• Journal of Korean Society of Forest Science
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• v.104 no.4
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• pp.685-696
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• 2015

This study intends to evaluate visual preference and image for 10 types of forest sceneries which have own distinct characteristics without overlapping each other among 22 types of beautiful forest sceneries based on Korea National Parks. Z scale and paired comparison methods were used to analyze visual preference for forest scenery, and SD scale method was also adopted to assess visual image for forest scenery. Experiments were conducted with 3 different university students groups. The results of this study can be summarized as follows. First, the evaluation results of Z scale (N=70) and paired comparison (N=64) methods show similar visual preference for different types of forest scenery. 'Scenery inside forests' and 'valley and rock' sceneries have the highest level of preference, and 'panorama of ridges', 'ridge of curious rock peaks', and 'waterfall and cliff' also have relatively higher preference level than others. However, 'community of dead trees' has the lowest preference in forest sceneries. Second, the factor analysis outputs of the image scores for beautiful forest scenery types by SD scale (N=66) show 3 factors of 'mysterious charm', 'colorful sense', and 'vividness/variety'. Examined the variables of forest scenery types for each factor, the image of 'mysterious charm' is based on the sceneries of mountain ridges, the image of 'colorful sense' is focused on the sceneries of color-expressed sense of the season, and the image of 'vividness/variety' is based on the sceneries of waterscape and curious rock peaks.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.82-93
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• 2008

This research focused on the process in which 'the same scenery' is recognized and represented as 'a different landscape' to determine the symbols and meaning of the scenery and landscape included in real-scenery landscape paintings of the 18th-19th centuries. As a result of analyzing the visual points, the content and expressions of 25 real-scenery landscape paintings of Chong Seok Jeong(叢石亭), it can be seen that the transmission of a kind of semiotic landscape on the basis of a specific symbol was accomplished naturally through imitation and representation for the purpose of the expression of Chong Seok Jeong-like idealized scenery. This shows that the unique images of Chong Seok Jeong have long been passed down after taking root as a unique benchmark The meaningful symbol of 'a strange Saseonbong(四仙峰)', which is broken by the spray after rising high, and 'a pine forest' have both been transmitted as being in the manner of Chong Seok Jeong. This has been equipped with the stereo-type scene by being a collective symbolization as the psycho-scenes in memory element of Chong Seok Jeong. Through the pictures of both Gyeomjae(謙齋) and Danweon(檀園), the process by which a specific painter's pictures become acculturated is highly interesting. The scenery expressed in these pictures was clearly that of a landscape of which its particularly emotions and remembrances were repainted through the experience of several places and original sketches. This can be explained as the concept in which the image from 'a specific scenery' gained through actual experience, that is, a personal feeling, has been expressed. The picture that was expressed as a different figure even at the same visual point for the same scenery is the result that was redefined through the scenery subject's recognition. Also, the modification of the scenery object can be colorful through meditation and Sachu(邪推: guessing with wicked doubt). The scenery recognized newly through adoption, omission and emphasis, it is 'the specific scenery' in the heart and is a figure having been more similar to 'a landscape' if the objective life reproduction before being acculturated is a figure similar to the scenery. So, the concept looks like being very persuasive that 'the nature with objectivity captured sensuously' simply is the scenery, and that 'the subjective phenomenon having acquired the cultural nature by being introspected in the method of aesthetic nostalgia is a landscape'.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.6
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• pp.120-136
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• 2016

This study, views the color of scenery not as a static state, but rather as a continuous sequence of perceptions that incorporates the concept of time. This study derived techniques to quantitatively analyze the flow and data from this sequence. By utilizing this, urban color trends can be based on openness. This is very close to what would be experienced by an actual viewer: it extracted color data and visual amount from frames at 2-second intervals by shooting a video of the color sequence of the city as seen from both the left and right sides from the inside of the monorail (line 3 of the Daegu urban railway). These images were classified by color group, brightness, chroma, high chroma distribution derived techniques such as openness of space, brightness level, clarity level, high-chroma distribution and code, advantage of visual amount, dominant factor exposure, hot and cold color image and dynamic of sequence rhythm. During the derived sequence, the data determines the openness in the visual amount of sky and it was found that the tendency of the colors of the city was opening regression analysis. The more colorful the city is opening the brightness is lowered, the chroma increased slightly, cold colors significantly increased, which also had a very deep relationship with Lynch enclosed proportion, color change of the city trends through the actual scenery could grasp in more detail.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.1-13
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• 2017

This thesis aims to research the original landscape of an area in Chirwon by comparing and interpreting the current and the former landscape of the time around 1860, in which was created. Inside the painting, MuGi-YeonDang(舞沂蓮塘), its nearby garden facilities and landscape are described. The conclusions of the research are as follows. Around the inner garden(內園) called Gukdam(菊潭), core spaces of Mugi-YeonDang were Hahwanjeong(何換亭) and Pungyongnu(風浴樓). After 1971, Chunghyosa(忠孝祠), Yeongjeonggak(影幀閣) which was built as inheritance of Giyangseowon (沂陽書院), and other buildings were added. On the opposite of Hahwanjeong, there is a designed pond inside Gukdam, in which three pieces of bizarre stones and colorful flower plants and trees reside. In the middle of the pond, there is an center island(中島), constructed with Bonghwangseok(鳳凰石) and Napduseok(衲頭石). Two different kinds of trees are settled on top of the stones, and one of them is identified as a maple. In the external scenery(外境), Jakdaesan Mountain and Cheonjusan Mountain are located at the upper part of Mugi-Yeondang, and Bibo Forest(裨補林), which does not exist anymore, was located at the lower part of it. A notable achievement in own research was to discover the Ju family's graveyard(朱氏墓群) consisted of more than 10 murals at the lower part of Mt. Jakdaesan in the outer space and the remains of 'Byeoreop(別業) Yuhoejeong(有懷亭)' at the nearby Sanjeong-ri(山亭里) area, which was the Ju family's gravesite(Seonsan, 先山). The discovered remains showed the presence of a square pond(方塘) and an island in the center of it(中島) in the form of Seokgasan(an artificial mountain made with stones), a stone monument called Mangchudae(望楸臺), etc. The Seokgasan was consisted of processed natural stones, and layers of the stones were piled up for it. On the side of the layered stones, 'Gyeongam(敬嵒)' and 'Sesim(洗心)' are engraved. Especially, Gyeongja(letter Gyeong, 敬字) is a copy of the Gyeongja Rock(敬字岩) of Sosu-Seowon(紹修書院), which is a symbolic garden language mutually used in the signboards of Pungyongnu and Musansa(武山祠), a place built to enshrine Ju, Sebung(周世鵬). Through the written names of the building found in , it can be assumed that the name of the square pond with Seokgasan was Taehwaji or Jeongwudang, and the name of the Seokgasan was Sogeumgang(小金剛) or Sobangjang(小方丈). The names correspond to the names of the Seokgasan of Gukdam, which was Yangsimdae(養心臺) and Bongnaesan(蓬萊山). By means of the corresponding names, it can be inferred that the relations between the spaces were intended. was originally created as 'a manor painting(莊園圖)', led by the 15th generation of the Ju family who moved into Chirwon-ri, Haman. The painting describes not only the back garden but also the external scenery, thus it provides important evidences for understanding Mugi-YeonDang and its nearby landscape, and is helpful to its maintenance and restoration.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.115-131
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• 2020

Through literature research and field investigation, this paper attempts to study the distribution, morphology and the typification of the visual and perceptual stone inscription in Wuyi-Gugok of China. The results are as follows: First, there are 350 stone inscriptions in total from the 1^st Gok to 9^th Gok in Wuyi-Gugok. Second, according to the analysis of the stone inscription distribution, 74(21.2%) stone inscriptions in the 5^th Gok, 67(19.2%) in the 6^th Gok, 65(18.6%) in the 1^st Gok, 60(17.2%) in the 2^nd Gok and 53(15.2%) in the 4^th Gok are confirmed. The above five Goks contain 319(91.1%) stone inscriptions, so they have rich cultural landscape. Third, according to the survey, the number of the stone inscriptions existed in the Sugwangseok of the 1^st Gok are 41(22.6%), in the Homagan of Cheonyubong of the 6^th Gok are 29(8.3%), in the Jesiam of the 4^th Gok are 23(6.6%), in the Nyeongam of the 2^nd Gok are 22(6.3%), in the Hyangseongam of the 6^th Gok are 21(6%), in the Unwa of the 5^th Gok are 19(5.4%), in the Bokhoam of the 5^th Gok are 18(5.1%), in the Eunbyeongbong of the 5^th Gok are 17(4.9%), in the Daejangbong of the 4^th Gok are 14(4%), in the Daewangbong of the 1^st Gok and the Geumgokam of the 4^th Gok are 12(3.4%). Thus, a total of 228 (65.1%) stone inscriptions are concentrated in these 11 sites, which represent the popularity and cultural value of these rocks. Fourth, the stone inscription of Wuyi-Gugok, praising the landform and topographical geological landscape of Mount Wuyi, mainly describe the scenic name of each Gok related to Zhu Xi's Gugok culture, appreciate Zhu Xi's tracks and the stone inscription in the sacred land of Neo-Confucianism culture, and also record the Confucian edification of mencius thoughts, Muigun(武夷君) and the myths and legends related to the site names of Wuyi mountain, which can remind people of the worldview of the celestial paradise where the gods live and the fairyland of the land of peach blossoms. In addition, it indicates that the historical and cultural landscape, which is full of colorful history and myths and legends, including allusions related to Confucian, buddhist and Taoist celebrities and the ancestor ancient things related to traditional culture of China is very diverse. Fifth, the results of the classification, based on the content of the stone inscription in Wuyi-Gugok, are classified as the scenery name inscription, the praise scene inscription, the recording travel inscription, the recording event inscription, the philosophy inscription, the expressing emotion inscription, the religion inscription, the inscription for auspiciousness, the slogan and expressing ambition inscription and the official document notice inscription, among which there are 102(29.1%) praise scene inscriptions, 93(26.6%) scenery name inscriptions and 61(17.4%) recording travel inscriptions. The stone inscriptions of Wuyi-Gugok have the characteristics of the special emphasis on scenery names, landscape praise and commemorative tours. Sixth, the analysis of the intertext between the 「Figure of Wuyi-Gugok」 and Wuyi-Gugok rock letters, in the study found that the method of propagation between media was mostly the method of propagation of quotations and maintained intermedia through extension, repetition, extension, and compression.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.37-48
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• 2019

This study, which starting from Yangyang Jukdo's topography formation and questioning revealed in landscape guide and landscape commentary board, is to sort out the characteristics of Jukdo natural landscape through literature research, field observation research and stakeholder interview as part of the proper recognition of Jokdo landscape and search for landscape resources, and pursued a review of nominations and criticism. The results of this study are summarized as follows. Yangyang Jukdo is an island named because it was full of blue bamboo. From before the first half of the 14th Century. to the middle of the 18th Century., there was a Gwanlan-pavilion to see the sea and the bamboo in the west. The time when the original island, the Jukdo, have been a land-tied island connected with the land by the tombolo formed by the erosion of the sand. It is located at the end of the 14th Century. and before the middle of the 18th Century. In Jukdo, colorful weathered terrains, coastal terrain, and structural terrain formed by long-time weathering are found. Among them, the type of weathering, the tafoni style and the gnamma style are the scenic landscapes with the key stories of legend and poetry that are brought to Jukdo. In addition, there are seven kinds of letters caved in the rocks in Jukdo. The rocks found on the coast, basketball cannons, shrines, and sutras are seen as shrouds based on a Taoist hermit motifs and style. In addition, it can be interred from the photography of "jeongssisejeog" that the souvenir of Jukdo was the family of Chogyejeong of mid 18th Century. In terms of observational geography and poetry, Jukdo has been handed down a great deal of missionary color with key motifs such as 'Jukdo-seongoo', 'Jukdo-Dolgooyoo', or 'Stone mortar of Taoist hermit' It is proved that the pearl which is called 'The stone of the Taoist hermit' is a porthole formed in a separate space rather than the topography of the geomorphology in terms of shape, size and function. Currently named Shun-tang is a product of the ridiculous 'naming' of interest. The present landscape guide and commentary is not only incompatible with the place of Jukdo, but also does not match the traditional cultural landscape. Future scenery information such as guide signs and commentary boards should be improved in the direction of positively highlighting the stories and motifs related to the present that are present in order to enhance the landscape identity of Yangyang Jukdo.