• Korean Journal of Heritage: History & Science
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• v.43 no.1
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• pp.160-189
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• 2010

This study has been designed to grasp the present situation, shapes and meaning of the standing stones and rock pillars in the whole area of Noseong Mountain Fortress in Nonsan City which have never been academically reported yet. Accordingly, the research was carried out to grasp the spatial identity of Noseong Mt. and Noseong Mountain Fortress and the dispersion of standing stones scattered around inside and outside Noseong Mountain Fortress, while the shapes and structural characteristics of stones were investigated and analyzed focusing on Chongsuk Temple, which was considered to have the highest density of standing stones and greatest values for preservation as a cultural property. In consideration of the reference to the 'Top Sa' (tower temple) at the 'Bul Woo Jo' (Article about Buddhism Houses) of 'Shinjoong Dongguk Yeoji Seungram', theoretical existence of the temple according to surveying investigation, and the excavation records of roof tile pieces with the name of 'Gwan Eum Temple', it is presumed that there had been a Buddhist sanctum inside the fortress and it could be connected to the carved letters, 'Chongsuk Temple'. According the observation survey, the 6th place of standing stones among many other places inside the fortress shows that Chongsuk Temple appears to have the strong characteristics of artificially constructed space in consideration of the size of trees and stones, the composite trend of tree and stone composition, and trace of the adjacent well and strand and the construction of stairway leading to the stone gate. Along with the constellation of the Big Dipper carved on a rock at the same space, the stones, on which the letters of 'Shinseonam', 'Chilseongam' and 'Daejangam' were carved, including 'Chongsuksa', and the carved statue of Buddha, which was assumed to be Avalokitesvara Guan Yin, have offered clue which make it possible to infer that the space was a space for Chilseong and Mountain god(Folk Belief) that had originated from the combination of Buddhism, Taoism and folk religion. According to the actual measurement of standing stones at Chonsuk Temple, it was identified that there were big differences in height among 24 stones in total, ranging from 402~29cm and the averaged distance between each stone appeared to be 23.6cm. And the shape of stones appeared to be standing or flat, and various stones such as mountain-like stones and Buddha-like stones were placed in a special arrangement or assorted arrangement, but the direction of the stones had a consistency pointing to the west. And comparing to the trace of construction of ZEN Landscape Garden well known in the country, the three flat stones except for the standing and shaped stones appeared to have the shape of meditation statue, which is the typical formational factors of a ZEN Landscape Garden, on the basis of formational technique of stones. Among them, the flat stone facing the Buddhist saint statue, was formed by way of symbolization of three-mountain stone, which was assumed to be an offering stone for sacrificial food rather than carrying out ZEN Meditation. In consideration of the formation of standing stones at Chong-suk Temple, which was carried out in the composite stoning method based using the scalene triangle with ratio of 3:5:7 in order to seek the in-depth beauty based on the stone statues of three Buddhas where the three factors such as heaven, earth and humans are embodied in the elevated or flat formation, the stones at Chongsuk Temple and the space seemed to the trace of contracted garden construction that was formed with stones for a temple, so that could be used for ZEN meditation.

• Journal of the Korean Geographical Society
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• v.51 no.4
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• pp.491-508
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• 2016

This study has taken the Myeongjidong island, which has experienced spatial change due to various reasons ranging from the Japanese colonial era until today, as an instance in order to comprehend macroscopic spatial change of the Nakdonggang Delta and the adaptation process of the locals in a microscopic point of view. Spatial change of the Myeongjidong has been confirmed by collecting maps such as the atlas of late period of Chosun published in 1910, topographic map, regional geography, city records, and by applying coordinates with geographic reference function of GIS program, then checking for time sequential space change of individual regions. Space change driven by the Japanese government-general of Korea, Gimhae Irrigation Association, and by national policy or planning brought about environmental and humanistic changes unlike ever before, and land usage, housing and industry of the region and the locals experienced various adaptation processes. Such processes were compiled through collection and comparison of literature, and supplementation from interview of the locals during field study. As for the research region, it ranged from the construction of Nakdonggang bank and Myeongji seawall of 1935, agricultural rural landscape formed after the area expansion project by Gimhae Irrigation Association in 1940, to landscape that are becoming mercantile and urban due to the developmental plans of national and local governments.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.70-81
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• 2013

In this study, the locational and constructional characteristics of Jukrimseowon, pavilion Imrijeong, and Palgwaejeong located in Nonsan, Ganggyung-eup were reviewed and the interrelation of these three places were studied through references including records of those days; Sagyeyonbo(沙溪年譜), Jukrimseowon dorok(竹林書院都錄), Imrijeonggi(臨履亭記), Jukrimseowon Myojeongbi(竹林書院廟庭碑), Namyurok(南遊錄). The result is as follows. Jukrimseowon enshrining Yukhyeon(六賢) is arranged as 'Hongsalmoon-Woisalmoon-Dongjae(憲章堂; Heonjangdang)' and 'LIbrary-Naesammoon(神門; shin moon)-Sau(竹林祠: Jukimsa)', excluding a lecture hall. In case of Sagye Jangsang Kim's Imrijeong(沙溪金長生) and Uam Shiyoel Song(尤庵宋時烈)'s Palgwaejeong respectively constructed 50 meters and 10 meters each away from Jurimseowon, detail designs such as scale, roofs, surface, windows, doors, and tablets as well as its prospect are nearly identified. Especially Taking Imrijeong and Palgwaejeong's locational conditions composed of rocks centered on Jukrimseowon, those are maintain the bilateral symmetry as much as possible and surround the shrine. It appeared that the Jukrimseowon's shrine enshrining Yulgok(栗谷) and Ugye(牛溪) was rebuilt during the reconstruction of auditoriums because of political conditions after the renovation of Kiing Injo and it was called as 'Hwangsanseowon(黃山書院)' with Imrijeong which was a lecture hall. It was an inevitable consequence to keep the bilateral symmetry which is a basic order of auditorium structure by maintaining and using Imrijeong and Palgwaejeong as a lecture hall of the auditorium after the reconstruction at least. Consequently, the desperate attempt to adjust the arrangement and visual imbalance of Imrijeong built with periodical differences and Hwangsanseowon resulted from the construction of shrine was Palgwaejeong built under Monggoibyuk of Hwansan Taken these circumstances together, Jukrimseowon is a 'shrine-centered auditorium' with characteristics of auditorium, constructed by integrating Imrijeong which was used as a lecture hall after the construction of shrine and Palgwaejeong repaired through the reconstruction. The construction of Palgwaejeong and the formative conformity with Imrijeong are assumed as an consequence intended for the compensation of Jukrimseowon's function and role as an auditorium. This study will provide an opportunity to focus on the auditorium and pavilion's complementary function as well as the Confucian and constructional functions by revealing the fact that pavilions were established as a complementary facility for the lecture hall of auditorium.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.38-51
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• 2015

In the maps of the period, there were three large ponds called Dongji(東池), Seoji(西池) and Namji(南池) in Hanyang, the capital of Joseon Dynasty. They were different than the ponds found in the palace, civic buildings, and private dwellings. Dongji, Seoji and Namji were ponds relating to Fortress wall of Seoul, and all had lotuses cultivated in them. The purpose of this paper is to clarify the locational and spatial characteristics of these ponds and to detail the construction and reconstruction process and management conditions through maps, drawings, illustrations, historical records and literary works from the urban environmental perspective. The results are as follows. First, Seoji and Namji were intended for Bibo(裨補) which redeemed the geographical weaknesses of Hanyang, securement of bright court water(明堂水), supplement for fire energy(火氣), fire preventive water and waterscape facilities, while Dongji was emphasized on protecting water mouth(水口) besides Bibo and securement of bright court water. Second, Seoji was connected to mountain streams and Dongji and Namji were to ditches. The ponds connected to ditches had been difficult to fill and maintain. Third, Seoji and Namji were in urban areas, whereas Dongji was in farmlands, and these locational differences had an influence on the use of ponds. Fourth, the shapes of ponds, in contrast to the ponds in palace and civic buildings, which were perfectly square, were either freeform or square with rounded edges. Fifth, lotus ponds could be maintained by continuous management polices, earth filling and reconstructing process were repeated during the Joseon Dynasty. The lotus ponds of Fortress Wall of Seoul which had managed over 500 years, were built in, in accordance with the tenets of Bibo pungsu geomancy; however as time passed, they were maintained not only as public open spaces, but also a cultural attraction for residents and visitors.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.52-64
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• 2015

This research traced the characteristics of the semantic landscape, construction intent, landscape composition, and geomantic conditions of the area subject to the research based on the research methods of 'field investigation, document studies, and interviews,' centering around the entire area of Gokseong Hamheo-pavilion (Jeonnam Tangible Cultural Assets No. 160). The result of the research, specifically revealing the forms and methods by which the reciprocal view of nature and landscape composition appearing in the landscape of the entire area of Hamheo-pavilion, as part of the analysis and interpretation over the view-based construction characteristics and position of the entire area of Gokseong Hamheo-pavilion, can be summarized as follows. First, Hamheo-pavilion is a pavilion built as a resting area and as a venue for educational activities in 1543 in the nearby areas after Gwang-hyeon Sim founded Gunjichon-jeongsa for educational activities and dwelling purposes at Gunchon at the 30th year of King Jungjong. Gunchon, where Hamheo-pavilion and Gunjichon-jeongsa is located, exhibits the typical form having water in the front, facing Sunja-river(present Seomjin-river), and a mountain in the back side. Dongak-mountain, which is a guardian mountain, is in a snail-type form where cows leisurely ruminate and lie on the riverside, and the Hamheo-pavilion area is said to be an area bordering on one's way of enjoying peace and richness as it is a place with plentiful grass bushes available for cows to ruminate and lie down while sheppards may leisurely play their flutes at the riverside. The back hill of Hamheo-pavilion is a blood vessel that enters the water into the underwater palace of the turtle, and the building sitting on the turtle's back is Hamheo-pavilion, and the Guam-jodae(龜巖釣臺) and lava on the southern side below the cliff can be interpreted to be the underwater fairly land wanted by the turtle.6) Second, Hamheo-pavilion is the scenery viewpoint of Sungang-Cheongpung (3rd Scenery) and Seolsan-Nakjo(雪山落照, 9th Scenery) among the eight sceneries of Gokseong, while also the scenery viewpoint of Hamheo-Sunja(2nd Scenery) and Cheonma-Gwiam(天馬歸岩, 3rd Scenery) among the eight sceneries of Ipmyeon. On the other hand, the pavilion is reproduced through the aesthetics of bends through sensible penetration and transcendental landscape viewed based on the Confucian-topos and ethics as the four bends among the five bends of Sunja-river arranged in the 'Santaegeuk(山太極) and Sutaeguek(水太極, formation of the yin-yang symbol by the mountain and water)' form, which is alike the connection of yin and yang. In particular, when based on the description over Mujinjeong (3rd Bend), Hoyeonjeong(4th Bend), andHapgangjeong(2nd Bend) among the five bends of Sunja-river in the records of Bibyeonsainbangan-jido(duringthe 18th century) and Okgwahyeonji(1788), the scenery of the five bends of Sunja-river allow to glimpse into its reputation as an attraction-type connected scenery in the latter period of the Joseon era, instead of only being perceived of its place identity embracing the fairyland world by crossing in and out of the world of this world and nirvana. Third, Hamheo-pavilion, which exhibits exquisite aesthetics of vacancy, is where the 'forest landscape composed of old big trees such as oak trees, oriental oak trees, and pine trees,' 'rock landscape such as Guam-jodae, lava, and layered rocks' and 'cultural landscape of Gunchon village' is spread close by. In the middle, it has a mountain scenery composed of Sunja-river, Masan-peak, and Gori-peak, and it is a place where the scenery by Gori-peak, Masan-peak, Mudeung-mountain, and Seol-mountain is spread and open in $180^{\circ}$ from the east to west. Mangseo-jae, the sarangchae (men's room)of Gunjichon-jeongsa, means a 'house observing Seoseok-mountain,' which has realized the diverse view-oriented intent, such as by allowing to look up Seol-mountain or Mudeung-mountain, which are back mountains behind the front mountain, through landscape configuration. Fourth, the private home, place for educational activities, pavilion, memorial room, and graveyard of Gunji-village, where the existence and ideal is connected, is a semantic connected scenery relating to the life cycle of the gentry linking 'formation - abundance - transcendence - regression.' In particular, based on the fact that the descriptions over reciprocal views of nature regarding an easy and comfortable life and appreciations for a picturesque scene of the areas nearby Sunja-river composes most of the poetic phrases relating to Hamheo-pavilion, it can be known that Hamheo-pavilion is expressed as the key to the idea of 'understanding how to be satisfied while maintaining one's positon with a comfortable mind' and 'returning to nature,' while also being expressed of its pedantic character as a place for reclusion for training one's mind and training others through metaphysical semantic scenery.