• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.18-27
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• 2018

This study is a basic one analyzing the scenic characteristics that are created in Royal Garden in China while taking into consideration that Royal Garden in China is a fruit compiling all of the Chinese classical gardens. In case of Summer Palace in China, it adopted various kinds of landscape displaying techniques for fulfilling the desires of an Emperor who wanted to appreciate beautiful landscapes all the time. Accordingly, the scenic characteristics can be summarized as follows. First, Summer Garden creates various kinds of garden landscapes through various kinds of landscape creation techniques, such as, Borrowed Landscape, Central One, Background One, Symmetrical One, Axial One, Dividing One, Framed One, Window One and Complementing One, etc. Second, it was created in order for visitors to focus on appreciation of landscapes by allocating hard points while considering the symmetric structure, Structure of Long Corridor and Visual Physiology of a building on the basis of the South-North Pivotal Line. Third, it utilized the scenic spot transferring technique that introduces the landscapes of scenic spots in various regions of China to Summer Palace to be matched to the unique geological characteristics of Summer Garden. It was found that Summer Palace adopted the common landscaping techniques in Jiangnan Region of Ancient China since the landscape of Jichang Garden in Hangzhou and that of Shan Tang Jie in Suzhou are reproduced and transferred. It was found that 3 methods mentioned above have the effects that attract sightseers' eyes naturally and make their interests concentrated as well as reviving the feeling of space in a garden and creating abundant scenic beauty.

• Journal of the Korean association of regional geographers
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• v.22 no.1
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• pp.151-167
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• 2016

Conventional social science typically regards the idea of a 'mountain' as part of 'nature' and a physical environment existing separately from, or prior to, human society and culture. However, in Korea, which is 70% mountainous land, the 'mountain' is part of a unique 'social nature'. This research develops the idea that in this context the mountain is a social nature and a cultural landscape which are tied heavily to the idea of travel. The article interrogates why the scenic beauties of Mt. Kumgang have been perceived and conveyed through multiple generations since the Chosun Dynasty period. Focusing on Mt. Kumgang, this article illustrates how strongly people have held dreams of mountain travel, for the whole life-time. Travel writings(or accounts of trips to the mountain) and artwork have played a particularly important role in creating Mt. Kumgang's reputation as the most beautiful mountain in the country. At the same time, the access to the mountain was often a dangerous adventure, with many travelers facing hunger and extreme physical challenges. As portrayed in writings and artwork, the overall effect of these dynamics was the creation of a socionatural place of striking beauty that even seemed to have mystical or magical fantasy. According to Confucian ideals, full appreciation of nature and its beauty was key to understanding the logics of the universe and to achieving a high moral standard, which contributed to decide to leave for the mountain as well. The essays, poems, and paintings of Mt. Kumgang since the Chosun Dynasty period that portrayed the mountain's beauty collectively served to produce the mountain as a socionatural landscape engendered with potent place-myths, important historical meaning, and strong aesthetic associations. Thus, the travel to the mountain seemed never completed over until travelers had completed various artistic representations to record and to memorize what they'd done and seen in Mt. Kumgang, which had been performed for the strong purpose of social sharing of the real the mountain's beauties and itinerary.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.2 s.121
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• pp.55-63
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• 2007

The purpose of this study is to create a planting design for progressive realization. For this, visual preferences as measured via questionnaire were evaluated by the Scenic Beauty Estimation(SBE) and paired comparison methods. The results can be summarized as follows. Through photo observation, the average visual blockage ratio was 38% and the range of degree of the visual blockage ratio was $30{\sim}50%$. The sketch simulation and filtered pattern received the highest preference score and fumed out to be the most practical pattern out of all the patterns evaluated. Also, in the sketch simulation, the high preference values were observed for a distance of 9 to 12m from the view point to the blockage tree with a D/H ratio of 2. The preference score significantly decreased with the increase of the visual blockage ratio having a turning point at $30{\sim}35%$ of the visual blockage ratio, even though the distance parameters were more important than the visual blockage ratio in the scores. An outstanding view must be handled properly to be preserved or accentuated. Framed, open, enclosed, screened or filtered pattern views should be completely revealed only from their best vantage point, not given away at first glimpse. It this sense, parallax spatial beauty with trees could be improved through the visual aspects of plan arrangements and seems to be an effective design technique for landscape planning and planting design.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.2
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• pp.110-117
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• 1998

It is essential to get full social supports of our national parks for the achievement of long-term goals of our national parks. Thus the main objective of this paper is to identify major perception types of interest groups of our national parks. The research method is greatly indebted to Hofer. Two stages of questionnaire surveys were carried out to identify perception types related to national parks and the statstical analysis of perception types. The findings of this study are as follows. First, eight types of perception on national parks were selected through the statistical analysis of ten preliminary perception types; nature preservation, appreciation of scenic beauty, culture, recreation, research, education, ethics, and economy. Second, three or four phrases relevant to eight perception types were identified. Third, it could be concluded that perception types identified through this research are significantly different from those commonly perceived on national parks and natural landscapes in western countries.

• Proceedings of the KSR Conference
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• 2006.11b
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• pp.1178-1183
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• 2006

This paper describes the plans of considering the environmental influences in the preliminary feasibility investigation of railroad work. Because the cost-benefit analysis method about the environmental costs by air pollution and traffic noise is mainly applied in preliminary feasibility investigation, not only the verification in the calculation method of these environmental costs but also the consideration in the environmental costs of the topographical damage and the ecosystem extinction by railroad work is needed. The environment-friendly plans in choosing the locations of the railroad route and station are also suggested, and they include (1) consideration of environment protection area, residential zone, and region with scenic beauty, (2) application of the existing railroad route and station, and (3) railroad route parallel to another traffic facility.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.5 s.118
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• pp.24-31
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• 2006

The tourism sites and attractions of South Korea in many ways have little specialties in their image due to the local development plan's uniformed way of designing and improving landscape. The lack of specialties in tourist sites and attractions have caused displeasure from the local residents, as the sites don't characterize the locals as attractively and appealingly as is the potential. There have been no research or studies on the scenic effect on tourism or resort development thus producing an urgent call for local authorities to develop planned landscapes of local sites. This study compares Bugok Onchon (hot spring), whose image hardly differentiates itself from the others, with Kinosaki Onsen (hot spring). Bugok Hot Spring, which is the case study of this report, has recorded a steady decline of visitors due to a result of uniformed development planning. In the case of Kinosaki Hot Spring, scenery development, however, has made a breakthrough in tourist increase despite its no-so-easily-accessible location. The study assumes that scenery effects changes in promoting local tourism, thus analyzing and comparing the two hot springs to unearth critical factors in tourist site development, as well as viewing the present state of Bugok Hot Spring for further study. Furthermore, the study provides tourist site developers with a guideline of the two comparative Hot Spring cases. Investigations and analyses are mainly focused on colors, which are important factors in making underlying images of tourist sites, and the comparison of Bugok Hot Spring with Kinosaki Hot Suing. Bugok Hot Spring shows the influences of accent colors as well as a variety of color combinations and similarities of color tones. Kinosaki Hot Spring shows a combination of naturally-generated colors its own scenic beauty by trimming the landscape. Through the comparative study of the two hot springs, Bugok (boulevard) uncovers a typical case of Korean local landscape planning, even with the well-known tourist attraction 'Bugok-Hawaii', and calls upon a new, serious landscape-improvement plan to increase visitors.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.10-19
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• 2022

In this study, historical and cultural landscapes were reviewed focusing on Mangjinsan Mountain in Jinju, Gyeongsangnam-do, and the scenic value was examined through this. First, Mangjinsan Mountain was noted in history, as Ansan(案山, a mountain on the opposite side of a housing/grave site) in Jinju, where Bongsu(烽燧, the beacon fire station) is located. Information on Mangjinsan Mountain was gradually doubled due to its status, and the beacon fire station of Mangjinsan Mountain was in charge of defending the Jinju area. Mangjinsan Mountain was described as a symbolic landscape of Jinju. Regarding the etymology of Mangjinsan Mountain, Sung Yeo-Sin(成汝信) analyzed the geography of Jinju and suggested that it was a place name originating from the phoenix. However, looking at various records, it is confirmed that the name of Mangjinsan Mountain is maintained uniformly, but the inscription is not unified. Second, Mangjinsan Mountain became one of the major stage for the Japanese Invasion of Korea in 1592, and in 1597. It is confirmed to be a place which has joys and sorrows, for that it provided an opportunity to win the Siege of Jinju in 1592, but many casualties occurred in 1597. On the other hand, in the area of Mangjinsan Mountain Byeolseo(別墅), temples, and administrative facilities were located to establish cultural history of the time, and in the 19th century, Manggyeongdae Pavilion was built due to the scenic value of viewing Jinju Castle. These are examples of testimony how Mangjinsan Mountain has an important meaning in Jinju's history and culture. Third, in the late Joseon Dynasty, a poem reciting Mangjinsan Mountain appears, which shows that the Mountain has established itself as a scenic site in Jinju. The description of Mangjinsan Mountain is confirmed in the literature that lists the scenic sites of Jinju. On the other hand, writers who lived in Jinju paid attention to the beacon fire station, singing about the peaceful world without war and looking back the history. In the 19th century, Jeonbyeolyeon(a farewell party) was held, which seems to be the result of the beauty of viewing Jinju and overviewing the area. Through the facts, the symbolism and scenic value of Mangjinsan Mountain in Jinju were confirmed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.93-101
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• 2012

Despite the fact that the importance of islands and oceans is increasingly being emphasized as they are recognized as alternative spaces for the future, some islands that have not been designated as cultural assets have lost their natural and cultural landscapes to development projects and other plans for turning islands into tourist resources, and are still in the process of being destroyed. Unlike old perceptions of islands, islands, in the minds of people living in the modern age, have become places for taking a quiet rest or enjoying and appreciating the undamaged beauty of nature itself. Keeping up with the trend of people increasingly visiting the islands these days, it is high time to prepare plans for the promotion, preservation management, and usages of islands based on researches of islands with excellent natural landscapes and through the designation of these islands as cultural properties. As the first step of studying island landscape resources as resources of cultural assets, the current study includes literature reviews and field investigations of Gwanmaedo and Yeongsando, two islands that have been selected as prestigious villages and are part of the Dadohaehaesang National Park. Based on these preliminary investigations, landscape resources showing distinctive natural landscapes and cultural sceneries were selected and analyzed in detail, thus presented for their value as resources of Scenic site and future research.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.

• Proceedings of the Korean Society of Soil and Groundwater Environment Conference
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• 1997.11a
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• pp.145-159
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• 1997

Cheju Island is the most attractive resort area in Korea for its exotic landscape, natural beauty, and traditional culture which is quite different from that of the mainland. Until now, most of the recreational facilities and accomodations have been constructed along the coastal areas. Recently, mid-mountain area has been under very heavy development pressure because it is suitable for new sites for tourism facilities and the land price in the coastal area is very high. The mid-mountain area is the land located 200-600m above the sea level. It is a major source of water supply for the island and has exotic scenic beauty, which cannot be found in mainland but it is the area very vulnerable to water pollution Therefore, it is very important to manage this area based on the concept of environmentally sound and sustainable development in order to meet ever increasing demand for the land development The purposes of this project are: 1) to establish Geographic Information System for the whole island, 2)to formulate environmentally sound landuse plat However, There has been accuracy of the original map, defining criteria of analysis, updating of the data were identified for future tasks to be studied.