• Journal of Korean Society of Forest Science
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• v.83 no.3
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• pp.286-298
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• 1994

The object of this study was to examine the user's impacts on the environmental deteriorations of trail at Ticket Office - Paekryunsa (Temple) Hyangch$\hat{o}$kpong - Dongyupryung - Chilyun Fall area in T$\hat{o}$kyusan National Park. Four trails were sampled in the study area according to the amount of users. Then the user's impacts on trail were measured at each trail. The Ticket Office-Paekryunsa trail was the most used district and followed at Paekryunsa-Hyangch$\hat{o}$kpong trail, Hyangch$\hat{o}$kpong-Dongyupryung trail in descending order. Dongyupryung-Chilyun Fall trail is not used by people because of rest rotation system. The entire width of trail was greater at the more heavily used trail. Maximum depth, cross-sectional area loss, and surface texture and roughness of trail were the highest at Paekryunsa-Hyangch$\hat{o}$kpong trail. Soil hardness, soil acidity, soil moisture content, organic matter content, and exchange canon were influenced by trampling. Soil hardness, soil acidity and exchange canon increased in tramples soil, but content of soil moisture and organic matter decreased therein. Environmental deteriorations of trail were significantly influenced by the amount of users and the slope of trail. Bared lands about $2.000m^2$ were appeared by trampling and camping around Hyangch$\hat{o}$kpong. Effects of carrying of rest rotation system for National Park were partly recognized at Dongyupryung-Chilyun Fall trail.

• Journal of Korean Society of Forest Science
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• v.80 no.1
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• pp.54-71
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• 1991

To classify and analyze the forest communities and their structures, the vegetation in Mt. Joghe was investigated from July, 1980 to August, 1989. The results obtained are as follow ; 1. A total of 750 kinds of vascular plant(49 orders, 122 families, 434 genera, 627 species, 1 subspecies, 111 varieties and 11 forma)were observed in Mt. Ioghe. The newly observed plant species were Dioscorea quingueloba, Spiranthes sinensis, Cephalanthera falcata, Angelica gigas, Clematis patents, Paeonia obovata, Hibiscus mulabilis, Ainsliaea acerifolia, Dictamnus dasycarpus, Cynachum ascyrifolia, Vaccinium koreanum, Erythrortium japonicum, Indigofera kirilowii (17species), Broussonetia kazinoki var, humillis, Euonymus, fortunei var. radicans, Juniperus communis var, nippnnica, Callicarpa japonica var. radicans, Joniperus communis var. rzipponica, Callicarpa japonica var. taquetii (4 varieties) and L indera obtusiloba for. billosum (1 forma). 2. The life spectrum of flora in Mt. Joghe was classified into $CH-D_1-R_5-e$ type. Distribution area was identical to Southern type by Nakai, Lee, and Yim. A few subtropical species were also observed. 3. Simpson's species diversity index(Ds) was 0.9 and Shannon-Weiner's diversity index (H') was 1.004. These indice suggest that the vegetation in Mt. Joghe is of complicated forest communities. 4. Pte-Q was 1.81 which was higher than the nationwide mean of 1.68. Urbanization Index (UI) was 28.75 for naturalized plant species, and 17.49 for exotic woody plant species, which were similar to those of Mt. Baekun and Mt. Naejang. 5. The forest vegetation of Mt. Joghe was grouped in 3 vegetation types : 7 natural plant Communities dominated by Quercus serrat, Quercus acutissima, Quercus variabilis, Carpinus laxiflora, Pinus derasiflora and Platycarya strobilacea, 8 substitutional plant communities Styrax japonica, Stewartia koreana, Lindera erytlrrocarpa, Zelkova serrata, Rhtrs chinensis, Controversa, and Frzrxirtus manrlshurica, and 7 plantation Communities composed of Pinus koraiensis, Pinus rigida, Magnolia nbnvata, Chamecyparis obkrsa, Larie ieptolepis, Castanea crenata and Cryptomeria japonica. 6. Actual vegetation maps and profile diagrams were made by phytosocialogical classification. 7. As the important and unique species in Mt. Joghe, Lindera sericea, Penicaria tilitorme, Hex macropoda, Hex macropoda for. pseudo-macropoda, Steroartia koreana, Adenopkora palustris and Corylop.,is coreana, which were also seported by Lee(1977), Kim and Yark(1989), were identified and Vaccinium coreanum, Cremastra appendiculinium, Juniperus comminis van. nipponica, Cephalanthera falcata, Broussortetia kazinoki var. humilis, paeonia obovata, Deutzia prunifolia, Dictamnus dasyarpus, Angelica gigics and Bupleurum falcatum were odditionally observed.

• Sim-seong Yeon-gu
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• v.32 no.1
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• pp.1-16
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• 2017

The purpose of this paper is to illustrate the nature of Objective Psyche based on island related case materials. Theoretical background starts with psychological meaning of islands, a kind affective symbol rather than cognitive image, and creation myths as the story of man's awareness of the world; Chaos as archaic identity (unconscious), islands as emergence of the ego from unconscious. In alchemical symbolism, island related to coagulatio, the operation which turns something into earth, the realm of ego. In addition, related parts of Hindu creation myths, Korean giant woman creator Sulmoonde-halmang, and legends of "Relocation of Island/Mountain" will be presented to integrate with case materials. Case A : Starts with a dream of killing a huge dragon and dead body became an island. The dragon in the water was seen as Spirit of Mercurius, the autonomous spirit, connecting of the ego with the Self. The act of killing related to Primeval being which needs to be killed to be transformed. Myths of Eskimo, The Eagle's Gift, the giant woman creator in Korea, and Marduk, the Babylonian hero will be integrated. Case B : Prior to introduce six island images in sand trays, a dream of a giant serpent (python) wound around her body will be presented to portray her situation. By relating Jung's "The Sermons to the Dead," her effort to make the solid island regarded as an act of bringing order out of original oneness (pleroma). Then stresses the importance to coagulate archetypal image Case C : A vignette of active imagination seminar where island image emerged will be described. Her endeavor of focusing on inner image related to the Hindu Creator, Cherokee creation myth, as well as Sulmoonde-halmang. As a motif of growing island, Samoan creation myth, and Legend of Mountain, Mai were incorporated. Colors in her art work regarded as expression of inner need, and importance of expressing inner feeling images as a mean to coagulate volatile emotional and spiritual content. Case D : A dream and art work of terminally ill woman; embracing the tip of the island with gushing up water will be presented. Her island and replenishing water image regard as "an immortal body," corresponds to the Philosophers' Stone for she accepted her death peacefully after the dream. Also related to "The Mercurial Fountain" in Rosarium Philosophorum, and aqua permanence, an allegory of God.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.13-27
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• 2013

This study investigated flora and vascular plants area around Buyongdae where include optimum view point Okyeonjeongsa and Gyeomamjeongsa in Hahoe Village, Andong. Based on the findings, the aim of results was attempted to suggest the management plan of the vegetation area around Buyongdae which designated UNESCO World cultural heritage and folk village in Korea. The results of the study is as the following. All flora of this site, Buyongdae in Andong, were 301 taxa; 89 families, 217 genera, 251 species, 1 subspecies, 38 varieties and 11 forms. Vegetation of each of areas in site was classified Pinus densiflora as representative forest around Buyongdae, Quercus variabilis forest around Gyeomamjjeongsa and Koelreuteria paniculata forest in river cliff of Buyongdae. The 14 taxa(Polygala tenuifolia, Koelreuteria paniculata, and others) as the rare plants and the 7 taxa(Weigela subsessilis, and others) as endemic species were recorded in the surveyed site among the whole flora. The specific plants which is categorized to degree by the Ministry of Environment appeared as 32 taxa; degree IV was 4 species; Polygala tenuifolia, etc. and degree III was 10 species; Hypodematium glandulosopilosum, Pyrrosia petiolosa, etc. and degree I was 13 species; Hemiptelea davidii, Zizyphus jujuba var. jujuba, etc. Also, the 11 taxa were recorded in limestone area as the chamaephyte; Hypodematium glandulosopilosum, Celtis koraiensis, Siphonostegia chinensis, Artemisia gmelini, and others. The naturalized plants recorded as 25 taxa; Viola arvensis, Erechtites hieracifolia, etc. and invasion of Sicyos angulatus which is ecosystem disturbing plants. The naturalization rate(NR) was 8.3% and the urbanization index(UI) was 7.8% by field survey. For recovery of indigenous to traditional vegetation landscape in Buyongdae, Pinus rigida of upper-growth and Alnus sibirica of middle-growth need thinning. In addition, the site demands both sustainable management through long-term monitering and gradual elimination method for the naturalized plants including Sicyos angulatus where found in Kyumamjeongsa. Particularly, intentional planting for decoration and cultivation around Hwachunseowon, Helianthus tuberosus must be substitute with the native plants. Meanwhile, Polygala tenuifolia is potently demanded preventing habitate, confirming additional habitate, seed securing and preservation of gene resource internally or externally. Koelreuteria paniculata; denoting feature of river cliff, including Hypodematium glandulosopilosum, Siphonostegia chinensis, Zizyphus jujuba var. jujuba, Pyrrosia petiolosa, and Celtis koraiensis, also need an assertive preservation. Futhermore, Wisteria floribunda for. floribunda, located around Galmo rock to Chunggil course, remained by colonizing form, need preservation and observation for a while. Beside that, the information boards are required to educate visiting user about safe regulations on the narrow way in rock hill.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.92-102
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• 2020

The followings are the landscape preference aspects from the 816 landscapes(景, Kyung), which comprise the 78 modern Palkyungs, presented by the 78 local governments in Korea. First, the natural environment elements selected as Kyung(景), which are topographical landscapes, mostly consist of mountain elements such as mountains, terrace(臺), rocks and stones and water elements classified as rivers, oceans, and lakes. Natural elements also include old-growth and giant trees such as pines, ginkgos, Japanese cornels and fringe trees, tree-lined streets and forests, and plant elements such as azaleas, rhododendrons, lotuses, reeds, and silver grasses which provide seasonal landscapes. Second, more than half of Kyung, selected as human environment elements, are historical and cultural heritages such as graveyards, mountain fortresses, town fortresses, traditional villages, pavilion in villas, and temples. And it is followed by leisure tourism facilities such as traditional markets, exhibition halls, theme parks, beaches, and food streets, green-based structures such as trails, plazas, parks, and botanical gardens, and industrial heritages such as ranches, abandoned coal mines, stations, ports and bridges. Third, modern Palkyungs include objects not related to the views such as local representative facilities, regional products, and festivals. Fourth, although most of the modern Palkyungs consist of eight, some include 20, 38, or 100 in order to increase the number of objects of public relations. Fifth, a certain local government makes two modern Palkyungs with different subjects by introducing traditional Palkyung and modern Palkyung altogether. In this case, it presents several modern Palkyungs like by selecting Palkyungs in a limited area. Furthermore, one Palkyung includes numerous place names at a time in some cases. Sixth, Sosangjeonhyeong(瀟湘典型)-style modern Palkyung uses 'NakAn(落雁)' as the name of Kyung. Sosangyusahyeong(瀟湘類似型)-style modern Palkyung expresses 'Hyojong(曉鐘)' and landscape of glow of the setting sun, sunset, night view, dawn, sunrise and depicts cloud, sunset, moon, and snow. There are many Myeongsocheheomhyeong(名所體驗型)-style Palkyungs exhibiting the behavior of tourism and Myeongseunghyeong(名勝型)-style Palkyungs raising the awareness only by the names of the places. Seventh, modern Palkyung's naming styles are diverse, such as using only four letters instead of specifying Kyungmul(景物) or Kyungsaek(景色) in combination with Chinese characters or adding modifiers specializing in places.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.1
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• pp.98-106
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• 2010

Bangseonmun(訪仙門) is the attractive spots where Shinseon(神仙: Taoist hermit) ideas that makes Mt. Younju(瀛洲山) or the current Mt. Halla mystique has still remained and situated at Hancheon(漢川) Valley. Bangseonmun, which is known as 'Landscape Setting Here($L_{SH}$)' of Youngguchunhwa(瀛丘春花), which is one of ten famous spots in Youngjusipkyung(瀛洲十景), and Deulreonggui refer to 'the gate to the place where Shinseon is living.' It is described as the path to Mt. Youngju for Shinseon and the boundary between the mundane world and the world beyond the mundane. The old scholars at Mt. Halla entered the gate and met Shinseon, carving the word or picture of Bangseonmun, Whanseonmun, Wuseondae or Deungyounggu so as to structure the enchanting image on Bangseonmun. It is the poetic expression of the taste for the arts, breaking from the troublesome mundane world and riding the white deer to become the Shinseon, the desire for the ideal world in Taoism, and the identity of four famous scenic spots of Bangseonmun. Besides its enchanting meaning and the locational value of Bangseonmun, geological features of the valley and river and ecological value prove its unique value as a natural scenic beauty. Not to mention the locational identity and enchanting meaning of the poets carved in Meeaegak of Bangseonmun and the scenic view of 'Youngguchunhwa' as the subject of 10 famous scenes of Youngju, it is the place for communing with nature with the natural beauty of Bangseonmun Valley. As the cultural place for being together with Jeju people, it simultaneously shows the typical model as a scenic spot in our living. Viewing the scenic value and standard from the aspect of the Cultural Properties Protection Law, Bangseonmun Valley in Jeju must be the typical place and space that meet the requirements to become scenic sites.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.37-47
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• 2018

This study was attempted to understand present status and characteristics of landscape components of the domestic Korean Gugokwonlim created by the classical scholars in the Joseon Dynasty. The results are as follows. First, Distribution of Gukokwonlim in Korea shows that 55(51.4%) are located in Daegu and Gyeongsangbuk-do, and 22(20.56%) are located in Chungcheongbuk-do. Concentrated locations of Gugok are on the part of Baekdudaegan, from Sobaeksan mountain to Sokrisan mountain via Wolaksan mountain, and the Nakdong River basin of the Nakdong vein in the right bank. This consideration seems to be closely related to the academy of Yeongnam Confucianism and the their trend of Wonrim enjoyment. Second, according to the result of examining the distribution of Gugok according to the basic local government authority, The biggest number of the Gugok places(10 places, 9.35%) are located in Andong, which is called 'the capital of Korean spiritual culture.' Additionally in order, 9 places(9.45%) is located in Goesan, 8 places(7.48%) in Mungyung, 6 places(5.61%) in Bonghwa, and 5 places(4.67%) in Yeongju. Third, in order to the creating time of Gugokwonlim, 33 (33.0%) were created in $18^{th}$ century, and other 33 (33.0%) were created in $19^{th}$ century. In addition, 14 were created during $20^{th}$ century, while 13 were created in $17^{th}$ century. And 4 were created in $16^{th}$ century. Respectively. great number of $18^{th}$ and $19^{th}$ centuries shows that many(66.0%) Gugokwonrim were created between late 18th to 19th centuries. Fourth, There were 97(90.65%) of 'Gugok' in the form of collecting type, and a total number of bottom-up style Gugok were 99(92.5%) while top-down style Gugok were 8(7.5%). Fifth, Among the contents of Gugok, 67 were found in pome of Gugok(64.49%), 29 caved letters in rock(27.10%), and 16 in painting of Gugok(14.95%). Sixth, The most emerged landscape components of Gugok was Dae(臺) 124(13.05%), followed by Am(巖) 115[11.2%, including of Am(岩)] 115(11.2%), and Dam(潭) 73(7.68%), Jeong(亭) 48(5.05%), Dong(洞) 39(4.10%), San(山) 36(3.78%), Am(岩, rocks) 31(3.26 %), Bong(峯, peaks) 27(2.84%), Yeon(淵) 23(2.42%) and Chun(川) and Tan(灘) 22(2.31%). Mostly, common landscape components of Gugok are entrusted natural things. It is expected that more studies about the analysis of characteristics of Gugok's positioning types considering total distance and a gradient are required to understand more clearly characteristics and location distribution of true Gugok and its landscape components.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.123-154
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• 2019

Ancestral Burial Ground on the Inwangsan Mountain is a ten-panel folding screen with images and postscripts. Commissioned by Bak Gyeong-bin (dates unknown), this screen was painted by Jo Jung-muk (1820-after 1894) in 1868. The postscripts were written by Hong Seon-ju (dates unknown). The National Museum of Korea restored this painting, which had been housed in the museum on separate sheets, to its original folding screen format. The museum also opened the screen to the public for the first time at the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea held from July 23 to September 22, 2019. Ancestral Burial Ground on the Inwangsan Mountain depicts real scenery on the western slopes of Inwangsan Mountain spanning present-day Hongje-dong and Hongeun-dong in Seodaemun-gu, Seoul. In the distance, the Bukhansan Mountain ridges are illustrated. The painting also bears place names, including Inwangsan Mountain, Chumohyeon Hill, Hongjewon Inn, Samgaksan Mountain, Daenammun Gate, and Mireukdang Hall. The names and depictions of these places show similarities to those found on late Joseon maps. Jo Jung-muk is thought to have studied the geographical information marked on maps so as to illustrate a broad landscape in this painting. Field trips to the real scenery depicted in the painting have revealed that Jo exaggerated or omitted natural features and blended and arranged them into a row for the purposes of the horizontal picture plane. Jo Jung-muk was a painter proficient at drawing conventional landscapes in the style of the Southern School of Chinese painting. Details in Ancestral Burial Ground on the Inwangsan Mountain reflect the painting style of the School of Four Wangs. Jo also applied a more decorative style to some areas. The nineteenth-century court painters of the Dohwaseo(Royal Bureau of Painting), including Jo, employed such decorative painting styles by drawing houses based on painting manuals, applying dots formed like sprinkled black pepper to depict mounds of earth and illustrating flowers by dotted thick pigment. Moreover, Ancestral Burial Ground on the Inwangsan Mountain shows the individualistic style of Jeong Seon(1676~1759) in the rocks drawn with sweeping brushstrokes in dark ink, the massiveness of the mountain terrain, and the pine trees simply depicted using horizontal brushstrokes. Jo Jung-muk is presumed to have borrowed the authority and styles of Jeong Seon, who was well-known for his real scenery landscapes of Inwangsan Mountain. Nonetheless, the painting lacks an spontaneous sense of space and fails in conveying an impression of actual sites. Additionally, the excessively grand screen does not allow Jo Jung-muk to fully express his own style. In Ancestral Burial Ground on the Inwangsan Mountain, the texts of the postscripts nicely correspond to the images depicted. Their contents can be divided into six parts: (1) the occupant of the tomb and the reason for its relocation; (2) the location and geomancy of the tomb; (3) memorial services held at the tomb and mysterious responses received during the memorial services; (4) cooperation among villagers to manage the tomb; (5) the filial piety of Bak Gyeong-bin, who commissioned the painting and guarded the tomb; and (6) significance of the postscripts. The second part in particular is faithfully depicted in the painting since it can easily be visualized. According to the fifth part revealing the motive for the production of the painting, the commissioner Bak Gyeongbin was satisfied with the painting, stating that "it appears impeccable and is just as if the tomb were newly built." The composition of the natural features in a row as if explaining each one lacks painterly beauty, but it does succeed in providing information on the geomantic topography of the gravesite. A fair number of the existing depictions of gravesites are woodblock prints of family gravesites produced after the eighteenth century. Most of these are included in genealogical records and anthologies. According to sixteenth- and seventeenth-century historical records, hanging scrolls of family gravesites served as objects of worship. Bowing in front of these paintings was considered a substitute ritual when descendants could not physically be present to maintain their parents' or other ancestors' tombs. Han Hyo-won (1468-1534) and Jo Sil-gul (1591-1658) commissioned the production of family burial ground paintings and asked distinguished figures of the time to write a preface for the paintings, thus showing off their filial piety. Such examples are considered precedents for Ancestral Burial Ground on the Inwangsan Mountain. Hermitage of the Recluse Seokjeong in a private collection and Old Villa in Hwagae County at the National Museum of Korea are not paintings of family gravesites. However, they serve as references for seventeenth-century paintings depicting family gravesites in that they are hanging scrolls in the style of the paintings of literary gatherings and they illustrate geomancy. As an object of worship, Ancestral Burial Ground on the Inwangsan Mountain recalls a portrait. As indicated in the postscripts, the painting made Bak Gyeong-bin "feel like hearing his father's cough and seeing his attitudes and behaviors with my eyes." The fable of Xu Xiaosu, who gazed at the portrait of his father day and night, is reflected in this gravesite painting evoking a deceased parent. It is still unclear why Bak Gyeong-bin commissioned Ancestral Burial Ground on the Inwangsan Mountain to be produced as a real scenery landscape in the folding screen format rather than a hanging scroll or woodblock print, the conventional formats for a family gravesite paintings. In the nineteenth century, commoners came to produce numerous folding screens for use during the four rites of coming of age, marriage, burial, and ancestral rituals. However, they did not always use the screens in accordance with the nature of these rites. In the Ancestral Burial Ground on the Inwangsan Mountain, the real scenery landscape appears to have been emphasized more than the image of the gravesite in order to allow the screen to be applied during different rituals or for use to decorate space. The burial mound, which should be the essence of Ancestral Burial Ground on the Inwangsan Mountain, might have been obscured in order to hide its violation of the prohibition on the construction of tombs on the four mountains around the capital. At the western foot of Inwangsan Mountain, which was illustrated in this painting, the construction of tombs was forbidden. In 1832, a tomb discovered illegally built on the forbidden area was immediately dug up and the related people were severely punished. This indicates that the prohibition was effective until the mid-nineteenth century. The postscripts on the Ancestral Burial Ground on the Inwangsan Mountain document in detail Bak Gyeong-bin's efforts to obtain the land as a burial site. The help and connivance of villagers were necessary to use the burial site, probably because constructing tombs within the prohibited area was a burden on the family and villagers. Seokpajeong Pavilion by Yi Han-cheol (1808~1880), currently housed at the Los Angeles County Museum of Art, is another real scenery landscape in the format of a folding screen that is contemporaneous and comparable with Ancestral Burial Ground on the Inwangsan Mountain. In 1861 when Seokpajeong Pavilion was created, both Yi Han-cheol and Jo Jung-muk participated in the production of a portrait of King Cheoljong. Thus, it is highly probable that Jo Jung-muk may have observed the painting process of Yi's Seokpajeong Pavilion. A few years later, when Jo Jungmuk was commissioned to produce Ancestral Burial Ground on the Inwangsan Mountain, his experience with the impressive real scenery landscape of the Seokpajeong Pavilion screen could have been reflected in his work. The difference in the painting style between these two paintings is presumed to be a result of the tastes and purposes of the commissioners. Since Ancestral Burial Ground on the Inwangsan Mountain contains the multilayered structure of a real scenery landscape and family gravesite, it seems to have been perceived in myriad different ways depending on the viewer's level of knowledge, closeness to the commissioner, or viewing time. In the postscripts to the painting, the name and nickname of the tomb occupant as well as the place of his surname are not recorded. He is simply referred to as "Mister Bak." Biographical information about the commissioner Bak Gyeong-bin is also unavailable. However, given that his family did not enter government service, he is thought to have been a person of low standing who could not become a member of the ruling elite despite financial wherewithal. Moreover, it is hard to perceive Hong Seon-ju, who wrote the postscripts, as a member of the nobility. He might have been a low-level administrative official who belonged to the Gyeongajeon, as documented in the Seungjeongwon ilgi (Daily Records of Royal Secretariat of the Joseon Dynasty). Bak Gyeong-bin is presumed to have moved the tomb of his father to a propitious site and commissioned Ancestral Burial Ground on the Inwangsan Mountain to stress his filial piety, a conservative value, out of his desire to enter the upper class. However, Ancestral Burial Ground on the Inwangsan Mountain failed to live up to its original purpose and ended up as a contradictory image due to its multiple applications and the concern over the exposure of the violation of the prohibition on the construction of tombs on the prohibited area. Forty-seven years after its production, this screen became a part of the collection at the Royal Yi Household Museum with each panel being separated. This suggests that Bak Gyeong-bin's dream of bringing fortune and raising his family's social status by selecting a propitious gravesite did not come true.