• Korean Journal of Heritage: History & Science
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• v.43 no.1
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• pp.128-159
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• 2010

In this study, the progress of domestic cultural properties designation, the changes and problems in classification were examined, and the relationship among Traditional Pal-kyung, Dongcheon-gukok, and Modern Pal-kyung were investigated targeting total of 68 cases of state-designated cultural properties of scenic sites in order to show that the traditional significance and value are being inherited today. The major results of this study are as follows. First, increase in scenic site designations with historical, cultural, and scenic characteristics can be viewed as an active intent to embrace the concepts such as cultural utilities, historical characteristics, literary value, and ideological backgrounds, which were specified as the basis for designation in the early Cultural Property Protection Law. Accordingly, it is very encouraging that the concept of cultural attractions such as traditional gardens and observatory points are regarded as an important standard for designation of scenic sites. Second, as for the classification of scenic sites per type, it was found that 'places with excellent natural scenery' were 44.16%(30 cases), followed by 'famous buildings or gardens and places with important legend' occupying 30.9%(21 cases), 'places with famous scenery' occupying 13.2%(9 cases), 'places with outstanding historical cultural and scenic value' that occupying 10.3%(7 cases), and 'animal and vegetation habitat with beautiful scenery' (1 case). Third, according to the current classification standards for scenic sites, there were only 7 cases which could be classified into Pal-kyungs(Famous 8 Sceneries) and 3 cases classified into Dongcheon(beautiful scenery surrounded by mountains and rivers), but there was no Gugok(beautiful valleys). Consequently, in terms of external appearance, the scenic sites among the total scenic sites that could be classified into Palkyung and Gugok were only 14.7%(10 cases). Fourth, the traditional scenic sites based on literal references and Internet analysis occupied 67.7%(46 cases), which were found to be scenic sites related to the traditional Pal-kyung among which 38 cases(55.9% of 46 cases) were included based on the scenery and 8 cases(11.8% of 46 cases) were included due to the scenery at the time. Fifth, there were 8(11.8%) scenic sites which were related to Dongcheon, and 4 cases(5.9%) related to Gugok. Also, it was found that total of 40(48.9%) scenic sites designated as modern scenic sites were playing the role of local scenic sites, and they were used as the tourism advertising contents. Sixth, it was identified that there were 62 cases(91.2%) of scenic sites in total related to traditional and modern Pal-kyung or Dongcheon-gugok, and unlike explicit classifications, most of the designated scenic sites were found to be deeply connected with the historical and cultural significance contained in the scenaries.

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.30-51
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• 2011

During the process of modernization, many rural villages in Korea have experienced degeneration and breakdown, losing sustainability. However, Oeam village in Asan City, South Chungcheong Province (State-designated cultural heritage, Important Folk Material No. 236) has established itself as a unique folk village, which evolves with sustainability, pursuing the revival of Neo-traditionalism. Oeam village is a tribal village of the Yis from the Yean region and has maintained environmental, economic, and social sustainability and soundness for over five centuries. Thus, the village has sustained itself well enough to be a cultural asset with 'Outstanding Universal Value', in terms of its value as world cultural heritage. The village maintains its own identity, filled with a variety of traditional and scenic cultural assets that symbolize a gentry village. Those assets include Confucian sceneries (head family houses, ancestral shrines, tombs, gravestones, commemorative monuments, and pavilions), various assets of folk religion (totem poles, protective trees at the entrance of a village, shrines for mountain spirits, village forests), tangible and intangible cultural assets related to daily lives (vigorous family activities, rigorous ancestral rituals, family rituals, collective agriculture and protection of ecosystem), which have all been well preserved and inherited. In particular, this village is an example of a well-being community with a well-preserved folksy atmosphere, which is based on environmentally sound settlements (nature + economy + environment + community) in a village established according to geomancy, East Asia's unique principle of environmental design. In addition, the village has kept the sustainability and authenticity for more than 500 years, combining restraint towards the environment and the view of the environment which respects the natural order and cultural values (capacity + healthy + sustainability). Therefore, the Oeam folk village can be a representative example of a folksy and scenic Korean community which falls into the category of IV (to exemplify an outstanding type of building, architectural or technological ensemble, or landscape which illustrates significant stages in human history) and V (to exemplify an outstanding traditional human settlement, land-use, or sea-use which is representative of cultures, or human interaction with the environment especially when it has become vulnerable under the impact of irreversible change) of Unesco's World Cultural Heritage.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.1-17
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• 2018

This study was conducted to interpret the landscape of Songge Byeoleop(Korean villa) garden at Jogyedong, Bukhansan near Seoul which was built in the mid 17C. to restore through the literature reviews and field surveys. The results were as follows; Songge Byeoleop garden was a royal villa, constructed at King Injo24(1646) of Joseon dynasty by prince Inpyeong(麟坪大君), Lee, Yo(李?, 1622~1658), the third son of King Injo who was a brother of King Hyojong. It was a royal villa, Seokyang-lu under Mt. Taracsan of Gyendeokbang, about 7km away in the straight line from main building. It was considered that the building system was a very gorgeous with timber coloring because of owner's special situation who was called the great prince. The place of Songge Byeoleop identity and key landscape of the place were consisted with Gucheon waterfall and the sound of the water with multi-layered waterfall which might be comparable to the waterfall of Yeosan in China. After the destruction of the building, the place was used for the royal tomb quarry, but there was a mark stone for forbidden quarry. The Inner part of Songge Beoleop, centered with Jogedongcheon, Chogye-dong, composted beautifully with the natural sceneries of Gucheon waterfall, Handam and Changbeok, and artificial structures, such as Bihong-bridge, Boheogak, Yeonghyudang and Gyedang. In addition, the existing Chinese characters, 'Songge Beoleop' and 'Gucheoneunpog' carved in the rocks are literary languages and place markings symbolizing with the contrast of the different forests and territories. They gave the names of scenery to the rock and gave meaning to them. Particularly, Gucheon waterfall which served as a visual terminal point, is a cascade type with multi-staged waterfall. and the lower part shows the topographical characteristics of the Horse Bowl-shaped jointed with port-holes. On the other hand, the outer part is divided into the spaces for the main entrance gate, a hanging bridge character, a bridge connecting the inside and the outside, and Yeonghyudang part for the purpose of living. Also in the Boheogak area, dual view frame structures are made to allow the view of the four sides including the width and the perimeter of the villa. In addition, at the view point in Bihong-bridge, the Gucheon water fall divides between the sacred and profane, and crosses the Bihong-bridge and climbs to the subterranean level.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.21-29
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• 2023

The Northern Song Dynasty, the heyday of cultural and artistic achievements, brought significant changes to the history of gardens in China. The developments and contemplations that had evolved during the previous Tang Dynasty became intertwined with literature, painting, and art, leading to garden being perceived as works of art. In particular, the emergence of Su Shi(蘇軾) that permeated literature and art during the Northern Song Dynasty, had an impact beyond individual garden creation, influencing the development of public gardens and the diversification of garden. His long exile periods served as an opportunity to understand and reflect the local culture and characteristics, influencing the development of the garden. This study focuses on the ideology of Su Shi(蘇軾) that managed various gardens, examining the relationship between his exlie life and ideology. To do so, the study examines the form of the literati's gardens managed by Su Shi(蘇軾), with a particular emphasis on the Baiheju(白鶴居) garden in Huizhou, revealing the following characteristics and values. First, Su Shi(蘇軾), who was proficient in the Three Houses: Confucianism, Buddhism, and Taoism, combined his philosophy and unique perspective techniques with the location and composition elements of Baiheju(白鶴居) to enjoy the landscape. Although the ancient residence has a simple form, it possesses expansiveness through the combination of internal and external views. The interior is designed to be perceived as a single space, but it allows overlapping experiences of space and simultaneous appreciation of different sceneries. On the other hand, the spatial layout incorporates a hierarchical order to establish a sense of order. Second, the garden reflects the local characteristics, featuring numerous tropical plants and presenting vibrant and contrasting colors with structures. The planting forms embrace the concept of "huosei seikou" (活色生香) to enhance the color harmoniously. Additionally, the garden incorporates the poet's spiritual world, projecting it onto the garden as a contemplative place for spiritual nourishment and exploration of the ideal realm. For the pursuit of serenity and profound contemplation, the selected plantings are simple yet distinctive, providing rhythm and depth to the garden space. Third, Baiheju(白鶴居) has undergone changes over the years, but fundamentally, the form and elements of the garden shaped by Su Shi(蘇軾)'s descendants persist, confirming its heritage value.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.62-82
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• 2019

Taking the three Wuyi-Gugok Drawings, 『A Picture Showing the Boundary Between Mountains and Rivers: A』, 『Landscape of the Jiuqu River in the Wuyi Mountain: B』 and 『Eighteen Sceneries of Wuyi Mountain: C』, which were produced in the mid-Qing Dynasty as the research objects and after investigating the names recorded in the paintings, this paper tries to analyze the scenic spots, scene types and images in the literature survey. Also, based on the number of Scenic type and the number of Scenic name in each Gok, landscape richness(LR) and landscape similarity(LS) of the Gugok scenic spots, the cognitive characteristics of the landscape in the 18th century were carefully observed. The results are as follows. Firstly, according to the description statistics of scenic spot types in Wuyi Mountain Chronicle, there were 41 descriptions of scenery names in the three paintings, among which rock, peak and stone accounted for the majority. According to the data, the number of rocks, peaks and stones in Wuyi-Gugok landscape accounted for more than half, which reflected the characteristics of geological landscape such as Danxia landform in Wuyi-Gugok landscape. Secondly, the landscape of Gugok Stream(九曲溪) was diverse and full of images. The 1^st Gok Daewangbong(大王峰) and Manjeongbong(幔亭峰), the 2^nd Gok Oknyeobong(玉女峰), the 3^rd Gok Sojangbong(小藏峰), the 4^th Gok Daejangbong(大藏峰), the 5^th Gok Daeeunbyeong(大隱屛) and Muijeongsa(武夷精舍), the 6^th Gok Seonjangbong(仙掌峰) and Cheonyubong(天游峰) all had outstanding landscape in each Gok. However, the landscape features of the 7^th~9^th Gok were relatively low. Thirdly, according to the landscape image survey of each Gok, the image formation of Gugok cultural landscape originates from the specificity of the myths and legends related to Wuyi Mountain, and the landscape is highly well-known. Due to the specificity, the landscape recognition was very high. In particular, the 1^st Gok and the 5^th Gok closely related to the Taoist culture based on Muigun, the Stone Carving culture and the Boat Tour culture related to neo-confucianism culture of Zhu Xi. Fourthly, according to the analysis results of landscape similarity of 41 landscape types shown in the figure, the similarity of A and C was very high. The morphological description and the relationship of distant and near performance was very similar. Therefore, it could be judged that this was obviously influenced by one painting. As a whole, the names of the scenes depicted in the three paintings were formed at least in the first half of 18^th century through a long history of inheritance, accumulated myths and legends, and the names of the scenes. The order of the scenery names in three Drawings had some differences. But among the scenery names appearing in all three Drawings, there were 21 stones, 20 rocks and 17 peaks. Stones, rocks and peaks guided the landscape of Gugok Streams in Wuyi Mountain. Fifthly, Seonjodae(仙釣臺) in A and C was described in the 4^th Gok, but what deserved attention was that it was known as the scenery name of the 3^rd Gok in Korean. In addition, Seungjindong(升眞洞) in the 1^st Gok and Seokdangsa(石堂寺) in the 7^th Gok were not described in Drawings A, B and C. This is a special point that needs to be studied in the future.

• 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.