• International Journal of Advanced Culture Technology
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• v.8 no.1
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• pp.89-97
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• 2020

There are remains of Japanese gardens in Korea which were built during Japanese occupation in 1910-1945. However, systematic database has not been established for location, quantity, nor types of remaining gardens. This study is aimed at defining current status of Japanese gardens built in Korea. By categorizing types of remaining these Japanese gardens, we also aimed to build a systematic data base for Japanese gardens in Korea. This study was co-conducted by researchers from Korea and Japan. The team identified 17 Japanese gardens remaining in South Korea and categorized them into 4 groups; 1) Japanese garden built by Japanese in modern Japanese house in South Korea, 2) Japanese garden built by Korean in traditional Korean garden and 3) Garden built by Japanese in temples in Korea. (at request by Koreans). This categorization reveals information about the inflow of Japanese gardening culture into Korea and deserves to be an important part of modern gardening History. And the rest are 4) Japanese gardens built at Korean residence, but with much damage and alternation. In this paper, we present the findings to serve as preliminary data for defining Korean traditional gardens and for utilizing Japanese gardens in Korea as historical and cultural infrastructure.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.167-179
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• 2014

This study fundamentally is to develop standards and foundations for the establishment of traditional Korean gardens and aims to identify the mechanism and subsequent effect of fair gardens in American and Europe on the propagation and diffusion of the traditional Japanese garden. Fair gardens which were constructed between 1867 and 1939 were investigated to understand them and the ripple effect that they had on cultural dissemination. The results were as follows: Culturally, the Meiji government adopted Wagener's advice on the theme of display- including culture and handicraft-and the gardens with traditional buildings were perceived as one unit and then used as promotional tools as part of a national strategy. As a result, the stroll style garden in the Edo period and tea garden were recognized as the representative Japanese garden in America and Europe. Politically, the Japanese garden in the American context was adopted as examples of 'exotic beauty' and 'cultural heritage' which therefore allowed the Japanese government to achieve it's goal of encouraging friendly relations and the lessening of hostility towards them. Throughout the traditional Japanese garden, Japan with it's rich history presented an ideal - uniquely distinctive from the West. Using 'tradition' and 'nature' as keywords, the Japanese government set it's global image as 'perpetual tranquility'. Socioeconomically, the Japanese garden which was maintained after the fair, played a consistent role as a model of the Japanese culture. Many professionals from Japan who prepared the Japanese villages and gardens for the world fairs in America and Europe, remained in these countries following construction and it were these opportunities that allowed the Japanese garden to be integrated into local Western society.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.3
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• pp.5-13
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• 1996

This study is about to prove one factor among many ones that contribute to the formation of the Japanese Garden's pattren. It is believed by this study that distinguished Japanese Garden's pattren are made possible by an organized ability of the japaneses traditional landscape artists who had ability to develope a diversified forms of applications within the organized framework. To verify this assumption, the study has chosen Ryu Gen In, temple garden that is considered to determine the pattren of Japanese Garden best with a new concept ; Organization. The results of this analysis show as follows : 1. Ryu Gen In, consists of a series of building and five-small gardens, is largely organized by the union of two geometric formations : concave and convex. Each garden as a sub-organization is further organixed with a series of tree-branch typed structure. 2. The five-small gardens are formed jinto a whole system by connecting each one with floor. This connection makes a timely organization. 3. Each small garden is further organized alloted roles, namely, depends upon whether they play a major or minor role. 4. It is believed that sands and moss play a cotrolling role to conbine the elements into one within each unit of small garden. 5. It is found that figured sands, moss, sands and moss, or shrubs are used as means of organization to connect the small group elements within each small gardens. 6. It is considered that buildings and mud-walls are used as means of separation between Ryu Gen In and an outer world, and betwen small gardens.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.3
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• pp.59-66
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• 2023

This study attempts to examine the process of establishing a Japanese-style garden in the modern period through the perspectives of garden designers, spatial composition, spatial components, and materials used in their works, and to use it as data for embodying the identity of Korean garden. The results are as follows: First, by incorporating elements associated with Koreanness into the modern garden culture, there are differences in location, presence, and subjectivity when compared to Japan. This reflects Japan's relatively seamless cultural continuity compared to Korea's cultural disconnection during the modern period. Second, prior to the modern period, Japan's garden culture spread and continued to develop throughout the country without significant interruptions. However, during the modern period, the Meiji government promoted the policy of 'civilization and enlightenment (Bunmei-kaika, 文明開化)' and introduced advanced European and American civilizations, leading to the popularity of Western-style architectural techniques. Unfortunately, the rapid introduction of Western culture caused the traditional Japanese culture to be overshadowed. In 1879, British architect Josiah Condor guided Japanese architects and introduced atelier and traditional designs of Japanese gardens into the design. The garden style of Ogawa Jihei VII, a garden designer in Kyoto during the Meiji and Taisho periods, was accepted by influential political and business leaders who sought to preserve Japan's traditional culture. And a protection system of garden was established through the preparation of various laws and regulations. Third, as a comprehensive analysis of Japanese modern gardens, the examination of garden designers, Japanese components, materials, elements, and the Japanese-style showed that Yamagata Aritomo, Ogawa Jihei VII, and Mirei Shigemori were representative garden designers who preserved the Japanese-style in their gardens. They introduced features such as the creation of a Daejicheon(大池泉) garden, which involves a large pond on a spacious land, as well as the naturalistic borrowed scenery method and water flow. Key components of Japanese-style gardens include the use of turf, winding garden paths, and the variation of plant species. Fourth, an analysis of the Japanese-style elements in the target sites revealed that the use of flowing water had the highest occurrence at 47.06% among the individual elements of spatial composition. Daejicheon and naturalistic borrowed scenery were also shown. The use of turf and winding paths were at 65.88% and 78.82%, respectively. The alteration of tree species was relatively less common at 28.24% compared to the application of turf or winding paths. Fifth, it is essential to discover more gardens from the modern period and meticulously document the creators or owners of the gardens, the spatial composition, spatial components, and materials used. This information will be invaluable in uncovering the identity of our own gardens. This study was conducted based on the analysis of the process of establishing the Japanese-style during Japan's modern period, utilizing examples of garden designers and gardens. While this study has limitations, such as the absence of in-depth research and more case studies or specific techniques, it sets the stage for future exploration.

• Korean Journal of Plant Resources
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• v.24 no.3
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• pp.330-336
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• 2011

The recent disaster of earthquake and tsunami on March 11, 2011 severely attacked East Japanese cities and people, and in addition, the accident of nuclear power station will inevitably damage the agricultural activities there. The economical depression influences on the horticulture and floriculture industry as well, through the reluctant consumption all over the country. Such a situation reflects a conventional perception that the garden plants or ornamental plants have been regarded as a symbol of capitalism, representing the success, luxury, beauty or other metaphors indicating the winners of business war. But as the word "culture" means "cultivation" originally, horti "culture" or flori "culture" should have played some roles in cultivating lands as well as cultivation of human minds, leading to develop a modern "culture" which may lay emphases on personality, originality, partnership, cooperation, diversity and so forth. In this article, a brief history of garden plants in Japan, as well as some current movements in Japanese horticulture and floriculture, is reviewed with some commodities which possess messages on creating a new humane culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.3
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• pp.45-53
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• 2013

The purpose of this thesis is to identify the gardening method of Mus${\bar{o}}$ Soseki by looking into his works. Through this research, life and religious values of Soseki were studied, which gave a better understanding of the garden architect as an individual and seeker of religious truth. Among his works, the most widely known-four ponds, Eiho-ji, Erin-ji, Saiho-ji and Tenryu-ji were studied. The research found that based on the Zen of Buddhism, Soseki symbolized various philosophical ideas into space structures. In addition, through two gardening components, stone buildings and tributaries, he specifically materialized related themes. An absolute religious aesthetics of the creator could be found in the stone buildings that expresses the world of Buddhism and the Chinese letter 'Sim'(heart)-shaped tributaries. By experimenting new method away from a Chinese-style Japanese garden which was widely popular during his time, Soseki devised a garden as residential quarters of a high priest that can be set aside entirely for Zen-study, which became to represent Japanese garden style. If Soseki's gardening method had not been adopted, Japanese gardens could not have been developed as a personal garden that contains symbolic concepts. Unfortunately, in this study, to think of another Zen monk and Mus${\bar{o}}$ Soseki did not study is to compare. also the study on how another Zen monk and Mus${\bar{o}}$ Soseki's compare has to be continued.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.3
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• pp.83-91
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• 2020

The purpose of this study is to examine the process of formation of modern gardens. Based on the analysis of the process of formation and transformation of the Jemulpo in Incheon and the details of the modern garden construction. The results are as follows; First, the formation of the Incheon Residence Site began in 1876 with the signing of the Joseon-Japan Treaty. Jemulpo used to be a desolate fishing village in the past, but after its opening in 1881, the Japanese settlement, Chinese settlement, and the general foreign settlement were formed. After that, Japan reclaimed the southern mudflats and expanded the theire settlement area, and advanced to the Joseon area(currently Sinheung-dong). In Japanese colonial era, modern Japanese urban landscapes were transplanted into the settlement area, centering on the Japanese modern gardens were distributed in the area around the center of the settlement area. Second, after examining the process of creating the garden for the Rikidake villa, Japanese Rikidake purchased a site for an orchard in Uri-tang, who was a major landowner in Incheon, to create the garden. At the time of Rikidake's residence, the garden was very large, measuring about 3,000 pyeong, and after liberation, it was acquired by Incheon City and used as Yulmok Children's Library. It was known as a rich village at the time of the opening of the port, and a garden was located at the highest point in Yulmok-dong, making it easy to see the Incheon Port area. Also, a spot located about 300 meters away from Rikidake's rice mill may have affected the location selection. Third, today's Rikidake villa has a Japanese-style house on a trapezoidal site, with a garden of about 990 square meters on the south side. Currently, it is possible to enter from the south and from Yulmok Children's Park in the north, but in the past, the main direction of the house was to view the Incheon Port, settlement area, and the Rikidake Rice Mill, so the house was located in front of the garden. The garden is a multi-faceted style with stone lanterns, tombstones, garden stones, and trees placed on each side, and is surrounded by arboreal plants such as attention, strobe pine, and maple trees, as well as royal azaleas. The view from the inside of the house was secured through shrub-oriented vegetation around the house.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.61-69
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• 2024

The Geonjae Old House Garden of Asan Oeam Village contains historical and academic values as a major element of the village's landscape, along with the village's feng shui geographical conditions and artificial roads that pass through the village, which represent the village. Although some have been maintained over a long period of time, many of them have been lost, disturbed, and distorted. The main houses of Oeam Village had traditional gardens, but the garden of the Geonjae Old House is a place where different garden cultures coexist in one place due to the creation of Japanese-style gardens in Japanese colonial era. This study predicts the past through genetic analysis of the garden of the Geonjae Old House, and establishes a restoration plan for the garden of the Geonjae Old House through historical restoration of the results. In addition, the purpose of this study is to suggest a way to avoid damage in restoring the original form of cultural properties as much as possible and to facilitate the preservation and management of cultural properties. As a result of contrast with past photographs and on-site evidence, it was found that the garden of the Geonjae Old House has a different shape from its previous appearance due to repeated distortion and damage. In addition, it was possible to suggest a restoration method that could reproduce the appearance of the past through genetic analysis.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.1
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• pp.67-77
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• 2018

This study investigated the recognition of Koreanesss, preference factors and the difference of recognition from adjacent Chinese and Japanese gardens for foreign visitors of Seoul gardens, a Korean traditional garden located within the Marzahn garden in Berlin, Germany. Overall, the Chinese garden and the Japanese garden were better known to most visitors than the Seoul garden due to their earlier construction. The awareness of the specialty to the Korean garden was at an average level indicating most visitors did not recognize the difference among the traditional gardens constructed from other countries. These less awareness on the Korean garden was because the traditional gardens of the three countries are located adjacent to the park in a continuous landscape with similar plant species created through natural planting techniques. This means the Korean garden is required for considering diversity and representativeness of planting species, uniqueness in space composition and recognition of Korean oriental garden culture in an initial design project stage. Visitors without prior information has better understanding on Korean garden and higher revisit intention resulting in increasing publicity and understanding of Korean traditional garden. Among the preference factors representing Koreaness of the Seoul gardens, the waterfall, stream, pavilion and natural stone within the water landscape were visitors favorite interests due to design concept with a representative Korean stream scenery of Dokrack-dang and Byeolseo garden resulting in differences from the landscape displaying technique for other oriental gardens. These stylistic differences in the dominant landscaping of garden architecture from surrounding the physical environments, the garden displaying technique derived from Korean natural landscape can be recognized as an unique garden element for foreign visitors.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.4
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• pp.112-122
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• 1997

There is not enough excavation examples and bibliographies to study the garden of Baek Je as the ancient landscape architecture style This study was to seek the ancient Japanese gardens which had a great concern with Baek Je in order to surmount the limitation in the study on Baek Je's Gardens . As the result, there were founded the three ponds and one garden facility in ancient Japanese gardens focused on Aska region. The traces of the landscape architecture of Baek Je style were founded in the pond form and rubble masonry and such like. This study was the first trial to the study on the garden of Baek Je style in Japan And excavation examples which had a concern with Baek Je will be more in Japan. So more study is needed.