• (The)Study of the Eastern Classic
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• no.32
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• pp.311-362
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• 2008

This study aimed to make clear the education process, from antenatal training to early childhood education, of Joseon Royal Family. Centered on the successors to the throne and reviewed also the education of other Royal Family members, this study carried out comparative analysis on them. Antenatal training is pregnant woman's essential physical and mental attitude. It is indispensable to the health and good nature of unborn baby. Antenatal training had been based on the theory of Oriental medical science that fetus can sympathize what mother see and feel. Such theory, combined with Confucian self-culture theory, had taken very important position in Confucianism. Not to speak of Royal Family, noble family regarded antenatal training very essential as beginning of education and root of nature formation. For firstborn son and firstborn grandson, Boyangcheong (輔養廳, special nursery agency) was set up before their age became three, but not for other sons and grandsons of Royal Family. When firstborn son or firstborn grandson grew up to read letters, Ganghakcheong (講學廳) was set up for their early education. Other sons of king also learned in their early ages at Ganghakcheong while other grandsons of king learned at Gyohakcheong (敎學廳). Education courses were almost same between successors and non-successors but there were wide difference in the ranks of their tutors; firstborn son's tutor marked 2nd Jeong(正) class, firstborn grandson's tutor marked 2nd Jong(從) class and other royal sons' tutors were just 9th Jong(從) class.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.6
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• pp.15-29
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• 2022

The Byungsan Neo-Confucian Academy, a 17th-century World Heritage Site in Korea, is being praised as a manifestation of naturalness or non-artificiality of the traditional Korean borrowed scenery technique (借景, chagyeong). This study, however, aims to reinterpret the chagyeong of the Byungsan Academy (hereafter the Academy) as a device of illusion evoking an idealized vision of nature. In the process of interpretation, 'picture and frame'-a widely accepted expression that represents the chagyeong of the Academy-will be foregrounded as the pivotal concept mediating the change of perspectives from naturalistic to ideological. This study consists of the following three parts. First, it shows that 'picture and frame' represent a modern way of seeing the Academy as an architectural heritage in harmony with nature; it denotes pristine nature and the empty architectural frame that safely circumscribes the innate beauty of the natural landscape. Second, departing from the naturalistic perspective, this study argues that the architectural framework of the Academy composes scenography enticing the viewer to imagine the idealized, Confucian image of nature that compares to the landscape imagery found in the landscape poetry and paintings that were produced and appreciated by the 17th-century Confucian literati. Lastly, based on the above interpretation, this study stresses that the 'picture' one encountered at the Academy in the 17th century was not the framed scene of a natural landscape but the illusion it caused; the architectural 'frame' worked not as a symbol of naturalness but as an institutional apparatus of vision manipulating the way one sees-and therefore imagines-the landscape.

• The Journal of Korean Philosophical History
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• no.42
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• pp.233-258
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• 2014

This article investigates the concept of the xing(性) used by Hu Hong. Hu Hong's philosophical system considered to top priority for xing is called xingbunlun(性本論), and he suggested the characteristics of xing as follows. First, Hu Hong regarded xing as the fundamental of whole world and related to the specific individual things, so he constructed the concept of xing in the perspective of ontology. Namely while xing is ti(體) the root of all the world, it is the realization of the uniqueness of the individual things. Also he considered xing which of the ontological aspect developed various psychological aspect contained xin (心), qing(情), yu(欲), etc. Seond, As Hu Hong regulated that wei fa(未發) is xing and yi fa(已發) is xin, he defined the ideal relation between xing and xin as xingtixinyong(性體心用). And he considered that the sage and the ordinary peoples are equal in the xing's aspect of wei fa, but they are not equal in ability of the xin in the aspect of wei fa. Hu Hong thought that the only sage realized the ideal relation between xing and xin in this world, because he keep his mind silent. So Hu Hong suggested the possibility of moral cultivation to the ordinary peoples, expressing that human nature realized the function of the mind(成性), in order that they realized ideal relation by following ren(仁). Third, unlike the traditional notion, Hu Hong understood the meaning of xing in the aspect of ontology. He interpreted the shan(善) of xingshan(性善) as the meaning of exclamation, which implied that "the innate goodness of human nature(性善)" meant "Human nature is good." Because Hu Hong thought that the meaning of xing transcended the relative concept of good and evil, and accepted the whole world affirmatively. In the opinion of Hu Hong, as the concept of xing had two ways of intentionality; likes and dislikes(好惡), things formed relationship with other in this world. Then the concept of good and evil of the ethical value judgement occurred.

• Journal of Science of Art and Design
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• v.11
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• pp.201-220
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• 2007

From two viewpoints the writer investigated the beauty of space by overall arrangement and composition of a picture in Oriental painting. In particular, she examined the expanded representation and significance of space use which had not properly been recognized in the field of a colored picture contrary to a painting in India ink. She studied that the boundary for the representation and appreciation of space was unlimited to one field of painting by studying and analyzing it in connection with other fields of art which had something in common with it in techniques or languages of representation. The writer considered the aspects of similar forms and spirits as the methods of understanding and representing the essence of an object in creating a work. She generally considered the aspect of perfecting knowledge by studying the principle of an actual thing for the representation of revealed forms corresponding to the aspect of similar forms, and tried to reach the stage of 'materialization' united with the spirit of the subject of creation for the formless forms corresponding to the aspect of representing an artist's inner world as well as the external shapes of things. She tried to reach the stage of spiritual cultivation in pursuit of the boundary between 'mental vanity' and 'sitting quietly and attaining the state of perfect selflessness', which were presented by Chuang-tzu, to express the spirituality internal to it. She recognized that the projection of the cultivation on a work could convey internal essence as well as external forms to a picture. It was because the image of the form represented in a picture was based on the aesthetic experience got from realty. In the concept of space and a method of representing it, she explored and analyzed the basic concept of space, arranged the concept of space shown in Oriental ideas dividing it into the concepts of space in Confucianism, Taoism and the Zen sect. What she felt acutely through this study was that she should establish the identity of her work by succeeding to, changing and re-creating tradition based on the historical heritage left by successive excellent painters and theorists. Putting together all these things showed that establishing the identity in the world of work pursued and oriented by her required searching the direction in future works by mixing tradition with modern times in a creative way, which is just the purpose of study in this thesis.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.273-280
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• 2021

GangAm Song Sungyong (1913~1999) was from Gimje, Jeollabuk-do. And he is a calligrapher from the last Confucian scholar of the 20th century and a writer of poetry, calligraphy, and painting. While wearing a topcoat and hanbok for the rest of his life, he approached the study, thought, and calligraphy art of Yoo Jae Song Kimyeon and Kojae Lee Byungeun from the perspective of 'GucheSinyong'. And he kept the philosophical subjectivity that tries to maintain character and a right mind. It was based on 'Guche', which is a faithful succession to the reverence of the old. When I was young, I practiced Mibul and Dong Kichang with Gu Yangsun as the center, and Hwang Jeonggyeon, Hanye, Oh Heejae, and Sojeon typefaces were grafted together during the national exhibition. Then, in 1965 (age 53), he moved to Jeonju, and learned several typefaces such as Chusa typeface on his own, creating a Gangam typeface without any obstacles. And he created 'Sinyong' with Windy Bamboo painting, which embodied strange and unconventional meanings. In addition, he re-established his identity by reexamining the fundamental spirit and natural aesthetics of calligraphy, and based on this, he greatly contributed to expanding the aesthetics of modern calligraphy and painting art by pursuing an aesthetic that explores novelty. In particular, Windy Bamboo painting has strong abstraction based on the principle of 'drawing the will'. And, in terms of discipline, the ethical aesthetic of Express Tao with pictures (畵以載道), which expresses the high level of elegance of observing small things in a big way, based on deep research on the logic of things and fulfilling human nature. By implementing it, Tao and Art become one. The Jeonbuk calligraphy group achieved the greatest prosperity in the Gangam era, and at the end of the 20th century, it entered a period of revival as it established itself as the central calligraphy group of Korean calligraphy.

• Journal of the Daesoon Academy of Sciences
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• v.47
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• pp.139-172
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• 2023

This study aims to look into the concept of Human Mind and Moral Mind and the issue of their axiological interpretation in Daesoon Thought. In the Song dynasty, the concept of the Human Mind and Moral Mind was understood as indicating two aspects of the universal Human Mind. Discourse on this theory was undertaken by scholars such as Cheng Yichuan (程伊川), Su Shi (蘇軾), and Zhu Xi (朱熹). The differences between the Human Mind and Moral Mind were interpreted as issues of cultivation. The discussion of the Human Mind and Moral Mind were established through a systematic theory by Zhu Xi, and this developed into various forms of discourse and ideological stances thereafter. One of the most important issues of the Human Mind and Moral Mind theory was its axiological interpretation, which was divided largely into three patterns. One was to interpret the Human Mind and Moral Mind as evil and good respectively (proponents included Cheng Yichuan and Zhu Xi in his early theories), the other one saw them as value-neutral and good (proponents included Zhu Xi, Toegye 退溪, and Yulgok 栗谷), and the last one interpretation held them as pre-evil and pre-good (Dasan 茶山). As the Human Mind and Moral Mind can be seen as a universal human issue, the examination of those patterns in the Confucian tradition would be meaningful for understanding the Human Mind and Moral Mind as a theoretical base in Daesoon Thought. In Daesoon Thought, the Human Mind and Moral Mind are defined as private and public respectively, but no further explanation is provided regarding these items. If we infer by considering the two in the light of the overall ideology and values that Daesoon Jinrihoe pursues, the Human Mind can be said to represent basic biological desires such as clothing, food, and sexual satisfaction all of which are human vital activities needed for the preservation of the human race. The Moral Mind can be seen as a mind that is set upon practicing morality and realizing the ideological aims of 'supporting the nation and comforting the people,' 'vast saving all creatures,' and achieving 'harmony and peace for humankind.' However, the conscience and the selfish mind, which are related axiologically to the Human Mind and the Moral Mind, are defined respectively as good and evil and explained in a relatively systematic way which includes conceptual claims and details on the origin of these aspects of mind. The reason why the discussions of the conscience and selfish mind are more systematically described than the Human Mind and Moral Mind seems to be that issues relating to the conscience and selfish mind are more directly applicable to matters of religious doctrine.

• Journal of Korean Home Economics Education Association
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• v.20 no.4
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• pp.205-211
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• 2008

This study attempted to explore what is the image that preliminary teachers seek in Home Economics. The purpose of this study was to find the images that make people thought based on the Q methodology. Q methodology is a way to understand a person's structure of subjectivity. This study applied Q methodology to clarifying preliminary teachers' subjective evaluation of the image of Home Economics. 33 Q questions were prepared through literature review, and were offered to 60 preliminary teachers. The subjects were divided into the five types seeking different image with Home Economics: adjustment for society, neglection by prejudice, education for basic element of life, focused on home life, personal mature.

• Sijohaknonchong
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• v.30
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• pp.263-300
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• 2009

Adoration for nature constitutes one of the primary subjects that literature has tackled since the origin of human history. Nature expressed through a poet's subjective imagination is the internalized and reorganized nature. This study examines the view on nature enacted in Ch'o-Jung's three-verse poems (sijo) in light of the traditional views on nature implicated in the ancient three-verse poems (koshijo), which is in line with the long-established Oriental view on nature. To dignitaris(sadaebu) in the Chosun Dynasty, nature appeared as the idealistic subject for moral culture ($shims{\breve{o}}ngsuyang$), which also becomes the literary space where the purity and justice of the world view of Neo-Confucianism(Sungrihak) is contained in the form of the three-verse poem, the lyrical poetic space where the "I" is united with nature by way of "enjoying of wind and moon"($umpungnongw{\breve{o}}i$) and "living in quiet retiremen"($yuyuchaj{\breve{o}}k$), and the object for the poetical perception of the surrounding world. Ch'o-Jung' s three-verse odes are found in Reed pipe ($Ch'oj{\breve{o}}k$), Sixty Five Pieces of Three-Verse Odes (Samhaengshi-$yukshipopy{\breve{o}}n$), Autumn Fragrance ($Hyangginam{\check{u}}n-ga{\check{u}}l$), and The Words of Zelko va Tree ($N{\check{u}}tinamu{\check{u}}i-mal$). This study analyzes 212 pieces of Ch'o-Jung' s three-verse poems chosen from theses books. In Ch'o-Jung's poems, the traditional view on nature expressed in the ancient three-verse poems is rendered in such a way that metaphysical understanding of nature is indirectly transmitted through the objective correlatives found nature. Nature is no longer the object of straightforward utterance, but transformed, displaced, and removed: that way, nature gets objectified to form a complicated and multi-layered structure. In conclusion, the view on nature manifested in Ch'o-Jung's three-verse poems is based on traditional metaphysics. Second, nature is the object of lyrical nostalgia and adoration. Third, nature is imbued with the fundamental affection for parents. Fourth, nature is associated with organic life. Fifth, the nature in Ch'o-Jung's poems reveals the beauty of stillness endorsed in Lao-tse's and Chung-tze's philosophy. And last, nature is the agent for self-realization and meditation.

• Journal of Science of Art and Design
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• v.11
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• pp.153-199
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• 2007

The East has recognized 'similar forms' and 'similar spirits' as important topics in expressing an object. Figure painting, in particular, has attached importance to 'transmission of spirit'. Gu Kaizhi (345-406) definitely presented the transmission concept and made it the moot important criterion in painting criticism. By identifying the possibility of revealing spirit through a form, he recognized the 'expression of will' in a creator's work and the experience of such 'expressed will' by an appreciator to be the essential acts of art. Thus, he said, a figure painting revealed the character and nature of the depicted object rather than reproducing its form. Regarding art as a person creating the saintly way of life via developing own character, he attached importance to the will of an artist as the central aesthetic subject. This dissertation explores the keynote of the spirit expressing an artist's inner world and the external shape of a figure. It is carried out by investigating the process of Gu Kaizhi's theory (namely spirit transmission and revelation in painting) leading to Su Dongpo's assertion that "the nature of things" and later leading to Yun Duseo's "theory of the way of painting" as the spirit-transmission theory faithful to the principle of revealing spirit through a form in Chosun. The chronological study of the aforementioned works reveals that the relation between an artist and an object is important at the stage of setting aim in producing a work, and this dissertation analyzed it with four elements: (1) creating work based on the viewpoint of nature that heaven and man are one; (2) reflection of the creator's character (including his/her nature, temperament, spirituality, and emotion during the creation) and the artistic merit of a picture; (3) the dialectic unification between the true and the false through space which is a volitional state as creative thinking space; (4) importance of artist's will above the technique used such that a purposeless, inactive and plain work (where human will is combined with heavenly one) was pursued because the picture is regarded coming from the mind created in the unity of host/artist and guest/object. Thus, through his/her intuitive insight is the world where self is united with the cosmos symbolized. Such expression of an artist's inner world and the external shape of a thing pursues the stage of materialization and creates the new modes such as using space, a variety of brushstrokes, and accidentality and improvisation of India ink. In particular, the writer sees that such expression which enables a creator to express his/her nature or personality (and even the emotion) at the time of creation will be highly worth studying in the future, in accord with the pursuit of contemporary painting being expressed as an abstract aspect.

• Clinical and Experimental Pediatrics
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• v.46 no.12
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• pp.1212-1216
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• 2003

Purpose : Rotavirus is a leading cause of severe gastroenteritis in infants and young children around the world. The aim of this study is to investigate the fat content in stools of patients with rotaviral enteritis compared to the stools of children who had no gastroenteritis. Methods : Seventy two patients who were admitted to Konkuk University Hospital, College of Medicine from Jun 2001 to May 2002 due to rotaviral enteritis and seventy five patients who were admitted at the same time with other diseases with no gastrointestinal problems as control, were enrolled in this study. The age of patients was from one month to five years. The average age of children with rotaviral enteritis was $17{\pm}11months$ and the average age of control patients was $14{\pm}15months$. Fat content of stools was investigated by acid steatocrit tests in both patients with rotaviral enteritis and control. Results : Acid steatocrit value of patients with rotaviral enteritis was higher than that of control patients. There was no difference in acid steatocrit value of children with rotaviral enteritis among the age groups. In one month- to six month-old infants, there was no difference in acid steatocrit values between the children with rotaviral enteritis and control patients. But, over the age of seven months, the acid steatocrit value of children with rotaviral enteritis was higher than that of control patients. Conclusion : We are of the opinion that fat malabsorption in patients with rotaviral enteritis and steatorrhea in rotaviral enteritis may result from decreased fat absorption in the small intestine.