• (The)Study of the Eastern Classic
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• no.70
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• pp.33-58
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• 2018

The purpose of this paper is to clarify the life and poetry of Dokshok Hwang Hyok. In Chapter 2, we looked at the life of Hwang Hyok. There are two characteristics in the life of Hwang Hyok. First, Hwang Hyok had excellent literary talent. Secondly, Hwang Hyok wrote in an attempt to surrender during the Japanese Invasion of Japan. That is why he lived a 21 year detained life. In Chapter 3, we looked at poetry based on the life of Hwang Hyok. The features of poetry are as follows. First, the image of Somu and reality of Tiger and Dhole go around. Hwang Hyok lived a confined life because of the Japanese Invasion of Korea. Because of that, Hwang Hyok recognized the Japanese invasion of the Imperial Japan as a world where Dhole and tigers travel around. It symbolized the image of Sommu that he did not surrender. Second, Changsha, is the world and Gulwon images. Changsha is Gulwon the space of self-destruction. Hwang Hyok likened his dark life to Gulwon dead. This is because Hwang Hyok's life is similar to Gulwon's life. In other words, Hwang Hyok was most appropriate to compare his tough life to Gulwon, who drowned in Myeoglasu.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.50-60
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• 2014

This study aims to sort out the plants in "Poetry of the South" what is in the written by Qu Yuan in the Kingdom of Chu and to analyze the utility and appreciation of plants. The conclusions are as follows. First, there were 80 plant names and 56 plant species were sorted out, and these results can confirm that the plants were existed in the 340-277 BC. Second, through analyzing the utility of the plants, herba lycopi, basil etc. as the garden plants; lotus, chrysanthemum etc. as the ornamental plants; galangal and cannabis sativa as the present; basil, musa basjoo, etc. as the sacrifice plants. Third, through analyzing the appreciation of the plants, golden birch, chrysanthemum etc. for gustatory appreciation; herba lycopi and pine tree etc. for tactile appreciation; bamboo for sensory appreciation. Forth, through analyzing the token of the plants, calamus and basil etc. are the symbol of personal character noble; wormwood and caltrop etc. are the symbol of villain. Based on the research of "Poetry of the South", it can help to understand the plants culture in 340-277 BC, and it will be a useful information for the plant design.

• (The)Study of the Eastern Classic
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• no.50
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• pp.261-294
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• 2013

The purpose of this paper lies how the original text of Chinese classical literary works have been implemented in the paintings of China and Korea, and inspect the ways how of these original text interpreted in paintings. It is an experiment of trying to analyze through literature with painting and read again painting through literature. Qu Yuan(屈原) Prose Poem of Fisherman("漁父辭"), Tao Yuanming(陶淵明) Prose Poem of Returning Home("歸去來辭") and the prose with a poem on the peach blossom spring("桃花源記幷詩"), Du Fu(杜甫), Song of Eight Drunken Celestials("飮中八仙歌"), Su Shi(蘇軾), Odes on the Red Cliff("赤壁賦"), Ou Yangxiu(歐陽脩), Odes of the Sounds of Autumn("秋聲賦") and the paintings which based on these texts were the target of examination. These literary texts shared by Chinese and Korea have been compared in the aspects of acceptance and enjoyment. And on the basis of this process the characteristics of korean paintings expressing the ideas of classical literary works was induced. As a result, the following facts are derived. First, By the emergence of the typical style which was formed historically in China at the korean painting shows that korean painters not only actively embraced the art style of China also did not lose the international sense. Second, through the profound study for chinese painting, they transformed it in accordance with korean aesthetic view and finally revealed typical korean characteristics. Third, the results as described above showed the difference of perception and interpretation of literary works between China and Korea.

• The Journal of Korean Philosophical History
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• no.53
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• pp.63-100
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• 2017

In this article, I researched Nam Dae-nyeon's(1887~1958) thought of Neo-confucian theories, interpretation of confucian canons, and evaluation of historical figures. First, from the side of Neo-confucian theories, he asserted that Qi(氣) had behaviors and Li(理) had not. About his teacher Jeon Wu's(田愚) theories, he thought that those were in tradition of Confucius(孔子) and Mencius(孟子), but not emphasized presidence of mind. And he criticized the theory of mind was Li(理). Second, from the side of interpretation of Confucian canons, Nam Dae-nyeon's study centered on Four Books(四書). This showed he was in tradition of Neo-confucianism. Through this studies he emphasized the importance of Confucian Ren(仁) and Filial piety(孝), self-consciousness as gentry(士). Third, from the side of evaluation of historical figures, Nam Dae-nyeon evaluated many Chinese and Korean scholars, for example, Qu Yuan(屈原), Lu Zhong-lian(魯仲連), Zhen De-xiu(眞德秀), Lu Long-qi((陸?其), Zhang Lu-xiang (張履祥) of China, and Jeong Mong-ju(鄭夢周), Zho Kwang-jo(趙光祖), Yi Hwang(李滉), Yi Yi(李珥), Jeon Wu(田愚) of Korea. And his criteria for evaluation of historical figures was fidelity and insight.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.24-33
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• 2022

The travel notes and nature poems found in historic literary men's works can be considered historical records related to scenic sites. Such travel notes and nature poems are based on the writers' personal characters, experiences, learning and etc. Such works clearly show the characters of each literature, information of the related objects and the writers' thoughts of the objects. This study, thus, looked into Euisang on Xīsāishān Mountain that could be the origin of Eobusa(漁父詞) loved and sung by Korean historic literary men, and found that the Korean and Chinese literary men's thoughts were shown through their ways to enjoy Xīsāishān Mountain and their Euisang on the mountain, which was different between the Korean and Chinese literary men depending on the geographical locations described in their poems. In detail, the study results are: 1. Such difference of the ways to enjoy Xīsāishān Mountain, the scenic site described in historic Korean and Chinese literary men's work is broadly classified into the ways to enjoy the scenic site by seeing it in person and the ways to enjoy it under the mental structure of speculation. 2. Xīsāishān Mountain in Wuxing is the background of Yújiāzi(漁家子) of the painting Zhāngzhìhé, is boasting its distinguished beautiful nature, and is the place where the Confucian Study of Hú(湖學) was originated. It is also the place known of its warmhearted climate. Therefore, Euisang on Xīsāishān Mountain under such beautiful and warmhearted circumstance are realized as the complete freedom and seclusion in Taoism and the satisfaction with the given environment and position in Confucianism. 3. Xīsāishān Mountain in Wǔchāng is a military strategic point with rugged mountain terrain and scenery that has been a historic ferocious battlefield and related with the loyal civil servant Qū Yuán. The Euisang on Xīsāishān Mountain in Wǔchāng, therefore, represents the nature scenery of a rugged fortress and patriotism of Confucianism. 4. The Korean literary men's way to enjoy Xīsāishān Mountain is Shinyu(神遊: spiritual travel), so that their Euisang is formed according to the direction of the writer's values. Especially it is noted that Korean Euisang on Xīsāishān Mountain is originally based on the painting Zhāngzhìhé that shows the complete free mood of Taoism; and the Euisang on Xīsāishān Mountain that came from the mindful image by the poet monk Qíjǐ of Tang dynasty and Kim Si-seup appears with such Buddhist ways to seek the truth as SakGongIlYeo(色空一如: Being full is essentially as same as being vacant) and GyeonSeongSeongBul(見性成佛: Everybody can become Buddha by enlightenment).