• (The)Study of the Eastern Classic
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• no.50
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• pp.179-209
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• 2013

This study takes as its text "Yangarok", the record written by Mukjae Lee Mun Geon (1494-1567) about his grandson rearing and examines the conflicts between the grandfather and the grandson. The reason it is focused on the conflicts between the grandfather and the grandson particularly among many aspects of Yangarok is that the paper notices the dual feelings of love and hatred lying in the mind of Mukjae, the subject of the narrative. Because the record of grandson rearing plainly reflects the dual elements of the grandfather, love and hatred, expectation and disappointment, and hope and resignation, it shows the acute conflicts between the two persons well. At the time of the grandson's birth, Mukjae went through a gloomy period both in family and socially. He had to taste tremendous frustration in the status as an exile pushed back from the center of the political world, and his only son was handicapped, so he could not expect his caring after that. Spending each day in such frustration, he faced the birth of his grandson just like a miracle. However, the excitedness and expectation he had in the beginning of the child raising were turned into disappointment and complaining as time went by. His change lets us think about the distance between love and hatred existing in human relations. This study analyzes Yangarok but is focused on the conflicts between the grandfather and the grandson for further discussion, so it attempts to understand Yangarok from a different perspective. First of all, Chapter 2 of this article notices the fact that cause results in effect and examines the ultimate factors raising grandfather-grandson conflicts. Next, Chapter 3 considers the concrete aspects of grandfather-grandson conflicts. Based on the above examination on the causes and aspects of the conflicts, Chapter 4 focuses on the value that Yangarok has as the material for introspection and lays the ground to think about the messages that this record implies for contemporaries.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.14-26
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• 2011

Imdaejeong Wonlim is located on the verge of Sangsa Village in Sapyeong-ri, Daepyeong-myeon, Hwasun-gun Gyeongsangnam-do toward Northwest. It was planned by Sa-ae, Minjuhyeon in 1862 on the basis of Gobanwon built by Nam Eongi in 16th century against the backdrop of Mt. Bongjeong and facing Sapyeong Stream. As water flows from west to east in the shape of crane, this area is a propitious site standing for prosperity and happiness. This area shows a distinct feature of Wonlim surrounding the Imdaejeong with multi layers as consisting of 5 districts - front yard where landmark stone with engraved letters of 'Janggujiso of Master Sa-ea' and junipers are harmoniously arranged, internal garden of upper pavilion ranging from a pavilion to square pond with a little island in the middle, Sugyeongwon of under pavilionu consisting of 2 ponds with a painting of three taoist hermits, forest of Mt. Bonggeong and external garden including Sapyeong Stream and farmland. According to documentation and the results of on-site investigation, it is certainly proved that Imdaejeong Wonlim was motivated by Byeoseo Wonlim which realized the idea of 'going back to hometown after resignation' following the motives of Janggujiso, a hideout aimed to accomplish the ideology, 'training mind and fostering innate nature,' on the peaceful site surrounded by water and mountain, as well as motives of Sesimcheo(洗心處) to be unified with morality of Mother Nature, etc. In addition, it implies various imaginary landscapes such as Pihangji, Eupcheongdang, square pond with an island and painting of three Taoist hermits based on a notion that 'the further scent flies away, the fresher it becomes,' which is originated from Aelyeonseol(愛蓮說). In terms of technique of natural landscape treatment, divers techniques are found in Imdaejeong Wonlim such as distant view of Mt. Bongjeong, pulling view with an intention of transparent beauty of moonlight, circle view of natural and cultural sceneries on every side, borrowed scenary of pastoral rural life adopted as an opposite view, looked view of Sulyundaero, over looked view of pond, static view in pavilion and paths, close view of water space such as stream and pond, mushroom-and-umbrella like view of Imdaejeong, vista of pond surrounded by willows, imaginary view of engraved letters meaning 'widen knowledge by studying objectives' and selected view to comprise sunrise and sunset at the same time. In the beginning of construction, various plants seemed to be planted, albeit different from now, such as Ginkgo biloba, Phyllostachys spp., Salix spp., Pinus densiflora, Abies holophylla, Morus bombycis, Juglans mandschurica, Paulownia coreana, Prunus mume, Nelumbo nucifera, etc. Generally, it reflected dignity of Confucianism or beared aspect of semantic landscape implying Taoist taste and idea of Phoenix wishing a prosperity in the future. Furthermore, a diversity of planting methods were pursued for such as liner planting for the periphery of pond, bosquet planting and circle planting adopted around the pavilion, spot planting using green trees, solitary planting of monumentally planted Paulownia coreana and opposite planting presenting the Abies holophylla into yin and yang.