• 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 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.

• 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 Traditional Landscape Architecture
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• v.34 no.4
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• pp.78-88
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• 2016

The comparative analysis result of appearance characteristic of landscape elements and symbolic elements implied by the tablets on the 16th century's Korean Damyang garden and Chinese Suzhou garden is as follows. First, among the landscape elements implied in the tablets, appearance rate of botanical factors appeared high in the gardens of both areas. Damyang garden displayed bamboo grove and natural forest around the garden, while Suzhou garden displayed artificial mountain(假山) created artificially and a variety of plants including lotus, bamboo, and pine surrounding it were associated with the significance of the tablets. On the other hand, climatic/celestial elements including the rain, wind, and the moon were associated with the tablets of Damyang garden, while the artificial factors such as the building, bridge, and book, etc. were mostly were associated with the tablets of Suzhou garden. Second, among the symbolic elements included in the tablets, ethical personality which is the basic virtue of a noble man(聖人), was the universal characteristic of the meditation world of the garden in both areas. However, a will for political stability was mostly associated with the tablets of Damyang garden, while the retrospect heart for the immortal was mostly associated with the signboard in Suzhou garden. It was concerned with political ideal and the thought of Confucianism respectively. Third, the symbolic elements that appeared frequently in the tablets of Damyang garden, "Ethics" and "Political stability", were associated with the scene atmosphere created by the climatic elements and celestial elements. On the contrary, the symbolic elements which most frequently appeared in the tablets of Suzhou garden, "Ethics", was associated with the symbolic significance of the plant. The invisible space of gardens was expanded by tablets in both areas.