This study examines the titles of poetry in order to analogize the original landscape of Byeolseo garden in Korea and China. This study analyzed the titles of Soswaewon 48 Poems and Humble Administrator’s Garden 31 Poems, comparing the form of the compositional form and the landscape elements of titles conveyed in them. The titles of the Soswaewon 48 Poems and the Humble Administrator’s Garden 31 Poems are made up of combinations of places, activities, meanings, and landscape elements. Soswaewon 48 Poems are composed of ｢Landscape Elements + Landscape Elements｣ and ｢Place + Activity｣, while Humble Administrator’s Garden 31 Poems are composed of ｢Place + Meaning｣ and ｢Landscape Elements + Landscape Elements｣. The Soswaewon 48 Poems clearly show the element of activity, whereas the Humble Administrator’s Garden 31 Poems show the element of meaning, which is different. Landscape elements that appear in the titles of both show more physical than symbolic elements. However, symbolic elements appear more in Humble Administrator’s Garden 31 Poems than Soswaewon 48 Poems. This is a characteristic of Chinese culture that valued Yijing, giving meaning to each component of the garden. Among physical elements, natural elements appeared more frequently in the Soswaewon 48 Poems than in the Humble Administrator’s Garden 31 Poems, whereas artificial elements appeared more in the Humble Administrator’s Garden 31 Poems.

Regarding the Forty-eight Poems of Soswaewon by Haseo Kim In-Hu, this study examines the soundscape's sound source type and receiver setting at the time of Soswaewon Garden landscaping and how the function and meaning of garden sounds are produced and expressed through literature and on-site survey. The main results of the analysis are as follows. Regarding the soundscape’s main receiver setting in Soswaewon Garden, area at stream garden, Chojeong, Jewol Pavilion, and Gwangpung Pavilion and a display stand were identified, and a combination of various forms of water sounds and artificial sounds around the mountain stream and musical panorama of nature are the sources of sound. Diversity Soswaewon’s soundscape acts as an important landscape resource for playing, sightseeing, and appreciating Soswaewon Garden. In the Forty-eight Poems of Soswaewon, the methods of enjoying the landscape were the act in which the scholars’ view of life and nature are contained at the time of garden landscaping. Therefore, it is of great significance. The Forty-eight Poems of Soswaewon is a textbook about old scenery in which real landscape and semantic landscape are substituted by connecting various sceneries of the season to scholars’ experience of taste for the arts through borrowed scenery and borrowed sound. The soundscape in the Forty-eight Poems of Soswaewon intactly contains the taste of entertainment in appreciation of the garden’s scenery of the season and scholars’ self-cultivational practice for mind and body called self-projection and reflection by having the flow of the mountain stream as the focal point of the garden. The fact that Soswaewon’s soundscape was of as great importance as visual landscape implies that it has significant implications for modern landscape design.

This study aims to rediscover the meaning and value of Soswaewon construction represented in Kim In-Hu's 48 poems on the basis of the concept and idea of soundscape. It classified the landscape resources through the various emotional elements such as the sense of sight, hearing, smell, touch, taste, and warmth described in the 48 poems of Soswaewon, and also interpreted the meaning and value of Soswaewon construction. Appreciating various sounds of Soswaewon, Kim In-Hu understood a sound as an important element of the landscape. Also, he abundantly wrote down the interesting changes of Soswaewon which vary depending on time or seasons. The 48 poems contain the scent and feel of Soswaewon as well as the soundscapes which can be heard with ears. A variety of sounds heard in Soswaewon are the whole senses which are combined with the chill of Soswaewon, the fragrance of trees and the mystery of the mountain, etc, and they mean the wider world much more than the value of physical sounds. Soundscapes of Soswaewon are becoming an emotional space which intactly conveys not only the musical inspiration but also the scent of life to us.

This study investigated the background thoughts and geographical characteristics of the trees planted in Soswaewon garden located in Damyang, Jeollanam-do, South Korea. This study also investigated the tree species in the early years of the garden and their chronological changes. The number of trees planted in Soswaewon garden is presently 135 in 22 species, which consists of 107 arboreals in 15 species and shrubs in 7 species. Tree species which showed high frequency rates were Zelkova serrata, Lagerstroemia indica, Acer palmatum, Sophora japonica and Rhododendron indicum. The background thoughts of these trees were Feng Shui, Yin Yang, and Confucianism for Zelkova serrata; Shin-sun, Taoism, and Confucianism for Lagerstroemia indica; Confucianism for Acer palmatum; Shin-sun, Taoism, and Confucianism for Sophora japonica. Rhododendron indicum was planted just for decoration without any particular background thoughts. In exploring geographical characteristics, all of 5 trees species were found to grow well everywhere in southern regions of Korea, especially in maritime climate of the south west coasts. Literature survey revealed the tree species planted in the early years of the garden. Back in 1548 when Soswaewon was first established, there were 11 tree species growing, then 12 species in 1755, 28 species in 1983, 23 species in 1999, and 24 species in 2012. At present, there are 22 tree species growing in Soswaewon garden.

Sosaewon and Villa D’este were built in the early of 16th and mid-of 16th each. Sosaewon was built based on the accommodation of topography of the surroundings whilst Villa D’este highlights the distinction of terrace and axis existed on the configuration of the grounds and natures. Both gardens have reflected the social and political influence in that period of constructing tat the builders had been through. These factors have been analyzed by iconological methodology to interpret the inherent meaning of the garden in philosophical, mythological, religious and Feng-shui context and discovered the interconnected relations between two gardens. The characteristic of Sosaewon’s space is based on the Mu-yi-gu-gok, which is derived from a Taoist, due to a builder’s Neo-Confucianism value. Hence Sosaewon contains the adaption of the nature itself based on the values of Mu-yi-gu-gok, which are expressed by visual, auditory and literary elements, brining about the poetic beauty of waiting. The structures of Villa D’este reveal the combination of nature and art whilst it also connotes the theme of ‘The Choice of Hercules’, indicating the builder’s philosophy and will symbolically. Each space of Villa D’este has diverse space for various interpretations followed by this theme. For the interpretation of meaning of Sosaewon and Villa D’este, Sosaewon has adapted the nature of surroundings which contain a view of nature, on the other hand, Villa D’este borrowed the nature of surroundings to build and decorate the garden, using natural terrace and axis for the variation, and drag the river near the garden artificially to fit into the axis of the garden. Villa D’este contains significant mythological and iconological factor intended to highlight the builder’s dignity, status and position.

This study applies the results of iconological interpretation of Sosaewon and Villa D’este’s constructed areas to the context interpretation methodology of contemporary aesthetics, which is based on writer’s own artistic context derived from writer’s own artistic works. This approach intends to develop and apply new forms of garden art and imagification into writer’s own artistic works by mixture and juxtaposition of these whole heterogeneous implications of Sosaewon and Villa D’este. In addition, the study attempts to construct new value in garden art by applying the diverse artistic aspects of Sosaewon and Villa D’este derived from their diverse iconological interpretation, seeking transition from current standardized garden planning system to compound and fusion system of garden art in the modern times. The study attempts to draw new flow of contemporary garden art. For this, de-constructivism perspective, which contains post-modern cultural characteristic, is applied to examine the Sosaewon and Villa D’este’s hidden but intended factors and spirits by the builders.