ПРОИСХОЖДЕНИЕ, ЭВОЛЮЦИЯ И СОВРЕМЕННАЯ ТРАНСФОРМАЦИЯ ВОДНЫХ ЛАНДШАФТОВ В КОРЕЙСКИХ ПЕЙЗАЖАХ ПОД ВЛИЯНИЕМ КИТАЙСКОЙ КУЛЬТУРЫ

SCIENTIFIC AND THEORETICAL CONFERENCE “DECORATIVE AND APPLIED ART OF THE TURKIC WORLD: HISTORY, MODERNITY, AND FUTURE PROSPECTS”, OCTOBER 23, 2025 63 ПРОИСХОЖДЕНИЕ, ЭВОЛЮЦИЯ И СОВРЕМЕННАЯ ТРАНСФОРМАЦИЯ ВОДНЫХ ЛАНДШАФТОВ В КОРЕЙСКИХ ПЕЙЗАЖАХ ПОД ВЛИЯНИЕМ КИТАЙСКОЙ КУЛЬТУРЫ Ding Fan, PhD Tianjin University of Science and Technology, Tianjin, China https://doi.org/10.5281/zenodo.17463445 Аннотация. В данном исследовании рассматривается влияние китайской культуры на водные ландшафты в корейском экологическом искусстве. Используется мультиметодный подход для изучения исторических связей и различий между водными ландшафтами двух стран. Исследование показывает, что, хотя корейские водные ландшафты вобрали в себя такие традиции, как китайский фэншуй и модель «девяти изгибов сада», они приобрели ярко выраженные региональные особенности, адаптировавшись к уникальным природным и культурным условиям Кореи. Современная практика демонстрирует три основных преобразующих черты: инновации, учитывающие культурные особенности, интеграцию экологических технологий и более активное участие общественности. Эти преобразования отражают как влияние глобальных экологических и культурных тенденций, так и современную жизнеспособность традиционного восточноазиатского садового искусства, предоставляя теоретические и практические парадигмы для межкультурного ландшафтного дизайна. Ключевые слова:Ландшафтный дизайн с использованием воды; Экологическое искусство; Сравнение Китая и Кореи; Передача культуры; Региональная трансформация; Экологический дизайн; Ботанический парк Сеула Abstract. This study examines the influence of Chinese culture on water scaping in Korean environmental art, employing a multi-method approach to explore the historical connections and distinctions between the two countries' water landscape designs. The research reveals that while Korean water scaping absorbed traditions such as Chinese Feng Shui and the Nine-Curve Garden model, it developed distinct regional characteristics by adapting to Korea’s unique natural and cultural context. Contemporary practices demonstrate three major transformative features: culturally inclusive innovation, integration of ecological technologies, and enhanced public engagement. These transformations reflect both the influence of global ecological and cultural trends and the modern vitality of traditional East Asian garden art, providing theoretical and practical paradigms for cross-cultural landscape design. Keywords:Water Scaping; Environmental Art; Sino-Korean Comparison; Cultural Transmission; Regional Transformation; Ecological Design; Seoul Botanic Park Аннотация. Bu tadqiqot Koreya atrof-muhit sanʼatida suv landşaftiga Xitoy madaniyati taʼsirini oʻrganadi va ikki mamlakatning suv landşafti loyihalarining tarixiy aloqalarini va farqlarini aniqlash uchun koʻp-uslubli yondashuv qoʻllaydi. Tadqiqot natijalariga koʻra, Koreya landşafti Xitoy feng shui traditsiyalari va Toʻqqiz burmalangan bogʻ modeli kabi anʼanalar bilan boyib borgan boʻlsa-da, oʻzining noyob tabiiy va madaniy muhosabasi asosida mintaqaviy SCIENTIFIC AND THEORETICAL CONFERENCE “DECORATIVE AND APPLIED ART OF THE TURKIC WORLD: HISTORY, MODERNITY, AND FUTURE PROSPECTS”, OCTOBER 23, 2025 64 xususiyatlarni shakllantirgan. Zamonaviy amaliyotlar uchta asosiy oʻzgaruvchan xususiyatni koʻrsatmoqda: madaniy jihatdan ochiq innovatsiya, ekologik texnologiyalarni integratsiya qilish va ommaviy ishtirokning oshishi. Bu oʻzgarishlar global ekologik va madaniy tendensiyalarning taʼsirini ham, anʼanaviy Sharqiy Osiyo bogʻ sanʼatining zamonaviy jonlanishini ham aks ettiradi va madaniyaro landşaft loyihalari uchun nazariy va amaliy paradigmlarni taqdim etadi. Kalit soʻzlar: suv landşafti; atrof-muhit sanʼati; Xitoy–Koreya taqqoslashi; madaniy uzatish; mintaqaviy oʻzgarish; ekologik loyiha; Seul botanika bogʻi. Introduction Water features, as a core element of traditional East Asian environmental art, serve both as a key means of spatial organization and as an important vehicle for cultural spirit and aesthetic ideals. On the occasion of the 30th anniversary of China-South Korea diplomatic relations, President Xi Jinping noted that the two nations “share a long history of friendly exchanges across the sea” (Diplomatic Bulletin, 2022). Throughout their enduring cultural exchange, the art of water management in Chinese gardens profoundly shaped the trajectory of traditional Korean landscape practices as the Sinitic cultural sphere formed and expanded. From the garden ponds of the Unified Silla period to the literati gardens of the Joseon Dynasty, and on to contemporary urban water features in Seoul, Korea's water environment design has consistently maintained a dialogue with Chinese culture. Simultaneously, shaped by its unique geographical context, social structure, and aesthetic traditions, Korea has gradually developed a distinctive system of water feature creation. While academic comparative studies on East Asian garden and landscape arts have yielded some achievements, systematic and in-depth cross-cultural research remains insufficient. Existing studies either focus on historical case analysis or remain confined to symbolic interpretations, lacking a systematic comparative framework grounded in “water” as a fundamental element. Moreover, in-depth exploration of contemporary transformation mechanisms is rare. Particularly against the backdrop of intertwined global ecological crises and cultural identity challenges, understanding the innovative transformation of traditional water wisdom in modern society has become a critical issue in East Asian environmental art research. This paper aims to fill this research gap by constructing a three-dimensional analytical framework integrating historical, cultural, and ecological-practice dimensions. It systematically compares the historical origins, cultural logic, and contemporary practices of water landscape design in China and Korea. The study not only examines the content and pathways of cultural transmission but also emphasizes revealing the adaptation mechanisms and innovation strategies within the transmission process. This approach provides academic support for the diverse development of East Asian environmental art while offering modern insights from traditional wisdom to address contemporary ecological and cultural challenges. 1. Literature Review and Theoretical Framework for Water Feature Design Both China and South Korea possess profound academic foundations and rich practical traditions in water feature design. The garden design theories proposed by Chinese scholar Chen Congzhou in his work On Gardens (1984)—namely the “Dynamic-Static Perspective,” “Borrowing Scenery,” and “Artistic Ambience” perspectives—provide a theoretical basis for understanding traditional Chinese water management artistry. Zhou Weiqian further systematized the historical evolution of water management techniques in A History of Classical Chinese Gardens (1999), emphasizing the aesthetic principle of “learning from nature while SCIENTIFIC AND THEORETICAL CONFERENCE “DECORATIVE AND APPLIED ART OF THE TURKIC WORLD: HISTORY, MODERNITY, AND FUTURE PROSPECTS”, OCTOBER 23, 2025 65 surpassing it.” Recently, Fei Wenjun and Xu Chang (2020) conducted an in-depth exploration of strategies for inheriting traditional water management art in modern design, proposing an innovative path of “integrating form and meaning, blending ancient and modern.” In Korea, Lee Sang-yun (1996) first proposed the dual-dimensional theory of “physical form and spiritual connotation” for water landscapes in his Study on Korean Traditional Water Landscapes, establishing a methodological foundation for Korean water landscape research. Hong Kwang-pyo (2001) systematically classified traditional water landscape types and symbolic systems in Korean Traditional Water Landscapes, revealing the cultural coding patterns of Korean water landscapes. In recent years, numerous scholars have begun examining the cultural intersections between Chinese and Korean gardens. For instance, Peng Hongxu et al. (2021) analyzed the regional characteristics of Korea's winding gardens, while Kim Eunjin and Rae Gyu-young (2015) conducted landscape narrative research from a comparative geomorphology perspective, providing crucial references for cross-cultural comparisons. However, existing research exhibits notable limitations: First, it predominantly focuses on historical case studies or symbolic interpretations, lacking a systematic grasp of contemporary transformations in water feature design. Second, theoretical frameworks remain singular, failing to integrate multidimensional perspectives from cultural studies, ecological design, and spatial sociology. Third, comparative studies are scarce, with few efforts placing Chinese and Korean practices within a unified analytical framework for mechanism-based comparison. To address these gaps, this paper builds upon cultural transmission theory and the regional adaptation model to construct a three-dimensional analytical framework encompassing historical, cultural-aesthetic, and ecological-practice dimensions. The historical dimension examines the transmission pathways and temporal evolution of water feature craftsmanship; the cultural-aesthetic dimension focuses on the interplay between symbolic systems, spatial consciousness, and aesthetic concepts; while the ecological-practice dimension explores contemporary issues such as water resource management, biodiversity conservation, and public participation. This integrated framework facilitates a systematic interpretation of the common origins, divergences, and innovative trajectories in Chinese and Korean water feature design, propelling East Asian environmental art research toward deeper levels of development. 2. Cultural Origins and Regional Variations in Traditional Water Feature Design Between China and Korea 2.1 Theoretical Origins: Trans-Sea Transmission of Feng Shui Concepts and ConfucianDaoist Principles Chinese feng shui theory, along with its associated Confucian views on order and Daoist perspectives on nature, was introduced to Korea via the Korean Peninsula at an early stage, profoundly influencing its environmental design practices. Classical Chinese gardens emphasized ideal patterns such as “harnessing wind and gathering energy” and “meandering streams for floating cups,” exemplified by the Four Spirits terrain layout described in The Book of Houses: “water to the east, paths to the west, ponds to the south, mountains to the north” (Fei Wenjun & Xu Chang, 2020). This philosophy was widely adopted in Korea and documented in texts like Records of Garden Design and The Economy of Mountains and Forests. Kim Seungyoon (2013) notes that while Korean landscaping drew from Chinese feng shui theory, its practical application emphasized integration with local River Diagram and Luo Shu symbols and vegetation arrangements, reflecting localized adaptation in theoretical reception. SCIENTIFIC AND THEORETICAL CONFERENCE “DECORATIVE AND APPLIED ART OF THE TURKIC WORLD: HISTORY, MODERNITY, AND FUTURE PROSPECTS”, OCTOBER 23, 2025 66 Specifically, Chinese feng shui theory stresses the combined application of the “Form School” and “Energy School,” pursuing symbolic correspondences between landscape configurations and cosmological views. Korea, building upon these theories, developed a practical system prioritizing utility and adaptability. For instance, in Joseon Dynasty palace garden construction, feng shui principles were often tightly integrated with local topography to achieve the ideal layout of “backed by mountains, facing water, sheltering wind, and gathering qi.” Yet adjustments were made flexibly based on practical needs, demonstrating the wisdom of “guiding by natural features and adapting to local conditions.” 2.2 Practical Differentiation: Examining the Distinctive Aesthetic Approaches of China and Korea Through “Meandering Stream Gardens” Chinese garden water features pursued symbolic spaces embodying “poetic imagery” and “a world within a teapot,” exemplified by Wuyi's Nine Bend Creek, renowned for its precipitous twists, vertical clusters, and natural grandeur. Korean meandering gardens, though originating from imitations of Wuyi landscapes, adapted to the peninsula's gentle topography and sparse natural features by emphasizing humanistic imagery and immortal narratives to extend their artistic conception (Kim, Yoon-jin & Rae, Yoo-young, 2015). Peng Hongxu et al. (2021) further note that Korean winding gardens often organize water features and pathways through a narrative structure of “introduction, development, transition, and conclusion,” metaphorically representing the spiritual journey of “seeking and attaining immortality,” thereby embodying spatial narratives with greater religious-philosophical depth. This divergence is particularly evident in specific construction techniques. Chinese gardens emphasize the winding and secluded nature of water features, using rock arrangements and water management to create an “endlessly meandering” aesthetic effect, as seen in Suzhou's Humble Administrator's Garden with its Small Flying Rainbow Bridge or Beijing's Summer Palace with its Suzhou Street. Traditional Korean water features, however, prioritize the creation of tranquil, static water surfaces. Geometric forms like square ponds and lotus pools convey a sense of order and serenity, exemplified by the lotus pond in the rear garden of Changdeokgung Palace and the Secret Garden's Yeonghwattang Pavilion from the Joseon Dynasty. This divergence reflects both the influence of natural conditions and the distinct aesthetic preferences and cultural psychologies of the two nations. 2.3 Differences in Materials and Techniques Traditional Chinese water features favor lake stones for embankments, cascades, and stream channels, emphasizing the aesthetic qualities of “wrinkled, porous, slender, and permeable” stonework to achieve a natural charm where “though crafted by human hands, it appears as if opened by heaven.” Korea, however, more frequently combines local stone and wood to construct square ponds, lotus pools, and static water features, resulting in a style that is more rustic and tranquil. Additionally, Korea developed more systematic water circulation and drainage technologies within palace and temple environments. For instance, the restoration project of Suwon Hwaseong Fortress during the Joseon Dynasty demonstrated meticulous reconstruction of historical water systems (Baek Jong-cheol, 2020). Regarding plant arrangements, Chinese gardens emphasize the “symbolism of flowers and trees,” using symbolic plants like plum blossoms, orchids, bamboo, and chrysanthemums to evoke cultural connotations. Korean traditional water features, however, prioritize the integration of practicality and aesthetic appeal. Lotus symbolizes purity, pine represents longevity, and willow embodies resilience, forming a distinctive local system of botanical symbolism. These SCIENTIFIC AND THEORETICAL CONFERENCE “DECORATIVE AND APPLIED ART OF THE TURKIC WORLD: HISTORY, MODERNITY, AND FUTURE PROSPECTS”, OCTOBER 23, 2025 67 differences vividly illustrate the localized innovation and adaptive transformation inherent in cultural transmission processes. 3. Comparative Case Analysis: Seoul Botanical Garden and Contemporary Chinese Water Feature Practices 3.1 Seoul Botanical Garden: Historical Translation and Ecological Modernity Seoul Botanical Garden's design draws inspiration from the historical imagery of Yangcheon depicted by Joseon painter Jeong Yeon. By restoring traditional hydrological features—such as water management structures and rain-praying sites—it positions “water” as the core ecological corridor linking the Han River, wetlands, and the urban landscape. Spanning 1.17 million square meters, the project initiated an international design competition in 2007, ultimately selecting the proposal “Heart of Magok is Nature of Living Water” by Korea's Samwoo Architects & Associates. The design core emphasizes the concept of “nature designing itself,” establishing a composite reservoir and wetland system that integrates historical imagery with modern ecological technology, demonstrating distinct cultural continuity and ecological sensitivity. Specifically, the water landscape design at Seoul Botanical Garden features the following innovations: First, the modern reinterpretation of historical culture, integrating traditional aesthetic sensibilities into contemporary environmental design through spatial recreations of paintings like Jeong Yeon's “Small Peak Waiting for the Moon.” Second, the systematic integration of ecological technologies, establishing ecological waterways connected to the Han River and a natural water circulation system to achieve efficient water resource utilization and biodiversity conservation. Third, it fosters public engagement through facilities like wetland observation platforms and an ecological education center, promoting interaction between citizens and the natural environment. These characteristics establish the Seoul Botanical Garden as a model for the dialogue between tradition and modernity, offering significant insights for the innovative development of water landscape design in East Asia. Figure 1 Map of Yangcheon County (1555, Gwangnyu Map) Figure 2 Eight Scenic Views of Yangcheon Source: Seoul Botanical Garden Collection, Seoul Housing & Communities Corporation SCIENTIFIC AND THEORETICAL CONFERENCE “DECORATIVE AND APPLIED ART OF THE TURKIC WORLD: HISTORY, MODERNITY, AND FUTURE PROSPECTS”, OCTOBER 23, 2025 68 Figure 3: Zheng Zhen's Painting “Young Yue Waiting for the Moon” Figure 4: Conceptual Model of Water Features at Seoul Botanical Garden Source: Seoul Housing & Communities Corporation, Seoul Botanical Garden Collection 3.2 Cultural Symbols and Ecological Grand Narratives in Contemporary Chinese Projects In contrast, many large-scale water feature projects in China today (such as Shanghai's Houtan Park and Beijing's Garden Expo Park) also emphasize ecological restoration. However, they place greater emphasis on reconstructing traditional symbols (such as meandering streams with floating cups and rockery landscapes) within the framework of national narratives. Ecological strategies often serve broader objectives of cultural display and national imagebuilding. Take Shanghai's Houtan Park as an example. While achieving ecological restoration along the Huangpu River shoreline through wetland purification and flood regulation technologies, the design extensively incorporates traditional Chinese garden symbols—such as curved bridges, rockeries, and pavilions—establishing a design paradigm where “ecology forms the foundation, while culture serves as the application.” Beijing's Garden Expo Park more directly embodies the fusion of national narrative and cultural display. The park gathers the essence of gardens from across the nation, showcasing the profound depth of Chinese garden art through its spatial structure of “one axis, two focal points, three belts, and five gardens.” In water feature design, it employs ecological technologies like rainwater harvesting and reclaimed water reuse while also amplifying the display of national image and cultural confidence through large-scale water performances and light shows. This tripartite design strategy of “ecology-culture-nation” has become a defining characteristic of contemporary large-scale water feature projects in China. Differences in contemporary water feature expressions between the two nations reflect distinct cultural-political and ecological governance orientations: South Korea leans toward “regionality, community-based, and micro-renewal,” emphasizing the delicate integration of historical culture and ecological processes; China focuses on “nationality, symbolism, and scale,” prioritizing the visual expression of macro-narratives and cultural symbols. These two distinct paths, each with its own characteristics, collectively enrich the contemporary practice of water feature design in East Asia. 4. Comparative Analysis of Contemporary Shifts and Innovation Pathways Under the influence of global ecological civilization and public participation concepts, both Chinese and Korean water landscape designs have undergone significant transformations, though their pathways and priorities differ. Regarding cultural inheritance mechanisms, Korean SCIENTIFIC AND THEORETICAL CONFERENCE “DECORATIVE AND APPLIED ART OF THE TURKIC WORLD: HISTORY, MODERNITY, AND FUTURE PROSPECTS”, OCTOBER 23, 2025 69 designers like Jeong Young-sun advocate for the continuity of “geographical textures,” emphasizing the importance of listening to the land's voice during the design process and integrating authentic landscapes with ecological design. Her works, such as the Seoul Botanical Garden and Seonyudo Park, demonstrate profound respect for regional history and natural processes. China, however, places greater emphasis on the symbolic extraction and recreation of traditional garden elements within the context of “cultural confidence.” Examples include the “Memories of Jiangnan” zone in Beijing's Garden Expo Park and the “Shen Garden” in Shanghai's World Expo Cultural Park, both of which reinforce cultural identity through modern reinterpretations of traditional symbols. Regarding eco-first strategies, South Korea emphasizes community-based applications of water resource management, biodiversity conservation, and low-carbon technologies. Seoul Botanical Garden achieves water recycling and habitat protection through wetland systems, ecological waterways, and rainwater harvesting facilities. Sinyu Island Park transforms a former water treatment plant site into an ecological education base using restoration techniques, embodying the “regeneration of abandoned land” philosophy. China implements state-led ecological projects like “sponge cities,” which exhibit greater systemic coherence but lower public engagement. For instance, Wuhan Garden Expo Park achieved multiple objectives— urban flood management, ecological restoration, and cultural display—through large-scale terrain modification and water system construction. However, it still has room for improvement in community participation and micro-ecological processes. Regarding public spaces and social engagement, South Korea actively enhances waterfront accessibility and social functions through international collaborations (e.g., Heatherwick Studio's Seongsan Island Soundscape Park). By reshaping topography and designing soundscapes, the Seongsan project created a multifunctional venue for music performances and art events, boosting public vitality along the Han River. While Chinese projects also advocate public sharing (e.g., Shenzhen Talent Park), their cultural narratives remain weighted toward collective memory and national discourse. Shenzhen Talent Park highlights the national narrative of “strengthening the nation through talent” through light shows and technological displays, maintaining a strong ideological tone while enhancing public accessibility. These differences reflect distinct developmental stages and cultural-political contexts: South Korea, having undergone earlier urbanization and democratization, prioritizes community engagement and ecological micro-renewal; China, as a rapidly developing nation, emphasizes macro-planning and national image construction. Moving forward, as ecological civilization advances and public participation grows, both countries may draw mutual inspiration in waterfront design, fostering a more inclusive and innovative East Asian paradigm. Figure 5: Jung Young-sun's Water Space Design for Seoul Botanical Garden Figure SCIENTIFIC AND THEORETICAL CONFERENCE “DECORATIVE AND APPLIED ART OF THE TURKIC WORLD: HISTORY, MODERNITY, AND FUTURE PROSPECTS”, OCTOBER 23, 2025 70 6: Heatherwick Studio's Design Proposal for Seoul's Han River Lotte Island Source: IFLA Official Website Source: Heatherwick Studio Website 5. Conclusions and Discussion Through historical analysis, comparative case studies, and theoretical reflection, this research systematically elucidates the profound influence of Chinese culture on the creation of water landscapes in Korea, as well as Korea's creative transformation within its regional context. The study demonstrates that cultural transmission is not a one-way transplant but a dynamic, localized process of re-creation. Korean water landscape art exhibits characteristics of “symbolic simplification and narrative intensification” in its traditional phase, while developing strong community connectivity and ecological-technological integration capabilities in the contemporary era. China, meanwhile, maintains its grand cultural narratives while progressively exploring pathways for deeper integration of public accessibility and ecological sustainability. Theoretically, this study's three-dimensional historical-cultural-ecological analytical framework offers a novel methodological perspective for East Asian environmental art research. This framework extends beyond water feature design to other environmental elements, demonstrating significant theoretical applicability. Furthermore, the revealed mechanisms of cultural transmission and regional adaptation provide crucial insights into cultural interaction and innovation within globalization. In terms of practical value, the comparative analysis of contemporary water feature cases in China and South Korea provides rich reference examples for landscape designers and policymakers. Cases such as the ecological integration strategy of Seoul Botanical Garden, the cultural symbol translation in Shanghai's Houtan Park, and the public space innovation in Lude Island Soundscape Park offer valuable insights for addressing contemporary urban ecological and cultural challenges. Future research may explore the following directions: First, comparative studies of water features across other Asian regions, examining traditional and contemporary practices in countries like Japan and Vietnam. Second, deeper investigation into the socio-ecological roles of water feature design in climate adaptation and community governance, particularly its functions and value in addressing extreme weather events and public health crises. Third, integrating interdisciplinary approaches, such as employing digital technologies for water feature morphology analysis and utilizing social survey methods to assess public satisfaction, thereby advancing research toward greater precision and scientific rigor. Finally, reconstructing East Asian traditional water wisdom within the context of global ecological crises will be a crucial shared challenge for scholars from both nations. 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