• Korean Journal of Environment and Ecology
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• v.26 no.2
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• pp.219-232
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• 2012

The purpose of this study was to find characteristics of $Pinus$ $densiflora$ forests in previous records and cultural landscape regions and to establish a management method for recovery of $P.$ $densiflora$ landscape. A total of 16 landscape paintings were analyzed to study $P.$ $densiflora$ forests in Inwangsan(Mt.) shown in figure data. As a result of analyzing figure data, $P.$ $densiflora$ $forests$ were found to be distributed mainly in the ridge line of east slope side of Inwangsan(Mt.) from landscape paintings of Jung Seon, Jang Si Heung and Gang Hee Un. In order to analyze the landscape of $P.$ $densiflora$ forests shown in photograph data on Inwangsan(Mt.), photographs of Inwangsan(Mt.) since late 1800s were searched and a total of 24 photographs were used for analysis. As a result of photographic analysis, $P.$ $densiflora$ forests were found to be distributed mainly in the low area and ridge line of western slope side of Inwangsan(Mt.). As a result of analyzing the distribution status of 10 cultural heritages of Inwangsan(Mt.), cultural heritages in the mountain were mainly established with rocks and $P.$ $densiflora$ forests as the background and are establishing their landscape not only as a form of cultural heritage but also including the natural landscape in the background. A method of restoring cultural landscape of P. densiflora forests was necessary. As a result of analyzing 26 rock beds of Inwangsan(Mt.), most of $P.$ $densiflora$ forests were distributed nearby rock beds since the past. Among such regions, restoration and management of introduced species in the accumulated soil regions to $P.$ $densiflora$ forests were deemed necessary. As a result of analyzing current vegetation of $P.$ $densiflora$ forest areas of the past, 51.87% of areas maintained $P.$ $densiflora$ forest and 25.80% were changed to artificial forests. Most of low areas of the mountain were turned into urban area (10.16%). Management type for restoration of $P.$ $densiflora$ landscape of Inwangsan(Mt.) was classified into preservation, $P.$ $densiflora$ restoration and maintenance. Preservation management was configured as $P.$ $densiflora$ distribution and rocky area distribution. The targets of $P.$ $densiflora$ restoration were indigenous broad-leaf trees, vegetation areas with introduced species and damaged regions within the mountain. The targets of maintenance were urban area in the low area of Inwangsan(Mt.) and military base at the top of the mountain.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.62-82
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• 2019

Taking the three Wuyi-Gugok Drawings, 『A Picture Showing the Boundary Between Mountains and Rivers: A』, 『Landscape of the Jiuqu River in the Wuyi Mountain: B』 and 『Eighteen Sceneries of Wuyi Mountain: C』, which were produced in the mid-Qing Dynasty as the research objects and after investigating the names recorded in the paintings, this paper tries to analyze the scenic spots, scene types and images in the literature survey. Also, based on the number of Scenic type and the number of Scenic name in each Gok, landscape richness(LR) and landscape similarity(LS) of the Gugok scenic spots, the cognitive characteristics of the landscape in the 18th century were carefully observed. The results are as follows. Firstly, according to the description statistics of scenic spot types in Wuyi Mountain Chronicle, there were 41 descriptions of scenery names in the three paintings, among which rock, peak and stone accounted for the majority. According to the data, the number of rocks, peaks and stones in Wuyi-Gugok landscape accounted for more than half, which reflected the characteristics of geological landscape such as Danxia landform in Wuyi-Gugok landscape. Secondly, the landscape of Gugok Stream(九曲溪) was diverse and full of images. The 1^st Gok Daewangbong(大王峰) and Manjeongbong(幔亭峰), the 2^nd Gok Oknyeobong(玉女峰), the 3^rd Gok Sojangbong(小藏峰), the 4^th Gok Daejangbong(大藏峰), the 5^th Gok Daeeunbyeong(大隱屛) and Muijeongsa(武夷精舍), the 6^th Gok Seonjangbong(仙掌峰) and Cheonyubong(天游峰) all had outstanding landscape in each Gok. However, the landscape features of the 7^th~9^th Gok were relatively low. Thirdly, according to the landscape image survey of each Gok, the image formation of Gugok cultural landscape originates from the specificity of the myths and legends related to Wuyi Mountain, and the landscape is highly well-known. Due to the specificity, the landscape recognition was very high. In particular, the 1^st Gok and the 5^th Gok closely related to the Taoist culture based on Muigun, the Stone Carving culture and the Boat Tour culture related to neo-confucianism culture of Zhu Xi. Fourthly, according to the analysis results of landscape similarity of 41 landscape types shown in the figure, the similarity of A and C was very high. The morphological description and the relationship of distant and near performance was very similar. Therefore, it could be judged that this was obviously influenced by one painting. As a whole, the names of the scenes depicted in the three paintings were formed at least in the first half of 18^th century through a long history of inheritance, accumulated myths and legends, and the names of the scenes. The order of the scenery names in three Drawings had some differences. But among the scenery names appearing in all three Drawings, there were 21 stones, 20 rocks and 17 peaks. Stones, rocks and peaks guided the landscape of Gugok Streams in Wuyi Mountain. Fifthly, Seonjodae(仙釣臺) in A and C was described in the 4^th Gok, but what deserved attention was that it was known as the scenery name of the 3^rd Gok in Korean. In addition, Seungjindong(升眞洞) in the 1^st Gok and Seokdangsa(石堂寺) in the 7^th Gok were not described in Drawings A, B and C. This is a special point that needs to be studied in the future.