• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.235-240
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• 2022

Donggang Su-ho Jo(1924-2016, hereinafter referred to as "Donggang") was a calligrapher and literarti painter who was active in recent times. When he survived, he was called the first teacher respected by all in the field of world calligraphy. His perception of beauty is due to the art view embodied by human instinct. In particular, he considered writing and painting as art of contact(接), which means connecting. Therefore, the meaning of contact(接), is recognized as a kiss between men and women or love affair(雲雨之情). In this way, his literarti painting originated from a wide range of concerns and quests for art. He recognized the principle of art creation from a universal and general perspective on beauty. Based on this, the significance of true artistic spirit and art philosophy was established. If you observe the literarti painting of the Donggang with bamboo's literati painting and orchid's literiti painting, his bamboo's literati painting has the aesthetics of lusterless(無潤), and difficulty obscurity(苦澁). His orchid's literati painting is appreciated refinement(雅) and harmony(韻) made vulgar appearance(俗). His character and scolarship became his literarti painting.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.605-611
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• 2022

This study excludes how to define the concepts and categories of the Ah-ak(雅樂) and Sok-ak(俗樂). In the process from the early Joseon Dynasty to the late Joseon Dynasty, the aesthetic appreciation system of the Ah-Sok(雅俗) in traditional music, which is consistently projected on court music and folk music centered on Pungryubang, was revealed through specific historical records. Through this study, we were able to examine as follow : In the early Joseon Dynasty, the aesthetic of music related to the the Ah-Sok(雅俗) was mainly projected on the court's ritual music and Yeonhyangak-music for korean court banquet-, and in particular, the aesthetic thoughts of Geomungo[玄琴] was at the center. As we descend to the late Joseon Dynasty, the aesthetic of music related to the Ah-Sok(雅俗) has been expanded to the private sector, reflecting the aesthetic of Pungryubang music, and it can be seen that the aesthetic thought of Geomungo[玄琴] was at the center.

• The Journal of Korean Philosophical History
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• no.50
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• pp.201-234
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• 2016

This thesis examined interpreting methodology of Do Won Lew Seung Kug(1923~2011) is based on the principle of Juhng-yaug. His lifelong academic aim was searching for the theory that enables global community to co-exist peacefully through humanitarianism that leads to reconciliation and mutual benefits. The research of the history of Korean thoughts provided him with the clue for his theory. According to Do Won, Korean thoughts pursue the Juhng-yaug's value of 'Yin and Yang accordance' rather than the I-Ching's value of 'suppress Yin and elevate Yang'. He furthermore asserts the concept of the middle (中), which harmonizes the two extremes by human beings as main agents, has been consistently observed from the action of divination during the ancient period through Juhng-yaug in the late 19th century. Do Won identifies 'human maturity that integrates the extremely conflicting insistences and values and seeks to be reconciled' as the basic character of Korean thoughts. He explains 'Hongikingan[弘益人間, becoming beneficial to the human world] is the idea that embraces the conflicting values symbolized by heaven and the earth. He also illuminates that Choe Chi Won(崔致遠)'s created Poongliu Do by integrating heterogeneity among Confucianism, Buddhim, and Daoism and it was attainable through the various works of mature human beings. Both Toe Gye' s philosophy of Ingeuk(人極, the Great Ultimate of Person) and the concept of Innaecheon(人乃天, Human Being right is Heaven) of Donghak are excellent examples of Humanitarianism that sublate two extremes. In Korea, the prototype of this thought has penetrated its entire history in the various circumstances of the period. The grand finale is Juhng-yaug of which the pursued values are 'Yin and Yang accordance' and mature humanitarianism revealed by the thoughts of the Person of the Central Ultimate (皇極人,至人) and Central Ultimate (皇極). Therefore, Humanitarianism in Korean thoughts clearly makes its appearance by the time of Juhng-yaug and it functions as a keyword to illuminate the entire history of Korean thoughts in reverse.

• (The) Research of the performance art and culture
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• no.39
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• pp.393-413
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• 2019

As one of a shaman song to reveal features of the byeolsin rite, East Sea coast, Gyeongbuk, Korea is matgut have been discussed for a long time. The rite is held to greet other shamans who were invited by a village resident and the highest shaman to perform the rite. When there is no highest shaman in the village, or when the highest shaman lacks the ability to perform the exorcism, other shamans are invited if a person is required to meet the scale of the rite, which is a rite of passage to verify their abilities and to become a community, even while the byeolsingut is held. The best shaman team, or village Pungmul team, and shaman team, When the strings are between them, they play music and struggle with each other, and the strings are lifted, they greet the god of the game at the altar, and the shaman turns around and plays with the field. However, the process of greeting the shaman at the exorcism rite after 2000 and the procedure of "Paggi-bogi" in which shamans take turns singing songs are disappearing. In addition, although the village Pungmul team has participated in the rite as a welcoming party for the shaman team, the purpose of the rite, which is to greet the shaman, is also being tarnished by leaving the role of the village Pungmul team to the outside team. This is due to changes in the villagers' perception of gut and shaman. As in the old days, it was necessary to greet a shaman as a rite of worship, although it was not necessary to confirm its ability to perform the rite of the village, due to the disparity of status. However, after the shaman has been transformed from a 'mysterious' existence into an intangible cultural asset functional owner, the perception of shaman changes and the village confirms the shaman's ability through an intangible cultural asset certificate. In addition, the number of villagers who know the details of the rite is decreasing, and most of the tasks such as preparation and proceedings of the rite are delegated to the shaman to hold the byeolsingut, and the nature of the exorcism of the exorcism is changing.