• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.1
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• pp.1-9
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• 2021

The purpose of this study is to analyze Zhangjingxiu(張敬修 1823~1864), who made Keyuan(可園) in Lingnan, China, to find out how traditional gardens were created. This study focused on the analysis of the relationship between garden designer and space creation. To this purpose, the analysis was divided into garden designer life analysis, garden making background analysis, garden analysis as a space for interaction with local artists, garden analysis as art activity space for garden designer, and garden designer's unique garden creation. the results are as follow. Zhangjingxiu was born in Dongwan City in 1823, participated in the civil war at the age of 22(1845), returned home at the age of 26(1849) and made Keyuan. However, he again went through the Opium War(1856), and at the age of 38(1861) he returned home with a war-illness. A garden designer Zhangjingxiu died at the age of 41(1864). Since Zhangjingxiu was a soldier, he healed the wounds caused by the war and created a garden in order to realize the ideal world that Zhangjingxiu normally had. The garden making background can be found in the garden's name Keyuan(可園). Zhangjingxiu tried to express in the garden the meaning of 'there is nothing possible and nothing impossible in the world' learned through the war. Therefore, Zhangjingxiu named the garden housing and the lake as Gadang(可堂), Gaheon(可軒), Gajeong(可亭), Galu(可樓), and Gaho(可湖). In addition, he returned from the war and making a garden with love and filial piety for his mother. Zhangjingxiu left many poetry and oriental paintings in Keyuan with local artists. The places created as a base as a space to interact with local artists in the garden are 'Gaheon(可軒) and Galu(可樓)', and 'Chuwoljigwan(雛月池館) and Gajeong(可亭)'. In particular, Jasudae(滋樹臺), which can produce various miniascapes of orchids, is considered to be the core space of Zhangjingxiu's artistic space. Zhangjingxiu is considered to have become a famous garden by creating a very characteristic garden using Jasudae, Sokgasan(石假山) and Baewoldae(拜月臺) on the court in front of Gadang.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.49-56
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• 2023

This study analyzes the entirety of Okhojeongdo's content found in the Punggojip, written by Kim Jo-Sun, who created Okhojeong. Through an examination of the literature confirming Okhojeong within the Punggojip, the study compares the existing research with the Okhojeongdo's content. Additionally, it clarifies the relationships between the disciple, the garden, and related historical facts. The results are as follows. First, Kim Jo-Sun, who created Okhojeong, had a strong literary inclination, which made it relatively easy to estimate the original form of the garden, as he expressed detailed content related to the design and management of the garden. Second, the historical dating of the creation of Okhojeong was previously estimated to be around 1815 based on the inscriptions on the Eulhaebyeok. However, it is more appropriate to revise this to 1804, as revealed by Lee Sung-min, who discovered records in Dongseonggyoyeojip, indicating that Kim Jo-Sun purchased the Jang's house. Third, Kim Jo-Sun's literary hobby, as depicted in Punggojip, closely followed Chinese classics. However, the part about creating the garden is supported by factual and garden archaeological records, giving it inherent value. Regarding the expansion of the garden site, it is estimated that the southern boundary of Okhojeong was extended by about half a unit(kan; 間) through a transfer from Kim saeng Saho. Various additions, stone statues, peculiar rocks, ornamental trees, and accompanying elements are found throughout the garden. Particularly noteworthy are the techniques and aesthetics of creating a stone pagoda, and there are mentions of transplanting young pine trees with professional insights. The love for harmony and elegance in the garden is woven throughout the poetry. Additionally, the process of selecting the location for Okhojeong, the understanding of the terrain and topography, the assessment of existing vegetation, the process of cutting down trees and selecting the soil, the construction of houses with tiles and thatched roofs all contribute to demonstrating the comprehensive stages of creating Okhojeong, providing insight into the location and construction process of the Sanbanru pavilion, showcasing the archaeological value of the garden. A follow-up study is needed to excavate more information about the original form of Okhojeong garden through the interpretation of the collections of the literary works of the influential figures introduced in Punggojip in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.1-13
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• 2012

This study aimed at learning the values and meanings of the letters carved on the rocks all over Mt. Sangdu located at the boundary between Kimje-si and Jeongeup-si of Jeollabuk-do by grasping the current state of them, investigating the patterns and contents of them, and understanding the spatial and landscape properties of the region where the rocks are scattered. The results of this study are as follows; The name of Mt. Sangdu came from the mountain with the same name located in India where Buddha were seeking the truth, and means auspicious. With the recognition of ancient maps and books, various propitious spots also made the landscape symbols of Mt. Sangdu solidify. Whoam, Chaangsuk-Kim, Weolgye Young-Cho Song and the members of Cheonggye Society like Dongcho Seok-Gon Kim led the creation of the rocks, and the 41 letter-carved rocks all over four water systems were found out and all of them were carved with Chinese characters. The letters were usually carved on flat and broad rocks, and they mainly had the shape of a small waterfall and a wide waterfall of under 1 meter height. 25(60.9%) of the carved letters were about moral training, and it seemed that they wanted to protect their pride under the shackle of the Japanese colonization over Korea. The styles of handwriting are Hangseo and Jeonseo except for names, and show various and complex styles. The mix composition of the carved letters of 'Yusubulbu(流水不腐)' of Choseo and the rocks of Takjok(濯足) is extraordinary, and the letters carved as the shape of Nakkwan(落款) have artistic value and degree of finishing. It seemed that intellectuals during the Japanese colonization over Korea in the 1930s considered Mt. Sangduasa highly valuable region because they expressed their hope and wish for the new world on the rocks. The letters on the rocks of Mt. Sangdu are invaluable cultural landscaping elements for the improvement of landscaping symbolism of Mt. Sangdu because of colliding values and spirits of the time of 'the anguish and pain of intellectuals' and 'the status of living joyfully outside of the mundane world.'