일본 근대 시기 일본풍 정원의 확립과정과 정체성 구현

안준영,전다슬 한국전통조경학회 2023 한국전통조경학회지 Vol.41 No.3

본 연구는 근대 시기 일본풍 정원의 확립과정을 인물과 작품의 공간구성과 공간구성요소, 재료 등을 통해 살펴보고 우리 정원의 정체성 구현을 위한 자료로 삼고자 하였다. 그 결과는 다음과 같다. 첫째, 한국성이 수용하고 있는 인자를 한일 근대 시기 정원문화에 대입한 결과, 장소성, 현재성, 주체성에 있어 모두 차이를 보인다. 이는 근대 시기 한국에는 문화적인 단절이 있었던 반면, 일본은 비교적 온전한 문화 계승이 이루어졌다는 점에서 차이가 나타난 것으로 볼 수 있다. 둘째, 근대 시기 이전의 일본의 정원문화는 문화적인 단절 없이 일본 전역의 각기 각층에 보급되고 지속해서 발전해왔다. 근대 시기 메이지 정부는 문명개화 정책을 추진해 유럽과 미국의 선진문명 도입을 주도하여 서양식 건축법이 유행하게 되었다. 급속한 서양문화의 도입은 전통적인 일본문화가 잊히는 결과를 초래했다. 영국의 건축가 조시 콘더(Josiah Condor)는 일본인 건축가를 지도(1879)하고 정원의 화실, 일본정원의 전통적 디자인 등을 설계에 도입하였다. 메이지부터 다이쇼 시대에 교토지역에서 활동했던 오가와 지헤에(小川 治兵衛)의 정원양식은 일본의 전통문화를 지키고자 했던 정·재계 유력자들에게 받아들여졌고 각종 법령의 마련 등으로 보호 제도도 갖춰졌다. 셋째, 일본 근대정원의 정원가, 일본적인 구성요소, 재료, 요소와 일본풍을 중심으로 분석한 결과, 야마가타 아리토모(山縣 有朋), 오가와 지헤에(小川 治兵衛), 시게모리 미레에(重森 三玲) 등이 일본풍을 정원에 계승한 대표적 정원가이며, 공간구성의 특징으로 대지천(大池泉) 정원조성과 자연주의적 차경 수법의 도입, 물의 흐름을 도입하는 것이 특징적으로 나타났다. 일본풍 정원 구성요소의 특징은 잔디 활용, 곡선의 원로, 자연스러운 향토적 식재수종으로의 변화라고 할 수 있다. 넷째, 사례 대상지의 일본풍 인자를 분석한 결과, 공간구성의 개별 요소별로 특히 유수(흐름)의 활용이 47.06%의 비율로 가장 높게 나타났으며, 대지천과 자연주의적 차경도 확인되었다. 잔디의 식재와 곡선 원로의 도입은 각각 65.88%, 78.82% 비율로 나타났다. 수종 변화는 28.24%로 잔디의 식재나 곡선 원로의 적용보다는 비교적 적은 건수가 확인되었다. 다섯째, 우리는 근대 시기의 정원들을 확대 발굴하여 정원의 조성자나 소유주, 공간의 구성, 공간의 구성요소, 재료 등을 세부적으로 기록하고 우리나라 정원의 정체성을 찾는 데도 유용하게 활용해야 한다. 본 연구는 일본의 근대 시기 일본풍의 확립 과정을 인물과 사례 정원을 통해 분석한 결과를 토대로 연구를 진행하였으나 보다 다수의 사례와 구체적인 기법의 분류 등 세부적인 연구를 진행하지 못한 것을 연구의 한계로 두고 차후 과제로 삼고자 한다. This study attempts to examine the process of establishing a Japanese-style garden in the modern period through the perspectives of garden designers, spatial composition, spatial components, and materials used in their works, and to use it as data for embodying the identity of Korean garden. The results are as follows:First, by incorporating elements associated with Koreanness into the modern garden culture, there are differences in location, presence, and subjectivity when compared to Japan. This reflects Japan's relatively seamless cultural continuity compared to Korea's cultural disconnection during the modern period. Second, prior to the modern period, Japan's garden culture spread and continued to develop throughout the country without significant interruptions. However, during the modern period, the Meiji government promoted the policy of 'civilization and enlightenment (Bunmei-kaika, 文明開化)' and introduced advanced European and American civilizations, leading to the popularity of Western-style architectural techniques. Unfortunately, the rapid introduction of Western culture caused the traditional Japanese culture to be overshadowed. In 1879, British architect Josiah Condor guided Japanese architects and introduced atelier and traditional designs of Japanese gardens into the design. The garden style of Ogawa Jihei VII, a garden designer in Kyoto during the Meiji and Taisho periods, was accepted by influential political and business leaders who sought to preserve Japan's traditional culture. And a protection system of garden was established through the preparation of various laws and regulations. Third, as a comprehensive analysis of Japanese modern gardens, the examination of garden designers, Japanese components, materials, elements, and the Japanese-style showed that Yamagata Aritomo, Ogawa Jihei VII, and Mirei Shigemori were representative garden designers who preserved the Japanese-style in their gardens. They introduced features such as the creation of a Daejicheon(大池泉) garden, which involves a large pond on a spacious land, as well as the naturalistic borrowed scenery method and water flow. Key components of Japanese-style gardens include the use of turf, winding garden paths, and the variation of plant species. Fourth, an analysis of the Japanese-style elements in the target sites revealed that the use of flowing water had the highest occurrence at 47.06% among the individual elements of spatial composition. Daejicheon and naturalistic borrowed scenery were also shown. The use of turf and winding paths were at 65.88% and 78.82%, respectively. The alteration of tree species was relatively less common at 28.24% compared to the application of turf or winding paths. Fifth, it is essential to discover more gardens from the modern period and meticulously document the creators or owners of the gardens, the spatial composition, spatial components, and materials used. This information will be invaluable in uncovering the identity of our own gardens. This study was conducted based on the analysis of the process of establishing the Japanese-style during Japan's modern period, utilizing examples of garden designers and gardens. While this study has limitations, such as the absence of in-depth research and more case studies or specific techniques, it sets the stage for future exploration.

A Study on the Spatial Composition Principle and Feature of Japanese Garden, ‘Haechang Joojojang(海倉 酒糟醬) in Haenam Jeollanam-do

김상범,윤영석,김덕삼 한국전통조경학회 2011 한국전통조경학회지 Vol.9 No.영문

This study aimed at uncovered the spacial features of a Japanese-type garden targeted to “Haechang Joojojang' created by a Japanese in the 1920s and handed down to date, and being used as basic data including the value of the Japanese garden for cultural and spacial recycling and as a modern cultural legacy. The main building of this garden can be found to be a Japanese-style building through the enshrined place, 2 story staircases, the wide window created in all sides, and the sliding doors, and especially, confirmed to be a characteristic structure of Shoinjasaki(書院座敷), which was built in a style of Seoweonjojeongweon architecture. In addition, it is understood that Chuksan(築山) was designed as intended to be seen as a main garden along with the lake from the observer's point of view seen from inside the building. Also Remarkably formal features include creation as a Excursion forest spring type garden looking around with a lank dug and a bridge set up at the center of the garden and introduction of the frint mountain, Hyeongjesan as a background scenery factor. The garden in front of the building starts at the position passing the entry space extending to the main door, and shaping mounding treated Kyotosan to the east is grasped as a visual emphasis, and main motif and concept composing the garden, when the Kyotosan is seen as reflecting ideal relation with human and nature expressed at the garden composed of formative space with 5 mounding treated maintain forms clockwise, and the emotions missing the hometown. Likewise, creating Osan through developing mounding can find out the normative building status of Japanese garden's Chuksan, that is, Seokgasan, which is assumed that it was built based on the Chuksan of Heijoque[平城宮] Doindeien[東院庭園], namely, Doin Garden designated as a world cultural legacy. Also it seems to have pursued the condition of Zen by pressing an ideal world in Buddhism at the garden like introducing a lake at Japanese inherent garden, making and erecting Sumisan in the center. In addition, Haechang Joojojang Garden reveals an ecological planting intention incorporating the aspect as a moss garden, Japanese innate landscape architectural trees and ecological plants' marital harmony.

일본전통정원의 해외 보급 및 확산에 관한 역사적 고찰 -1867년부터 1939년까지 만국박람회를 중심으로-

윤상준 ( Sang Jun Yoon ),권진욱 ( Jin Wook Kwon ),홍광표 ( Kwang Pyo Hong ) 한국전통조경학회 2014 한국전통조경학회지 Vol.32 No.2

This study fundamentally is to develop standards and foundations for the establishment of traditional Korean gardens and aims to identify the mechanism and subsequent effect of fair gardens in American and Europe on the propagation and diffusion of the traditional Japanese garden. Fair gardens which were constructed between 1867 and 1939 were investigated to understand them and the ripple effect that they had on cultural dissemination. The results were as follows: Culturally, the Meiji government adopted Wagener`s advice on the theme of display- including culture and handicraft-and the gardens with traditional buildings were perceived as one unit and then used as promotional tools as part of a national strategy. As a result, the stroll style garden in the Edo period and tea garden were recognized as the representative Japanese garden in America and Europe. Politically, the Japanese garden in the American context was adopted as examples of ’exotic beauty’ and ’cultural heritage’ which therefore allowed the Japanese government to achieve it`s goal of encouraging friendly relations and the lessening of hostility towards them. Throughout the traditional Japanese garden, Japan with it`s rich history presented an ideal - uniquely distinctive from the West. Using ’tradition’ and ’nature’ as keywords, the Japanese government set it`s global image as ’perpetual tranquility’. Socioeconomically, the Japanese garden which was maintained after the fair, played a consistent role as a model of the Japanese culture. Many professionals from Japan who prepared the Japanese villages and gardens for the world fairs in America and Europe, remained in these countries following construction and it were these opportunities that allowed the Japanese garden to be integrated into local Western society.

1910년대 ‘창경원’의 운영과 그 성격

서태정 한국민족운동사학회 2016 한국민족운동사연구 Vol.0 No.89

This research examines the operation of Changgyeongwon Garden(昌慶苑) in the 1910s. And through this, one aspect of the Japanese Empire colonial rule was understood. Existing research on Changgyeongwon Garden has generally been done only for its appearance since the 1920s. Because after the March First Independence Movement, the Japanese Government-General of Joseon turned to so-called "cultural rule" and encouraged tourism or leisure activities under an active policy. In the 1920s, culture was enjoyed in various fields, and Changgyeongwon Garden became a famous modern recreation spot. However in the 1910s the Japanese Government-General of Korea actively expanded the facilities of Changgyeongwon Garden. And I was able to see the way of propagating it through “Maeil Shinbo(每日申報)”. Since the 1910s, when the Japanese Government-General of Joseon general government established the logic of justification for colonial rule and established the ruling system, it noticed Changgyeongwon Garden as a tourism or leisure activity place. And they was to use Changgyeongwon Garden as a kind of cultural policy. Changgyeongwon Garden was operated by Yiwangjik(李王職). However All of Yiwangjik's staff and budget were supervised by the Japanese Government-General of Joseon. Changgyeongwon Garden belonged to Yiwangjik, but was actually governed by the Japanese Government-General of Joseon. Starting in the early 1910s, Yiwangjik tried to change Changgyeongwon Garden to an ideal park by expanding facilities, purchasing animals and plants, and installing trams. They also planted a cherry blossoms, and Changgyeongwon Garden has become a popular place for flower viewing since the mid-1910s. This series of measures was intended to transform the facility that can show off when foreigners visited the Colonial Joseon. At that time, the largest botanical garden in the East Asia was a modern facility that would be appreciated by anyone. This facility became a medium to understand imperialism of Japan to colonize Korea when viewed from the perspective of foreigners and Colonial Joseon Koreans. We can confirm the intention of the Japanese Government-General of Joseon through Changgyeongwon Garden spectators in the “Maeil Shinbo(每日申報)”. Most of the articles related to the visitors are about the gentry such as Sunjong(純宗), Yi royal-family(李王家), and senior management. They were enjoying Changgyeongwon Garden, a beautiful modern facility where they can see flowers blooming even in the cold winter. At the time of the Japanese imperialist rule, the appearance of Changgyeongwon Garden was peaceful. Changgyeongwon Garden was not a destroyed palace but a symbol of a new civilization recognized by Yi royal-family(李王家). The observation groups visited Changgyeongwon Garden and went back to them hometown and advertised this. Changgyeongwon Garden was a good place to relax and see flowers blooming regardless of the season. Also, sometimes they could see Sunjong(純宗) like an event. Colonial Joseon Koreans were criticized for setting up a garden in the palace. However through various articles, they may have changed their minds to they want to go there once. The Japanese Government-General of Joseon made the foundation of the colonial policy in the 1910s and used Changgyeongwon Garden as a kind of 'cultural policy'. 본고는 1910년대 창경원의 운영현황에 대해 고찰하고, 이를 통해 일제 식민지배정책의 일면을 파악하고자 하였다. 창경원에 대한 기왕의 연구는 대체로 1920년대 이후에 맞추어 진행되었다. 주지하다시피 3ㆍ1운동 이후 조선총독부는 소위 ‘문화 통치’로 전환하였으며, 적극적인 정책 하에 관광 혹은 여가생활이 장려되었기 때문이다. 1920년대는 다양한 분야에서 문화 향유가 이루어졌고, 창경원 역시 손꼽히는 행락지로 자리잡아갔다. 그러나 이른바 무단통치를 자행하던 1910년대에도 일제는 적극적으로 창경원 시설을 보완ㆍ확장하였으며, 『매일신보』를 통해 그것을 선전한 모습을 살펴볼 수 있었다. 이는 조선총독부가 식민 지배에 대한 정당화 논리를 만들고 지배체제를 구축해 나가던 1910년대부터 창경원을 관광 혹은 여가활동지로서 주목하였으며, 일종의 문화정책으로 활용하고자 했기 때문이다. 창경원의 운영 주체인 이왕직의 직원 및 세입ㆍ세출은 모두 조선총독부에서 관할하였다. 이를 통해 볼 때 창경원은 이왕직에 소속되었지만 실제로는 조선총독부의 의지에 따라 좌지우지되었음을 알 수 있다. 한편 이왕직은 1910년대 초반부터 시설 확충과 동식물의 구입, 전차 부설 등을 통해 창경원을 이상적 공원으로 탈바꿈하고자 노력했다. 또 창경원 개원 초기에 식재된 벚나무는 1910년대 중반부터 만발하여 대표적인 꽃놀이 장소로 변화해갔다. 이는 재조일본인을 위한 조치이기도 했지만 우선적으로 외국인들이 식민지 조선에 방문했을 때 당당하게 보여줄 수 있는 시설로 바꾸기 위함이었다. 당시 동양최대 크기의 식물원은 어디에 내놓아도 손색없는 근대 시설이었다. 창경원은 외국인들의 시선으로 보았을 때나 조선인들이 보았을 때나 일제가 조선을 식민지화한 것에 대한 정당성을 제공하는 기제가 되었다. 이러한 모습은 당시 유일한 언론매체였던 『매일신보』에서 관람객의 모습을 통해서도 살펴볼 수 있다. 우선 관람객 관련 기사는 순종과 순종비 등 왕실과 상류층 관련 기사가 상당수를 차지하고 있다. 그들은 추운 겨울에도 만발한 꽃을 볼 수 있는 아름다운 근대 시설인 창경원을 즐기고 있었다. 일제의 무단통치가 자행되는 시기에 창경원의 모습은 한없이 평화로울 따름이었다. 이러한 모습을 통해 창경원은 파괴된 궁궐이 아닌 이왕가가 인정한 ‘새로운 문명의 상징’이 되었다. 새로운 근대 시설인 창경원에 다녀간 지방의 시찰단들은 각지로 돌아가 이 모습을 선전했다. 시설 확충에 노력하거나 이러한 관람객 양상을 볼 때 창경원은 보다 많은 사람들의 관심을 불러일으키고자 하는 의도가 있었음을 알 수 있다. 창경원은 계절과 관계없이 만발한 꽃을 볼 수 있고 휴식하기에 좋은 공간이었다. 또한 가끔은 이벤트처럼 순종이 산책하는 모습도 볼 수 있었다. 당초 식민지 조선인들은 궁궐에 동식박물관이 설치되는 모습을 비판하기도 했지만, 이렇게 창경원과 관련한 다양한 기사를 통해 한번쯤은 가보고 싶은 공간으로 변모하였다. 총독부는 1910년대 식민지배정책의 기반을 다지며 일종의 문화 정책으로 창경원을 활용한 것이다.

전라남도 해남 "해창(海倉) 주조장(酒糟醬)" 일본정원의 공간구성원리 및 특성에 관한 연구

( Sang Beom Kim ),( Yong Seok Yun ),( Duk Sam Kim ) 한국전통조경학회(구 한국정원학회) 2011 한국전통조경학회지 Vol.5 No.영문

본 연구는 1920년대에 일본인에 의해 조성되어 현재에 이르고 있는 ``해창 주조장 정원``을 대상으로 일본식 정원의 공간적 특징을 밝혀, 문화 공간적 재활용과 나아가 근대문화유산으로서의 일본식 정원의 가치를 판단하는데 기초자료로 활용하고자 하였다. 본 정원의 주건물은 신전을 모신 곳과2층 계단, 사면에 걸쳐 조성된 넓은 창, 미닫이문 등을 통해 일본식 건물임을 알 수 있으며, 특히 쇼인자시키(書院座敷)의 특징적 건축물로서, 서원조정원 건축양식으로 조성 된 점이 확인된다. 더불어 건물 내부에서 바라본 관찰자 시점에서 축산(築山) 을 연못과 함께 정원의 주경관으로 보이게끔 의도화한 것으로 보인다. 또한, 정원 중심부에 못을 파고, 다리를 놓고, 못 주위를 돌아다니며 감상하는 회유임천형(回遊林泉型) 정원으로 조성된 점, 그리고 앞산인 형제산을 차경요소로 도입한 점 등이 눈에 띄는 형식적 특성으로 보인다. 건물 전면의 정원은 현관에서 이르는 진입공간을 지나면서 시작되는데, 동쪽에 마운딩 처리된 교토오산을 형상화한 것은 시각적 강조요소이면서 정원을 구성하는 주요 모티프이자 컨셉(concept)으로 이해된다. 이 때 교토오산은 제l산을 시작으로 시계방향으로 5개의 마운딩 처리된 산 형태의 조형공간 구성으로 정원에 표현되는 인간과 자연과의 이상적 관계 및 고향을 그리워하는 정서를 반영한 것으로 보인다. 이렇듯 마운딩조성을 통한 오산의 조성으로 일본정원 축산 즉 석가산의 규범적인 조영실태를 찾을 수 있는데, 이는 세계문화유산으로 지정된 나라시대의 헤이조큐【平城宮】 도인테이엔【東院庭園】 즉, 도인정원의 축산을 근거로 조성된 것으로 추정된다. 또한 일본 고유 정원에 연못을 도입하고, 그 가운데 수미산을 만들어 세우는 등 불교에서 말하는 이상세계를 정원에 압축함으로써 작은 정원 공간에서 선의 경지를 추구한 것으로 보인다. 더불어 해창 주조장 정원에서는 이끼정원으로서의 면모와 일본 고유의 조경 수목 그리고 생태적 식물 궁합(宮合)을 반영한 생태적 식재의도가 잘 드러나 있다. This study aimed at uncovered the spacial features of a Japanese-type garden targeted to "Haechang Joojojang" created by a Japanese in the 1920s and handed down to date, and being used as basic data including the value of the Japanese garden for cultural and spacial recycling and as a modern cultural legacy. The main building of this garden can be found to be a Japanese-style building through the enshrined place, 2 story staircases, the wide window created in all sides, and the sliding doors, and especially, confirmed to be a characteristic structure of Shoinjasaki(書院座敷), which was built in a style of Seoweonjojeongweon architecture. In addition, it is understood that Chuksan(築山) was designed as intended to be seen as a main garden along with the lake from the observer`s point of view seen from inside the building. Also Remarkably formal features include creation as a Excursion forest spring type garden looking around with a lank dug and a bridge set up at the center of the garden and introduction of the frint mountain, Hyeongjesan as a background scenery factor. The garden in front of the building starts at the position passing the entry space extending to the main door, and shaping mounding treated Kyotosan to the east is grasped as a visual emphasis, and main motif and concept composing the garden, when the Kyotosan is seen as reflecting ideal relation with human and nature expressed at the garden composed of formative space with 5 mounding treated maintain forms clockwise, and the emotions missing the hometown. Likewise, creating Osan through developing mounding can find out the normative building status of Japanese garden`s Chuksan, that is, Seokgasan, which is assumed that it was built based on the Chuksan of Heijoque[平城宮] Doindeien[東院庭園], namely, Doin Garden designated as a world cultural legacy. Also it seems to have pursued the condition of Zen by pressing an ideal world in Buddhism at the garden like introducing a lake at Japanese inherent garden, making and erecting Sumisan in the center. In addition, Haechang Joojojang Garden reveals an ecological planting intention incorporating the aspect as a moss garden, Japanese innate landscape architectural trees and ecological plants` marital harmony.

A Basic Study on the Characteristics of the Modern Garden in Gunsan during the Opening Period - Focused on Sagawa House -

진혜영,신현실 한국전통조경학회 2020 한국전통조경학회지 Vol.영문 No.18

This study analyzed the process of forming and changing of the concession territory around Yeonghwa-dong in Gunsan to examine the formation process of the modern garden, the contents of the construction of Sagawa House, and found the following conclusions. First, the formation of Gunsan concession territory was made in 1899 with the signing of 『Concessions of Gunsan, Masan, and Seongjin』. Before the opening of the port, Gunsan was a small village that was used as a passageway for some merchants, but after the opening, Regulations for the Foreign Settlements were formed. As the concession territory was established, the city was formed under the leadership of the Japanese people. During the Japanese colonial period, industrial facilities were built in Gunsan urban area, which was expanded around the open port, as the port function was strengthened through the coastal reclamation work and the Gunsan urban area was expanded. However, with the withdrawal of Japanese landowners and their capital after Korea’s liberation from Japan, the development of the existing Gunsan urban area became stagnant, and modern gardens were distributed in the surrounding areas of the central area, which was formed as a concession territory at that time. Second, as a result of examining the construction process of garden for Sagawa House, the construction time of Sagawa House is not clear, but it is said that it was constructed when a Japanese ran a pawnshop in the Japanese colonial period. The garden is believed to have been built together at the time of the construction of the house, and the owner has been changed twice since then, but the garden has continued to look the same. Sagawa house is located in a densely populated Japanese residential area located behind the old city hall, which is believed to have been to Nagaya-style houses(terraced house) in the past. Third, Sagawa house today have gardens in front and back of Japanese-style wooden house on a rectangular site. The front garden facing the road has a semi-pyeongjeong-style alpine garden with a low level in the topography, and a stepping stone is placed to enter the house. Chōzhivachi is placed with evergreen trees, and a Japanese stone lantern and a stone pagoda are placed around the pond in front garden. A pyeongjeong-style garden centered on pine trees is built on a three-tiered flower bed built with natural stones in the courtyard behind the house. And the shrubs are planted in a row along the border of the layer, allowing visitors to view the courtyard along the corridor inside the house.

개항기 인천 근대정원의 조영특성에 관한 기초연구 - 리키다케 별장을 중심으로 -

진혜영,신현실 한국전통조경학회 2020 한국전통조경학회지 Vol.38 No.3

The purpose of this study is to examine the process of formation of modern gardens. Based on the analysis of the process of formation and transformation of the Jemulpo in Incheon and the details of the modern garden construction. The results are as follows; First, the formation of the Incheon Residence Site began in 1876 with the signing of the Joseon-Japan Treaty. Jemulpo used to be a desolate fishing village in the past, but after its opening in 1881, the Japanese settlement, Chinese settlement, and the general foreign settlement were formed. After that, Japan reclaimed the southern mudflats and expanded the theire settlement area, and advanced to the Joseon area(currently Sinheung-dong). In Japanese colonial era, modern Japanese urban landscapes were transplanted into the settlement area, centering on the Japanese modern gardens were distributed in the area around the center of the settlement area. Second, after examining the process of creating the garden for the Rikidake villa, Japanese Rikidake purchased a site for an orchard in Uri-tang, who was a major landowner in Incheon, to create the garden. At the time of Rikidake's residence, the garden was very large, measuring about 3,000 pyeong, and after liberation, it was acquired by Incheon City and used as Yulmok Children's Library. It was known as a rich village at the time of the opening of the port, and a garden was located at the highest point in Yulmok-dong, making it easy to see the Incheon Port area. Also, a spot located about 300 meters away from Rikidake's rice mill may have affected the location selection. Third, today's Rikidake villa has a Japanese-style house on a trapezoidal site, with a garden of about 990 square meters on the south side. Currently, it is possible to enter from the south and from Yulmok Children's Park in the north, but in the past, the main direction of the house was to view the Incheon Port, settlement area, and the Rikidake Rice Mill, so the house was located in front of the garden. The garden is a multi-faceted style with stone lanterns, tombstones, garden stones, and trees placed on each side, and is surrounded by arboreal plants such as attention, strobe pine, and maple trees, as well as royal azaleas. The view from the inside of the house was secured through shrub-oriented vegetation around the house. 본 연구는 근대정원의 형성과정을 살펴보기 위해 인천 제물포의 조계지 형성 및 변화과정을 분석하고 이곳에 조성된 근대정원의조영 내용을 살펴본 결과 다음과 같은 결론을 도출하였다. 첫째, 인천 조계지의 형성은 1876년 조일수호조규 체결을 계기로 본격화되었다. 과거 제물포는 황량한 어촌이었으나 1881년 개항이후 일본 조계지와 청국전관조계 및 각국공동조계가 형성되었다. 이후 일본은 남쪽 갯벌지대를 매립하여 조계지를 확장했고, 조선지계(현신흥동 일대)로 진출하였다. 일제강점기에는 일본전관조계를 중심으로 일본의 근대도시경관을 이식하였으며, 조계지의 중심가 주변지역에 근대정원들이 분포하고 있다. 둘째, 리키다케 별장을 대상으로 정원의 조성과정을 살펴본 결과, 일본인 리키다케가 인천의 대지주였던 우리탕의 과수원 부지를매입하여 정원을 조성하였다. 리키다케의 거주 당시에는 정원공간만 약 3,000평으로 매우 큰 규모였으며, 해방 이후에는 인천시에서인수하여 율목어린이도서관으로 사용되고 있다. 이곳은 개항 당시 부촌으로 알려져 있었으며, 율목동 일대 가장 높은 곳에 정원이위치하여 인천항 일대의 조망이 용이했다. 또한 리키다케의 정미소와 직선거리로 약 300m 떨어진 곳에 위치한 점 또한 입지선정에영향을 미쳤을 것이다. 셋째, 오늘날 리키다케 별장의 정원은 석축을 쌓은 사다리꼴 형태의 부지에 복층의 일본식 가옥이 위치하고, 남측에 약 990㎡ 규모의 정원이 조성되어 있다. 현재 남쪽에서의 진입과 북쪽 율목 어린이공원에서의 진입이 가능하나 과거에는 인천항과 조계지, 그리고 리키다케 정미소를 조망할 수 있는 방향이 가옥의 주 향이었을 것으로 보아 정원을 앞에 두고 가옥이 위치했을 것이다. 정원은원로를 사이에 두고 양쪽에 석등과 비석, 정원석, 수목 등을 배치한 다정양식에 해당하며, 주변에 주목, 스트로브잣나무, 단풍나무등의 수목식재와 둥글게 전정한 철쭉과 영산홍이 주를 이루고 있다. 가옥 주변에는 관목 중심의 식재를 통해 가옥 내부에서의 조망을 확보하였다.

서울지역 문화주택의 근대정원 형성과정 및 조영특성 - 개항기 조계지 근대정원과의 비교를 중심으로 -

( Lee Kyeong-mi ),( Bae Jun-gyu ),( Shin Hyun-sil ) 한국전통조경학회 2021 한국전통조경학회지 Vol.영문 No.19

This study aims to examine the pattern of the modern garden formed in leased territory during the opening period and the inflow of the garden along with the creation of Seoul modern housing. The garden characteristics were compared for houses in Jiwoljang garden and Galwol-dong house in Yongsan, where modern housing was mainly built at that time. The results as follows; First, during the opening of the port, the modern garden of leased territory was formed as a foreign residence, and their garden culture flowed in. In particular, as it led to Japanese colonial era, transplantation of Japanese gardens appeared. At that time, most of the leased territory were underdeveloped areas, and modern gardens were formed based on huge capital from the beginning. Since then, modernization has spread from leased territory to Seoul, and along with the opening of the Japanese colonial era railway, a cultural housing complex has been formed in Yongsan, west of the city, including Gyeongbokgung Palace, which is easy to protect Japanese troops. Second, the characteristics of the Japanese-style garden are confirmed by the Japanese founder's first house and garden in Jiwoljang garden and Galwol-dong houses. Jiwoljang garden is a garden created by Sukyoshi Nishishima, director of Siksan Railway Co., Ltd., and a garden was placed on a three-stage slope to view the garden from the building. There are garden stones and five stone pagodas in the garden, and it seems that a pond was built along the topography of the valley. Galwol-dong House is a secondary sale site in Tsurugaoka, and houses within a narrow scale were arranged according to the overcrowding phenomenon in the 1920s, flower garden were built along the wall in the form of a rear garden on a sloped slope, and flower wood was planted. Third, as a result of comparing the modern garden of leased territory and the modern garden of Seoul modern housing during the opening period, there was no limit to the creation of a garden in a large area, but Seoul is limited to spaces confined by buildings due to the population concentration of Hanyang in the late Joseon Dynasty. The modern garden of Seoul Cultural Housing is a limited and introverted garden isolated from external spaces unless the first founder preoccupies a relatively large lot through abundant capital as a businessman who entered Gyeongseong in the early stages. The building inside the garden contained a modernized maisonette wooden structure in Japan. On the other hand, the use of tree species was limited compared to the modern garden of leased territory, and the planting technique was also used as a means to control growth, not to form the landscape of the garden.

일본 사찰정원의 의미 부여 양상

홍승훈 (사)한국정원디자인학회 2025 한국정원디자인학회지 Vol.11 No.5

본 연구는 일본 사찰정원이 단순한 조경 공간이 아니라, 불교 교리와 세계관을 시각화한 수행․사색의 장이라는문제의식에서 출발한다. 연구의 시간적 범위는 아스카시대부터 에도시대까지 조성된 사찰정원이며, 공간적 범위는 연구자가 직접 답사한 치센(池泉)․가레산스이(枯山水) 양식의 정원을 대상으로 하였다. 정토삼부경, 화엄경․유마경, 구사론, 일본 정원론 및 회화 도상을 문헌고찰하고, 현지 답사와 사례 분석을 통해 정원에 부여된 상징적 의미의유형과 표현 양상을 고찰하였다. 분석 결과, 일본 사찰정원의 의미 부여는 첫째, 연지와 연꽃, 반교와 평교, 삼선도․봉래도, 학구도․학구석조, 용문폭, 심자지 등 개별 도입 요소에 의미를 부여하는 유형, 둘째, 방장 전면의 백사, 아미타내영도도상을 변용한 석조․식재, 고해와 주선석, 불완전한 석배치 등 도입 요소의 구성을 통해 의미를 생성하는 유형, 셋째, 삼존석조, 수미산과 구산팔해, 7․5․3석조, 12지석, 칠복신 보주 등 불교․도교․민간신앙에 기반한 법수(法數)를 통해의미를 부여하는 유형으로 정리되었다. 이를 통해 일본 사찰정원이 정토불교와 선불교의 세계관뿐 아니라, 도교적 신선사상, 음양오행, 와비(侘び) 미학, 칠복신 신앙 등 이질적 사상과 미의식이 습합된 상징체계 위에서 형성되었음을 확인하였다. 나아가 이러한 분석은 한국 사찰정원과의 비교 연구를 통해 동아시아 불교정원의 지역적 특성과 정체성을 규명하기위한 기초 자료를 제공한다. This study starts from the premise that Japanese temple gardens are not merely ornamental landscapes but three-dimensional visualizations of Buddhist doctrines and world views, and spaces for religious practice and contemplation. Focusing on temple gardens constructed from the Asuka to the Edo period, the research examines chisen (pond) and karesansui (dry landscape) gardens that the author personally surveyed. Through textual analysis of Pure Land scriptures, the Avataṃsaka Sūtra, the Vimalakīrti Sūtra, the Abhidharmakośa, Japanese garden treatises, and raigō iconography, combined with on-site investigation, the paper classifies the patterns by which symbolic meanings are imparted to temple gardens and analyzes their modes of expression. The analysis identifies three major types. First, meanings are attributed to individual elements such as lotus ponds, bridges signifying the crossing to the other shore, Isles of the Immortals and Penglai islands, crane-and-tortoise compositions, Ryūmonbaku waterfalls symbolizing enlightenment, and heart-shaped ponds that materialize the doctrine that “all phenomena are produced by mind alone.” Second, meanings are generated through the configuration of elements, including white gravel forecourts expressing emptiness, stone-and-azalea compositions derived from Amida raigō paintings, dry seas of suffering with boat stones, and deliberately incomplete stone arrangements informed by wabi aesthetics. Third, numerical schemes drawn from Buddhist cosmology and East Asian numerology—such as triadic stone groupings, Sumeru and the Eight Mountains and Seas, 7-5-3 stone or azalea groupings, sets of twelve stones, and the Seven Gods of Fortune riding a treasure ship—embed Buddhist, Daoist, and folk-belief cosmologies into the garden space. These findings demonstrate that Japanese temple gardens constitute a syncretic symbolic system in which Pure Land and Zen world views intersect with Daoist immortality cults, yin–yang numerology, wabi aesthetics, and popular religious beliefs, and they provide a basis for future comparative studies with Korean temple gardens and for clarifying the regional identities of East Asian Buddhist gardens.

古代 日本의 宮苑

小野健吉 충남대학교 백제연구소 2011 百濟硏究 Vol.53 No.-

It is the Asuka period (593-710) that palace gardens were first built in Japan. According to an article in the chronicle Nihonshoki, compiled in 720, an immigrant from Baekje kingdom built a representation of Mt. Sumeru and Wu-style bridge at the palace of Empress Suiko in 612. Palace garden remains were uncovered at the Ishigami site, the Sakafuneishi site, the Asuka capital site, etc. The characteristics of the garden design are a pond with a geometric outline such as a square pond, stone piled banks of a pond and elaborately-worked stone statues or fountains. The garden design mentioned above is presumed to have been directly brought to Japan by artisans of Baekje. In the Nara period (710-794), the palace garden design changed drastically. West pond, the Eastern palace garden, the garden at Block 6, East 2nd Ward on 3rd Street of the Nara Capital, etc. are the palace garden remains unearthed at the Nara palace site and the Nara capital site. It is characteristic of the palace gardens of the Nara period to include a pond with naturally curved outline and pebblecovered beach, and natural stones or stone arrangements by way of ornament. The garden design is considered to have been adopted after the palace garden of the Tang dynasty. However, probably no Chinese garden-building artisans came to Japan, and palace gardens must have been designed and constructed based on the information of people returned from Tang China, pictures and collections of poems introduced from the country. Japanese gardens have developed diversely on the basis of garden design established during the Nara period. 일본에서 궁원 조영이 시작된 것은 飛鳥[아스카]시대(593~710년)의 일이다. 『日本書紀』에는 612년 백제 도래인이 推古[수이코]천황의 궁전에서 ‘須彌山’과 ‘吳橋’를 제작하였다는 기사가 있다. 발굴된 궁전유적으로는 石神[이시가미]유적,酒船石[사카후네이시]유적, 飛鳥京蹟 苑池 등이 있는데, 방형 등의 기하학적인 윤곽 외에도 연못의 석조 호안, 정교한 석조품과 같은 의장 상의 특징을 찾을 수 있다. 백제의 기술자들이 이러한 정원 디자인을 직접 일본에 가져온 것으로 추정된다. 奈良[나라]시대(710~794년)에 들어 궁원의 디자인은 급격히 변화했다. 조사한 궁원유적은 佐紀池(西池), 東院庭園, 平城京 左京三條二坊宮蹟庭園 등이다. 曲池, 물가의 경사를 완만하게 조성하고 자갈돌을 빈틈이 없이 부설한 호안기법, 조경용자연석이나 石組 등의 의장 상 특징을 가지고 있어 당나라 궁원을 규범으로 삼았던 것이라 생각된다. 그러나 당의 조경 기술자가 일본으로 건너간 것은 아니고 歸朝者의 정보나 회화ㆍ시문을 기초로 모방ㆍ조영했을 것이다. 그 후 일본 정원은 奈良시대에 확립한 정원 디자인을 토대로 다양한 발전을 이루었다.