Symbolism of Ssanggoi-Jeong and Chodangpalgyeong in Sirye-ri, Gimhae City

Jaehyun Rho,Sangyup Han,Heekyung Son 전북대학교 휴양및경관계획연구소 2018 휴양및경관연구 (J East Asian Landscape Studies) Vol.12 No.1

The present study aimed to understand the norms of the use of plants by Korean ancestors and to further broaden the horizon of the Palgyeong (eight landscapes) culture. This study explored the planting origin and symbolic meaning of Ssanggoi-su by the Gwangju Ahn clan in Sirye-ri, Gimhae to analyze and interpret the subtitle and content of the Chodangpalgyeong poem from a limited viewpoint of Yeomsudang. The results of this study are as follows: On the basis of the brotherhood of two brothers in the Gwangju Ahn clan Gwangju, Sirye-ri Ssanggoi-su was a symbolic tree to express the spirit of Seonbi by planting a pagoda tree called the scholar tree, as well as wishes that their descendants climb the ladder to become the highest government officials. However, Chodangpalgyeong is Palgyeong, which is a similar type of Sosang, composing poems on eight landscapes from the viewpoint of the Sarangchae space of the Yeomsudang garden. Chodangpalgyeong is the only collection of eight different landscape plants as objects of landscape. The Palgyeong poem presents a particular planting position for each of eight different plants, indicating planting patterns as custom. That presentation suggests that the landscape plants in Chodangpalgyeong are a symbolic counterpart that can enhance the careful consideration of the “ancient things” in addition to the pursuit of beauty. Furthermore, the plants that had appeared in “Bihaedangsasippalyoung (Bihaedang 48 Poems)” at the beginning of the Joseon Dynasty further appeared in Chodangpalgyeong in the early 19th century. This observation indicates the norm of the traditional planting pattern as well as the universal cultural phenomenon.

濟州道 牛島八景 景觀正體性에 關한 硏究

서주환,김상범 경희대학교 부설 디자인연구원 2007 예술· 디자인학연구 Vol.10 No.1

Udo and Schemeori oreum[cow's head rising]: "Cow's head rising" and "Cow's head mountain" have both a shape just like a cow is lying and considering that two places' geographically high location and its district name are also configurative, we can sense landscape Image as a "a cow-shaped island lying down" and Jeju I slanders' unique consciousness of the geographical features. Udo Palkyong[eighl picturesque sights at Udo]ail shows a format of "poem-recitation-after titling" consisting of a lour-Chinese-letter word derived from the ancient history as a format for semantic access, but if we take a little closer look at it, it is noted that Udo Palkyong turns to be ontological subject of landscape mainly targeting formative elements. Therefore, in formative sense, Udo Palkyong belongs to China's famous sight experience type, but as for the contents, it is much closer to famous landscape type haying the formative elements like Gwandong Palkyong or Danyang Palkyong as major landscape elements. It was found that the seven landscapes centering on Hanlasan Baerokdam[a crater lake on top of Halasan], except Cheonjingwansan brook haying three landscapes, iorm their landscape within a 0.87-kilometer radius. In addition, as for viewing composition pattern, there are live panoramic landscapes which reflect the features of Seaside Landscape; two geographical landscapes. and one focal landscape. Besides, the prospect type consists of mostly landscape type and far-and-wide viewing type. As for landscape format, there appear a variety of features of main landscape subject's visibility areas from a distant view to a short-range view, and also structural properties within the physical, landscape, visual, psychological influence. In addition, there appear a variety of viewing compositions, such as the five panoramic landscapes, two detailed landscapes, and one geographical landscape. We can trace a vestige of a tense atmosphere of bodhisattva's death and the pursuit of stability of dialectical composition. Conclusively, Udopalkyong is well expressive of aesthetic characteristics, at a viewpoint of time and space, boasting of exceptional landscape quality regardless of day and night, heaven and earth, front and rear, and at whatever direction Udopalkyong may be viewed.

순천만 국가정원을 향한 문화지리학의 시선

진종헌 순천대학교 남도문화연구소 2017 南道文化硏究 Vol.0 No.32

비판적 문화지리학의 관점에서 순천만 국가정원은 세 가지 키워드를 통해 해석할 수 있다. 순천만 국가정원은 상징경관이고, 공적 공간이며, ‘진정한’ 장소를 지향한다. 상징 경관으로서의 순천만 국가정원은 나라별정원에서 그 의미를 명확히 확인할 수 있다. 정 원은 아름답고 조화로운 풍경을 넘어서, 특정한 역사시기와 지역 및 국가의 문화적 정체 성을 표현해 왔다는 의미에서 상징경관으로 간주할 수 있다. 또한 순천만 국가정원은 공적 공간으로서 공공의 이익증진에 기여함을 목표로 한다. 국가정원은 공원이나 광장과 같은 누구에게나 개방되어 있는 전형적인 공적 공간은 아니지만, ‘인간이 자연을 이해하 고 문화의 한 부분으로 포섭해 온 긴 역사’에 대해 배우고, 감상하고 체험하는 공간이다. 그리고 순천만국가정원은, Relph의 관점에서 보자면 진정하게 만들어진 장소와는 거리 가 멀고, 오히려 디즈니화된 가짜 장소에 가깝다. 그러나 국가정원은 순천이라는 장소의 내향적이고 고유한 역사에 기반해 고유의 전통과 문화 및 환경을 단순히 계승하는 것을넘어서 세계-국가-지역의 중첩된 장소스케일의 상호작용에 의해 초국적 문화의 일부로 서 순천의 새로운 장소정체성을 만들어 나가는 매개체 즉, 일종의 상징경관이다. Suncheon Bay National Garden can be understood through three key words from the view of cultural geography. The Garden is symbolic landscape, public space, and reaches forward to ‘authentic’ place. Suncheon Bay National Garden as symbolic landscape is well shown in the section of ‘The Gardens by Countries’. Suncheon Bay National Garden is symbolic landscape in that it has represented cultural identity of a certain region or state and of a certain historical period beyond beautiful and harmonious scenery. The Garden as public space intends to promote the public good (or interest). Though the Garden is not a typical public space as a square or public park (open to anybody), it is definitely a space in history. During this historical space we can learn, appreciate, and experience a virtue of nature, and eventually embrace nature as a part of culture. The Garden is far from an “authentic place” from the perspective of Edward Relph. However, Suncheon Bay National Garden plays a significant role as a medium through which a new identity of Suncheon is constructed (part and nexus of changing transnational network of culture). This is based on interactions among various spatial scales like ‘global-national-local’. This is true rather than simply inheriting the traditional culture and natural resources based on an introverted history of a place. All of these features make the Garden a symbolic landscape.

The Characteristics and Types of Plants Used in Landscape Formation at Five Head Temples in Yeoungnam Province - Focus on Donghwasa Temple, Buseoksa Temple, Bulguksa Temple, Eunhaesa Temple, and Jikjisa Temple -

Kwangpyo Hong,Juhan You,Yongsoon Jang 전북대학교 휴양및경관계획연구소 2016 휴양및경관연구 (J East Asian Landscape Studies) Vol.10 No.2

This study aims to understand the their characteristics and analyze the diverse landscape plants distributed in the traditional temples. We surveyed the landscape plants that the planting species around building and terraced flower bed, excluded the spontaneous species. The contents of analysis were form, leaf fall and type, exotic species and the Buddhist symbol plant. Mostly, the families of landscape plants that rosaceae, compositae and liliaceae were much used. The rosaceae were used in landscape planting, and compositae and liliaceae were used in terraced flower bed and flower garden. Especially, a single planting, a linear planting and symmetrical planting most occupied in the planting types. This reason seemed the object and function of religion. There were lots of trees and shrubs in the form, and they were main material for formation of landscape and frame. Therefore, the temple landscape was composed of landscape plants and planting types and fell into chime with these components. The deciduous broad leaved was many in the leaf fall and type. The aesthetic value is a deciduous broad leaved directed by the external features of nutrition and reproductive organs with plants and flowers, recording, leaves, fruits, and non-seasonal forms along with the variety of landscapes inspectors by providing visual variety, because expression. Exotic species were introduced intentionally, unintentionally for a variety of purposes in a foreign species, naturalized plants invasive species was the wild country to adapt to the environment. Exotic materials will have to be rejected unconditionally, but indiscriminate use of space in a traditional review of the planting material is necessary because of the high potential to inhibit and distort the traditional landscape. Buddhist symbol plant is a very important feature as plants that have the least Buddhist doctrine and has a meaning and a symbol representing the Buddhist, the inspectors can show the difference with other scenic areas.

경관적 재구성을 통한 “장성 필암서원” 경관짜임의 독해(讀解)

노재현 ( Jae Hyun Rho ),허준 ( Joon Huh ),최종희 ( Jong Hee Choi ) 한국전통조경학회 2014 한국전통조경학회지 Vol.32 No.2

본 연구는 장성 필암서원의 입지·형국·풍수지리 등 장소성에 담긴 의미경관적 요소와 서원배치에 따른 시지각적 공간구성에 담긴 미학성 독해를 위해 시도되었다. 고지도에 표기된 ``필암서원``, ``필봉서원``, ``김하서서원`` 등에서 보이듯 ``필암``은 곧 ``필봉``이며 이는 ``김하서``라는 인식이 드러나고 있다. 서원의 배산 필암산(문필산)과 필암(붓바위)은 필암서원 장소정체성 구축의 핵심이며 하서 김인후의 상징으로, 연고성을 바탕으로 한 깊은 인걸지령(人傑地靈)의 관계로 엮여있음이 읽혀진다. 필암서원은 안산(案山) 없이 파노라믹한 ``증산들``을 안대(案對)로 한 계거(溪居)의 입지특성을 보인다. 하서의 태생지인 맥동마을과 필암 그리고 ``단봉함서형(丹鳳含書形)`` 형국을 반영한 서원의 터잡기와 조형적 반영 그리고 건물 ``이름붙이기``에서 드러난 필암서원의 액호(額號)와 각 건물의 당호(堂號) 또한 성리학적 가르침을 바탕으로, 자연과 인간이 하나 되는 천인합일(天人合一)의 인식 결과에 따른 기호경관적 특질은 여타 서원 보다 뚜렷하다. 확연루(누문)-청절당(강당)-진덕재·숭의재(재실)-우동사(사당)의「전당후재형」배치로 구축된 교접마당을 통한 중심성의 극대화는 필암서원 고유의 공간 프레임적 특성이다. 여기에 더하여 ``유식공간과 제향공간내 경장각과 계생비 배치로 얻어진 내심 이동``을 통한 중심성의 강화`` 그리고 ``영역성의 강화를 위한 시설과 장치`` 등에서 필암서원의 공간구성상의 경관짜임이 읽혀진다. 또한 ``창호 구성을 통한 조망 중심성의 강화``, ``「틀에넣기」와 중첩을 통한 시각적 투명성 확보`` 그리고 ``재실 툇마루 높이를 통한 위계성의 구현`` 등의 시각구성상의 경관짜임을 통해 성리학적 사고를 바탕으로 한 질서와 미학성이 필암서원 조형에 논리적으로 구현되었음을 독해하였다. 이와 같이 경관 재구성을 통해 정리되고 새롭게 읽혀진 필암서원의 의미체계와 공간 및 시각구성상의 미학성은 결코 우연이 아닌 필연적 결과로, 장성 필암서원의 내적 충일을 높일 수 있는 요인이며 또 다른 자원기반이다. 본 연구를 통해 얻은 경관독해의 결과가 필암서원에 대한 이해 증진과 드러나지 않은 문화경관에 대한 감수성을 높이는데 기여할 것을 기대한다. This study was conducted to identify landscaping elements such as location, situation and feng shui included in the spatiality of Jangseong Pilmaseowon and to interpret aesthetic features of visual-perceptual spatial composition according to its arrangement. As it is shown in ’Pilamseowon’, ’Pilbongseowon’, and ’Gimhaseoseowon’ appearing in antique maps, the awareness considering ’Pilam’ as ’Pilbong’ and ’Gimhaseo’ was revealed. Mountain Pilamsan[Mountain Munpilsan] which is the location of seowon and Pilam(Brush-shaped rock) is the core of establishment of location identity of Pilamseowon and the symbol of Haseo Kim In-hu, which shows that they are deeply related to Ingeoljiryeong(人傑地靈: ‘a place derives reflected glory from an illustrious human’) based on connection. Pilamseowon shows locational characteristics of living in stream(溪居) facing panoramic ‘jeungsan field’ without Ansan(案山). Based on the teachings of Neo-Confucianism, Village Maekdong which is the birth place of Haseo, Pilam, seowon geomancy considering the Danbonghamseo-type(丹鳳含書形) geographical shape, formative reflection, Pilmaseowon and structures revealed in building naming more clearly show symbolic landscaping features resulting from ’theory of ’Heaven-Man Unity’(天人合一)’ representing the union of nature and haman, than other seowons. The maximization of centrality through connected yards constructed with the ’jeondang hujae(前堂後齋)’ arrangement in the order of Whakyeon-lu, Chenogjeol-dang, Jindeak-jae or Sungui-jae, and Woodong-sa is a unique feature of spatial frame of Pilmaseowon. In addition, it reveals the centrality reinforced with ’the move of inner center through arrangement of Kyeongjang-kag and Kyesengbi inside ‘YuSik(遊息)’ space and religious space’ and the landscaping arrangement of Pilmaseowon from installation and device for reinforcement of territoriality. Moreover, it was found that orders and aesthetic features based on Neo-Confucianism were logically realized in the formation of Pilmaseowon with visual and compositional landscaping arrangement such as ’reinforcement of view centrality through composition of windows and doors’, ’securement of visual transparency through framing and duplication’, and ‘realization of hierarchy through height of jaesil toenmaru’. The meaning system and spatial or visual aesthetic features of Pilmaseowon newly arranged and interpreted through landscaping recomposition is not a coincidental but inevitable result. It is another resource basis and an element that can improve the internal exuberance of Pilamseowon. This landscaping reading study is expected to improve the understanding of landscapes of Pilmaseowon and elevate the sensibility of unrevealed cultural landscapes.

Visionary Landscape in Coleridge and Yeats

Ilhwan Yoon 한국예이츠학회 2005 한국예이츠 저널 Vol.24 No.-

Although Yeats declares himself as the last romantics, it is highly controversial to situate him in the romantic tradition inaugurated by Coleridge's and Wordsworth's theories of the imagination. It is my argument that whereas the romantics often takes the natural landscape as referential and as a means for visionary ends, Yeats makes use of the same landscape to bring divine voices into existence. Among the great romantics I take Coleridge for my argument, since like Yeats he directs his endeavors to the supernatural. In Coleridge's The Nightingale: A Conversation Poem, the narrator attempts to articulate the experience of nature in an unmediated form, without projection of one's desire onto nature. He attempts to vision of the harmonious correspondence to nature first in gentle Maid and then his baby. The question remains open, however, whether a perceived harmony expressed in the poem is also limited and confined by the fragmentary view of the narrator himself. In Frost at Midnight the narrator finds himself cut away from the outside world. As an answer to his emptiness he projects onto his son the harmonious state in which the outer world corresponds to the inner world of the child's feelings. The narrator's dependence upon a futuristic vision leaves the question of whether the vision is an expression of an epiphany of the truth perceived or merely a projection of his desire to escape his being disconnected from the outer world onto his son. Vacillation between perception and imagination, which often occupies Coleridge's poetics, suffers much shift in Yeats who with much hesitation turns his attention away from complex dialectic between mind and nature or from choosing one over the other. A part of The Wandering of Oisin shows us well that the image of the shell there is only a mirror for a dream which is no longer that of the shell but the subjective dream of the poet's imagination. To the extent that the shell is a thing in nature, however, the image remains in essence natural, But Yeats already attempts to escape the danger ingrained in the fusion of the perceived object and the perceiving consciousness into one as early as in 1990. In The Symbolism of Poetry, Yeats makes it clear that his symbol is not simply to evoke its inexhaustible traditional meanings but an intangible reality of the divine essence. Yeats intends to write divine voices into existence and to rediscover the long-unity between man and the gods. Yeats's poetics will be allegorical because the meaning of the symbol is revealed by a key and this key is given as the divine order itself. But it may be realistic in order to make certain that the symbols will be easily recognized and read. This is explicit when Yeats openly tells us that a natural object in a landscape is also to be read symbolically as in Coole Park and Ballylee, 1931 where Yeats makes the divine symbol fit neatly within the picture of the concrete scene as well as in the network of the symbol. His main purpose for the natural landscape here is to constitute the divine symbols and gain their deeper structural unity and most of their intellectual content by writing divine voice into existence, by recording the signals that reach him from a divine realm.

Reading Cultural Symbolism of Urban Landscape: Identity, Memory and Ideology in Youido Square

진종헌 국토지리학회 2006 국토지리학회지 Vol.40 No.1

Youido Square is not only a symbolic landscape where the dominant ideology of an authoritarian state is represented, but also a space where national and local identity are historically articulated through its multi-layered discursive structures. The aim of this study is to examine how Youido Square, constructed originally as a kind of monumental landscape, has transformed with the years into a representative site for oppositional political activities, and ultimately citizen?s resting place-Youido Park. I explore how the material appropriation and physical modification in the Square are related to the transformation of a landscape?s symbolism. The ideological history of the Square represents attempts to inscribe the dominant images and meanings on the landscape and it also explains how landscape reproduces cultural/social practices involving the construction of social identities. Although state power scored in making official memory and a fascist national identity into the dominant meaning, the Square?s openness to routine appropriation enabled local memory/identity to be manifested and contested.

조선 전기 제화시(題畫詩) 연구

혜영(PARK, HAEYOUNG) 慶熙大學校 大學院 2021 高凰論集 Vol.68 No.-

제화시는 그림을 대상으로 한다. 이에 그림을 기준으로 제화시를 유형화하면 ‘산수 제화시’, ‘조수초목 제화시’, ‘누각인물 제화시’로 나눌 수 있다. 본 논문의 연구 대상은 조선 전기[태조-명종 연간] 문인들이 남긴 제화시 작품이다. 현재 『한국문집총간』에 수록된 조선 전기 제화시는 총 842제이다. 주요 작가는 신숙주, 서거정, 이승소, 이행, 정사룡 등을 꼽을 수 있다. 이를 유형별로 나누면 누각인물, 산수, 조수초목 제화시 순으로 나타난다. 제화시 유형별로 그림 속 사물이 어떤 상징의미를 지니는지 분석하였다. 산수 제화시의 기본 소재는 산수, 즉 ‘자연’이다. 청산백운류의 산수는 자연 그대로의 모습인 ‘이경(異境)’과 신선이 사는 ‘선계(仙界)’의 이미지가 강조되고 부각된다. 사시도 속 ‘계절’과 ‘기상’은 산수의 외부 조건에 따른 상태인데, 이를 시로 형상화할 땐 일반적인 산수의 경우와 구별되는, 다소 극적이고 특별한 상황을 즐겨 사용했다. 도원류의 산수도는 안평대군의 ‘도원몽(桃源夢)’을 중심으로 전개된다. 안평대군의 ‘몽도원(夢桃源)’은 현실에서 도원을 대리만족할 수 있는 매개체로 등장한다. 도원의 산수는 도가적 선경인데, 일반 산수와 다른 점은 환상성이다. 조수초목 제화시는 동물과 식물을 대상으로 한다. 조선 전기 영모류의 팔준은 태조의 조선 개국과 관련하여 공업의 조력자이자 하늘이 내린 신령한 영모로서 그 정당성을 입증하는 매개체였다. 화훼류의 대나무는 ‘신룡’으로, ‘군자’로 객체화되어 나타난다. 이때 신룡은 기존 신물(神物)의 이미지에 덧붙여 절개와 지조를 갖춘 존재로 나타난다. 이 절조의 속성은 대나무의 군자적 속성과도 연결되는데 이는 조선 전기 묵죽도 제화시에서부터 강화된 의미이다. 또한 대나무는 소상강(瀟湘江) 유역의 아황과 여영, 굴원과도 관련이 있다. 이때 ‘소상’의 대나무로서 ‘탈속’과 ‘비애’의 정서를 환기시킨다. 누각인물 제화시는 누각과 인물을 대상으로 한다. 계회류는 관료들의 공적 집단 모임과 문사들의 사적 친목 모임으로 나눌 수 있다. 형조와 사헌부 등의 공적 ‘관료 집단’에 대한 계회도 제화시가 해당 집단의 ‘정체성’과 ‘동료의식’을 상징적으로 보여주는 데 주력했다면, 사적 ‘문사 모임’의 계회도 제화시는 ‘풍류’와 ‘흥취’를 자랑하고 과시한다. 고사인물류는 해당 고사의 인물과 행적이 중심이 된다. ‘조어도(釣魚圖)’ 관련 인물로는 ‘태공’과 ‘엄광’이 있다. 조선 전기에는 때에 맞게 출사하여 태평한 세상을 만든 강태공을 긍정적으로 바라보고, 보다 많은 관심을 주었다. ‘이백’ 관련 제화시에서는 이백의 ‘문월(問月)’하는 행동을 중심으로 이백을 적선(謫仙)으로 그리며, 그의 신선적 풍채와 용모를 강조하는 것이 특징이다. 제화시의 상징이 제화시의 ‘안’과 ‘밖’에서 어떻게 연결되어 구현되는지 살펴보았다. 제화시 언어의 특징은 ‘물상의 관념화’와 ‘사건의 실재화’이다. 물상의 관념화는 물건의 형상이 정물화(靜物畵)로 박제되어 고정불변의 속성으로 치환되고 그 물상의 상징의미로 관념 속에 자리 잡는다. 사건의 실재화는 정지되어 있는 화면을 마치 실제 현실처럼 동적으로 상황 묘사하여 사건에 현장감을 부여하는 것을 말한다. 이러한 제화시의 언어의 특성은 동일 소재의 영물시(詠物詩)·제영시(題詠詩)와 비교했을 때 더 확연히 드러난다. 그림을 바라보는 관점과 이를 해석하는 방식을 ‘독화법’이라고 한다. 독화의 ‘개인적’ 관점은 <상산사호도>를 대상으로 문인별 시각차를 살펴보았다. 개인의 출처관에 따라 그림을 바라보는 입장이 다르다. 독화의 ‘시대적’ 경향성은 15-16세기 계회의 풍경 묘사에 나타난 어조 변화에 집중하였다. 15세기에는 낙관의 화미가, 16세기에는 비관의 정조가 나타난다. 즉 같은 유형의 그림이라도 시대에 따라 다르게 독화할 수 있으며, 이 경향성은 제화시에 반영되어 드러난다. A painting poetry targets paintings. So in Chapter II, it was typified based on paintings. This type is three, ‘landscape[山水] painting poetry’, ‘birds, animals and flowers[鳥獸草木] painting poetry’, ‘pavilion and figure[樓閣人物] painting poetry’. The subject of this study is the poems of literary person[文人] in the former Joseon period. By sorting out of Joseon dynasty s literary person from Hankkuk Munjip Chonggan(Korea classic anthology) published by Institute for the Translation of Korean Classics DB and calculating pieces of painting poetry from each anthology, we have a result that there are 842 pieces of painting poetry. Major writers include Shin Suk-ju(申叔舟), Seo Geo-jeong(徐居正), Lee Seung-so(李承召), Lee haeng(李荇), and Jeong Sa-ryong(鄭士龍). When dividing types of painting poetry, it appears in the order of pavilion and figure painting poetry, landscape painting poetry, birds, animals and flowers painting poetry. The symbolic diagram of painting poetry is as follows. When objects come into contact with people and make a relationship, a meaning arises. And then it is shared within a group, it functions as a ‘object symbol’. The meaning conveyed through the symbolic action of this object through a painting is ‘painting symbol’, that is ‘Hwaui(畵意)’. On that basis, we analyzed what symbolic meaning of objects in the ‘Hwamyeon(畵面)’. The landscape of ‘CheongsanBaegun (靑山白雲)’ is ‘mysterious scenery[異境]’ and ‘world of sage[仙界]’. As a result, the landscape of CheongsanBaegun can be said to be the symbol of ‘unworldliness[脫俗]’ and ‘reclusiveness[隱逸]’. The season and weather of ‘four seasons[四時]’ is expressed to more or less dramatic situations. Examples are ‘wind and snow[風雪]’ in winter and ‘wind and rain[風雨]’ in summer. This reveals the symbolic meaning of the seasons and weather conditions through contrast and color. The landscape of ‘Dowon(桃源)’ is developed Anpyeongdaegun(安平大君) s ‘Dowonmong(桃源夢)’. This appears in reality as a medium that can satisfy Dowon as a proxy. Birds, animals and flowers painting poetry is intended for animals and plants. Eight steeds[八駿] of ‘birds and animals[翎毛]’ are a helper of contribution and a spiritual steed from heaven about King Taejo(太祖) s founding of Joseon. A bamboo of ‘flowering plant[花卉]’ is expressed to a ‘spiritual dragon[神 龍]’ and ‘Gunja(君子)’. The spiritual dragon appears as a being equipped with integrity in addition to the existing image of a god. And it is connected to the attribute of Gunja. In addition, a bamboo is related to ‘Seven sages of the bamboo grove[竹林 七賢]’, ‘Ahwang(娥皇) and Yeoyeong(女英)’, and ‘Gulwon(屈原)’. It evokes the sentiment of unworldliness in relation to the ‘bamboo grove[竹林]’, and sorrow for the bamboo of ‘sosang(瀟湘)’. pavilion and figure painting poetry is centered on the ‘people[人物]’ and ‘actions[行跡]’. The people about ‘Joeodo(釣 魚圖)’ are Taegong(太公) and Um Kwang(嚴光). According to the times and the personal ‘taking and leaving government posts[出 處觀]’, a positions on Taegong and Um Kwang are divided. In the former Joseon period, it was more interested in Taegong and looked at him positively. The moon and alcohol are the basics in the paintings of Lee Baek(李白). Lee Baek painting poetry draws Lee Baek in sage, and emphasizes his sage appearance. In the next, we looked at how symbols are connected and embodied in the inside and outside of the painting poetry. The characteristics of painting poetry language are ‘idealization[觀念化] of objects’ and ‘realization[實在化] of events’. Idealization of objects describes the object statically. Conversely, realization of events describes the event dynamically. These characteristics are clearly evident when compared to ‘Yeongmulshi(詠物詩)’ and ‘Jeyoungshi(題詠詩)’ in the same material.

윤대녕 소설에 나타난 제주의 상징성 연구 - 토포스(topos)로서의 제주

강유정 한국문학이론과비평학회 2012 한국문학이론과 비평 Vol.56 No.-

This study intended to explore meaning of Jeju island shown in novel written by Yun Dae-nyeong by analyzing symbolism of Jeju that repeatedly appears in novel written by Yun Dae-nyeong. Space in novel of Yun is something more than simple background in role. Spaces such as Gyeongju, Gongju, Jeju, Sokcho which repeatedly appear have several symbolism. More far such place is from Seoul which is space for daily lives in great city, the space is described as place where the imaginary is connected,archetype recollection are preserved - the space is far from crack of the symbolic. The first meaning of Jeju is same as above. Jeju in the midst of Yun’s novel of the early days is a place through where one can reach one’s retreat, or a mediation to trigger willingness to seek archetype. Jeju as imagined geographies may be an important item that shows changes in novel of Yun. Meaning of Jeju changes a little according to flow of his novel. In the novel, 『why did tiger go to the sea』, Jeju changed to place for ritual ceremony where historical records and individual experiences are integrated - in the beginning of Yun’s novel, Jeju is mediation to seek archetype and intermediate point on the way to home. One of the changes is that historical events, for example, culture of movement circle in 1980s, 88’ Olympic, collapse of Seongsu Great bridge, 4.3 uprising etc. appear in his novel - In the novel of Yun, historical facts hardly appeared. In his recent novel, 「hardy orange 」, Jeju is described as a base for life not as most far place from Seoul, negation of life in city, and opposite concept of the symbolic order. In the novel, mature nihilism resides - even if one is far away, irony of life has no other way but to be deepened. To regard Jeju as opposite concept of city was also reflection of city oriented thinking. As a result, Jeju is described as a space or base of life in the 「hardy orange 」, not Jeju with meaning far from Seoul. Changed meaning of Jeju shows that Yun regards Jeju as important and used it as metaphor to include his own message as a writer. Changed meaning of Jejuc or responds to change in literary world of Yun Dae-nyeong. Jeju isaland is an important metaphor to suggestively deliver his own message as a writer. 본 논문은 윤대녕 소설에 반복적으로 등장하는 제주도의 상징성을 분석함으로써 윤대녕 소설에 나타난 제주도의 토포스를 파악하고자 한다. 윤대녕의 소설에서 공간은 단순한 배경 이상의 역할을 한다. 경주, 공주, 제주, 속초처럼 반복적으로 등장하는 공간은 여러 가지 상징성을 지닌다. 이 공간들은 특히 서울이라는 대도시 일상의 공간에서 멀리 떨어져 있는 곳일수록 상징계적 균열과 거리가 먼 상상계적 결합의 장소, 원형적 추억이 간직된 장소로 묘사된다. 제주의 첫번째 의미 역시 그렇다. 윤대녕의 초기 소설에서 제주는 최종적 귀소지로 돌아가기 위한 경유지 혹은 원형 찾기의 의지를 촉발하는 매개이다. 중요한 것은 그 매개가 영원하거나 지속적인 것이 아니라 매우 찰나적이며 순간적인 현현에 불과하다는 사실이다. 따라서, 제주에서의 경험은 도심 속 일상이 은닉하고 있는 결핍을 그대로 드러내고 만다. 심상지리(imagined geographies)로서의 제주는 윤대녕 소설의 변화를 보여주는 중요한 항목이라고 할 수 있다. 제주의 의미는 윤대녕 소설의 흐름에 따라 조금씩 달라진다. 초기 소설에서 원형 찾기의 매개, 경유지였던 제주는 『호랑이는 왜 바다로 갔을까』라는 소설에 이르러 역사적 기록과 개인의 체험을 통합하는 제의적 장소로 변화한다. 윤대녕 소설에 좀처럼 등장하지 않던 역사적 사실들 가령, 80년대 운동권 문화, 88년 올림픽, 성수대교 붕괴, 4.3 사건과 같은 기록적 사실들이 등장하는 것도 변화의 양상 중 하나이다. 제주도는 개인사와 역사가 만나는 부활의 장소로 그려진다. 최근작, 「탱자」에서 제주는 서울에서 가장 먼 곳, 도시적 삶의 부정, 상징계적 질서의 반대 개념이 아니라 삶의 터전으로 그려진다. 「탱자」에는 아무리 멀리 가도 삶의 아이러니는 깊어질 수밖에 없다는 성숙한 허무주의가 자리 잡고 있다. 제주를 도시의 반대 개념으로 보는 것 역시 도시 중심적 사고의 반영이었던 것이다. 서울에서 먼 곳으로 상정되었던 제주는 「탱자」에 이르러 삶의 공간, 터전으로 달라진다. 달라진 제주의 의미는 윤대녕이 자신의 작가적 전언을 담는 메타포로서 제주를 중요하게 여기고 사용했음을 보여준다. 제주의 달라진 의미는 곧 윤대녕 소설 세계의 변화와 맞아 떨어진다. 제주도는 윤대녕의 작가적 전언을 함축적으로 담아 전달하는 중요한 은유이다.

화장시설에 있어서 자연적 요소의 도입을 이용한 경관 이미지에 관한 연구

최소영(Choi, So-Young),박용서(Park, Yong-Seo) 대한건축학회 2011 대한건축학회논문집 Vol.27 No.10

This study was designed to consider symbolism and expressive technique of each facility, by analyzing crematory facilities, according to landscape images. The selected cases demonstrated that landscape images are formed through a complex composition of buildings and nature. This result was then analyzed from three perspectives; space design using landscapes and arrangement of buildings, a view of interior-exterior spaces and sequential design by the flow of time. As the result, it was found that there are several methodologies such as phenomenological approach, modernism abstraction and topographic trend, and that various combinations of materiality and immateriality, and abstraction and conception accentuate each characteristic from an expressive aspect. In addition, difference views of the world between the East and the West and landscape’s internal meanings influenced symbolism, placeness, metaphorical expression.