• Journal of the Korean Institute of Landscape Architecture
• /
• v.37 no.4
• /
• pp.72-85
• /
• 2009

This study attempts to examine the principles of landscape composition for a 'Suhwon(書院)' and the meaning and value of its traditional landscape architecture, in order to apply the results to the design of modern landscape architecture. A 'Suhwon' is a vital space containing the form and meaning of human activity. This study analyzes the characteristics of landscape composition in the construction of the Namgea Suhwon, located in Hamyang, by examining the form and meaning of its area and composition. The Namgea Suhwon was constructed with a suitable configuration and harmony in a good location, neither field nor mountain, and which encompasses transcendence and a return after passage through a period of birth and abundance. Its appearance means 'life existence and hidden death(生居死幽)'. Its spatial system is a reflection of the idea of Samshinoje(三神五帝: The three abilities of Providence and its five subjects) connected with Ilsangje -Samshin -Ohje. It was built based on the idea of Biryebudong(非禮不動) meaning that one should follow only good decorum and avoid discourtesy, complying with "the frame of decorum" developed by the family rites of Chu Hsi. The environmental design of the Namgea Suhwon was interrupted by the material confrontation between mountains and water and a binary code system, such as front to rear, length to breadth, and movement to stillness. The design did not adhere to stiff axes, but pursued the harmonic principles of asymmetric balance in the building and the yard, which are very naturalistic. The name 'Namgea Suhwon' is closely related with the view of placement(置) and harmony(和), which are unified with the function and meaning formed by connecting Sung Confucianism with the Pungsu-Sasinsa structure in the layout of the grounds. When examining the D/H ratio of the building and yard, it can be seen that the spaces of Ganghak, Yusang and Jehyang were built appropriately, according to the natural characteristics of each space, such as a sense of openness, enclosure, tension, relief, enhancement, and hierarchical order. The spaces also reflect human scale concepts that take advantage of auditory features. The transition process after the construction of 'Namgea Suhwon' reveals the intentions of the builder to create an ecological landscape composition based on Placement and Harmony. Placement embodies' a purposeful space in which nature and the building are connected naturally, 'incomplete open space pursuing completion', and 'potential beauty in which tension and relaxation are repeated'. Harmony embodies 'order and continuity having a sense of unity with the natural environment' and the 'sharing of daily life and memory'. 'Namgea Suhwon' contains many ideas for landscape planning, land use and the design of a campus environment.

• The Journal of Korean Philosophical History
• /
• no.30
• /
• pp.123-159
• /
• 2010

Dongyi (Chinese: 東夷; pinyin: $D{\bar{o}}ngy{\acute{i}}$; Wade-Giles: Tung-yi; literally "eastern 'barbarians'") was a collective term for people in eastern China and in the east of China. People referred to as Dongyi vary across the ages. The early Dongyi culture was one of earliest neolithic cultures in China. According to the earliest Chinese record, Zuo Zhuan, the Shang Dynasty was attacked by King Wu of Zhou, while attacking Dongyi, and collapsed afterwards Dongyi culture was one of the oldest neolithic cultures in China. Some Chinese scholars extend the historical use of Dongyi to prehistoric times, according to this belief, the neolithic culture correlates to Houli culture, Beixin culture, Dawenkou culture, Longshan culture and Yueshi culture, five evolutionary phases. Deliang He, thinks that Dongyi culture used to be one of the leading cultures in neolithic China. The writing system of Dongyi was one of the oldest writing systems in neolithic China. There are opinions that the 20 pictogram characters discovered in a Dongyi tomb (山東?縣大汶口墓葬) in Shangdong indictates some of the characters found, like "旦, 越, 斤, 皇, 封, 酒, 拍, ?", are still used in Chinese characters. There are also opinions that Dongyi people were the inventor of arrows. Some classic Chinese history records like Zuo Zhuan, Shuowen Jiezi, Classic of Rites, all have some similar records about this. [3][4] The legendary god of archery in Chinese mythology, Houyi, could also be a Dongyi leader. Based on archeology findings, Dongyi people's ancestral worship totem is bird-shaped. In the meantime, The fundamental thing that Koreans should do is to find out Korean identy. Koreans cannot achieve their goals unless they enforce politics economics, educations, etc. in harmony with their own identity. However, some people say that Koreans do not have any dentity on the grounds that there is no Korean traditional thought. This view is, however, absolutely absurd because it is impossible for a nation to exist for oner five thousand years without having it's own native characteristics. The most essential thought in Korean identity is Confucius' In(仁). In is originated from Yi(夷) or Yi-jok(夷族)'s heart. On this account, Confucius' In can be a precious thought to Korean people who have been suffering from many problem caused by the absence of Korean identity. If Korean could understand their original characteristics and if Korean couldrealize that their original characteristics are Confucius' In, then our culture and identity recovery of though may maximize efficiency of country and society development.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.36 no.4
• /
• pp.39-49
• /
• 2018

"Annals of The Joseon Dynasty" is a book recording the Joseon Dynasty's historical facts in an annalistic format. The King's amusement activities through "Annals of The Joseon Dynasty" which were established by the Ye-ak(禮樂) system were analyzed. The results are as follows. The king's amusement activities that were performed during the Joseon Dynasty period could be classified as state banquets, military banquets, and banquets for play. The analysis of the king's amusement activity was divided into five stages. The characteristic of [1 period : King Taejo~Sejo(Yejong)] was dominated the military banquets of the Goryeo Dynasty. Neo-Confucianism is the establishment of political and social turning of the ballast, considerations of military culture, culture, and Hoeryeyeon Jinpungjeong, a cloud of dust and elders banquets such as Giroyeon and Yangnoyeon on the nature of the party. A lasting ordinance was institutionalized[2 period : King Seongjong~Jungjong]. In the chopper and jeongyujaeran, Hong Kyung Rae led a royal amusement activities are stagnant, often produce isolated storage compute in the gloomy situation[3 period : King Injong~Hyeonjong]. Revival period is pride of the amusement activity through the culture of Joseon Dynasty royal culture [4 period : King Sukjong~Jeongjo]. The throne, crashed due to political power is an ebb of royal amusement activities, while also rapidly waning[5 period : King Seonjo~Seonjong]. During the early Joseon Dynasty, hunting took place around the forest area northeast of Hanyang and during King Seongjong's period, it took place closer to the capital city, while in Lord Yeonsan's period, it was expanded to a 39 kilometer radius area from the palace, and banquets such as various forms of entertainment of Cheoyongmu, and Flower-viewing. The Joseon kings who enjoyed hunting were King Sejong, Sejo, Seongjong, Yeonsan, and Jungjong. Most of hunting objects were tigers, bears, deer and roe deer, leopards, boars, their animals and falconry took, and the purpose of the hunting was to perform ancestral rites to the royal ancestry or the royal tombs. Lord Yeonsan's hunting activities had negative effects after King Jungjong the king's hunting activity decreased sharply. However, there were also positive aspects of Lord Yeonsan's Prohibition of cutting woods ect. In conclusion, the expansion of the King's garden(庭:courtyard${\rightarrow}$園:privacy garden${\rightarrow}$苑:king's garden${\rightarrow}$苑?:national hunting park) is evident which starts from formal and informal activities that took place in Oejo, Chijo, and Yeonjo, which went further to the separate and secret gardens, and then even further, thus setting the amusement activity area as a 39 kilometer radius range from Hanyang.