This study analyzes the structure and meaning of the landscape expressed in the Sangrimshipgyeong poem composed by King Jeongjo, which describes the Donggwol back garden in the Joseon Dynasty. The study conclusions are as follows: the landscape contents of Sangrimshipgyeong were evenly distributed in the Donggwol back garden, and jeongs, gaks, and dangs are set as view points. The landscape objects of Sangrimshipgyeong consisted of behaviors and the natural phenomena of four seasons. The poem primarily depicted daytime scene. The landscapes were distributed over the four seasons, with four spring landscapes, four autumn landscapes, one summer landscape, and one snowy landscape. The landscape structure expressed in Sangrimshipgyeong appeared to be formed around a limited view point of the building. However, the objects did not intermittently exist, but maintained organic relations in one context. It is organic and harmonious in that interplay was visualized as the pavilion extends to nature, and nature comes into the pavilion. The depiction of Sangrimshipgyeong was not only very suggestive in terms of showing the hopes and dreams of the royal culture of the Joseon Dynasty, but also interesting because they were based on the condensed ideological symbolism of a specific cultural group. Sangrimshipgyeong expresses amusement and responsiveness to the scene based on the understanding of nature in the limited space of a palace back garden. It was also full of dynamic poetic language, such as encouragement of agriculture, sericulture, rain-calling, and highest- level state examination. Sangrimshipgyeong is interpreted as a symbol of ideology and a desired landscape reflecting the cosmic resonance of political affairs and moral cultivation of a king or an heir to the throne.