The study on Musa basjoo planting in traditional gardens in of folk villages and traditional temples was conducted to identify the phenomenon of Musa basjoo planting which frequently appears in paintings and literatures of the late Joseon dynasty and how the cultural custom is being handed down. The result of the study is as follows. 11) As a result of studying state-designated folk villages 6 sites, the custom is being handed down in a few limited gardens including Asan Oeam Village and Seongju Hangae Village. In case of Oeam Village, there are three gardens where Musa basjoo was planted including Seolimbang, Vice Minister's Residence, and Geonjae House where Musa basjoo withered now. In case of Hangae Village, it was found in Bukbi House, Hahoe Residence and Gyoridaek Jinsa's Residence and most of them were planted in front of guesthouses and main building with the assemble-planting method. Musa basjoo planting was confirmed in 39 traditional temples and it was found that Yangsan Tongdosa Temple and attached hermitage Geukrakam are currently prevalent in Musa basjoo planting. Musa basjoo was planted on either side of the stairs of Buddhist sanctums for Buddha and Avalokitesvara Guan Yin of main temples and gwaneum temples with the assemble-planting method and it has a tendency of pair planting.Considering that Musa basjoo is a southern plant, most of Musa basjoo planting was distributed around Jeollanam-do and Gyeongsangnam-do, which is closely related to the isotherm distribution of the Korean Peninsula. Especially, it was found that planting flora was centered on 12℃ of Warmth Index 100° and annual average temperature.
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 (鶉江淸風, 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(涵虛鶉子, 2ndScenery) 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 ...
This study suggests the necessity of landscaping alternatives for the succession of Takjok(濯足) culture by considering the background and meaning of Takjok's cultural phenomenon shown in old literatures and paintings and its result is as follows.An old idiom, 'Takyoung Takjok(濯纓濯足)' implying a disinterested living attitude from the mundane world and an attitude complying with nature, has been sublimated to 'Takjokjiyu(濯足之遊)' which means living in comfortable retirement through life in seclusion(隱逸). Classical scholars immerse their feet in soft-flowing(柔軟) water for 'Mulailche(物我一體; synchronized with nature)' which is a unified condition with 'Do(道; truth)' and connected to the stage of 'Yu(遊)', a free mental state, and its nature. The cultural phenomenon of Takjok appeared in the inherited landscape paintings in the Joseon dynasty period after the late stage of Koryo. Takjok shown in 'Pal Kyung Shi'(八景詩; poetry singing for the eight scenary) was described as not a transcendent scene, but as a scenery of daily life. Dense forest and water, such as a stream with clean water, rocks, and pine trees shown in Takjok paintings have been symbolized as a seclusion space for classical scholars with higher thinking and their mental states have been more emerged. Mental pleasures called as seclusion and Takjokjiyu have been relatively emphasized in the Takjok paintings of the Joseon Dynasty period contrary to the Chinese Takjok paintings emphasizing Chung Gye(淸溪; clean stream) and Chang Rang(滄浪; high and clean wave) and strongly representing the image of 'Chung Ryu'(淸流; clean flowing water) and the veneration for antiquity. The view of nature described in the Takjok paintings represents the provision of nature as a situation and attitudes of classical scholars and implies a Taoism perspective which describes the 'do' of nature. This view of nature itself remained intact(無爲自然) with the love of mountains and water, showing a side of the zeitgeist and aesthetic consciousness of China and Joseon. The 'Takjokjiyu' of both countries has be interpreted as a symbol of personality development, behavior, life in seclusion,
Through the research and analysis on the vegetation environment, flora of habitats through documentary and field studies over 14 habitats of Euryale ferox Salisbury within Jeollabukdo, with the objective of acquiring the basic data for forming an environment based on plantation of reservoirs that are composed with Euryale ferox, the following results were obtained.1. The entire flora of the 14 habitats appeared to be 79 families, 211 genus, 298 species, two subspecies, 30 varieties and six forma, thus, a total of 336 taxa was confirmed. Among these, emergent water plants appeared to compose 17 taxa, floating-leaved plants to compose seven taxa including Euryale ferox floating plants to compose five taxa and submerged water plants to compose two taxa. As a result of analyzing the similarity only over the water plants. The lowest similarity rate appeared between Gamdong Reservoir and Aedang Reservoir, as the similarity rate between the two regions appeared to be 0% as a result of the analysis. Floating-leaved plants, lotuses and caltrops, appeared to be equally inhabiting in Hanseongji at Jeongeup and Seoknam Reservoir at Gochang, which showed the highest similarity rate, in addition to Euryale ferox. 2. When examining the appearance frequency of aquatic plants per growth type, Actinostemma lobatum and Phragmites communis, in addition to Euryale ferox each appeared 11 times, showing a high frequency of 78.6% and Trapa japonica, which is a floating-leaved water plant, appeared ten times(71.4%) and Zizania latifolia appeared eight times(57.1%). In addition, the appearance rate appeared to be high in the order of Persicaria thunbergii, Leersia sayanuka, Ceratophyllum demersum, Echinochloa crusgalli var. oryzicola, Scirpus maritimus, and Nelumbo nucifera. 3. The rare plants discovered in the Euryale ferox habitats pursuant to the IUCN evaluation standards was confirmed to be composed of five taxa, with three taxa including the least concerned species(LC), Melothria japonica at Yanggok Reservoir, Hydrocharis dubia at Myeongdeokji and Ottelia alismoides at Daewi Reservoir, in addition to vulnerable species(VU), Utricularia vulgaris at Sangpyeong Reservoir, along with Euryale ferox. 4. Most of the group or community types of the natural habitats of Euryale ferox appeared to be the Euryale ferix community' and the Daewi Reservoir of Gunsan was defined as caltrop + Euryale ferox + Nymphoides indica community. The green coverage ratio of Euryale ferox per natural habitats showed a considerably huge deviation from 0.03 to 36.50 and as the average green coverage ratio was appropriated as 9.8, it can be considered that maintaining the green coverage ratio of Euryale 이석우․노재현․오현경 (韓國傳統造景學會誌 제34권 제1호) 84 Journal of the Korean Institute of Traditional Landscape Architecture 95ferox in a 10% level would be advisable when forming a reservoir with Euryale ferox as the key composition species. 5. The vegetation community nearby the natural habitats of Euryale ferox per research subject area appeared to be composed of three Leersia japo...
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