• Industry Promotion Research
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• v.5 no.1
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• pp.73-87
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• 2020

The purpose of this paper was to find examples of a group of interpretations while biased toward the translation of the manuscripts of Myeongnology, and to apply the criteria of the translation of the manuscripts of Myeongnology in accordance with the criteria of SIN(信), DAL(達), and AH(雅) of EOM-BOK. Since the original author's intention should be faithfully reflected, the translation of the original book should be applied to the interpretation required at that time based on the translation corresponding to SIN(信), the translation corresponding to DAL(達) and the AH(雅) translation corresponding to the elegant interpretation. Translation is the most important purpose of implementing equivalence in the intentions of the original author, so the equivalence of the Source language and the Taget language should be observed even in the differences of expression. Up until now, the question of the translation of the nouns has mainly focused on the translation of the stylistic system by focusing on trying to overcome the structural differences of the language. Translation now requires the implementation of semantic equivalence as well as primarily a stylistic approach. This researcher wanted to open a new horizon for the study of classical literature in Myong-hak by presenting a standard for the translation of robes that achieve the intent and equivalence of the original author in the translation of the original text.

• 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.