A Study on the Symbolic Aesthetics and Visual Aspects of Arrangement in Yongho Garden, Jinju - Focus on the Mount of Twelve Peaks of Musan -

서지정보

· 발행기관 : 한국전통조경학회
· 수록지 정보 : 한국전통조경학회지 / 9권 / 1 ~ 11페이지
· 저자명 : 이현우, 강철기

초록

The purpose of the study is to interpret or analyze the symbolism, the principles of space composition and the effect of visual composition pursed by the creator in terms of the scenic view created through the 12 peaks of Mu mountain constructed in Yongho Garden in Jinju, Gyeongnam. The following is the result of the study. For the intention of realizing the 12 peaks of Mu mountain, the creator presumably had mounted the 12 peaks forming the body of dragons that cross the point corresponding to a head of tiger with locating Yongho Pond and Yongho Pavilion in the center. The Buddhist buildings, Yongsan Temple and Yongho Pond are formed as one united structure by being separated from the 12 peaks of Mu mountain symbolizing the Taoist meaning structure. Yongsan-jae is the place where the two axes are at right angle, and the first axis is the Buddhist axis-line of easy passage to eternity that two buildings of Yongsan Temple Yongsan-jae connote, and the other axis-line is the axis-line of seclusion and a fairyland that Yongho Pavilion connotes. Yongsan-jae becomes a key of uniting Yongho Pavilion and Yongsan Temple as a meaning structure. Each of the 12 peaks has building mountain effects in the dialectical characteristic of combination and separation with twofold design elements of being correlated visually and independent physically. The plane structure of the 12 peaks approaches is very similar to 1 : 1.414, the Geumgank Ratio, by showing 1 : 1.37. Except for the 5th, 7th, and 8th Peaks, 9 other peaks are apportioned by equiangular spiral of the golden triangular. The region of medium distance view near the 12 peaks is surrounded with Venus star mountain shape. It is concluded that the shape harmony of similar shapes brings homogeneous space sense centering on Yongho Pond and we think that this effect is planned when the 12 peaks were built. Progressive realization technique and the prospect-refuge theory are incorporated in building the 12 peaks, and especially the ratio of ‘open view’ and ‘blocked view’ is about 55 : 45, and it is designed that exposure and blocking are intersecting. By this, the various degrees of exposure and surrounding and a number of the combination of view and blocking line of sight act as a superior design element that raises the depth and expectation of landscape.
These designs are perceived as a very sophisticated multi-layered effect arranging an object viewed through another object. Like the landscape design for Yongho Pavilion as a scenic element, the result confirms that the view configuration is ultimately aiming at the gradual exposure of the landscape through repeating concealment and revealment.

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