• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2017.03a
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• pp.24-25
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• 2017

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.61-70
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• 2019

The painting group of Late Ming and Early Qing Dynasty is an era of confusion between the orthodox who faithfully cooperated with the Qing Dynasty and the individualist who had a hostile attitude. The country was ruined by these dynasties, and the family left the real world with the suffering of the breakdown and stayed in the mountains.Paldaesanin and Seokdo, the representative Yumin painters, did not form any a sect as a unique expression style for finding a true self.And, through his work, he expressed on madness and oddity through new ideas and composition that he feels misery and anger in his heart. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. Paldaesanin portrayed a strange figure with a spirit of resistance and a sad and angered emotion, through a unique technique of painting.The content is cynical, satirical, ironic, and on madness and oddity. On the other hand, Seokdo explained "ilhoeg" that the method of writing and the method of writing in "Hwaeolog" agree with each other.This has allowed us to achieve autonomy as a "rule without rules" that goes beyond the existing rules. And he delicately portrayed beauty, desire, and emotion with the use of sensuous brushes and the beauty of the colors.Their unique paintings were later conveyed to yangjupalgoe and led to the flow of paintings in the 18th century.

• (The)Study of the Eastern Classic
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• no.36
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• pp.265-299
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• 2009

The Great Learning is an essential scripture of Confucianism that has had great influence on the politics, thoughts, society and culture of the East Asia which contains Korea, Japan and China. In case of Japan, the doctrine of Toegye(退溪) is flown into pre-Tokugawa era, and as the doctrine of Zhu Xi(朱熹) exercise influences over the other thoughts, the importance of the Great Learning is embossed relatively in Tokugawa era. The characteristic of Japanese confucianism of Tokugawa era is to lay weight on real world as such, and the Japanese confucianism has grown up academically centers on exhaustive reinterpretation about some Confucian classics. And Backho-Yoon Hyu(白湖 尹?), Seokye-Park Sedang(西溪 朴世堂) who lived in 17th century of Joseon dynasty attempt new interpretation about the Great Learning and they have an objection to the explanatory notes of Zhu Xi. In the same period of China, there are similar academic trends around Whang Jong Hi(黃宗羲), Ko Yeom Mu(顧炎武), Wang Fu Chi(王夫之). In other words, new views of real scholarship which reject emptiness and put much value on reality were current of thoughts that have been common to the oriental three countries in early and middle 17th century. The main object of this paper is to understand the attitude and understanding about the Confucian classics especially the Great Learning of the scholars who lived in early and middle Tokugawa era. It will be a decisive clue to understand the ninucture of thoughts system of them. Through these work, we understand how it has had influenced to thinking-ninucture and lives of the Japanese. And the other purpose of this paper is to understand characteristics of them when we compare that vking-ninucture and lives of the Japanese Confuciang-ninearly and middle Tokugawa era with in the same period of Jeseon and the later Ming(明) and early Ching(淸) dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.137-148
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• 2018

Li Yu's Xian Qing Ou Ji was written during the late Ming and early Qing Dynasty when material culture flourished due to the development of the commercial economy. Xian Qing Ou Ji is considered a retrospective work that reflects the rich material society at that time. This study focuses on his gardening theories through the interpretation and analysis of these two texts of 'Jushibu(居室部)' and 'Zhongzhibu(種植部)' in Xian Qing Ou Ji. The results are summarized as follows. First, he explained the method of garden configuration and orientation according to the topography utilizing the theory of 'suiting one's measures to local conditions(因地制宜)'. He emphasized the detailed understanding of topography as the starting point for all the gardening theories. It stated that he tried to adjust the height of the terrain artificially to create an ideal form of 'anterior high and posterior low(前低後高)'. The successful arrangement of houses, pavilions, rockery and waterways et al. was able to be achieved because of his accurate understanding of topography. Second, 'borrowing scenery(取景在借)' means 'borrowing the outside scenery to the inside'. He applied this theory by 'viewing in motion(動觀)' and 'viewing in repose(靜觀)'. 'Viewing in motion' is seen as a positive methodology for landscape enjoyment. For example, the view through a window changes with movements of the boat, and it can portray thousands of landscape paintings which can be seen through the windows. In the case of 'viewing in repose', the window is regarded as a means of attracting outside garden views to the inside. Third, he emphasized 'the firmness of objects(制體宜堅)', where the design of windows and railings must be considered ahead of others. Fourth, he interpreted the contents of 'the pursuit of novelty(創異標新)'. This generalizes the characteristics of his gardening theory. The contents included 'hall wall(廳壁)', 'variable sun visor(活?)', 'hanging boards and couplets(聯?)' and 'method of supporting vines with bamboo screen(竹屛扶植法)'.

• The Journal of Dong Guk Oriental Medicine
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• v.6 no.2
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• pp.33-85
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• 1998

In order to find the characteristic medical methods of "BianZhengGiMun" by the author ChenShihTo, we have translated and analyzed the mentioned book. Upon analyses, the following facts were noted : 1) "BianZhengGiMun" is written and composed of case studies. Prescriptive methods described here differ rather from previously known methods, where as our nation's Oriental medicine practitioners refer and consider these methods as miraculous modern methodologies. 2) Book's content has much similarities to "ShangHanLun"'s original text. Moreover, the content is adjusted towards presenting methodologies not coverd in "ShangHanLun"'s text, together with adding more information to conserve "ShangHanLun"'s methods as well as to critique them. 3) Diagnostic methods mainly follow the ZangFuBianZheng(臟腑辨證)'s pattern, where it's recorded information and theories are valid. 4) "BianZhengGiMun"'s proscriptive methods usually follow BuYinShengJin(補陰生津)'s form, where they were appropriate for that period and circumstances. 5) In consideration of all of the above factors, ChenShihTo grasped ShangHan and WenBing(acute febrile disease due to exogenous factor) as WaiGanReBing(外感熱病)'s double sided characteristics, where this corresponds with the current belief. It is believed that this in turn would provide much practical value to the present time.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.400-412
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• 2022

The Accommodational missionary method adopted by the Jesuit missionaries who came to China in the late Ming and early Qing dynasty is called the Accommodation and Naturalization and is based on the Poetry. The terms they borrowed were 'Di(Emperor Above)' and 'Tian(The heaven)', the key terms of Confucianism. Although 'Di' was a new transcendent concept, its status was downgraded in the political upheaval, and 'Tian' was rather elevated. However, both of these concepts gradually transformed into philosophical concepts that directly affect real life. The two terms borrowed to express the priesthood could not contain the uniqueness of Christianity, and Christianity was interpreted as an extension line of Confucianism thinking, reduced to an adjunct of Confucianism, and was not indigenous to the depth of ideology. A rational philosophical inquiry could not have played a full role in guiding the Chinese into the true Christian 'faith' unless it is paired with the great teachings of revelation. It is necessary to analyze these results soberly to find problems and to try various studies to explore ways to open up new horizon for Christian missionary work.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.39-51
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• 2011

This study is explored the relationship of cultural history between the culture of mental stroll about nature and the traditional landscape architecture spaces, which showed various aspects of developments, based on the records as to landscape architecture spaces. The philosophical view on nature was turned into the esthetic view with the mellow ripeness of multifarious cultures in Choseon period, since the life of literati had to be a comprise between the Confucius' life and the Taoist life. Around the seventeenth century, as the culture of enjoying a secluded life in city had been descended, the aspiration to appreciate nature in daily life with the changed view on nature. Those desires made the Wa-yu culture, which has a meaning of mental stroll about nature, and drew the attention and various kinds of the Wa-yu culture had bloomed. In the field of Korean literature, the record of strolling in nature had flourished, while the realistic landscape painting had emerged in the field of art. In the field of landscape architecture, the building of places where the vivid experience of nature was realized in the aspect of impressions was performed to express their utopia. Indeed, the space of traditional landscape architecture in the reality meant more than the actual nature.

• The Journal of Korean Philosophical History
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• no.25
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• pp.411-437
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• 2009

Generally transition of Thought from Wang Yangming(王陽明) to Liu Zongzhou(劉宗周) is construed from emphasis of subjectivity to emphasis of intention(意; Yi). This Transition from emphasis of subjectivity to emphasis of intention is definitely expressed between Wang Yangming's Four-Sentence Teaching(四句敎) and Liu Zongzhou's explanation of Wang Yangming's Four-Sentence Teaching. Wang Yangming's Four-Sentence Teaching evoked much controversy among scholars of Yangming school. Consequently Four-Sentence Teaching's controversy caused Yangming school's division. Also this was a representative controversy on the transition period from The Ming Dynasty to The Ching Dynasty. Liu Zongzhou's critique and exposition of Four-Sentence Teaching was result from this controversy. The difference between Wang Yangming's Xinxue(心學) and Liu Zongzhou' Xinxue(心學) is due to different interpretation of intention. As is generally known Wang Yangming interprets intention is in heart stiring, but Liu Zongzhou interprets intention is being before heart stiring, immanence in heart. Liu Zongzhou suggests new exposition of Four-Sentence Teaching on intention being before heart stiring, immanence in heart. Liu Zongzhou's critique and exposition is not only criticizing Yangming's Four-Sentence Teaching, but also solves troubles of the times. As a result he promotes theory of Xinxue(心學) being peculiar his own.

• (The)Study of the Eastern Classic
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• no.37
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• pp.411-439
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• 2009

Fu-Shan(傅山, 1607~1684) was a progressive actualist between the late Ming(明) dynasty and the early Qing(淸) dynasty. He regards the intellectuals at that time as scarecrows leaned on the empty and exaggerative moral philosophy which the neo-confucian of Song(宋) dynasty established. He thinks that the neo-confucian discussion cause harmful side effects, disregarding the utility side and the variety of the actual world. His thought becomes known all in political thought and literature. He asserts that the neo-confucian ideas provides the logical frame which regulates the actual world and creates a kind of absolute moral ideology. Therefore he insists that the Saint in the true sense of the word consequently is the social reformer and revolutionist who exposes the irrational elements of society. He insists that literature also must be able to express vividness of the actual world. He thinks that genuine literature must have creative contents and find one's own free wild way. He asserts that old literary style from the mimicry is the act which goes against human natural. He thinks that the writing must be able to express the actual world.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.2
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• pp.30-39
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• 2019

In this study, 27 representative plants with symbolism and appreciation were extracted from 68 plants collected in Li Yu (1611-1680)'s monograph named 'Xianqingouji Zhongzhibu'. The interpretations were as follows. First, symbolism of plants could be summarized as 1) Li Yu thought that Paeonia suffruticosa was called 'the king of flowers', not only because of its beauty, but also because of its upright character. The only flower that could compete against Paeonia suffruticosa was Paeonia lactiflora Pall.. This flower was called 'the flower prime minister' by common people. But Li Yu thought that Paeonia lactiflora Pall. should also be included in the feudal princes. 2) Prunus persica and Camellia japonica were compared to 'beautiful cheeks', and Malus spectabilis (Ait.)Borkh, Jasminum sambac, Rosa multiflora var. platyphylla, Narcissus tazetta, Papaver rhoeas were compared to 'beautiful women', expressing his love for flowers. 3) Li Yu called Nelumbo nucifera a 'gentleman in flowers' and Buxus sinica Rehd. et Wils. Cheng a 'gentleman in trees'. On the contrary, Daphne odora was compared to 'villain in flowers'. 4) Ilex integra was compared to a hermit, and Campsis grandiflora was compared to an immortal. Second, appreciation of plants could be organized by 1) Appreciation of plants required assistive tools. When going to suburb to enjoy the scenery, tents needed to be prepared. Paper screens should be used to appreciate Prunus mume in the courtyard so as to gain more elegant. Li Yu also proposed that ornamental objects should be properly placed near Orchidaceae so as to gain more elegant. 2）Li Yu took Lagerstroemia indica and Prunus armeniaca L. as examples to interpret that plants were as perceptive as animals and human beings. 3) Li Yu took Salix pierotii and Albizia julibrissin as examples to interpret that people should communicate with plants through five senses to produce resonance. And took Nelumbo nucifera and Rosa rugosa to emphasize the ornamental and practical value of plants. 4) Plants were metaphored sth. similar to them. An interesting example was Celosia cristata L. which was more like an auspicious cloud in the sky than the crest on the cock's head. To sum up, Li Yu personified plants and thought that people should communicate with plants by multi-sensory world when appreciating plants. Through this, it fully showed his love for plants. Meanwhile, Li Yu's symbolism and appreciation of plants, to some extent, reflected the elegant life of literati in the early Qing Dynasty.