• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.29-42
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• 2017

Jeongeuihyanggyo(旌義鄕校) is a kind of traditional, Confucian cultural landscapes that is located in Jeju special self-governing province. Its historical background illustrates that the first erection was started at Goseong-li of Seongsan-eup(城山邑 古城里) at Taejong(太宗) of 16 years(1417) and it moved to the west gate of Hyunseong(縣城) at Heojong(憲宗) of 15 years,(1849) Joseon. The aim at this study is to reveal characters of these Confucian Spatial Composition and Order, which are valuable resources that can be created into the cultural contents. The results demonstrate the characters of the Confucian cultural landscape as followings; the changing process of new building and its relocation, the utilization of antique maps in location interpretation of Jeongeuihyanggyo, Confucian symbolic elements of it, the spatial compositions and layouts of its buildings, physical structures, main buildings and their characters, locational points of topographic profile, changes of axial line at Daeseongjeon(大成殿), the D/H ratio of its courts. This study can show that Jeongeuihyanggyo is a case for realizing the Confucian reformation to enhance Seongeup Hyun's education standard considering the locality of the site which is an isolated island like Jejudo(濟州島). The author can see that the example of Confucian space is applied to various layout techniques, both horizontally and vertically, in a limited space condition of being in the castle. Therefore, it is necessary to revive this point so that it can utilize unique Confucian cultural landscape possessed only by Jeongeuihyanggyo.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.2
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• pp.73-90
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• 2011

The purpose of this research was to find out the characteristics of secluded cultural landscapes that were retained by Eyogye Cho Lyeo(漁溪 趙旅) as a recluse or a schola at the early time of Chosun dynasty through his poems, residential site and his successors' landscapes. The study sites were selected such as Wonbukgae(院北齋), Chamijeong(採薇亭), Gomaam (叩馬巖) and his graveyard. In order to do that, Wonbukgae, Chamijeong, Gomaam and his cemetery were selected as studying sites. Also researching methods were used by grasping the landscape elements through reading ancient books such as "Eyogyezip(漁溪集)", field-researching, analyzing characters of his secluded landscapes and interpreting his poem's meaning. This research found that: 1) After Danjong(端宗)'s dethronement, he returned to his home town and never come out to the world again. He wanted to keep fidelity to his king forever. 2) He was affected for his seclusion from many people who were Ryu Gyebun(柳桂芬), Bae Junghu(裵仲厚) as his classmates at Sunggyungwan(成均館). Also Won ho(元昊) and Kim Sisyub(金時習) as members of Sangyuksin(生六臣) affected him for sake of their seclusion. 3) The meaning of his seclusion expressed the notation of seclusion as a fisherman from his pen name as 'Yeogye'. Also this kind culture has very particular behavior such as concentration phenomenon of action, absolute eccentricity of seclusion, tourism of nature and deep knoledge of feng shui, strong persistence of seclusion and confucian practical attitude of filial behavior. 4) The secluded cultural landscape is divided to four regions. They have two types of landscape such as secluded cultural landscape of his lifetime and landscape transmission of his posterity and scholars. 5) The interpretation of his poems and their aesthetic analysis found two characters. His poems were expressed by landscape substance like plants, natural and man-made elements. Their theme was confucian, peaceful and faithful seclusion.

• Journal of the Korean Institute of Landscape Architecture
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• v.28 no.2
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• pp.108-121
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• 2000

This study seeks what kind of factors influence to locate dwellings and to establish scenic spots in nature by a case study focused on a meandering stream. The study specially concentrates on the interrelationship between both residences and beautiful sceneries and a meander cut-off-area that reveals a special topographical characteristics, located at Samji village in Youngyang-eup, Youngyang-gun, Koungsangbuk-do. The meander cut-off area, developed at the middle or upper reaches of a river, often makes up specific landscapes such as precipitous cliffs, sheer cliffs and caves. And the area where is specially created by sudden change of flow due to erosion ;perceived by the cut surface to be the most beautiful scenic spot. These beautiful landscapes were used to be called as Dae, Dam or Gul and managed by Confucian scholars who enjoy refined taste and devote themselves to the study in nature. Moreover, the Ku-Hado-literary means the area of ex-flow-made the scholars' lving with a well prepared basis for agriculture where supplied a cornucopia of organic matters and water. The merit of agriculture made it possible that the scholars became economically independent, and the fact might be the essential point why the meander cut-off area took noticed. Actually, Cho-family has been in Smaji Village for generations, producing a large number of scholars and keeping the actual power of the region. The physical shape of the meander cut-off area, cozily surrounded by mountains, is considered as a good place for the dwelling due to the influence of traditional sight of view for location and P'ungsuchiri which is known as Feng Shui in China and geomancy in the western world. It is a fruit in it own way that we could find the ancestors' discernment and wisdom from this study, who have lived their lives adapting themselves to the given natural environment and also utilizing the nature wisely. But this is a current-argued study on the meander cut-off area. Follow-up studies have to be continued about the landscapes of the meander streams and the meander cut-off areas scattered all over the country except Samji Village and draw the characteristics from the comparative analysis.

• Journal of Korean Society of Rural Planning
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• v.21 no.4
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• pp.77-84
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• 2015

The purpose of this study is to interpret Landscape of Naeap Village which still preserves the Confucian culture and the traditional clans among the ideally settled villages mentioned in Joong Hwan Lee's "Taengniji" and "Joseon's Fengsui" from the time of Japanese Imperial Rule, from CPTED principles. The following are the findings of this study: First, in terms of access control and zoning, Naeap Village was controlling access from the outside with the natural environment of Banbyeoncheon River and the hills surrounding the village, the artificial environment of human-scale walls around the head house and the dead ends, and the reformation by the Confucian ideologies. Naeap Village, in particular, is prominently configured by the hierarchy of zones; the Gaehosong pine trees, Gyeongpodae, and Naeapssu by the entrance to the village are considered the village itself and the landscapes and valleys are managed by the head house. Second, the Confucian culture across the village, the traditional vegetation method that does not hide the visibility, and the workers in the farms allow natural monitoring. The surrounding visibility is also applied to the spirit of mutual cooperation in the farming society, the culture of commoners at the common well and laundry site, and the culture of ruling class at the towers and pavilions. Third, Traditional villages show the efforts to preserve and maintain the villages with the village rules, the organizational decrees of the clan, and active response to national disasters.

• Journal of the Korean Institute of Landscape Architecture
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• v.28 no.2
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• pp.109-109
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• 2000

This study seeks what kind of factors influence to locate dwellings and to establish scenic spots in nature by a case study focused on a meandering stream. The study specially concentrates on the interrelationship between both residences and beautiful sceneries and a meander cut-off-area that reveals a special topographical characteristics, located at Samji village in Youngyang-eup, Youngyang-gun, Koungsangbuk-do. The meander cut-off area, developed at the middle or upper reaches of a river, often makes up specific landscapes such as precipitous cliffs, sheer cliffs and caves. And the area where is specially created by sudden change of flow due to erosion perceived by the cut surface to be the most beautiful scenic spot. These beautiful landscapes were used to be called as Dae, Dam or Gul and managed by Confucian scholars who enjoy refined taste and devote themselves to the study in nature. Moreover, the Ku-Hado-literary means the area of ex-flow-made the scholars' lving with a well prepared basis for agriculture where supplied a cornucopia of organic matters and water. The merit of agriculture made it possible that the scholars became economically independent, and the fact might be the essential point why the meander cut-off area took noticed. Actually, Cho-family has been in Smaji Village for generations, producing a large number of scholars and keeping the actual power of the region. The physical shape of the meander cut-off area, cozily surrounded by mountains, is considered as a good place for the dwelling due to the influence of traditional sight of view for location and P'ungsuchiri which is known as Feng Shui in China and geomancy in the western world. It is a fruit in it own way that we could find the ancestors' discernment and wisdom from this study, who have lived their lives adapting themselves to the given natural environment and also utilizing the nature wisely. But this is a current-argued study on the meander cut-off area. Follow-up studies have to be continued about the landscapes of the meander streams and the meander cut-off areas scattered all over the country except Samji Village and draw the characteristics from the comparative analysis.

• Journal of the Korean association of regional geographers
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• v.22 no.1
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• pp.135-150
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• 2016

This paper studied on the geographical distribution location arrangement and the social construction of Pungsu discourse and the Pungsu(Fengshui) management of royal tombs on the Joseon Dynasty from the historical, cultural geographical perspective. The Pungsu landscape of royal tombs during the Joseon dynasty was the direct result of the political dynamics among the king, his family, other royal families, and various groups of vassals. Pungsu was a important factor in deciding tomb sites or landscapes, but it was a secondary factor to politics in the Joseon Dynasty. The primary factor was politics, clearly showing Pungsu's status in social discourse. The royal tomb Pungsu is defined as the Pungsu discourse of the Joseon Dynasty period which is combined with Confucian ideology in Korean Pungsu history.

• Journal of the Korean Geographical Society
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• v.36 no.4
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• pp.483-494
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• 2001

The purpose of this study is to analyze the relation between regional identity and national identity in a regional textbook in Korea. In geography education, regional textbooks are curriculum materials which represent regional identity based on territorial difference from other regions. In local curriculum level, the harmony between national unity and regional identity is to be pursued as educational objective. However, this harmony appears to be distorted in the school textbook in Je-Ju Province, a case region. For example, Confucian cultural landscapes are represented as otherness in regional discourses, but togetherness in the regional textbook. Also, the regional textbook implies that the boundary of external territorialization is mainly not regions but nations, and it seems to intend that leasers get a sense of place towards their region as periphery of nation. Therefore, we argue that regional identity, which must be stressed in a regional textbook, is marginalized in a case region.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.22-36
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• 2019

This research identified landscape characteristics of Chilitan(칠리탄) area, which had been managed by Son Giyang(1559~1617, p. Ohhan), in order to understand the political viewpoint and ideal landscapes, sought after by Confucian scholars in the 16~17th century. As the research method for the interpretation of each scene's spatial strucutres and meanings, paintings and poems in Chiltanjungsipyukgyeongdo(the Paintings of the 16 Scenes of Chiltanjung Area) were analyzed, which were followed by the on-site survey. Son lived hermit life with the nature after he decided to retire into the country for the chaotic political environment in the 4^th year of Gwanghaegun's reign. Admiring Eum Jareung(B.C. 39-41, p. Eumgwang)'s hermit life, he named a headstream to Chilitan, erected pavilion and made place for angling by the stream, as Eum did in the hermitage. However he worried the king and royal politics in spite of his hermit life, which showed his political viewpoint of Confucianism. In addition, every column of buildings in the garden was named in order to imply both thoughts of Neo-Confucianism and Idleness Naturalism, which highlight a moral training and being comfortable amid poverty and taking pleasure in and honest life style. The present landscape of wonlim could be back to 1936, where Unganru, Byeokripjae and Chiltanjung are surrounding Eupcheondang. Chines character, such as Jimamsuseok, Giam, Ohhansonsunseongjanggujiso and Jogi, are inscribed on the rocks in the landscape garden, from which placeness could be inferred. According to the record of the construction, pine, fir, paulownia, ginkgo, peach trees, bamboo and lotus were planted, and ginkgo, bamboo, crape myrtle, pine and chestnut tress are still living in the garden, which mean plants had been planted in the light of their practical values as well as symbolic meanings. The method for describing 16 scenes of Chiltanjung could be characterized to the structure of 「Place+Scene(a particural activity, event, or action), and these placeness could be analyzed by categorizing the scene to near, middle and far views. Each scene symbolically presents a hermit, noble man, Taoist ideology, homeland, or peacetime, which were adpoted to depict landscapes of Chiltanjung area as the Confucian utopia.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.127-143
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• 2010

This research was made on the interpretation of cultural landscape elements which is shown at nature management around Gyeongcheondae managed by Udam Chae Deug-gi, scholar in Joseon dynasty. Naming the nature management and natural features not only reflected on the formation toward the view of nature by the contemporary intellectuals, but influenced on the fashion of garden culture. Udam Chae Deug-gi dwelt in the riverside of Sangju, Kyungbuk as the characteristics of hermitage and managed landscape and had a willing to live a life free from worldly cares. The Gyeongchundae 28 landscapes, which was managed by himself, represent that natural features are named on the basis of neo-confucian principle and loyalty and he imposed symbolic meaning on landscape management by practically translating his aesthetic consciousness to reality; the name of detailed landscape is largely 'loyalty to Ming dynasty and to king's order and loyalty', 'Taoism' and 'Management will of landscape' by the life of metaphor and enjoyment, and symbolizes 'Searching for learning'. In addition, by selecting 10 out of 28 landscapes around Gyeongcheondae, lyrically describing the landscape by representing the change of time, season and the climate which is the scenic term of Great 8 Sosang views in fashion at that time focusing on the place he strolled or enjoyed watching himself; it can be seen that such moves are related with the landscape management in fashion in order to understand microcosmic providence with the change of natural environment. Therefore, Udam Chaedeug-gi is regarded as the neo-confucian view of nature for which any value scholars in Joseon dynasty have to own - 'loyalty' and 'integrity' - he usually emphasized himself to name the natural features and overcome the darkness of society comparing the landscape management around Gyeongchundae he lived a life free from worldly cares to the situation of Joseon dynasty when a transition times between Ming and Chung comes from China.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.26-36
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• 2018

This study aims to examine the characteristics of landscape through the analysis of location and the landscape of Gugok while also conducting the empirical study through the literature review, field study, and digital analysis of the Okgung Gugok. Oksan Gugok is a set of songs set in Ogsan Creek(玉山川)or Jagyese Creek(紫溪川, 紫玉山), which flows in front of the Oksan Memorial Hall(李彦迪), which is dedicated to the Lee Eong-jeok (李彦迪). We first ascertained the location and configuration of Oksan Gogok. Second, we confirmed the accurate location of Oksan Gogok by utilizing the digital topographic map of Oksan Gogok which was submitted by Google Earth Pro and Geographic Information Center as well as the length of the longitude of the gravel measured by the Trimble Juno SB GPS. Through the study of the literature and the field investigation, The results of the study are as follows. First, Yi Eonjeok was not a direct composer of Oksan Gugok, nor did he produce "Oksan Gugokha(Music)". Lee Ia-sung(李野淳), the ninth Youngest Son of Tweo-Kye, Hwang Lee, visited the "Oksan Gugokha" in the spring of 1823(Sunjo 23), which was the 270th years after the reign of Yi Eonjeok. At this time, receiving the proposal of Ian Sung, Lee Jung-eom(李鼎儼), Lee Jung-gi(李鼎基), and Lee Jung-byeong(李鼎秉), the descendants of Ian Sung set up a song and created Oksan Gugok Music. And the Essay of Oksan Travel Companions writted by Lee Jung-gi turns out being a crucial data to describe the situation when setting up the Ok-San Gugok. Second, In the majority of cases, Gogok Forest is a forest managed by a Confucian Scholar, not run by ordinary people. The creation of "Oksan Bugok Music" can be regarded as an expression of pride that the descendants of Yi Eonjeok and Lee Hwang, and next generation of several Confucian scholars had inherited traditional Neo-Confucian. Third, Lee Jung-eom's "Oksan Donghaengki" contains a detailed description of the "Oksan Gugokha" process and the process of creating a song. Fourth, We examined the location of one to nine Oksan songs again. In particular, eight songs and nine songs were located at irregular intervals, and eight songs were identified as $36^{\circ}01^{\prime}08.60^{{\prime}{\prime}}N$, $129^{\circ}09^{\prime}31.20^{{\prime}{\prime}}E$. Referring to the ancient kingdom of Taojam, the nine-stringed Sainam was unbiased as a lower rock where the two valleys of the East West congregate. The location was estimated at $36^{\circ}01^{\prime}19.79^{{\prime}{\prime}}N$, $129^{\circ}09^{\prime}30.26^{{\prime}{\prime}}E$. Fifth, The landscape elements and landscapes presented in Lee Jung-eom's "Oksan Gugokha" were divided into form, semantic and climatic elements. As a result, Lee Jung-eom's Cho Young-gwan was able to see the ideal of mountain water and the feeling of being idle in nature as well as the sense of freedom. Sixth, After examining the appearance of the elements and the frequency of the appearance of the landscape, 'water' and 'mountain' were the absolute factors that emphasized the original curved environment at the mouth of Lee Jung-eom. Therefore, there was gugokga can gauge the fresh ideas(神仙思想)and retreat ever(隱居思想). This inherent harmony between the landscape as well as through the mulah any ideas that one with nature and meditation, Confucian tube.