• Weed & Turfgrass Science
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• v.5 no.4
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• pp.256-259
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• 2016

An obligate plant pathogenic fungus Puccinia zoysiae Dietel, the causal agent of rust disease, which is implicated in the damage of zoysiagrass (Zoysia spp.) in Korea. The fungus is one of the important pathogens, which attacks and colonizes susceptible zoysiagrass. Zoysia rust disease was observed in Jangseong, Hoengseong and Hapcheon in 2014 and 2015, Korea. The typical symptoms of the disease appeared first as small white spots on the leaf and stem of zoysiagrass plants, and turn brownish, dark brown spores revealed on the lesions. Uredospores were light brown in color, ellipsoid or spherical in shape and $22.0{\sim}25.0{\times}15.0{\sim}17.5{\mu}m$ in size. On the basis of the morphological characteristics, the fungus was identified as P. zoysiae. Pathogenicity of the fungus was proved by artificial inoculation on Z. japonica. The rust disease firstly appeared approx. early or middle June and then increased middle of October in Korea. In field, Z. matrella ecotypes were more resistant than Z. japonica ecotypes against the pathogen. Disease response against the pathogen was different among ecotypes of each species, respectively.

• Korean Journal of Plant Resources
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• v.32 no.4
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• pp.344-354
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• 2019

In seven species of Korean Asarum, 44 qualitative and 28 quantitative characters were reviewed taxonomically. Among 44 qualitative characters observed in vegetative and reproductive organs, the states of 27 characters were common in all the seven species. Among 28 quantitative characters, five characters have the same values in all the seven species; the number of cataphyll (2-4), leaf (2), calyx lobe (5), stamen (12) and pistil (6). White spots on adaxial surface of leaf (effectively) distinguished A. maculatum and A. versicolor from the other species. Many long soft hairs on abaxial surface of leaf distinguished A. mandshuricum from other species with short hairs. The glandular hairs on inner surface of calyx tube were divided into 2 types, reflecting the taxonomic relationships between the species: Type 1 has non-stalked glandular hairs (A. maculatum, A. sieboldii and A. sp.), and Type 2 has stalked glandular hairs (A. patens, A. versicolor, A. mandshuricum and A. misandrum). The length, shape, colour of calyx lobe and the extent to which the calyx lobe recurves, as well as the diameter and colour of calyx tube throat, were confirmed to be taxonomically valuable. In the case of glandular hair density on the surface of calyx lobe, A. patens with low density and A. sp. with high density were clearly distinct from all the other species with intermediate hair density. Meanwhile, the stylar protuberance length of A. patens (2.9-3.3 mm) was strikingly different from other species (1.4-2.5 mm). Additionally, further examination of the identities of A. yeonbyeonense and A. yeonbyeonense var. viridiluteolum is required.

• Korean Journal of Soil Science and Fertilizer
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• v.40 no.1
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• pp.31-35
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• 2007

In order to find out the cause of plant injury, the symptom of plant injury, and contents of element concerned in the plant were analysed. Also, a case study was conducted to find out the factor of plant injury at a agriculture and industry complex in Gyeongsang province in 2004. The distribution of isomeric curve was made with meteorological data, toxic gas concentration exhausted from pollution source. The general symptom of plant injury by ammonia gas was dry and dead of leaves with white color. At low concentration of ammonia gas, plant leaf showed spots of reddish brown. The characteristic of plant injury symptom by hydrogen fluoride gas was that the symptom was appeared at the edge of leaf. The isomeric curve of sulfur dioxide at the region, where the plant was damaged, showed that the area was affected by exhausted gas from the pollution source. Especially, this area was affected more deeply at summer than any other season.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.

• Journal of fish pathology
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• v.10 no.2
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• pp.97-111
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• 1997

In the winter of 1995, mass mortality occurred in cultured flounder, Paralichthys olivaceus in Gurongpo, Kyoungbuk, Korea. From the observations of moribund and dead fish, parasitic ciliates, which were shown as white spots to the naked eye, were considered to be involved in the mass mortality. From heavily infected flounders, histopathological, morphological and biological characterization of these ciliates were carried out. In the histological observation, many ciliates were found under the epithelia of gill filaments and skin, and caused hyperplasia of epithelial and mucus cells at the infected areas. The ciliates found on the body surface, fins and gills were very similar to Cryptocaryon irritans. However the ciliates showed two different patterns of reproductian, i.e., typical form(palintomy)and atypical form(budding plus multiple fission) at $16^{\circ}C$ of water temperature. The occurrence ratio between typical and atypical form was about 3:2. Tomitogenesis takes 8-14 days in the typical and 13-15 days in the atypical form. In the viability test at different temperatures and salinities, the typical form died below 30‰ at $12^{\circ}C$, below 20‰ at $16^{\circ}C$, below 15‰ at $20^{\circ}C$, and below 25‰ at $24^{\circ}C$, respectively. On the other hand, the atypical form died below 20‰ at $12^{\circ}C$, below 15‰ at 16-$20^{\circ}C$, and below 25‰ at $24^{\circ}C$, respectively. The results suggested that the atypical has better viability at low salinity than that of the typical at low temperatures. In the excystment time and success rates of excystment according to temperatures, the typical form showed 8 days, 30% at $12^{\circ}C$ : 6.5 days, 50%, at $16^{\circ}C$ : 5.5 days, 75% at $20^{\circ}C$ : and 7 days, 10% at $24^{\circ}C$, respectively. On the other hand, the atypical form showed 15.5 days at $12^{\circ}C$ : 14 days, 76.6% at $16^{\circ}C$ : 12 days, 72.2% at $20^{\circ}C$ : 10 days 31.6% at $24^{\circ}C$, respectively. The results suggested that the atypical form had longer excystment time than that of the typical form at any temperature and showed better stability at low temperatures.

• Korean Journal of Ecology and Environment
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• v.44 no.1
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• pp.1-8
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• 2011

We investigated developmental stages of embryo and early life history of the Korean indigenous fish, the northern loach, Cobitis pacifica in 2009 in order to understand fundamental knowledges for conservation of this species. Eggs were obtained after hormones injections (LHRH-a, HCG) and were artificially fertilized by the dry method. The embryo was spherical, separative demersal, faint white, and averaged $1.09{\pm}0.04\;mm$ (n=20) in diameter. The hatching of the embryo took place in about 48 hours after fertilization under water temperature of $21.0{\sim}24.0^{\circ}C$ and the newly hatched larvae averaged $2.87{\pm}0.05\;mm$ (n=20) in total length (TL). Four days after hatching, the larvae grew up to $6.86{\pm}0.10\;mm$ (n=10) in TL and york sac absorption, mouth and anus opening were shown. Fourteen days after hatching, most of fin-rays appeared at $10.71{\pm}0.34\;mm$ (n=10) in TL and color spots on the body surface were attained. Twenty six days after hatching, the larvae grew up to $14.88{\pm}0.45\;mm$ (n=10) in TL, and all their fin-rays were formed. Therefore, according to current study regarding the morphological development of Cobitis pacidica, the conversion from larval to juvenile stages occurred at 26 days after hatching. Eighty days after hatching, the larvae were $33.3{\pm}1.25\;mm$ (n=10), and their body shape and color pattern were similar to adult fish. In this study, embryonic development and early life history of the northern loach, Cobitis pacifica show morphological characteristics of Cobitidae family. We expected that our results can be used as an fundamental knowledges for restoration study of indigenous fish species.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.2
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• pp.77-85
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• 2014

This study was conducted to examine the morphological characteristics of those Azalea Cultivars(hereinafter, Azalea Cultivars) that are mainly used for landscaping in Korea in order to prepare classification criteria. As testing materials, major Azalea Cultivars cultivated in large quantities by its producing companies were collected. Thereafter, the qualitative and quantitative characteristics of the traits of Azalea Cultivars were investigated in the way of characteristic investigation for new cultivars of azalea used by the Korea Seed and Variety Service in order to classify them and prepare the classification criteria. Since cultivar names have not been established for Azalea Cultivars for landscaping thus far, the data were compiled using the names used by cultivating companies. According to the results, Azalea Cultivars cultivated in Suncheon, Jeonnam mainly for landscaping were 10 in number; Beni, Daewang, Three, Zasanhong, Hancheol, Sancheoljuk, Gyeobsancheoljuk, Baekcheoljuk, Akado, and Seok-am. Among them, the cultivars Beni, Daewang, and Three could not be easily distinguished from each other because they are commonly called Yeongsanhong by cultivating companies and the shapes of their leaves and flowers are similar to each other. In particular, the flower color of Beni was 'bright red', that of Daewang was 'vivid purple', and that of Three was 'bright purple'. In addition, Zasanhong and Hancheol were similar to each other in shape the degree of expression of spots on the flowers and the gloss on the front side of the leaves of Hancheol were higher and stronger compared to that of Zasanhong. Sancheoljuk flowered in early April, earlier compared to other Azalea Cultivars. Gyeobsancheoljuk is an elementary species of Sancheoljuk and it had double flowers although all other traits were similar to those of Sancheoljuk. Although Baekcheoljuk was easily distinguished because it had white flowers, its leaves were similar to those of Akado the reason why these two cultivars could not be easily distinguished from each other. The cultivar Akado flowered early May later compared to other Azalea Cultivars and its flowers were relatively large in diameter as with Baekcheoljuk and Sancheoljuk. Finally, the cultivar Seok-am was easily distinguished because it had smaller leaves compared to other cultivars and it flowered late as with the cultivar Akado.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.90-102
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• 2012

Sansuyucheop by Heojoobugun(虛舟府君) as the subject of this study is a 십이-width picture album by the eldest grandson of 11 generations for Goseong Lee family, Lee Jong Ak(李宗岳: 1726-1773), a figure having five habits(五癖) for ancient documents(古書癖), playing the gayageum(彈琴癖), flowering plant(花卉癖), paintings and calligraphic works(書畵癖) and boating(舟遊癖) etc., who boated with 18 relatives, and those by marriage from old home, home of mother's side, wife's home, and his home for 5 days Apr. 4 through 8, 1763, starting from Imcheonggak, through Yangjeong(羊汀), Chiltan(七灘), Sabin Auditorium(泗濱書院), Seonchang(船倉), Nakyeon(落淵), Seonchal(仙刹), Seonyujeong(仙遊亭), Mongseongak(夢仙閣), Baekwoonjeong(白雲亭) and Naeap Village(川前里), Iho(伊湖), Seoeodae(鮮魚帶) to the returning point, Bangujeong(伴鷗亭), cruised magnificent views around Banbyeoncheon called 'Andong 8 Gyeong' or 'Imhagugok', and whenever the boat anchored, appreciated the scenery at each point, and enjoyed and loved arts playing the geomungo. This study reached following findings through grasping physical, ecological, visual and aesthetic changes about the places, sceneries, plant elements and past and current scenery of the width pictures expressed at this Sansuyucheop. The refinement on the boat seeing the clear river water, white sand beach, fantastically-shaped cliffs expressed at this Sansuyucheop, exchanging poems and calligraphies, and enjoying the geomungo is a good example displaying the play culture of high-class in Joseon Dynasty. Also construction of Imha Dam and Andong Dam has caused serious visual and ecological changes, making us not enable to feel the original mood of the background spots such as Yangjeonggwabeom(羊汀過帆), Chiltanhuseon(七灘候船), Sasubeomjoo(泗水泛舟), Seonchanggyeram(船倉繫纜), Nakyeonmosaek(落淵莫色), Mangcheonguido(輞川歸棹), Ihojeongdo(伊湖停棹), but only discern then landscape or sentiment through the landscape described at the canvas. The 1st picture(Donghohaeram, 東湖解纜), and the 11th picture(Seoeobanjo, 鮮魚返照) of Heojoobugun's Sansuyucheop expressed trees thought to be fallen, brad-leaf tall trees, and the 9th picture(Unjeongpungbeom, 雲亭風帆) formed a pine forest called 'Gaeho(開湖)' by Uncheongong planting 1,000 pine trees with the village people in 1617. In addition, Seunggyeongdo expressed ever-green needle leaf trees at the natural topography, and fallen-leaf tall trees around the pavilion and building. Comparative consideration of Heojoobugun's Sansuyucheop and Shinam's Dongyusipsogi(東遊十小記) showed that the location of Samgok is assumed to be Macheon and Chiltan, so Imhagugok is assumed to start from Baekunjeong of Ilgok, Igok from Imcheon and Imcheon auditorium, Samgok from Mangcheon and Chiltan, Sagok from Sabin Auditorium of Sasoo, Ogok from Songseok, Yukgok from Sooseok of Seonchang, Chilgok from Nakyeonhyeonryu, Palgok from Seonchalsa and Seonyoojeong, and Gugok from Pyong Yuheo. This study can be significant in that it could clarify that Heojoobugun's Sansuyucheop is judged to be valuable in exquisitively expressing the coast of Banbyeon River, the biggest branch stream in the Nakdong River at the latter half of Joseon Dynasty, and as a vital diagrammatical historical data to make a comparative analysis of currently rarely-seen ancestors' life traces and landscape factors with present ones.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.106-115
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• 2011

This study, based on (edited in 18th century), analysed the landscape system and cultural landscape elements of Yuhoidang(Hageowon 何去園) Garden in Musu-dong, Daejeon, and the findings are as in the following. YuHoidang(Gwon Yijin 權以鎭) managed Hageowon Garden in Musu-dong, located on the southern branch of Mt. Bomun, to realize his utopia. The completion of Hageowon Garden was only possible due to his installation of a variety of facilities in family gravesite on the hill behind his house: Shimyoso(Samgeunjeongsa 三近精舍, in 1707), Naboji(納汚池, in 1713), Banhwanwon(in 1714) and expended exterior space(in 1727). With regard to the landscape system of the village, the main range of mountains consists of Mt. Daedun, Mt. Odae and Mt. Bomun. The main high mountain of the three is Mt. Bomun, where 'Blue Dragon' hill branches off on the east side(Eungbong), 'White Tiger' in the west(Cheongeun and Sajeong) and Ansan(inner mountain) in the south. The landscape system is featured by 'mountains in back and rivers in front'. The river in the south-west, with its source in Mt. Juryun is called as the 'Stream of outer perfect spot', while the 'Stream of inner perfect spot' rises from Eungbong, passing through the east part of the village into the south-western direction. Banhwanwon Garden(盤桓園) was created with the stream in the east and natural bedrocks, and its landscape elements includes Naboji, Hwalsudam, Gosudae, Sumi Waterfall, Dogyeong(path of peach trees), Odeeokdae(platform with persimmon trees), Maeryong(Japanese apricot tree), springs and observatories. An expanded version of Banhwanwon was Hageowon garden, where a series of 'water-trees-stone' including streams, four ponds, five observation platforms, three bamboo forests and Chukgyeongwon(縮景園) of an artificial hill gives the origin forest a scenic atmosphere. When it comes to semantics landscape elements, there are (1) Yuhoidang to cherish the memory of a deceased parents, (2) Naboji for family unification, (3) Gosudae to keep fidelity, (4) Odeokdae to collect virtue and wisdom, (5) Sumi Waterfall to aspire to be a man of noble character, (6) Yocheondae for auspicious life, (7) Sumanheon and Gigungjae to be in pursuit of hermitic life, (8) Hwalsudam for development of family and study, (9) Mongjeong to repay favor of ancestors, (10) Seokgasan, a symbol of secluded life, (11) Hageowon to enjoy guarding graves in retired life. The spatial composition of Hageowon was realized through (1) Yuhoidang's inside gardens(Naboji, Jucheondang, Odeokdae, Dogyeong, Back yard garden and others) (2) Sumanheon(收漫軒) Byeolup or Yuhoidang's back yard gardens (Seokyeonji, Yocheondae, Sumanheon, Baegyeongdae, Amseokwon and others) (3) Chukgyeongwon of the artificial hill(which is also the east garden of Sumanheon, being composed of Hwalsudam, Sumi Waterfall and Gasan or 12 mountaintops) (4) the scenic spots for unifying Confucianism, Buddhism and Taoism are Cemetry garden in the back hill of the village, the temple of Yeogyeongam, Sansinkak(ancestral ritual place of folk religion) and Geoeopjae(family school). On top of that, Chagyeongwon Garden(借景園) commands a panoramic distant view of nature's changing beauty through the seasons.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.172-205
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• 2011

Go bears significant meanings in terms of cultural and entertaining functions in Asia Eastern such as China and Japan. Beyond the mere entertaining level, it produces philosophical and mythic discourse as well. As a part of effort to seek an identity of Korean traditional garden culture, this study traced back to find meanings of rock-go-board and taste for the arts which ancestors pursued in playing Go game, through analysis and interpretation of correlation among origin of place name, nearby scenery, carved letters and vicinal handed-down place name. At the same time, their position, shape and location types were interpreted through comprehensive research and analysis of stone-go-boards including rock-go-board. Particularly, it focused on the rock names related to Sundoism(仙道) Ideal world, fixed due to a connection between traces of Sundoism and places in a folk etymology. Series of this work is to highlight features of the immortal sceneries, one of traditional landscaping ideals, by understanding place identity and scenic features of where the rock-go-boards are carved. These works are expected to become foundation for promotion and preservation of the traditional landscaping remains. The contents of this study could be summarized as follows; First, round stone and square board for round sky and angled land, black and white color for harmony of yin and yang and 361paths for rotating sky are symbols projecting order of universe. Sayings of Gyuljungjirak(橘中之樂), Sangsansaho(商山四皓), Nangagosa(爛柯故事) formed based on the idea of eternity stand for union of sky and sun. It indicates Go game which matches life and nature spatiotemporally and elegant taste for arts pursuing beauty and leisure. Second, the stone-go-boards found through this research, are 18 in total. 3 of those(16.1%), Gangjin Weolnamsaji, Yangsan Sohanjeong and Banryongdae ones were classified into movable Seokguk and 15(83.9%) including Banghakdong were turned out to be non-movable rock-go-boards carved on natural rocks. Third, upon the result of materializing location types of rock-go-boards, 15 are mountain stream type(83.9%) and 3 are rock peak type(16.1%). Among those, the one at Sobaeksam Sinseonbong is located at the highest place(1,389m). Considering the fact that all of 15 rock-go-boards were found at mountainous areas lower than 500m, it is recognizable that where the Go-boards are the parts of the living space, not far from secular world. Fourth, there are 7 Sunjang(巡將) Go with 17 Hwajeoms(花點), which is a traditional Go board type, but their existences, numbers and shapes of Hwajeom appear variously. Based on the fact, it is recognizable that culture of making go-board had been handed down for an extended period of time. Among the studied rock-goboards, the biggest one was Muju Sasunam[$80(82)cm{\times}80(82)cm$] while the smallest one was Yangsan Sohandjeong Seokguk ($40cm{\times}40cm$). The dimension of length and breadth are both $49cm{\times}48cm$ on average, which is realistic size for actual Go play. Fifth, the biggest bed rock, an under-masonry with carved Go-board on it, was one in Muju Sasunam[$8.7m{\times}7.5m(65.25m^2)$], followed by ones in Hoengseong Chuiseok[$7.8m{\times}6.3m(49.14m^2$] and Goisan Sungukam[$6.7m{\times}5.7m(37.14m^2)$]. Meanwhile, the smallest rock-go-board was turned out to be one in Seoul Banghak-dong. There was no consistency in directions of the Go-boards, which gives a hint that geographical features and sceneries of locations were considered first and then these were carved toward an optimal direction corresponding to the conditions. Sixth, rock-go-boards were all located in valleys and peaks of mountains with breathtaking scenery. It seems closely related to ancestors' taste for arts. Particularly, rock-go-boards are apprehended as facilities related to taste for arts for having leisure in many mountains and big streams under the idea of union of sky and human as a primitive communal line. Go became a medium of hermits, which is a traditional image of Go-game, and symbol of amusement and entertainment with the idea that Go is an essence of scholar culture enabling to reach the Tao of turning back to nature. Seventh, the further ancient time going back to, the more dreamlike the Go-boards are. It is an evident for that Sundoism, which used to be unacceptable once, became more visible and realistic. Considering the high relation between rock-go-boards and Sundoism relevant names such as Sundoism peak in Danyang Sobaeksan, 4 hermits rock in Muju and Sundoism hermit rock in Jangsu, Sundoism hermit rocks and rock-go-boards are sceneries and observation spots to express a communication of worship and longing for Sundoism. Eighth, 3 elements-physical environment such as location type of the rock-go-boards, human activities concentrated on 8 sceneries and Dongcheongugok(洞天九曲) setup and relevancy to Confucian scholars, as well as 'Sangsansaho' motif and 'Nangagosa' symbolic meaning were used as interpretation tools in order to judge the place identity. Upon the result, spatial investigation is required with respect to Sunyoodongcheon(仙遊洞天) concept based on enjoyment to unify with the nature rather than Dongcheongugok concept of neo-Confucian, for Dongcheon and Dongmoon(洞門) motives carved around the rock-go-boards. Generally, places where mountain stream type rock-go-boards were formed were hermit spaces of Confucianism or Sundoism. They are considered to have compromised one other with the change of times. Particularly, in the rock-go-board at the mountain peak, sublimity-oriented advent of Sundoism is considered as a significant factor to control place identity. Ninth, including where the rock-go-boards were established, the vicinal areas are well-known as parts of Dongcheongugok and Palkyung(八景) mostly. In addition, many of Sundoism relevant expressions were discovered even in the neighboring carvings written by scholars and nobility, which means sophisticated taste based on longing for Sundoism world played a significant role in making go-board. The rock-go-board is an integration of cultural phenomena naturally managed by seclusion of scholars in the Joseon Dynasty as well as remains and essence of Korean traditional landscaping. Some rock-go-boards out of 17 discovered in South Korea, including ones in Sobaeksan Sinsunbong, Banghak-dong, Chungju Gongili, Muju Sasunam, Yangsan Eogokdong Banryongdae Seokguk, are damaged such as cracks in rocks or fainted lines by hardships of time and hand stains. Worse yet, in case of Eunyang Bangudae Jipcheongjeong board, it is very difficult to identify the shape due to being buried. Rock-go-boards are valuable sculptures in terms of cultural asset and artwork since they reflect ancestors' love for nature and longing for Sundoism world. Therefore, they should be maintained properly with right preservation method. Not only rock-boards itself but also peripheral places are excellent cultural heritages and crucial cultural assets. In addition, vicinal sceneries of where rock-goboards and pavilion spots are the representative remains of embracing prototype of Korean traditional landscaping and major parts of cultural properties.