the Yeonggaedae because of the importance in the history of Onyang Hot Springs, so the government-owned Yeonggaedae Monument site were permanently preserved at the current location together with the hoe tree(Sophora japonica L.). Also, Yeonggoedae in <Tourists Attractions around Gyeongnam Railway in Joseon (朝鮮京南鐵道沿線名所交通図絵)> (1929) is shown to exist in its current location, and it can be seen that the Shinjeong Monument Pavilion was moved to the front of Shinjeonggwan (神井館). Based on the circumference of Onyanghaenggung Palace, the location of Onyanghaenggung Palace Hot Spring (Tangsil) and Yeonggaedae Monument Pavilion, changes in roads and lots of land during the Japanese colonial period and the modern period, as well as the location of Onyanghaenggung Palace and other major buildings, can be estimated to extend to the current Shimin-ro and Onyang Hot Spring Market.

Studies on the Assumption of the Locations and Formational Characteristics in Yigye-gugok, Mt. Bukhansan (북한산 이계구곡(耳溪九曲)의 위치비정과 집경(集景) 특성)

  • Jung, Woo-Jin;Rho, Jae-Hyun;Lee, Hee-Young
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.35 no.3
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    • pp.41-66
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    • 2017
  • The purpose of this research is to empirically trace the junctures of Yigye-gugok managed by Gwan-am Hong Gyeong-mo, a grandson of Yigye Hong Yang-ho who originally designed Yigye-gugok, while reviewing the features of the forms and patterns of gugok. The results of the research are as follows. 1. Ui-dong was part of the domain of the capital during the Chosun dynasty, which also is located in the city of Seoul as a matter of administrative zone. Likewisely, Yigye-gugok is taken as a special meaning for it was one and only gugok. Starting with Mangyeong Waterfall as the $1^{st}$ gok, Yigye follows through the $2^{nd}$ gok of Jeokchwibyeong Rock, the $3^{rd}$ gok of Chanunbong Peak, the $4^{th}$ gok of Jinuigang Rock, the $5^{th}$ gok of Okkyeongdae Rock, the $6^{th}$ gok of Wolyeongdam Pond, the $7^{th}$ gok of Tagyeongam Rock, the $8^{th}$ gok of Myeongoktan Stream, and the $9^{th}$ gok of Jaeganjeong Pavilion. Of these, Mangyeong Waterfall, Chanunbong Peak, and Okkyeongdae Rock are distinct for their locations in as much as their features, while estimated locations for Jinuigang Rock, Wolyeongdam Pond, Myeongoktan Stream, and Jaeganjeong Pavilion were discovered. However, Jeokchwibyeong Rock and Tagyeongam Rock demonstrated multiple locations in close resemblance to documentary literatures within secretive proximity, whereas geography, scenery, and sighted objects were considered to evaluate the 1st estimated location. Through these endeavored, it was possible to identify the shipping routes and structures for the total distance of 2.1km running from the $1^{st}$ gok to the $9^{th}$ gok, which nears Gwanam's description of 5ri(里), or approximately 1.96km for gugok. 2. Set towards the end of the $18^{th}$ century, Yigye-gugok originated from a series of work shaping the space of Hong Yang-ho's tomb into a space for the family. Comparing Yigye-gugok to other gugoks, numerous differences are apparent from beyond the rather more general format such as adjoining the $8^{th}$ gok while paving through the lower directions from the upper directions of the water. This gives rises to the interpretation such that Yigye-gugok was positioned to separate the doman of the family from those of the other families in power, thereby taking over Ui-dong. Yet, the aspect of the possession of the space lends itself to the determination that the location positioned at the $8^{th}$ gok above Mangyeongpok Waterfall representing Wooyi-dong was a consequence of the centrifugal space creation efforts. 3. While writings and poetic works were manufactured in such large quantities in Yigye-gugok whose products of setters and managers seemed intended towards gugok-do and letters carved on the rocks among others, there is yet a tremendous lack of visual media in the same respect. 'Yigye-gugok Daejacheop' Specimens of Handwriting offers the traces of Gwanam's attempts to engrave gakja at the food of Yigye-gugok. This research was able to ascertain that 'Yigye-gugok Daejacheop' Specimens of Handwriting was a product of Hong Yang-ho's collections maintained under the auspices of the National Central Museum, which are renowned for Song Shi-yeol's penmanship.

Geology and Landscape of Mt. Mudeung Province Park, Korea (무등산 도립공원의 지질과 경관)

  • Ahn, Kun-Sang
    • The Journal of the Petrological Society of Korea
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    • v.19 no.2
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    • pp.109-121
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    • 2010
  • Mt. Mudeung is located in Gwangju city, Damyang-Gun, Hwasun-Gun and its round form give us the mood of soft and rich. Its location is $126^{\circ}06'-127^{\circ}01'E$ and $35^{\circ}06'-35^{\circ}10'N$ and its highest peak is Cheonwang-bong with the height of 1,187 m. The Gwangju city is located in the West of Mt. Mudeng and the mountain range with a small basin in its East. The pavilion such as the Soswaewon, Songganjeong, Sigyongjeong are distributed along the stream in the north of Mt. Mudeung. The mountain is formed from the volcanic activity, Gwangju cauldron during the Cretaceous. The top part of Mt. Mudeung is composed of dark gray quartz-andesite and its K-Ar whole rock age is $48.1{\pm}1.7Ma$. The composition of the north area, where the Wonhyosa temple is located, is micrographic granite, whereas the composition of south area is rhyolite mainly. The main ridge of Mt. Mudeung runs from North, starting from the Bukbong, to south, passing Cheonwangbong, Jangbuljae and ending Anyangsan. Geologic feature of the mountain includes volcanic landform, mountaineous landform, and stream landform. The Seosukdae, Ipseokdae, Gyubongam, which are main ridges and formed from volcanic activity, are composed of mainly columnar joint. Saeinbong and Majipbong in the south-west are composed of mainly cliff and dome. The typical erosion landform of the mountain has three different types of the weathering-cave, each of which reflect the property of the original rock. Four different area of wide block stream, they makes the geological feature of spring-water, though its scale is small compared to that of water fall.

A Study on the Cultural Landscape around Lotus Ponds of Fortress Wall of Seoul through Old Writings in the Joseon Dynasty (조선시대 옛글을 통한 한양도성 연지(蓮池) 일대의 문화경관 고찰)

  • Gil, Ji-Hye;Son, Yong-Hoon;Hwang, Kee-Won
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.34 no.1
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    • pp.1-17
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    • 2016
  • The purpose of this paper is to understand the value of Dongji(東池), Seoji(西池) and Namji(南池), the lotus ponds of Fortress Wall of Seoul as part of the cultural landscape of the period through a consideration of personal behavior and impressive landscape characteristics via various old writings on each pond. The objects of this study include poems, diaries, travelogues and essays describing these ponds. The results are as follows. First, the preferred landscape elements of these three ponds were lotuses, willows and water itself. Second, while Dongji was recognized as a natural landscape, the composition of Seoji was a mixture of with natural and urban landscapes, and Namji was more urban altogether. Third, in aspects of personal behavior, while Dongji was a place where people broke their journeys to gaze at the scenery or looked down distantly, in Seoji, people stayed for a long time in a pavilion called Cheonyeon-jeong(天然亭) and engaged in various leisure activities, and in Namji, there were many gatherings under a temporary shelter or at a friend's house near the pond. Night was the best time to enjoy Namji because during the day, the area was crowded with people, horses, carts and so on. Fourth, the landscapes of fortress walls were impressively described often. Fifth, because these ponds were integrated into the surrounding area, they were like public openspaces mixed with water spaces, natural environment and adjacent facilities. The lotus ponds of the Fortress Wall of Seoul were located in a place connecting inside and outside of fortress, supplemented the cultural features in city, were valued as public openspace, and made it possible to experience the unique landscape of Hanyang. Although these ponds were buried and have now disappeared, they still hold great cultural meaning and potential value as water landscapes of the old city.

The Study on Aspects of Representing Tradition in the Winners of Landscape Competitions of Land Development Projects through the Comparative Analysis between the Original Designs and the Constructions (택지개발사업 조경설계공모 당선안과 조성 현장 비교를 통해 본 전통 재현의 양상)

  • Kim, Hyun-Hee;So, Hyun-Su
    • Journal of the Korean Institute of Landscape Architecture
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    • v.43 no.6
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    • pp.138-149
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    • 2015
  • In order to search for the reasonable planning directions for representing traditional landscape, this study conducted the comparative analysis of the designs on the panels and their constructions from both winners of "The Landscape Design Competitions for City Infrastructure of Minlak(2) District in Uijeongbu" and "The Design Competition for Dongtan(2) District Land Development Phase 1". The representing targets and views, the composition and placement of representing space, the design of representing facilities and landscape planting were examined based on the text, master plans, elevations and cross sections, diagrams, images, and perspective drawings proposed from the competition panels. Then, the landscape constructions were reviewed. The results are as follows: First, the types of the representing targets and views are the agricultural landscape, as the local landscape of target area, which are divided into the life space of a traditional village, the traditional water space, and the traditional culture. Second, as to the composition and placement of representing space, the traditional theme spaces are formulated considering the surrounding land use and the local cultural heritage. However, some spaces were changed to the exercise space or convenient facility spaces required in a neighborhood park. Third, in the case of the representing facilities, a round island in the square pond, a traditional pavilion and Hwagye(terraced flower bed) were made without the facilities designed creatively. Fourth, the application of traditional planting techniques was focused on planting trees in the village forest on an island in the square pond and on Hwagye. Fifth, the traditional representing work has gradually advanced with the selection of subject and experimental facility designs based on the professional references. Sixth, the choice of the realizable subject, the expertise for information analysis and the creative design of the traditional facility are required in the future.

Optimum Conditions for Growing Gem-quality Colorless Cubic Zirconia (보석용 무색 큐빅 저코니아의 최적 육성 조건)

  • 김원사;유영문;신현숙
    • Journal of the Mineralogical Society of Korea
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    • v.14 no.2
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    • pp.99-110
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    • 2001
  • A gem-quality yttria-stabilized zirconium oxide crystals were synthesized by the skull-melting method, using the RF electrical apparatus. Principal raw materials used were $ZrO_2$and 25 wt.% $Y_2O_3$as stabilizer and 0.03~0.05 wt.% $Nd_2O_3$decolorizing agent were added to it. The single crystals were approximately 20$\times$63 mm in size with chemical composition $Zr_{0.73}$ $Y_{0.27}$ $O_{1.87}$ . The crystals are isotropic with no appreciable anisotropism under a polarizing microscope. Their refractive indices are in the range of 2.15~2.18, specific gravity 5.85, Mohs' hardness 8~8.5, and reflectivity 13.47%. The zirconia crystals were confirmed to have cubic structure with Face-centered lattice(Z=4), space group Fm3m ($CaF_2$-type structure) and unit cell parameters are a=5.157 $\AA$. The optimal growing conditions for yttria-stabilized zirconia are 50 kW, 2.94 MHz in power and to use a crucible with 105 mm $\times$ 135 mm in size. When the lowering speed of the crucible was set 16mm/hr gave the best yield, 42%. Since the refractive index(2.15~2.18) of cubic zirconia is smaller than that of diamond, the angle between crown and pavilion should be fashioned to make it smaller than $40.5^{\circ}$ to show the maximum brilliancy and fire.

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The Development of Valley Scenic Site Zoning Method for the Effective Landscape Protection (계곡 명승의 효과적인 경관보호를 위한 구역 설정기법 개발)

  • Ha, Tae-Il;Kim, Choong-Sik
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.32 no.3
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    • pp.183-190
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    • 2014
  • Since Scenic Sites, heritages to protect the value of landscapes, include valleys and mountains, the cultural heritage protection zones and historical and cultural environments preservation districts are designated extensively. So the landscape protection effects of the designation of scenic sites should be examined. Accordingly, the purpose of this research is to present the methods of efficient institution of district for landscape protection of scenic sites. As the research subject, Cheongamjeong Pavilion and Seokcheongyegok Valley in Bonghwa (Scenic Site No. 60), which has the highest designation rate, was selected. The results of this research using the cumulative visibility technique of GIS are as follows. First, the method of selecting the viewpoint by preparing the reverse cumulative visibility from important landscape resources of the valley was presented. The reverse cumulative visibility can be utilized for rational selection of the viewpoint with regard to scenic sites. Second, the landscape analysis method in consideration of human viewing angle and the visibility of the background of landscape resources was developed. Third, the hierarchical landscape protection method of scenic sites utilizing cumulative visibility was presented. Fourth, it was established through on-site inspections that the method of institution of district is the practical method.

A Study on the Composition Method for Representation of Chwibyeong (취병(翠屛) 재현을 위한 조성 방법 연구)

  • Paek, Chong Chul;Kim, Seung-Min;Lee, Jong-Sung
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.32 no.3
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    • pp.110-120
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    • 2014
  • In this study, Chwibyeong studied only in the literature on the basis of the composition method through the book, Imwonkyungjeji. I tried to represent through the installation of facilities and planting of trees. I have obtained the following results. First, we presented the basic direction of Chwibyeong represented by analyzing the composition methods in the literature. Second, represented the Chwibyeong based on the results of the analysis of the literature. I was and comparative analysis of the content analysis literature the specificity of the method of manufacturing facilities and growth characteristics of trees that have been displayed during the represent process. Third, we derive how to manage trees that are grasped through the Chwibyeong represent process, how to manage the facility, such as the installation method. Currently, Chwibyeong is restored in the front of Changdeokgung Juhapru pavilion, but showing the appearance different from the appearance of Chwibyeong shown in the literature. Therefore, after the 18th century, prototype representation of Chwibyeong is intended to be able to find the traditional and the uniqueness. It has been used as an element of the garden of Korea, and intended to be an important role to find the flavor of the Korean garden.