• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.1-10
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• 2018

This study aims to find out the characteristics of the vegetation landscape characteristics and system which led the formation of the urban image in Jeonju in the late Joseon period connected with urban spatial structure, using designated as treasure No. 1586 which was made in the middle of 18C. The vegetation landscape characteristics of Jeonju in the late Joseon Dynasty derived from the analysis of are summarized as follows. Firstly, the vegetation landscape system in Jeonju is composed of the natural vegetation around mountain area of Jeonju-Buseong, the independent vegetation or cluster planting forests linked with the main facilities, the Bibo-Forests connected with topographical characteristics of Jeonju, and the vegetation combined with a private garden. Secondly, planting landscape was specialized using flag species and local species. Thirdly, the garden-type plantation centered on the back yard or front of main facilities, with the background of natural vegetation landscape combined with the mountain area and the vegetation combined with a private garden, dominates vegetation landscape of Jeonju Buseong as objects. Fourthly, in order to overcome the defects of topographical characteristics, the Bibo-Forests were emphasized as an important planting landscape element in addition to the vegetation landscape elements connected with main facilities. Fifth, ecological vegetation landscape technique was taken considering the topographical characteristics. The characteristics of vegetation landscape of Jeonju Buseong, which is derived from , have an important meaning to restore and reproduce Jeonju's historical features. Especially, the vegetation communities of the non-booming concept combined with the geographical features, the ecological landscape harmonizing with the topography, the round house type landscape mixed with the private house, and the specialization of vegetation landscape using local species are important factors in securing the city image based on the historical characteristics and creating a city brand that utilizes vegetation landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.48-57
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• 2018

In this study, we conducted an analysis on the actual field materials and the ancient text of January 2017. First, Yuyin ShanFang is one of the famous garden in the Lingnan Region, and its total area is $1598m^2$. Wobin called the name 'Yuyin(餘蔭)' meaning the virtues of his ancestors. Second, if we analyze the poem written by Wobin, we can classify it as a phrase expressing the world beyond the future, a poem expressing the ideas of family and romantic ideas. Third, the space spread to the south around the shrine building in the middle of the site was largely a residential space, according to the analysis of the site's layout and spatial composition. Fourth, the spatial component of the hydronic acid is analyzed. The pavilion area is the Hanchwi-Pavilion, which is designated in the Wongrim, and Gyesang-Pavilion, which is a unique range that describes the peak of the garden. Fifth, Yuyin ShanFang has five ponds that are very diverse in shape. It is characteristic of us to stand on a technical boundary. Sixth, Seokgasan was referred to as Gyeongbansan, which was named after The builder Wobin and his descendants who passed it. Seventh, Hwachang is characterized by a wooden bull window and a compound glass. Eighth, the alumni style is not as diverse as the alumni style of the Suzhou traditional garden, but it features various forms and colorful pictures on the front of the alumni. Ninth, the one-piece sculptures of the interior of a building are expressed themes such as Gilsang, Sukjeong, Daoism, Palseom, and others. Finally, Trees planted in Yuyin ShanFang are mostly tropical plants, and some of them have symbolic meaning. Because the weather here is good for growing fruit, so planted a lot of fruit trees.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.1-13
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• 2020

This study closely analyzed poems and paintings related to Beijing-Palgyeong, as well as ancient maps and ancient writings. Through the study, people who read this study can consider, Beijing-Palgyeong's the process of changing times, changing landscape perception, physical and symbolic landscape elements, structural analysis, national management relationships, and finally how it was localized as symbolic place. The view point of the Beijing-Palgyeong is distributed in four places, one outside and one inside the city. Outside of the capital city of Beijing-Palgyeong were concentrated in Seosan(西山) where the resting place of the emperor and the center of the landscape view of Beijing. The view point of Beijing-Palgyeong inside the capital city is located in two places in the royal palace's Imperial Garden and in two villages around the fortress. In other words, Beijing-Palgyeong was selected as a place closely related to the imperial family, emperor, and royal palace from the time of its initial creation. Since then, many scholars, including the emperor, have used it for national management through Won(元), Ming and Qing Dynasty, and it have become more and more characteristic of 'The capital city of eight scenic views'. The two places inside the capital city praised the Gods and Emperors in the same way. Outside the capital city, the two sites depict the comfortable lives of the people who are governed by the emperor and depicting the village landscape around the city. In the end, it can be seen that most of the Beijing-Palgyeong are related to imperial palaces and emperors. If you look at the physical landscape of Beijing-Palgyeong by element, it mainly contains the contents of national management and the emperor's eulogy. Qianlong Emperor established the Beijing-Palgyeong in 1751 through the construction of a monument. A four-character on the front of the monument, and inscribed with a seven-word written by the person on the back. It can be said that Qianlong Emperor's Beijing-Palgyeong were intended to show off the results of Manchurian rule through the material symbol of the monument. Beijing-Palgyeong have been transformed into a landmark, and modern people use it as an indicator of the Beijing-Palgyeong.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.97-110
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• 2012

This study aimed at considering the original shape of Iljiam Tea Garden at Mt. Daedun. In order to accomplish our goal, we tried to strengthen the authenticity of construction of Iljiam by comparing its space structure depicted in the poetry of Choeui(艸衣) the monk with its current restored state. According to the clues and situation in the poetry along with symbolic words like 'Choeui' and 'Ilji(一枝)', Iljiam seemed to be a tea garden with elegant and celestial beauties, and with a nice view where Choeui the famous monk searched for the highest state of enlightenment by enjoying and living in nature. When we compared the plural aspects of Iljiam like Dacheon(茶泉), Dajo, Mulhwak, Darim(茶林), Chaewon(菜園), and Yeonji(蓮池) with those of Dasan Tea Garden[茶山草堂], we could see that the basic components of tea-culture space of both gardens are the same, showing the organizational principle of the top and bottom area to stress reading and studying. When it is restored, the authenticity of Iljiam should be pursued by linking spatial, historical, and landscaping characteristics as the space of which Choeui the monk carried out Zen meditation and mastered tea. However, the recent grand scale Buddhist business like the expansion of access road and construction of Buddhist sanctuary and Seolimdang became the biggest threat to the authenticity. Especially, it was emphasized many times in various poetry that the view from Iljiam and its surroundings is extraordinary, so it is critical to get rid of obstacles to the view from Iljiam and its surroundings in order to restore Iljiam as its genuine form. The current Iljiam should be re-made because it is like a leaf-roofed garden, not like a hermitage. However, the opinion that Jawoohongryeon-sa(紫芋紅蓮社) is somewhat a Taoistic and Taoist hermit space with a special shape adopted the pattern of building of the Joseon period rather than a Buddhist building can be accepted as long as other convincing historical evidences are found out, considering the ideology of uniting Confucianism and Buddhism and the spirit of Taoist hermit found out from poetry of Choeui and his friends. In conclusion, the restoration of Iljiam in 1979 was carried out to restore the place of Iljiam rather than to restore the originality of Iljiam by combining and referring domestic cases of tea gardens. However, there is not much material for restoration even though the main frame of Iljiam was distorted. Nevertheless, the top and bottom ponds should be constructed as a rectangle shape. In addition, it can be improved much in terms of plants and trees. It is necessary to restore bamboo forest, which was razed in order to make a tea plantation around Seolimdang, to set vines of arbors above the upper limbs, to plant pine trees and willow trees inside of the garden, and to put Dajeolgu under the corner of the eaves. Especially, the bamboo forest emphasized in poetry and took care of by Choeui himself should be restored inside of the garden.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.2
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• pp.94-102
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• 2023

The Florence Charter, established in 1981 by the ICOMOS-IFLA International Commission on Historic Gardens, considered the historic garden as a plant-dominated architectural composition, a perpetual balance between the artist and the artisan's desire to remain unaltered in perpetuity. Trees, the main component of the garden, require continuous management as they repeat their creation and calling according to the cycle of the seasons and accordingly, it is suggested that management to maintain the appearance of trees in Korean palaces was an indispensable element. Although it is an important matter to historically verify the tree management techniques of the palaces of the past, research has been difficult due to the absence of historical records and the disconnection of life due to the Japanese colonial period. In addition, according to the view that trees were not generally managed in the palace, research on palace tree management techniques has not been conducted so far. Therefore, this study aimed to examine whether or not the tree management of the palaces was performed in the past through expert interviews based on photographs taken in modern times. With the identification of tree species and pruning through in-depth interviews with experts using photographs taken in the modern period, the results are as follows. First, it was found that the shapes of trees and leaves could be identified through photographs and by observing the phenomena caused by planting and pruning, it was possible to estimate whether or not the tree management was implemented in the modern palace. Second, as a result of in-depth interviews with 8 experts in 4 fields, it was possible to determine the tree species and pruning status, purpose, and method. There was no significant difference in opinions between groups, and the evidence was clearly presented. Third, the type of management of trees in the palace was mainly found to be determination of the types of tree, removal of hazardous factors of trees, and management of lower vegetation and through the photographs of Jondeokjeong and Gwanwanjeong, it was confirmed that the trees were managed even before the Japanese colonial era, considering the time of filming. Based on the photographs taken, it was possible to estimate whether the trees were managed before the Japanese colonial period through expert interviews. However, it could not be clarified due to lack of historical materials as to whether it was carried out on its own according to the circumstances of the times or by the Japanese Empire. Still, in this study, evidence was obtained to refute the view that trees of the palace were not managed in the past through the collected data. Expert opinions supporting this view were collected to make the conclusion. In addition, based on the general theory of pruning, an empirical review of expert opinions was conducted to secure the reliability of the research results.

• 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.28 no.1
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• pp.66-80
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• 2010

In this thesis, the garden remains in Dohwadong which is located in Seoul Buk-ak Mountain was examined, together with reference discovery and historical research, and onsite academic research conducted, for the purpose of studying the location of the garden remains in Dohwadong, its historical transitions and original landscape. As a result of the study, the location of the garden remains in Dohwadong was found; through the research of relevant historical sources, its historical transitions, its original landscape, and the value it has as a garden remains were examined. The following is the summary of the original form of the garden remains in Dohwadong and the value it has as a garden remains derived from this study. First, the garden remains in Dohwadong had earlier known as a remains related to the housing site of Namgon or Daeunahm. However, it has been verified that is it Dohwadong which is an original word of a royal family formed by King Kojong's order in 1889 since the characters carved on rocks which is recorded in the book of "Chong Sweh Rok" perfectly conform to those within the garden remains in Dohwadong. Second, it was learned that Dohwadong was the greatest renowned place for entertaining next to Pilundae; according to the book of "Hankyung Jiryak", the name, Dohwadong, is known to have come from the fact that there are a large number of peach trees in the area; the records of those books, "Ahjungyugoh", "Yonahmjip", etc., also state that literary men gathered in Dohwadong and held ceremonies and entertained. Third, it was learned that the garden remains in Dohwadong had been used as a place for holding ceremonies by the Ahndong Kims including Myonggongsukhyon; after Heungsundaewongun's governance, it was removed and neglected as the Ahndong Kims were purged and changed into a place for the royal family by the command of King Kojong in 1889. Fourth, Dohwadong followed the geographical features of nature, embraced the elegant surrounding scenery naturally, and gave significance to the sceneries of the season and its element and, in this way, it, as an ideal landscape model, is a valuable garden remains which realized the symbolic Dohwa landscape and presents its original scenery of the traditional garden. As mentioned above, this study, based on historical sources, has made progress in understanding the truth of the garden remains in Dohwadong and its value as a garden remains through the onsite research and academic historical investigation. However, since it is located within a military region, research was limitedly made. And also the range and structure of the garden remains was difficult to examine. Overall excavation is needed to figure out the remains and original terrain. Accordingly, in order to find out the truth of the garden remains in Dohwadong and for further preservation and application, it needs to be designated as a historical site and additional academic excavation research needs to be conducted; maintenance and preservation policies including removal of the cement and embankment, which disturb the original terrain within the remains, also need to be carried out.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.131-143
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• 2010

This paper investigates the history, policy and status of the conservation of historic gardens in the National Trust in England and its implications for Korea. It was conducted in three phases as follows: First, related literature data was collected to understand the National Trust and its role in the conservation of historic gardens. Second, The National Trust Policy Papers: Gardens and Landscape Parks in 1996 was reviewed and analyzed into eight categories with a review of 216 gardens and interviews with gardener-in-charge via e-mail. Finally an understanding of the policy for the conservation of historic gardens was formed from the results of the previous phases, and implications were drawn from the integrated analysis guidelines of the policy and status. The key feature of the conservation of the National Trust's historic gardens is that the conservation process has been conducted systematically through acquisition, management, upkeep, advice and so on. Furthermore, the conservation principles are defined in a concise and accessible form. According to their practical conservation process and principles, the results of the National Trust activities are to appreciate the significance of the gardens and act with accountability; integration; managing change; access and participation; and training gardener and partnership. According to the results of its activities under the premise that the purpose of the conservation and the meaning of a garden do not differ significantly among nations, implications for Korea can be primarily suggested by three points as follows: First of all, a flexible approach to change in historic gardens should be managed. In response to inevitable and desirable change, anything that is added or transferred should be recorded for the future as much as possible. Therefore, everything must be recorded and any change should be managed. Second, is to provide sustainable access for the benefit for the people and visitors. The aim of conserving the gardens is for human's to eventually understand that the present generation just borrows the historic gardens before they are passed down. The ensuing implication is that people may enjoy the gardens educationally, aesthetically, and physically, and children can be continuously interested in historic gardens as apart of educating the future generation. Finally, the National Trust educates apprentice gardeners who will maintain the historic gardens and continuously keep the current garden staff up to date with workshops. This is in contrast to the day laborers who work for historic gardens in Korea. In practice, the maintenance of historic gardens is not a simple process. The gardener must understand the past, reflect the present, and prepare for the future. Therefore, gardeners deliver culture from generation to generation.

• FLOWER RESEARCH JOURNAL
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• v.18 no.2
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• pp.125-135
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• 2010

To discover the main characteristics of Korean traditional flower arrangement, they were compared with different articles and old paintings used in royal court ceremonies. The primary research involved principle of design. The times periods used were the Joseon Dynasty era of Korea, the Ming era of China, and the Edo eras of Japan. The result, which shows both the similarities and differences, of the research is summarized as follows. The similarities were that they all respect the features of nature, and their image expresses their creator's thinking. There was one technique, called 'Suje', in which a part of the stem is coming out from one branch. Also, each three eras preferred flowering trees and ornamental trees more than annuals or foliage plants. one of the differences was that korea used a simple number of materials. The work had volume and appeared mild by using a soft curved line which was repetitive and massive. The Joseon Dynasty era advanced a sense of beauty with artistic symmetry and balance. The work seemed soft and natural because of the little change in blank space, with almost no angle of line. The form had a characteristic preference of being taller than the typical Japanese arrangement. It appeared simple, calm, and rustic by using only one kind of material. In contrast, the Chinese style was gorgeous and displayed volume in a non-symmetrical tripodal form, which incorporated various colors and materials. Also, they avoided processing the materials in order to emphasize the original beauty of nature. Chinese flower arts did not become formalized because they did not consider the formality seriously the formal. The Japanese style was also gorgeous because it incorporated various materials and angles. It included an extreme technique in which an artificial line divided the blank space delicately. The line was both strong and delicate in an established form. The restriction of the main branch gave a light feeling, as well as more strain as in a balance sense. The Japanese eras emphasized more the use of line and a sense of blank space.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.2
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• pp.20-29
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• 2019

The purpose of this study is to verify and reconstruct the record information for big old trees of Jeju on the basis of the precise map of Jeju island in 1918 which was produced 100 years ago. For the analysis of high altitude, coordinate system and georeferencing were performed by selecting representative points using ArcGIS. We extracted digitized information by using point extraction method and extracted attribute information based on legend type and relative size in map. Based on the map of the past 100 years ago, the present situation of the big old tree in Jeju was analyzed and their characteristics were analyzed. In addition, based on the information of the protected big old trees in present, we discussed the characteristics of past tree (1918), present tree (2019), and contribution of big old tree in Jeju landscape and vegetation. As a result, 1,013 individuals were distributed in Jeju Island 100 years ago. Even when it was intensive in the use of timber, the big old trees were protected, and contributed as a representative component of Jeju's unique landscape. The remaining distribution of Jeju's big old tree is 159 trees. As in the past, distribution has been confirmed around the lowlands, but declines in numbers are found throughout the island. The major factors for the decline of individuals are large-scale development projects such as reaching the limit of life, natural disturbance (typhoon, disease, pest, drought, etc.). However, it is presumed that a large number of individuals have played a leading role in shaping the current forests as contributing to important species sources in the restoration process of Jeju vegetation. However, it is presumed that a large number of individuals (405) have played a leading role in forming the present forest by contributing to the species pool in the restoration process of Jeju vegetation.