• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.48-58
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• 2013

The results of this research to study forms, structure, changes, symbolic meanings of 16 Hahoe sceneries through analyses of "Hahwaesipyukgyeong" and "Hahwaenakgangsanghaildaedo" are as belows. The coherence of headword is not discovered in 16 Hahoe sceneries, but based on various variables and sense dependence, endemicity with original natural scenes, human's life and phenomena of riverside village are spread in 3km viewing areas within 200m from Gyeonamjeongsa(謙巖精舍) and Okyeonjeongsa(玉淵精舍). As the viewing points of Gyeonam and Okyeonjeongsa are symmetrically facing and separately independent, while viewing angles do not intersect at Wonjijeongsa (遠志精舍) and Binyeonjeongsa(賓淵精舍) because of Buyongdae(芙蓉臺), and crating each independent viewing area, we can see 16 Hahoe sceneries are perfect views by supplementing Gyeonam and Okyeon Jeongsa, as well as points of views from Wonji and Binyeonjeongsa. Meanwhile, as the view point of 16 Hahoe sceneries, Gyeomam, Okyeon, Binyeon, and Wonji Jeongsa are clearly described, and 12 natural sceneries, which are Hwasan(花山), Ipam(立巖), Maam(馬巖), Jando(棧道), Bangi(盤磯), Hoengju(橫舟), and Honggyo(虹橋), among landscape elements of 16 Hahoe sceneries that can be expressed on canvas in the Haoedo are realistically described, there is high possibility that Haoedo is the 'Mental Stroll about Nature(臥遊) of 16 Hahoe sceneries. The belted forest surrounding the village in the painting is assumed to be an erosion control forest, and considering row-expressed trees, the south belted forest may be a different broad-leaved forest from current Mansongjeong(萬松亭) pine forest. In 16 Hahoe sceneries, there is Neo-confucianism tendency, which connects the nature and human life, and moreover prioritize human life than the nature. Especially as seen in the 'Choljae(拙齋)', the pen name of 16 Hahoe sceneries' author park, the 16 Hahoe scenery poet suggests 'Beauty of Jolbak(拙撲美)' based on the simple life that upright classical scholars pursued as the basic emotion. The thinking system shown in the poet is interpreted as Neo-confucianism category including one's sense and emotion depended on natural features or phenomena. Ultimately, 16 Hahoe sceneries are landscape that reflects moral world views of Confucianism scholars who wanted to express ideal thoughts based on natural features and phenomena in reality at Jeongsa in Buyongdae and Hahoe Village.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.1-15
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• 2015

Based on the analysis and interpretation of the headwords and poetic words of a group of eleven collecting sceneries of Jeonju, the origin and transformations of the Jeonju-Palkyung(Eight sceneries of Jeonju) investigated by a time-series analysis are as follows. As there is no collection of landscape with a formal structure similar to that of the current Jeonju-Palkyung, prior to the Palkyung by Chujae(秋齋) Cho Soo-Sam(趙秀三, 1762~1849), there is no significant problem in assuming the eight poems in Chujaejib(秋齋集) are the origins of the Jeonju-Palkyung, and it is estimated to have been produced in 1829. In the late-19th century poem 'Wansanseunggyeong(完山勝景)', 'the Palkyung in Yeollyeo Chunhyang Sujeolga', and 'the Palkyung delivered by poet Shin Seokjeong in the Japanese colonial era', only the 'Dongpogwibeom(東浦歸帆)' changed from Dongjipo to Dongchon of Bongdong as for 'Landscape Setting There($L_{ST}$)' according to changes in district administration; despite this change, the fact that they are not too different from the Palkyung of Cho Soo-Sam, also supports this. Moreover, according to the headword concordance analysis, it is proven that the Jeonju-Palkyung was established in the late-19th century and continued to be the region's representative sceneries even during the Japanese colonial era, and later 'Namcheonpyomo(南川漂母)' and 'Gonjimangwol(坤止望月)' were added to expand to the Jeonju-Sipkyung(ten sceneries of Jeonju). But when we see there are famous spots that are the origins of the Jeonju-Sipkyung, including Gyeonggijeon, Geonjisan, Jogyeongdan, Omokdae, and Girinbong, Deokjinyeon, and Mangyeongdae, all of which have great representational significance as the capital of Jeolla Provincial Office as well as of the place of origin for Joseon Dynasty in the grouping of sceneries during the early Joseon Dynasty, including "Paehyangsipyeong (沛鄕十詠)", "Gyeondosipyeong (甄都十詠)", and "Binilheonsipyeong(賓日軒十詠)", the beginnings of the semantic Jeonju-Palkyung should be considered up to the first half of Joseon Dynasty. During this period, not only the fine sceneries with high retrospective merit as the capital of Hubaekje, like Gyeonhwondo(甄萱都), but also the sceneries like Mangyeongdae that reminds people of Jeong Mongju(鄭夢周) and Yi Seonggye(李成桂) in the late period of Goryeo appeared, elevating the status of Jeonju as the capital of Hubaekje and shortening the historical gaps as the place of origin of the Joseon Dynasty. The Jeonju-Palkyung is an organic item that carries the history of the Joseon Dynasty after Hubaekje and has gone through many cycles of disappearing and reappearing, but it has continued to change and transform as the region's representative sceneries. The Jeonju-Palkyung is a cultural genealogy that helps one understand the 'Jeonju Hanpunggyeong(韓風景: the sceneries of Korea in Jeonju)', and the efforts to preserve and pass it down to the next generation would be the responsibility of the people of Jeonju.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.27-34
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• 2016

The results of investigation on the spatial composition and landscape characteristics of Shimwon-pavilion garden built and enjoyed by Jo Byeong-sun in 1937 during the period of Japanese colonialism based on 'Shimwon-pavilion Soosukgii(水石記)' and 'Shimwon-pavilion Poem of 25 Sceneries(二十五詠)' contained in 'Anthology of Giheon(寄軒)' are as follows. 1. Shimwon-pavilion garden is assumed as Byeol-Seo garden based on the planning background and contents of Gimun and the observations on spot. By its location, it is classified as 'Planted forest' with a pine forest in the north and 'Byeol-Seo of mooring type' with Guyacheon flowing in the garden. It is about 400m away from the main house in the straight-line distance. 2. The meaning and attributes of reclusiveness are well represented in the 'screening structures' all around Shimwon-pavilion garden with Hakrimsan, a Gasan(假山) in the north, vines on Chwibyeong(翠屛) in the east and west, Eunbyeong(隱屛) of stone walls along with Guyacheon in the south, which shows the spirit of Giheon who adored the Taoistic life. 3. Shimwon-pavilion garden, located in the Songrimsa, a temple of thousand years, is a place of consilience where Buddhism was accepted, Taoistic life was pursued with Tao Yuan-ming's philosophy regarding rural areas and romantic sensibilities of Li Po, called poem master(詩仙), the confucian values of Zhu Xi were realized. Giheon intended to build and enjoy this place as a microcosm and shelther where he unfolded his own view of learning and cultivated his mind. 4. 25 sceneries on Shimwon-pavilion consist of 5 sceneries in the space of pavilion(architecture) and 20 sceneries in the outer garden. First, 5 sceneries consist of ancillary rooms for various uses, including Jeongunru, Amsushil, Wiryujae, Iyeoldang, and Jeong-Gak Shimwon-pavilion embracing them, which shows that Shimwon-pavilion is a place to foster younger students. And 20 scenary is divided into 9 sceneries on the natural spaces and 11 artificially created facilities. 9 sceneries are engraved on the rocks as described in 'Seokgyeonggi'. 5. 4 sceneries of the indoor scenery lexemes(亭閣 心遠亭 怡悅堂 停雲樓 闇修室) were intended to be recognized by the framed pictures, 5 places among the scenery lexemes in garden(龜巖 醒石 隱屛 兩忘臺 東槃) by letters carved on the rocks, and 8 places(君子沼 杞泉 天光雲影橋 芳園 槐岡 柳堤 石扉 東翠屛) by sign stones, but signs of 8 sceneries are not currently identified because they have been be swept away and demolished. 6. A variety of plant landscapes with various meanings and water landscape with various types are contained in 25 sceneries - Sophora symbolizing a tree for scholar in Gehgang(槐岡), Willow symbolizing Tao Yuanming and continued vitality in Yooje(柳堤), Boxthorn symbolizing family togetherness in spring(杞泉), vines and herbal plants and waterfalls(隱瀑), shallow pond(君子沼), pond(湯池), water hole(杞泉), water flowing in the middle of rock(盤陀石), water flowing between the rocks(水口巖). 7. While Shimwon-pavilion garden is a garden near the water, the active involvements with 11 sceneries directly built is distinguished. The other pavilion gardens are faithful in engraving the names by setting the scenery lexemes of the nature-oriented Gyeong(景) and Gok(曲) near and far, but Shimwon-pavilion garden is a garden for active learning(修景) with the spaces built to match with the beautiful nature and to show the depths of space off.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.16-26
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• 2016

In this paper, we collected information on Palgyeong of the Gangneung area that were scattered around several literatures, and analyzed and interpreted regional distribution, elements of scenery and inherent meanings from various angles. we shed light on the origin and the meaning of Palgyeong, which have been passed down in the Gangneung area. Palgyeong of the Gangneung area have been accumulated and expanded for a long period of time, since Goryeo up to the modern times, and it does not simply reflect the beauty of natural scenery, but also reflect historical facts and sentiments rooted in this region. In addition, given the comprehensive veiw of Palgyeong of the Gangneung area and in consideration of its type and distribution of the eight sceneries the most common format is similar to Sosang(瀟湘類似型). What are repeatedly appearing among them include 'smoke from cooking supper' and 'catching fish', showing the living conditions of local residents of Gangneung at the time, which refers to the fact that Palgyeong consisted of village units. Palgyeong in the Gangneung area are distributed in diverse ranges between the city and Nujung. Most of Palgyeong are clustered in the east of Gangneung city and in the region tangent to Gangdong-myeon and Gujeong-myeon. When we consider the situation where most of Palgyeong in the Gangneung area are distributed in this region, it suggests that the region occupies the heart of scenery of Gangneung. Palgyeong of the Gangneung area consists of 60% natural factors, 36% humanity factors, and 4% other factors, where the natural factors hold the beauty of nature itself and the humanities and other factors hold the legends and history contained in the targets. The sceneries expressed by Palgyeong cannot be individually separated. Namedaecheon, Jukdobong, Sumseokcheon, Sumdulmaeul, Gunseongang, Pungho and Kyungpoho were connected to Nujung and Hongjamam, and they eventually became a panorama. Hansongjung, Hwanseondeung, Hansongsa, Pungho and Gunseongang are related to Hwarang of Silla and have become representative historical sceneries of the Gangneung area. Judging from the fact that currently non-existing sceneries such as Kyeonjodo, Hansongjung and Gulsansa remained in Palgyeong and been passed, Palgyeong have positioned imaginary spaces of the Gangneung people beyond simply expressing sceneries. In conclusion, Palgyeong in the Gangneung area are aesthetical objects and while at the same time, they are historical and cultural space, and furthermore, we can see that they still remain as imaginary spaces.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.3
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• pp.91-104
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• 2009

This paper attempts to look at the identity of the traditional famous sceneries of Jeju Island by investigating the relationship between 'Yeoung Ju-Sipikyung(瀛州十二景)', which are the representative beautiful scenes of Jeju Island, and two paintings 'T'amna-Sipkyungtdo(耽羅十景圖)' and 'T'amna-Sullyokto(耽羅巡歷圖)' by a grasp of the contents and meanings of these two paintings. The following are the results of the study. In the 'T'amna-Sipkyung', which is the origin of today's 12 beautiful sceneries of Jeju Island, Baekrokdam and Youngsil are both symbolic places and the backdrops against which Jeju's myths were formed. Jocheonjin, Seogwijin and Myoungwoljin, located near the seashores, are strategic footholds in protecting the territory of the island and connotatively contain its culture and history. Seongsan Ilchulbong, Sanbangsan, Chwibyeongdam and Cheonjeyeon Pokpo are not only the quintessentially beautiful scenes of Jeju but also belong to 'YeoungJu-Sipikyung'. And 'T'amna-Sullyokto', which describes the Jeju horses and tangerines that were presented to the king as tribute, offers scenic elements with a strong political tone and is related to the five scene of 'T'amna-Sullyokto', showing that 'defense' and 'tribute' are motives in choosing the sceneries of people's daily lives here. Jeju's daily scenes in particular have been continuously transmitted: 'Idyllic lives with the background of a tangerine orchard' are shown in 'Kowon Panggo' and 'Kyullim P'ungak', and Jeju horses grazing on pastures or being ridden in hunting trips are presented in 'Sanjang Kuma' and 'Kyorae Taeryop'. Besides Baekrokdam and Youngsil, which do not belong to Sunyeok(巡歷) corridor of minister Lee Hyoungsang, 'Yeoung Ju-Sipikyung', directly related to 'T'amna-Sipkyung', has six beautiful sceneries: Seongsan of Seongsan Ilchulbong, Baekrokdam of Baekrokmanseol, Younggok of Youngsilgiam, Sanbang of Sanbanggulsa Chwibyeongdam of Yongyeonyabeom and Seogwiso of Seojinnoseong. The image of 'Gosumokma', the tenth landscape of 'Yeoung Ju-Sipikyung', was expressed as it is, through 'Udojeomma' and 'Sanjangguma'. The ten beautiful sceneries of 'T'amna-Sipkyung' were also especially described in 'T'amna-Sullyokto', besides Baekrokdam and Youngsil, which do not belong to Sunyeok corridor. As the places and landscapes emphasized on 'T'amna-Sipkyungto' and 'T'amna-Sullyokto' in common have been transmitted by the politicians and ancestors of Jeju Island, they have become established as today's 'Yeoung Ju-Sipikyung', passing through correction processes. When considering this process of development, 'Yeoung Ju-Sipikyung' are worthy of heritage and traditional landscapes accomplished in a long difficult period based on investigation into beautiful Jeju Island and the love of the island people for their home.

• Journal of the Korean housing association
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• v.26 no.3
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• pp.77-84
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• 2015

The purpose of this study is to analyze the aesthetic factors in color combinations of house exteriors in hillside villages, Busan. The so-called 'Hillside renaissance' is a representative urban regeneration project in Busan. The towns in hillside area in Busan have developed colorful sceneries. But all the colorful sceneries are not the same. Each town has own color characters and different aesthetic color effects. This study is to determine the unique aesthetic components in color combination of Gamcheon and Daecheong. This study is based on the traditional color harmony theories. The analysis focuses, inter alia, on Moon-Spencer's 'Aesthetic Measure'. A house exterior color has relations with two neighboring colors in array. And those three colors with next two houses have again each three hue, value and chroma relations. This analysis is first to determine whether each sample color combination is harmonized, and if harmonized, next step to list which aesthetic factor is dominantly contributing to color harmony. And at last, to study the subcategorized sectors of each color components of the hue, value and chroma.

• The Research Journal of the Costume Culture
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• v.21 no.3
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• pp.348-360
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• 2013

This research is implemented to shed new light on the essence of Korean sentiments, aesthetic sense and restructure it in modern ways. In particular, applying the current images of traditional Korean village in Jeonju to neckties is focused on the purpose of globalizing the industrialization of Korean traditional sceneries and Korean image products. Adobe Photoshop CS program was used to develop necktie designs containing the images of the traditional Korean village. To make artworks, the Digital Textile Printing System that is an environment-friendly printing method was used. Moreover, Hanji yarn fabric was adopted for them so as to use Korean materials. The total number of developed designs is eight and neckties for men were made by altering images of the traditional Korean village in modern ways. According to the research results, required are more investment and self-development for proper understandings on our traditional cultural images and their development from now on. Moreover, in my view, customers' desires must be met by comprehending public consciousness, trends and environments to meet customer's desires. Furthermore, higher value-added products must be created by using Hanji yarn and images of traditional Korean villages by distributing high quality designs that will satisfy customers' desires and psychology, producing small quantities of products with various designs and colors.

• Journal of the Korean Institute of Landscape Architecture
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• v.19 no.2
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• pp.1-11
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• 1991

The style of "Lu$.$Chong" was analyzed to investigate the characteristics of korean traditional garden style or planning theories of garden. To carry out this study more effectively, a combinded approach was introduced. This approach consisted of two processes. One was the review of old literature and the other was field survey. About 65-80% of Lu$.$Chong were named after natural landscape elements or techniques of natural landscape treatment. The techniques was summarrized 'conversing-scape(聚景)', 'surround-scape', 'multiland-scape(多景)', 'far-off-scape(遠景)', and 'emptiness of Lu$.$ Chong or landscape'. The results were proved through the analysis of visual boundary, locational pattern and 'Palkyeong(eight-sceneries)'.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.1-15
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• 2014

In the fashion industry, the thing that shows the latest trends and makes issues is the fashion show. The function of fashion shows is changing from a promotional mean to a method of communication with customers. Recently, some fashion shows have used digital images and omitted traditional parts of a fashion show such as models, stages, garments, music and audiences. In this study, 30 fashion shows that used digital images were selected from the 2000-2010 collections of Paris, Milan, London and New York, and its communication characteristics were analyzed and discussed. The three categories of the communication characteristics are as follows: First, the shows used digital images as stage sceneries or effects to create desired stage effects. The digital images were used as extra tools to reinforce the concept of the fashion show. Second, the fashion shows used real-time videos to extend its presentation into the virtual space. The interactive videos were designed to encourage audiences to actively participate in the show. Third, the digital images were the focus of the show for the internet-only digital fashion shows. Since the Internet is not constrained by time or space, multi-faceted, communication between audiences and fashion designers or among audiences is possible. In addition, the number of audience it can reach is higher than traditional fashion shows. Digital images will be used more often in the fashion shows. In the future, fashion shows will try to become more interactive with audiences through the use of new digital image technology.

• Journal of architectural history
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• v.19 no.6
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• pp.233-250
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• 2010

Jukseoru as an official pavilion of the government, one of the eight sceneries in Gwndong Area, is located on the cliff over Osipcheon River. This paper interprets form and space of the pavilion with restored old life by analyzing pictures of official party in 18th century in Chosun Dynasty. Every part of the space is occupied by persons by the class and duty: the pricipal guest, nobles, subordinates, gisaengs, court musicians, and guards from the high to the low and from the inside to the outside. Applying the analysis to the Jukseoru pavilion, the noblest lord takes sit on the platform in front of folded screen at main bay under checked ceiling, enclosed by low timber beam. The next northern end bay is a place for subordinates' and servants' waiting for preparation for rice wine. Southern end entrance bay is not a result of later addition but deliberately and originally made for lower place outside the railing of wooden floor: for a waiting woman gisaeng, and subordinates. Outside under the eaves on the platform with bedrock, artificial stone and soil is a place for court musicians, subordinates, and guards. The yard in front of the building is a place for preparing meals by cookers. Every detailed ornamental form is different each other by the place for the occupied class. Existing theory tells that the building, 7 bays gable-and-hipped roof, is a result of structural extention of 2 bays at the 5 bays gabled-roof. However, through the interpretation of old pictures and application to the pavilion, the present Juseoru is not a result of later structural addition, but deliberately designed creation suited to life in hierarchical traditional society.