• Journal of the Korean Institute of Landscape Architecture
• /
• v.47 no.3
• /
• pp.81-92
• /
• 2019

This study was conducted to establish vegetation structure characteristics and vegetation management plan of the cultural landscape forests located around Unmun Temple in Cheongdo-gun and to provide the basic data needed to manage the cultural landscape forests. The landscape characteristics are analyzed in two perspectives including the landscape as viewed from inside and outside of Unmun Temple and eight landscape views are selected. Main views are Pinus densiflora forest and Abies holophylla forest around Unmun Temple. As a result of the survey of existing vegetation around Cheongdo-gun Unmun Temple, P. densiflora forests and P. densiflora-A. holophylla forests are widely distributed, occupying 79.2% of the forest. The plant community structure was classified into seven types according to the three topographic characteristics, flat forests, slope forests, and lower forests, Which were divided into a total of 30 survey plots and the average relative importance percentage was determined. The P. densiflora community on the flat are dominated by Carpinus tschonoskii in Under-canopy. The P. densiflora-A. holophylla community on the flat had a relatively high rate of domination in the shrubs. There were no competing species for the A. holophylla community on the plat. The large standard P. densiflora and the small standard P. densiflora were expected to be confined by P. serrulata var. pubescens and the Quercus variabilis on the slopes. The managed P. densiflora community had a relatively high rate of P. densiflora domination in the shrubs. The P. densiflora community on the lowland was dominated by Styrax japonicus and P. serrulata var. pubescens. The Shannon species diversity index was 0.2360 to 1.4088. The results of the correlation analysis with P. densiflora, A. holophylla and other species were P. densiflora had negative correlation with Acer mono, Corylus heterophylla var. heterophylla, Zelkova serrata and A. holophylla, and A. holophylla have negative correlation with S. japonicus and P. densiflora. Landscape characteristics and plant community structures are analyzed to propose management methods of maintaining and restoring The P. densiflora and A. holophylla cultural forest landscapes around Unmun Temple.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.37 no.2
• /
• pp.40-53
• /
• 2019

This study was conducted to investigate the changes in Scenic Spots by utilizing the "Sinjeungdonggukyeojiseungram(新增東國輿地勝覽)" and "Joseonhwanyeoseungnam(朝鮮?與勝覽)" to interpret "Joseonmyeongseungsiseon(朝鮮名勝詩選, 1915)". By examining the historical context when "Joseonmyeongseungsiseon" was published, it documented the Japanese's memories of 'Sino-Japanese War(淸日戰爭)' in 1894, which implies the 'policy of assimilation' by the Japanese Government-General of Korea after the Japanese annexation of Korea(1910). Detailed information about the author 'Narushima Sagimura(成島鷺村)' can be found in preface. In the "Joseonmyeongseungsiseon", it dedicates most of the part in describing the Scenic Spot especially in 'Anseong Do (15 lines)', where has the memories of war such as the 'First Sino-Japanese War'. The number of Scenic Spots, commonly mentioned in both "Sinjeungdonggukyeoji seungram" and "Joseonhwanyeoseungnam" in Cheonan province are 13 in total. Most of the content contains a similar structure. But 'Honggyeongwon(弘慶院)' and 'Seonghwanyeok(成歡驛)' has both the common Joseon Dynasty landscape point of view, and the additional historical context which are about the 'Jeongyujaeran(丁酉再亂)' or 'First Sino-Japanese War' consequently enlightens the 'placeness' of the Scenic Spots. Among the newly described Scenic Spots, 'Anseongdo(安城渡)' is the part that focuses on the memory of the 'Anseongcheon Battle' that gave Japan its first defeat in the Sino-Japanese War. Especially, by introducing the poetry of 'Sinobu Shunpei' it maximizes the appreciation through emphasizing the direct correlation between placeness and the poem itself. While the Joseon Dynasty poems are 10 pieces in total and their title and the subject matters are all related to historical spots, and the appreciation also maximizes when fully interpreted with understanding the historical context. However, it's contextual meanings are neglected by dividing the actual structures into separate pages. When looking at the location of famous historic sites, they come in many different types, considering the location, meaning, size, and conditions surrounding them. It appears as a service space for travelers, a place for sightseeing, relaxation or return, a temple space for paying respects or memorial services, a fortress facility for defense and protection, or a fishing area for wages, and an old battlefield. Especially, it is noted that the area is diverse as the cultural landscape of Cheonan, given that the battle space between the hermitage and the Donghangnongmin(東學農民) is shared with each other. It is necessary to establish policies for the preservation and restoration of local cultural assets based on these points in the future.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.49 no.6
• /
• pp.64-79
• /
• 2021

In Korea, mountains constitute 60 percent of the total land area. For a long time, mountains have been deeply involved in people's daily lives, acting as a significant layer of culture. For those reasons, it would be meaningful to shed light on the values of the mountain culture of Korea and seek various ways to utilize them. Therefore, this study aims to explore Korea's mountain enjoyment culture, considering the mountain leisure in the Joseon Dynasty period, when the heritage of mountain enjoying culture was prevalent, and that of the present era. For the analysis, hiking records of the Joseon Dynasty and present-day hiking blog posts related to three famous mountains in Korea were examined. Findings show that people stayed in the mountains for a long time in the Joseon Dynasty, concentrating on the landscape deeply, and various academic and artistic cultures flourished there. In contrast, contemporary people regard the mountain merely as a space to access the peak and climb down quickly within a day. Therefore, the landscape of the mountain cannot be used as a cultural asset beyond natural scenery. However, there are several positive aspects to today's climbing culture. For example, it is easy to obtain information on climbing and feasible ways to conduct various sizes and concepts of hiking due to the development of technology and transportation. In order to develop Korea's unique mountain enjoyment culture in the future, we should propose a 'leisurely hike' that allows people to enjoy the mountain scenery fully and sublimating it into culture, rather than being hiking that is limited to climbing. In addition, it is essential to create suitable spaces, arranging them appropriately to utilize the history and humanities context of the mountain, and connect local facilities and the workforce, thereby causing the development of various mountain enjoyment cultures.

• Korean Journal of Environment and Ecology
• /
• v.37 no.4
• /
• pp.302-314
• /
• 2023

This study aims to explore the direction for Korea's effective response to Target 3 (30by30), which can be said to be the core of the Kunming-Montreal Global Biodiversity Framework (K-M GBF) of the Convention on Biological Diversity (CBD), to find the direction of systematic OECM (Other Effective area-based Conservation Measures) discovery at the national level through a survey of global conceptual review and expert perception of OECM. This study examined ① the use of Korean terms related to OECM, ② derivation of determining criteria reflecting global standards, ③ deriving types of potential OECM candidates in Korea, and ④ considerations for OECM identification and reporting to explore the direction for identifying systematic, national-level OECM that complies with global standards and reflects the Korean context. First, there was consensus for using Korean terminology that reflects the concept of OECM rather than simple translations, and it was determined that "nature coexistence area" was the most preferred term (12 people) and had the same context as CBD 2050 Vision of "a world of living in harmony with nature." This study suggests utilizing four criteria (1. No protected areas, 2. Geographic boundaries, 3. Governance/management, and 4. Biodiversity value) that reflect OECM's core characteristics in the first-stage selection process, carrying out the consensus-building process (stage 2) with the relevant agencies, and adding two criteria (3-1 Effectiveness and sustainability of governance and management and 4-1 Long-term conservation) and performing the in-depth diagnosis in stage 3 (full assessment for reporting). The 28 types examined in this study were generally compatible with OECMs (4.45-6.21/7 points, mean 5.24). In particular, the "Conservation Properties (6.21 points)" and "Conservation Agreements (6.07 points)", which are controlled by National Nature Trust, are shown to be the most in line with the OECM concept. They were followed by "Buffer zone of World Natural Heritage (5.77 points)", "Temple Forest (5.73 points)", "Green-belt (Restricted development zones, 5.63 points)", "DMZ (5.60 points)", and "Buffer zone of biosphere reserve (5.50 point)" to have high potential. In the case of "Uninhabited Islands under Absolute Conservation", the response that they conformed to the protected areas (5.83/7 points) was higher than the OECM compatibility (5.52/7 points), it is determined that in the future, it would be preferable to promote the listing of absolute unprotected islands in the Korea Database on Protected Areas (KDPA) along with their surrounding waters (1 km). Based on the results of a global OECM standard review and expert perception survey, 10 items were suggested as considerations when identifying OECM in the Korean context. In the future, continuous research is needed to identify the potential OECMs through site-level assessment regarding these considerations and establish an effective in-situ conservation system at the national level by linking existing protected area systems and identified OECMs.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.36 no.3
• /
• pp.58-74
• /
• 2018

This study aims to propose baseline data for designing restoration of Gaobyulup, researching space formation and characteristics of gardens of Gaobyulup, which located in the foot of Cheonmasan Mountain in Namyangju. Gaobyulup is a remain in retirement of Gyulsan Yu-Won Lee, a representative politician, administrator, and tea drinker in late Joseon Dynasty. The results of the research about the shape of Gaobyulup deducted through reference review, poetry and prose analysis, an on-the-spot survey and residents' interview are below: Lee, who used pseudonym as 'Gyulsan,' which menas Jongnamsan Mountain, yearned Mangcheonbyeoreop(輞川別業) by Yu Wang and retirement with a country house operation by Seogye Sedang Park. In the persuit of this ideal, he created and operated a country house in Gaogok of Yangju, which a family burial ground was located. Gaobyulup, which located in Gaogok in the lower part of Cheonmasan Mountain, was largely composed outer and inner gardens, and the area of house operation was started from a stone post of Gaobokji The inner garden of Gaobyulup was including major garden components like buildings, such as Sasihyanggwan, Obaekganjung, Imharyoe and Toesadam, and Chaewon near Haengrangchae, and Gwawon in an backyard. In addition, Younggwijung pavilion, which located 850m away from Gaobyulup, was the another country house inside the Byulup, thus Gaobyulup shows a duplex space formation. In the inner garden of Gaobyulup, there are Sasihyanggwan, which had functions of Sarangchae as library and depository of old paintings and calligraphic works, and Obaekganjung, a small Sarangchae which connected with Sasihyanggwan in the form of a transept. Yusanggoksuger located near Obaekganjung. Additionally, Imharyeo, a library with a tablet of Byeokryowon(??園), which located in the highest point in Byulup, has the functions of a reading room and a tea house. Many Taihu stones were located not only in Toesadam, a square-formed pond with lotus but also many places in the inner gardens. And rare garden plants were planted. These were closely related to the trend of horticulture for pleasure, wealth, and collecting old paintings and calligraphic works for pleasure of Lee. Meanwhile, the area of Younggwijung pavilion, located in Gaocheon stream fall from Byulup to Manhoiam, looks like Wooampok, a enjoying place of other personages, who use their pseudonym as "Oksan" or "Wooam" Lee identifies Wooampok as "Jesampok" and carved 'Gyulsan' s he declared this place is his operating area. Lee built Younggwijung pavilion and planted many peach trees for recreation of utopia. The stone letters of Byukpadongcheon, located in front of a bridge in the foreside of Younggwijung pavilion, seems another enchanted land created in Gaobokji inside. Lee carved Jeilsan in huge rock on the falls rear Manhoiam temple, which Lee did great role of foundation of the temple, so he identifies that this place was the end of the outer garden of Gaobyulup. This study tries to estimate traces of the country house in Gaogok through reference review and on-th-spot survey, and the results from this study are presumed based on site remains only conformed today. It needs to discover second scenary or stone carved letters between Jeilsan and Jesampok. Additionally, exact formation characteristics of Gaobyulup should be identified through excavation survey later. To do so, an interest and a major role of Namyangju-si must be equipped for future restoration of Gaobyulup.

• Korean Journal of Heritage: History & Science
• /
• v.43 no.1
• /
• pp.160-189
• /
• 2010

This study has been designed to grasp the present situation, shapes and meaning of the standing stones and rock pillars in the whole area of Noseong Mountain Fortress in Nonsan City which have never been academically reported yet. Accordingly, the research was carried out to grasp the spatial identity of Noseong Mt. and Noseong Mountain Fortress and the dispersion of standing stones scattered around inside and outside Noseong Mountain Fortress, while the shapes and structural characteristics of stones were investigated and analyzed focusing on Chongsuk Temple, which was considered to have the highest density of standing stones and greatest values for preservation as a cultural property. In consideration of the reference to the 'Top Sa' (tower temple) at the 'Bul Woo Jo' (Article about Buddhism Houses) of 'Shinjoong Dongguk Yeoji Seungram', theoretical existence of the temple according to surveying investigation, and the excavation records of roof tile pieces with the name of 'Gwan Eum Temple', it is presumed that there had been a Buddhist sanctum inside the fortress and it could be connected to the carved letters, 'Chongsuk Temple'. According the observation survey, the 6th place of standing stones among many other places inside the fortress shows that Chongsuk Temple appears to have the strong characteristics of artificially constructed space in consideration of the size of trees and stones, the composite trend of tree and stone composition, and trace of the adjacent well and strand and the construction of stairway leading to the stone gate. Along with the constellation of the Big Dipper carved on a rock at the same space, the stones, on which the letters of 'Shinseonam', 'Chilseongam' and 'Daejangam' were carved, including 'Chongsuksa', and the carved statue of Buddha, which was assumed to be Avalokitesvara Guan Yin, have offered clue which make it possible to infer that the space was a space for Chilseong and Mountain god(Folk Belief) that had originated from the combination of Buddhism, Taoism and folk religion. According to the actual measurement of standing stones at Chonsuk Temple, it was identified that there were big differences in height among 24 stones in total, ranging from 402~29cm and the averaged distance between each stone appeared to be 23.6cm. And the shape of stones appeared to be standing or flat, and various stones such as mountain-like stones and Buddha-like stones were placed in a special arrangement or assorted arrangement, but the direction of the stones had a consistency pointing to the west. And comparing to the trace of construction of ZEN Landscape Garden well known in the country, the three flat stones except for the standing and shaped stones appeared to have the shape of meditation statue, which is the typical formational factors of a ZEN Landscape Garden, on the basis of formational technique of stones. Among them, the flat stone facing the Buddhist saint statue, was formed by way of symbolization of three-mountain stone, which was assumed to be an offering stone for sacrificial food rather than carrying out ZEN Meditation. In consideration of the formation of standing stones at Chong-suk Temple, which was carried out in the composite stoning method based using the scalene triangle with ratio of 3:5:7 in order to seek the in-depth beauty based on the stone statues of three Buddhas where the three factors such as heaven, earth and humans are embodied in the elevated or flat formation, the stones at Chongsuk Temple and the space seemed to the trace of contracted garden construction that was formed with stones for a temple, so that could be used for ZEN meditation.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.104
• /
• pp.70-100
• /
• 2023

The celadon made in the Goryeo era, a time when Buddhism was flourishing in Korea, naturally contains many elements of Buddhist culture. Among them, inlaid celadon with Sanskrit inscriptions bears a close relationship with esoteric Buddhism. However, the research on deciphering the Sanskrit inscriptions has made little progress due to the small number of extant examples. However, the four recent excavations at the No. 23 kiln site in Sadang-ri, Gangjin have yielded new materials that allow the existing materials to be categorized into several types. The results obtained through the reading and interpretation of the inscriptions are as follows: First, the Sanskrit characters inlaid on the celadon were parts of mantras. Inscriptions where only one character is apparent cannot be deciphered, but scholars have revealed that others are written in the manner of a wheel mantra represent the "Mantra for Purifying the Dharma-Realm," "Six-Syllable Mantra of the Vidyaraja," "Sweet Dew Mantra," "Jewel Pavilion Mantra," "Mantra of the Savior Bodhisattva," "Dharani of the Mind of the Budha of Infinite Life," and "Mantra for Extinguishing Evil Rebirth." Each mantra was written in Siddham script. Second, they are believed to have been produced during the thirteenth and fourteenth centuries based on the arrangement of the inscriptions and the way the "Sweet Dew Mantra" is included in the "40 Hands Mantra." In particular, the celadon pieces with a mantra inlaid in a concentric manner are dated to the late thirteenth and early fourteenth centuries based on their production characteristics. Third, the interpretation of the inlaid mantras suggests that they all refer to the "Shattering Hell" and "Rebirth in the Pure Land." Based on this, it can be concluded that some of these inlaid celadon wares with mantras may have been used in Buddhist rituals for the dead, such as the ritual for feeding hungry ghosts (施餓鬼會). Also, because the Sadang-ri No. 23 kiln site and the "ga" area of the site are believed to have produced royal celadon, it is likely that these rituals were performed at the royal court or a temple under its influence. Fourth, this inlaid Goryeo celadon with Sanskrit mantras was not a direct influence of the ceramics of Yuan China. It emerged by adopting Yuan Chinese Buddhist culture, which was influenced by Tibetan Buddhism, into Goryeo Korea's existing esoteric practices. Fifth, the celadon wares inlaid with a Sanskrit mantra reveal a facet of the personal esoteric rituals that prevailed in late Goryeo society. Changes in esotericism triggered by the desire for relief from anxieties can be exemplified in epitaph tablets and coffins that express a shared desire for escaping hell and being born again in paradise. Sixth, the inlaid celadon with Sanskrit mantras shares some common features with other crafts. The similarities include the use of Siddham Sanskrit, the focus on Six-Syllable Mantra of the Vidyaraja, the correspondence with the contents of the mantras found on Buddhist bells, wooden coffins, and memorial tablets, and their arraignment in a similar manner with rooftiles. The major difference between them is that the Mantra for Extinguishing Evil Rebirth and the Sweet Dew Manta have not yet been found on other craftworks. I believe that the inscriptions of Sanskrit mantras are found mainly on inlaid celadon vessels due to their relatively low production cost and efficiency.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.40 no.4
• /
• pp.67-80
• /
• 2022

SipWooDo (十牛圖: Painting of Ten Bulls), a Buddhist painting, is a kind of Zen Sect Buddhism painting, which is shown as a mural in many of main halls of Korean Buddhist temples. MokWooDo has been painted since Song Dynasty of China. It paints a cow, a metaphor of mind and a shepherd boy who controls the cow. It comes also with many other types of works such as poetry called GyeSong, HwaWoonSi and etc. That is, it appeared as a pan-cultural phenomenon beyond ideology and nation not limited to Chinese Buddhist ideology of an era. This study, therefore, selects MokWooDo chants that represent Confucianism, Buddhism and Taoism to compare the writing purposes, mind discipline methods and ultimate goals of such chant literatures in order to integrate and comprehend the ideologies of such three schools in the ideologically cultural aspect, which was not fully dealt with in the existing studies. In particular, the study results are: First, the SipWooDo of Buddhist School is classified generally into Bo Myoung's MokWooDo and Kwak Ahm's SimWooDo (尋牛圖: Painting of Searching out a Bull). Zen Sect Buddhism goes toward nirvana through enlightenment. Both MokWooDo and SimWooDo of Buddhist School are the discipline method of JeomSu (漸修: Discipline by Steps). They were made for SuSimJeungDo (修心證道: Enlightenment of Truth by Mind Discipline), which appears different in HwaJe (畫題: Titles on Painting) and GyeSong (偈頌: Poetry Type of Buddhist Chant) between Zen Sect Buddhism and Doctrine Study Based Buddhism, which are different from each other in viewpoints. Second, Bo Myoung's MokWooDo introduces the discipline processes from MiMok (未牧: Before Tamed) to JinGongMyoYu (眞空妙有: True Vacancy is not Separately Existing) of SsangMin (雙泯: the Level where Only Core Image Appears with Every Other Thing Faded out) that lie on the method called BangHalGiYong (棒喝機用: a Way of Using Rod to Scold). On the other side, however, it puts its ultimate goal onto the way to overcome even such core image of SsangMin. Third, Kwak Ahm's SimWooDo shows the discipline processes of JeomSu from SimWoo (尋牛: Searching out a Bull) to IpJeonSuSu (入鄽垂手: Entering into a Place to Exhibit Tools). That is, it puts its ultimate goal onto HwaGwangDongJin (和光同塵: Harmonized with Others not Showing your own Wisdom) where you are going together with ordinary people by going up to the level of 'SangGuBori (上求菩提: Discipline to Go Up to Gain Truth) and HaHwaJungSaeng (下化衆生: Discipline to Go Down to Be with Ordinary People)' through SaGyoIpSeon (捨敎入禪: Entering into Zen Sect Buddhism after Completing a Certain Volume of Doctrine Study), which are working for leading the ordinary people of all to finding out their Buddhist Nature. Fourth, Shimiz Shunryu (清水春流)'s painting YuGaSipMaDo (儒家十馬圖: Painting of Ten Horses of Confucian School) borrowed Bo Myoung's MokWooDo. That is, it borrowed the terms and pictures of Buddhist School. However, it features 'WonBulIpYu (援佛入儒: Enlightenment of Buddhist Nature by Confucianism)', which is based on the process of becoming a greatly wise person through Confucian study to go back to the original good nature. From here, it puts its goal onto becoming a greatly wise person, GunJa who is completely harmonized with truth, through the study of HamYang (涵養: Mind Discipline by Widening Learning and Intelligence) that controls outside mind to make the mind peaceful. Its ultimate goal is in accord with "SangCheonJiJae, MuSeongMuChee (上天之載, 無聲無臭: Heaven Exists in the Sky Upward; It is Difficult to Get the Truth of Nature, which has neither sound nor smell)' words from Zhōngyōng. Fifth, WonMyeongNhoYin (圓明老人)'s painting SangSeungSuJinSamYo (上乘修真三要: Painting of Three Essential Things to Discipline toward Truth) borrowed Bo Myoung's MokWooDo while it consists of totally 13 sheets of picture to preach the painter's will and preference. That is, it features 'WonBulIpDo (援佛入道: Following Buddha to Enter into Truth)' to preach the painter's doctrine of Taoism by borrowing the pictures and poetry type chants of Buddhist School. Taoism aims to become a miraculously powerful Taoist hermit who never dies by Taoist healthcare methods. Therefore, Taoists take the mind discipline called BanHwanSimSeong (返還心性: Returning Back to Original Mind Nature), which makes Taoists go ultimately toward JaGeumSeon (紫金仙) that is the original origin by changing into a saint body that is newly conceived with the vital force of TaeGeuk abandoning the existing mind and body fully. This is a unique feature of Taoism, which puts its ultimate goal onto the way of BeopShinCheongJeong (法身淸淨: Pure and Clean Nature of Buddha) that is in accord with JiDoHoiHong (至道恢弘: Getting to Wide and Big Truth).