• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.4
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• pp.36-58
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• 1999

We designed the model picture of Tourism Botanical Garden, as a kind of theme park, in which we could enjoy flowers all the year round and the glorious tints of its autumn foliage. It would be very important to decide what kinds of trees should be planted and where to plant them. We selected the appropriate flowers and trees according to their value of appreciation and flowering time and the grand view around there and the weather conditions of the central region. We selected perennial plants as native plants, according to their color, flowering time and for the convenience of maintenance. And we selected some kinds of culture plants to show the seasonal change and diversity, according to their color and flowering time. We adopted the roof-tile pattern of Pakjae Kingdom to design the basic model of the garden, and the area was divided into eight sections. Six of them were divided again into four small planting areas from the outside respectively, according to the kinds of trees; pine-tree area, native flowering plant area, flowering tree area and flowering shrub area. The last two sections are by a lake, so they could make a beautiful landscape of waterfront. For the effective and economic operation of the garden, some kinds of flower trees and shrubs, which are little damaged by blight and are needless to prune, were selected. And perennial plants were also selected, because we don't have to change them into other plants, so we could cut down the expenses. As for the culture plants, they could be easily replaced with other culture plants in the flowering time, to show seasonal change and the harmony with the scenery around the garden.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.46-57
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• 2014

This study contemplated the gardening culture from the pictures, which the scholars of late Joseon Dynasty, the aspects of garden landscapes and garden use behaviors are drawn as follows. 1. The yard by the detached house for men and guest in front of the premises(Sarang Madang) and backyard were the major places for Ahoi(social gatherings of the scholars). The mansions had interests in the management of the outer garden beyond the house wall with building structures like the pavilions on the high walls and side gates. This management and the selection of location anticipating in advance of the management are noteworthy. 2. Only house gardens had plant pots with flowers and the small flower bed(Hwa-O) at Sarang Madang occasionally had plant pots without flowers and oddly shaped stone pots and equipped pine branch eaves and traditional awnings made of plant material like a trellis. 3. The oddly shaped stones were significant landscape elements in the gardens of houses and villas. Some of them were depicted as the Taihu stone and this draws attention to the question of whether the Taihu stone was actually used in the garden of late Joseon Dynasty. 4. The gardens in villas accommodated the borrowed scenery with various materials like wooden fences, bamboo or reed fences, mud walls. They also had the artificial gardens with some odd shaped stones, old pines, bamboos, Japanese apricots, willows, paulownia trees, lotuses and plantains in the secured Madangs. 5. Gyeong Hwa Sa Jog(The scholars of the ruling class adapted to the 18th century's new historical aspect) of late Joseon Dynasty built the villas at the beautiful scenery closed to the their houses. 6. The Gardens around pavilions were located high closed to the mountain streams with nature like beautiful forests, oddly formed rocks, precipitous cliffs and viewing stones. The back side of the pavilion was enclosed by bamboo forests and the front had pines, ginkgoes and willows as shade trees. 7. The beautiful scenery which was preferred as the place for Ahoi was basically with fantastic peaks and precipitous cliffs which forms the distant view harmonized with a waterfall. Broad and flat rocks at the summit of a mountain which commands a bird's-eye view or on a mountain streamside with pine forest, willows and plum trees were chosen as the optimal places for Ahoi. 8. Pine trees were presumed to be more preferable than other species in the garden, especially an single planted old pine tree accented symbolism. 9. Portable tea braziers for boiling tea were adopted in all four types of the gardens. 10. The gardens mixed with auspicious landscape elements were the places of the arts for an unworldliness Ahoi through GeumGiSeoHwa(enjoying strings, go, writing and painting) and boiling tea.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.32-51
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• 2016

This study examines, based on the database of the Institute for the Translation of Korean Classics(ITKC), the garden plants and their symbolism, and the landscape culture recorded in 'Jipkyungjaeyoungsi(the Series of Poems on Gardens Poetry)' in relevance to traditional houses. First, Jipkyungjaeyoungsi had been continuously written since mid-Goryeo dynasty, when it was first brought in, until the late Joseon dynasty. It was mainly enjoyed by the upper class who chose the path of civil servants. 33 pieces of Jaeyoungsi(題詠詩) in 25 books out of a total of 165 books are related to residential gardens. The first person who wrote a poem in relation to this is believed to be Lee GyuBo(1168~1241) in the late Goryeo dynasty. He is believed to be the first person to contribute to the expansion of natural materials and the variation of entertainment in landscape culture with such books as 'Toesikjaepalyoung(退食齋八詠)', 'Gabeunjeungyukyoung(家盆中六詠)'and 'Gapoyukyoung(家圃六詠)'. Second, most of the poems used the names of the guesthouses. Out of the 33 sections, 19(57.5%) used 8 yeong(詠), then it was in the sequence of 4 yeong(詠), 6 yeong, 10 yeong, 14 yeong, 15 yeong, 16 yeong, 36 yeong(詠) and so on. In the poem writing, it appears to break the patterns of Sosangpalkyung(瀟湘八景) type of writings and is differentiated by (1) focusing on the independent title of the scenery, (2) combining the names of the place and landscape, (3) focusing on the name of the landscape. Third, the subtitles were derived from (1) mostly natural landscape focused on nature and garden plants(22 sections, 66.7%), (2) cultural landscape focused on landscape facilities such as guesthouses, ponds and pavilions(3 sections), (3) complex cultural scenery focused on the activities of people in nature(8 sections). Residents enjoy not only their aesthetic preferences and actual view, but the ideation of the scenery. Especially, they display attachment to and preference for vegetables and herbs, which had been neglected. Fourth, the percentage of deciduous tree population(17 species) rated higher(80.9%) compared to the evergreens(4 species). These aspects are similar results with the listed rate in 'Imwonkyungjaeji(林園經濟志)' by Seo YuGu [evergreen 18 species(21.2%) and deciduous trees 67 species(78.8%)] and precedent researches [Byun WooHyuk(1976), Jung DongOh(1977), Lee Sun(2006)]. Fifth, the frequency of the occurrence of garden plants were plum blossoms(14 times), bamboos(14 times), pine trees(11 times), lotus(11 times), chrysanthemum(10 times), willows(5 times), pomegranates(4 times), maple trees(14 times), royal foxglove trees, common crapemyrtle, chestnut trees, peony, plantains, reeds and a cockscombs(2 times). Thus, the frequency were higher with symbolic plants in relations to (1) Confucian norms(pine trees, oriental arbor vitae, plum blossoms, chrysanthemums, bamboos and lotus), (2) living philosophy of sustain-ability(chrysanthemum, willow), (3) the ideology of seclusion and seeking peace of mind(royal foxglove ree, bamboo). Sixth, it was possible to trace plants in the courtyard and outer garden, vegetable and herb garden. Many symbolic plants were introduced in the courtyard, and it became cultural landscape beyond aesthetic taste. In the vegetable and herb garden, vegetables, fruits and medicinal plants are apparently introduced for epigenetic use. The plants that were displayed to be observed and enjoyed were the sweet flag, pomegranate, daphne odora, chrysanthemum, bamboo, lotus and plum blossom. Seventh, it was possible to understand garden culture related to landscaping materials through poetic words such as pavilions, ponds, stream, flower pot, oddly shaped stones, backyard, orchard, herb garden, flower bed, chrysanthemum fence, boating, fishing, passing the glass around, feet bathing, flower blossom, forest of apricot trees, peach blossoms, stroking the pine tree, plum flower blossoming through the snow and frosted chrysanthemum.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.1-11
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• 2020

Noksan is a green area in the form of a hill located inside Gyeongbokgung Palace, unrecognized as a cultural heritage space. This study analyzed the literature and the actual site to derive its landscape meaning by examining the background for the formation of Noksan and how it changed. As a result, the identity of Noksan was related to the geomagnetic vein, pine forest, and deers, and the following are its landscape meaning. First, several ancient maps, including the 「Map of Gyeongbokgung Palace」 depicted the mountain range continuing from Baegaksan(Bugaksan) Mountain to areas inside Gyeongbokgung Palace, and Noksan is a forest located on the geomantic vein, which continues to Gangnyeongjeon Hall and Munsojeon Hall. On Bukgwoldo(Map of Gyeongbokgung Palace), Noksan is depicted with Yugujeong Pavilion, Namyeogo Storage, office for the manager of Noksan, the brook on north and south, and the wall. It can be understood as a prototypical landscape composed of minimal facilities and the forest. Second, the northern palace walls of Gyeongbokgung Palace were constructed in King Sejong's reign. The area behind Yeonjo(king's resting place) up to Sinmumun Gate(north gate of the palace) was regarded as the rear garden when Gyeongbokgung Palace was constructed. However, a new rear garden was built outside the Sinmumun Gate when the palace was rebuilt. Only Noksan maintained the geomantic vein under the circumstance. However, the geographical features changed enormously during the Japanese colonial era when they constructed a huge official residence in the rear garden outside the Sinmumun Gate and the residence of the governor-general and road in the site of the Blue House. Moreover, Noksan was severed from the foothill of Baegaksan Mountain when 'Cheongwadae-ro(road)' was constructed between the Blue House and Noksan in 1967. Third, the significant characteristics and conditions of the forest, which became the origin of Noksan, were identified based on the fact that the geomatic state of the northeastern side of Gyeongbokgung Palace, the naecheongnyong area in geomantic terms(the innermost 'dragon vein' among the veins that stretched out from the central mountain toward the left side), and they planted pine trees to reinforce the 'ground vein' and the fact that it was expressed as the 'Pine Field' before the Japanese Invasion of Korea in 1592. The pine forest, mixed with oaks, cherries, elms, and chestnuts, identified through the excavation investigation, can be understood as the original vegetation landscape. Noksan's topography changed; a brook disappeared due to mounding, and foreign species such as acacia and ornamental juniper were planted. Currently, pine trees' ratio decreased while the forest is composed of oaks, mixed deciduous trees, some ailanthus, and willow. Fourth, the fact the name, 'Noksan,' came from the deer, which symbolized spirit, longevity, eternal life, and royal authority, was confirmed through an article of The Korea Daily News titled 'One of the seven deers in Nokwon(deer garden) in Gyeongbokgung Palace starved to death.'

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.1-13
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• 2011

Cheongpyeongsa Temple was originally built in the early years of Goryeo Dynasty, but its current structural framework was made by the Lord Jinrakgong Lee Ja Hyeon(1061-1125) of the middle Goryeo period based on the Zen thought after he began living in the Cheongpyeong mountain around the temple in 1089. The purpose of this study is to conceptualize, based on old documents, historical changes of the appearance and survival of man-made structures with in the Zen garden formed and developed after Lee Ja Hyeon laid the foundation for Munsuwon Zen garden. Among the eight, outside-the-temple hermitages built at the time of Lee Ja Hyeon's Munsuwon Zen garden, only three hermitages, which are Sik-am, Gyeonseong-am, Yangshin-am had been remaining thanks to restoration and repair until late Joseon Dynasty and preserved as symbolic hermitages. Also, the Yeongji Pond built at the time of Lee Ja Hyeon still remains as precious landscape relics which is meaningful as a genuine Goryeo-period pond. The nine pine trees said to be planted by Lee Ja Hyeon remained until middle 1800s through their descendant trees. When the Buddhist monk Bowoo Daesa(1509-1565)changed the name to Cheongpyeongsa Temple in middle Joseon based on the Munsuwon Zen garden built by Lee Ja Hyeon and greatly expanded it, he newly built and expanded all buildings inside the temple except for Neunginjeon(main temple building), resulting in the present temple structure. In addition, by greatly enhancing the level of scenery by reconstructing Yeongji Pond outside the temple area and transplanting garden plants from the royal court, he made Cheongpyeongsa Temple the most prosperous Zen garden in its history. But after the mid-1800s, which is late Joseon period, Cheongpyeongsa Temple failed to thrive further and began to decline, and so currently most buildings of the Zen garden have disappeared except for some parts of the temple and other facilities are neglected.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.82-95
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• 2014

This study aims to draw up measures to planting tree and maintain a landscape in traditional space. Preceding comprehensive theoretical consideration of selected species of trees and tree maintenance. And analysis of present condition of planting in cases of Gwanghalluwon Garden, then draw a maintenance plans of planting through species of trees and landscape of planting recorded in literature. The results were as follows. First, Analysis of selected species of trees and tree maintenance that traditional space. A dispute about the selection species of trees in traditional space has been continued until today. Because unconditional reject of foreign trees are limited. In this context, should be sublated that hasty blind faith of records and dichotomous preparation plans such as removal of foreign trees and implicitly planting of native plants. Secondly, Planted trees in Gwanghalluwon garden was investigated and found to the species of trees used in traditional space such as Pine(Pinus densiflora S. et Z.), Sawleaf Zelkova(Zelkova serrata), Ginkgo(Ginkgo biloba), Crape Myrtle(Lagerstroemia indica L.). But, present planting irrelevant to traditional space, except Gwanghallu pavilion area from the spatiality. Thirdly, A look at the records or literature that maintenance of planting through historical research are limited. Because literature was recorded Salix spp., Crape Myrtle, Bambusoideae(Pseudosasa japonica), lotus only among planted trees in Gwanghalluwon garden. Fourth, Gwanghallu zone have nature of history and sense of place. And It was going to restore the appearance on historical. Consequently maintenance plan of planting of Gwanghallu zone should be maintain the current state. Wanwol pavillion zone can be recognized as the original form because they look similar to the Gwangallu zone's buildings. Therefore, it is necessary to secure the sense of place different from Gwanghallu zone by buffer planting for composition of transition space. Wolmaejip zone and lawn zone was marketplace in outside of castle and large forest. Accordingly, this area should be symbolic restoration of the Yulrim(栗林) and representation of the marketplace in outside of castle through aggregation of facilities and administrative facilities in Gwanghalluwon garden. East lawn of the Wanwol pavilion zone is should be maintained the current state that opened place in terms of using thought linked with the Wanwol pavilion zone. Boundary zone of the Gwanghalluwon garden is difficult to associate in terms of historical research and authenticity. Therefore, application of cultural landscape that appeared in literature is be worth.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.116-128
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• 2017

In this study, the original scenery of Baegun-dong Garden in Gangjin was compared with that of the reconstructed site to suggest directions for restoration in the future. The diachronic prototype scenery of the Baegun-dong Garden was derived by integrating the elements of the original and contemporary prototype sceneries from the old poetry series. The old poetry series is comprised of "Baegun-dong 8Yeong(詠)" by Lee Damro(李聃老), "Baegun-dong 10Su(首)" by Song Ikhwi(宋翼輝), "Baegun-dong 12Gyeong (景)" by Jeong Yakyong(丁若鏞), and "Baegun-dong 14Gyeong" by Lee Siheon (李時憲). Guidance for directions for future restoration was suggested through a comparative analysis between the diachronic prototype scenery of Baegun-dong Garden and the current scenery of the restored site. The research result is as follows. First, the prototype scenery of Baegun-dong Garden was a harmonic view composed of the camellia forest road, 'Baegun-dong' the letter carved on a rock, a cliff 'Changhabyeok(蒼霞壁)' the red letter written by Jeong Yakyong, paulownia trees, waterfalls and a maple forest. Outside the Byeolseo(別墅), there were a red plum blossom forest, a pine forest, and a bamboo forest, as well as the view of Okpanbong(玉版峯) from Jeongseondae(停仙臺). In the yard, there were Chwimiseonbang(翠微禪房), Jug-gak(竹閣), Pyeongsang(榻), a lotus Bangji(方池), Gogsugeo(曲水渠) and Hwagye(花階). Cranes were even raised in the yard. Second, comparing the diachronic prototype scenery of Baegun-dong Garden with its restored site, following a restoration guide is suggested. There should be more water flow in Baegun-dong Valley and Jug-gak should be restored. 'Changhabyeok' the red letter should be carved on the stone wall. Trees should be controlled for a better view of Okpanbong from Jeongseondae. More trees and plants, such as red plum blossom, pine tree, paulownia trees, azaleas(映山紅), chrysanthemum, orchid, daffodil, and lotus should be planted in the yard. A system of integrated guide boards is also required for effective information transmission for visitors.

• Journal of architectural history
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• v.26 no.6
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• pp.29-40
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• 2017

Soswaewon as a typical villa garden of Korea is a symbolic garden that its diverse compositions imply a specific meaning. This study reviewed the purpose of introduction, meaning, and location of the landscape plants as one of the compositions and covering quite a large part of Soswaewon through 48 Yeong (meaning 48 poems of Soswaewon) and Soswaewondo (meaning Map of Soswaewon). In 48 Yeong, 27 verses describe landscape plants as their key poetic matters. The most frequently mentioned top 3 plants are bamboos, pine trees, and Japanese apricots. The three plants are called Sehansamwoo(歲寒三友) showing constant fidelity and loyalty in any changing situations, which was regarded to represent the nature of scholars. And also the study examined the frequency and planting location of the plants in Soswaewon by comparing 48 Yeong and Soswaewondo, and the result showed some differences between them. That seems to be caused by the limitations in the comparison, because in case of 48 Yeong, the location and frequency of landscape plants can be examined only through the context of the verses, and Soswaewondo showed different production time from 48 Yeong and expressed them only in a form of drawing. The plants have symbolic meanings multi-layered and ambiguous. With their symbolic meanings, the landscape plants reviewed through 48 Yeong consistently represent fidelity and loyalty, man of virtue, and hermit. That is, Soswaewon is the garden granting some significance to its compositions by interacting with the things.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.22-32
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• 2011

This study explored the architectural nature, the thought reflected in the place and the 'meaning-landscape' characteristic of a place, to where a retired scholar had lived. The object of the study is the Maechun-Byulup Toesu-jeong wonlim, which consists of a summer house and a garden forest. The results of the study are as following. Toesu-jeong wonlim is located at Daejeong-ri, Sannae-myeon, Namwon-si. It had been built by Maechun Park Chi-Gi in 1870 for his residence after retirement. It is a villa type pavilion and a garden forest which have Banseondaegi(伴仙臺記), Banseondae-10-yeong, Toesu-jeong(退修亭) Sangryangmun, a writing dedicated when putting up the ridge beam of a wooden house), Toesu-jeong Wonwun Byeongsoseo, hanging boards and tablets with poems written on them. In the Toesu-jeong wonlim, there are various 'meaning-landscapes' such as the Maechun-Byulup, Banseondae, Yabakdam and Simjinam together with engraved calligraphy related to the landscaping culture. It is also possible to find the remains of beautiful engraving on the stones and woods at Goksoo Yoogeo(曲水流渠) that suggest the banquets they had while discussing the elegant tastes and appreciating the landscape. The Toesu-jeong wonlim consists of the Toesu-jeong area(a pavilion), the Gwanseon-jae area(a shrine) area and the Gyejeong area(a garden with a brook) area. The pedantic 'meaning-landscape' elements, as the residence of retired scholar who spent his remaining life with elegant tastes, and the expertise of Maechun Park Chi-Gi, as a landscaping architect who built a villa and a garden forest in the motif of a Taoist hermit, can be extracted through the Banseondae-10yeong. The Banseondae-10yeong is the first Toesu-jeong poem and consisting of the Samseon-dae, Sejin-dae, Samcheong-dam, Yabak-dam, Samseo, Takgeum-dam, flat stones, caves, stone sculptures and harvest. The existing vegetation and plants in the Toesu-jeong wonlim are; natural pine forest in the rear garden, zelkova trees, wild cherry trees, apricot trees and pine trees bent to the waterfront direction. Except some ornament-species and shielding-species such as the poplars, most of current trees and vegetation keep the shape of the original Toesu-jeong wonlim landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.49-56
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• 2023

This study analyzes the entirety of Okhojeongdo's content found in the Punggojip, written by Kim Jo-Sun, who created Okhojeong. Through an examination of the literature confirming Okhojeong within the Punggojip, the study compares the existing research with the Okhojeongdo's content. Additionally, it clarifies the relationships between the disciple, the garden, and related historical facts. The results are as follows. First, Kim Jo-Sun, who created Okhojeong, had a strong literary inclination, which made it relatively easy to estimate the original form of the garden, as he expressed detailed content related to the design and management of the garden. Second, the historical dating of the creation of Okhojeong was previously estimated to be around 1815 based on the inscriptions on the Eulhaebyeok. However, it is more appropriate to revise this to 1804, as revealed by Lee Sung-min, who discovered records in Dongseonggyoyeojip, indicating that Kim Jo-Sun purchased the Jang's house. Third, Kim Jo-Sun's literary hobby, as depicted in Punggojip, closely followed Chinese classics. However, the part about creating the garden is supported by factual and garden archaeological records, giving it inherent value. Regarding the expansion of the garden site, it is estimated that the southern boundary of Okhojeong was extended by about half a unit(kan; 間) through a transfer from Kim saeng Saho. Various additions, stone statues, peculiar rocks, ornamental trees, and accompanying elements are found throughout the garden. Particularly noteworthy are the techniques and aesthetics of creating a stone pagoda, and there are mentions of transplanting young pine trees with professional insights. The love for harmony and elegance in the garden is woven throughout the poetry. Additionally, the process of selecting the location for Okhojeong, the understanding of the terrain and topography, the assessment of existing vegetation, the process of cutting down trees and selecting the soil, the construction of houses with tiles and thatched roofs all contribute to demonstrating the comprehensive stages of creating Okhojeong, providing insight into the location and construction process of the Sanbanru pavilion, showcasing the archaeological value of the garden. A follow-up study is needed to excavate more information about the original form of Okhojeong garden through the interpretation of the collections of the literary works of the influential figures introduced in Punggojip in the future.