• (The)Study of the Eastern Classic
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• no.63
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• pp.9-41
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• 2016

This paper focuses on 'clean(cheong: 淸)' kinds of style terminologies among various style terminologies appearing in Heo Gyun's Seongsushihwa("惺?詩話") and tries to analyze the distinctive points which 'clean(cheong: 淸)' kinds of style terminologies include. In Heo Gyun's Seongsushihwa, 11 of 'clean' kinds of style terminologies, such as "cheonggyeong(淸勁), cheonghryang(淸亮), cheongryeo(淸麗), cheongseom(淸贍), cheongso(淸?), cheongweol(淸越), cheongjang(淸壯), cheongjeol(淸絶), cheongjeol(淸切), cheongchang(淸?), cheongcho(淸楚)," were used. This paper focuses and analyzes 'cheonggyeong(淸勁)', 'cheongjeol(淸切)', 'cheongcho(淸楚)', and 'cheongweol(淸越)' that he suggested through applying to real literary pieces. The result of analysis indicates that 'clean' kinds of style terminologies 'cheonggyeong', 'cheongjeol', 'cheongcho', and 'cheongweol' share the same 1st character 'clean(淸)', yet have distinctive qualities by the 2nd characters. These 4 style terminologies all share 'cheong(淸)' image which means clear and clean, yet each one has the attribute of the 2nd character that indicates each one's individual characteristic. It is apparent that 'Cheonggyeong(淸勁)' reflects the 'gyeong(勁)' image meaning upright and solid and implies poems of poets' steadfast spirit within clear boundary; 'cheongjeol(淸切)' reflects the 'jeol(切)' image meaning either desperation and imminence or pitifulness and sorrow and implies poems of poets' urgent and pitiful emotions within clear and clean boundary; 'cheongcho(淸楚)' reflects the 'cho(楚)' image meaning either delicacy and fineness or slenderness and tenderness and implies poems of poets' beautiful but not luxurious, delicate and tender emotions within clear and clean boundary; and 'cheongweol(淸越)' reflects the image of 'weol(越)' meaning unworldliness and excellency and implies poems, within clear and clean boundary, of excellent appearance and mentality surpassing mundane world. Compared with the 1st character's attributes of the style terminologies which Heo Gyun used, the 2nd characters's attributes do not appear that vivid. Especially, in the case that the 2nd characters have similar meanings, it is not easy to clarify the categories. Indeed, in order to grasp clear and distinctive qualities of style terminologies, the kinds of them need to be initially categorized by the 1st characters, and then sorted by the 2nd characters. In this case, the contents which the 2nd characters of style terminologies indicate should be considered. It is because style terminologies explain both literary pieces' aesthetic qualities and writers' personalities, and because explanations about literary pieces' aesthetic qualities includes not only the conclusive poetic or semantic boundaries which literary pieces' created but also literary pieces' creation processes and expression techniques. Through the style terminologies with Heo Gyun used in Seongsushihwa, it can be aware that he evaluated poems focussing more on the conclusive semantic boundaries that poets' spirits and poems created than expression techniques or creation methods. The overall aspects Heo Gyun's such style criticism has will be checked out in more detail through further studies by examining more materials.

• Korean Institute of Interior Design Journal
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• v.25 no.1
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• pp.101-114
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• 2016

In the center of our ancestor's culture, there were poetry, calligraphy, and painting. Above all, poetry was the heart of the culture involved in everyday life. The beauty of poetry was not limited to appreciation of the poetry but it influenced calligraphy, painting, seals, music, architecture and even how the ancestors viewed their lives. Categories of poetry(詩品, CP hereafter) is the poetry written to deliberate the style of poems and its influence went beyond the fields of calligraphy and painting. Even now, our architecture reflects the sentimental influences and values of CP. In order to understand the attitude, mind, and the world view of the architects in the past, comprehensive and deep understanding of their philosophy as well as their cultural and social norms is needed. In this paper, CP is used as the means to investigate and develop such understanding of our ancestors' philosophy and culture. This paper also intends to investigate how the seclusive thinking of Neo-Confucianism is reflected in CP and the overall literature. In addition, this paper aims to examine the trace of CP in traditional architecture as well as the relationships and the flow among various styles of CP. This study therefore serves as an important base in understanding the ancestor's philosophy that pursued balance between life and art, reason and emotion, study and practice, and their architectural expression. It is also expected that this study would work as the groundwork to regain our traditional culture identity.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.67-71
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• 2024

Mo Youzhi (1811-1871) was a famous scholar, poet and calligrapher in the late Qing Dynasty. Mo Youzhi's life was rich in experience and broad vision, especially during his ten years in the Shogunate of the Tsengoku Domain, and he made friends with many political and cultural elites. Mo Youzhi is talented and diligent, and has a good relationship with celebrities from all walks of life at that time, so that his talents have been fully demonstrated. In the Qing Dynasty, the study of calligraphy became the absolute dominant force in the world of calligraphy, and the first great prosperity occurred after the Qin and Han dynasties. In accordance with the times, Mo Youzhi devotes himself to learning, takes into account the calligraphy, and goes out on his own path. Moe's work seal, li, kai, line, especially fine seal. Based on its Lishu, this paper expounds its typical style and atypical style respectively, and also discusses the relationship between its Lishu and other fonts. Finally, the author briefly summarizes the significance of Li Shu for the creation of contemporary Li Shu.In the course of discussion, always based on calligraphy ink, consult the relevant literature, combined with Mo Youzhi's life experience, try to be objective and fair, the listed points of view can be based on.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.337-338
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• 2019

중국 저예산 영화는 다년간의 탐색하에 영화예술창작에서나 시장에서의 상업성적인 측면에서 비교적 좋은 발전을 가져왔다. 예술창작 측면에서 말하면 최초의 '개인 서사'부터 상업유형 영화의 축제로 또 서사 방식의 다원화까지 이미 점점 성숙에 나아가고 독특한 풍격을 형성하였다. 상업적으로는 입소문 마케팅과 차별화를 널리 보급하는 것이 저예산 영화에 새로운 경험과 결실을 가져다주었다. 본 연구는 영화의 예술성과 상업성 두 가지 측면에서 <나는 약신이 아니다>라는 영화에 대해 분석연구를 하고 또 성공 경험을 정리하여 신인 감독들의 작품을 위해 참고할만한 방향을 제시하고자 한다.

• 중국학논총
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• no.57
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• pp.79-97
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• 2018

三宜堂金氏是生活在朝鮮末期的女性詩人. 她是一個沒落士大夫的後代(金馹孫的後代), 18歲(1786)時與湛樂堂河笠締結婚姻. 她畢生留下的詩文均收錄於《三宜堂金夫人遺稿》之中, 該書於1930年出版. 三宜堂金氏十分善於寫詩, 《韓國漢詩》第3卷女性詩篇中共翻譯并收录了她的詩作59篇, 與黃真伊5篇, 蘭雪軒許氏30篇, 師任堂申氏2篇相比, 這组数字是对其實力的肯定. 甚至在趙東一编纂的《韓國文化通史》卷3中也提及到了三宜堂金氏, 可以說她是一位非常優秀的詩人. 三宜堂金氏作為士大夫閭閻家的詩人, 主要創作詩歌, 所創作的詩文中有不少關於#x300A;詩經》的內容. 她熟讀《詩經》并確立了《詩經》觀及詩觀, 很好地掌握并发挥《詩經》詩的效用性及活用性, 这为她自己詩歌性質和特色的形成, 奠定了基礎. 三宜堂金氏在自己創作的235篇詩中, 活用《詩經》詩句, 展示各種表現手法, 这是非常出色, 达到了其他诗人無法模仿的水平. 她使用的手法有以下几种:引用《詩經》詩語, 對《詩經》詩句進行再調和及化用, 《詩經》詩句的再造合及化用. 其中最高超的表現手法可以說是《詩經》詩句的再造合及化用. 金夫人在創作詩作時, 既有原封不動地引用《詩經》詩語或詩句的情況, 但大部分使用了《詩經》詩句再造合及利用的這種手法, 既類似於《詩經》詩句, 卻換作其它表現來表達自己的想法, 十分巧妙靈活. 這種活用不同與自春秋時代開始流行的《詩經》詩篇的"斷章取義". 金夫人將這種手法運用到自己的詩篇中, 既作爲詩的表現根據, 同時使詩具有含蓄性, 在營造詩歌古樸風格時, 呈現出高水平的境界.

• Sijohaknonchong
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• v.30
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• pp.9-20
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• 2009

The purpose of this study is to consider factors such as one's sight of viewing afar, expressional principles, and basic aesthetic category, which are treated importantly by the poets of the Joseon Dynasty era in appreciating nature. 'Afar' of the viewing afar is actual distance and aesthetic distance at the same time. Viewing afar is to find geographical features, depth, and details of a mountain, seeing the whole nature at a high place. Also, it can make possible escape from the external limitation of nature and get mental superiority and enhancement. Ultimately, viewing afar is to find out everlasting change of the nature and reason of natural creation. One's sight in viewing afar makes an appreciator's mind empty and calm, and it makes chance to harmonize human with nature. Viewing afar is to unite human nature to naturality beyond realistic value, idea, and artificiality. The mind from viewing afar has peacefulness and it is a state of serenity without any secular atmosphere. Viewing afar is an eye for beauty to leap toward an endless free state from narrow sight about objects. It rejects modification and technics in achieving an world of harmony. It means that objects should not be restrained by human's recognition. There are three expressions, which are high, horizontal, and transcendental viewing afar. The aesthetic category and beauty of peaceful mental state are realized by the expressions. The peaceful mental state makes peaceful mind from realistic conflicts and makes us experience a profound reason of nature.

• (The)Study of the Eastern Classic
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• no.59
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• pp.213-231
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• 2015

양송(兩宋) 교체기의 중요한 시인이자 비평가인 주자지(周紫芝)의 "죽파시화(竹坡詩話)"는 당시의 여느 시화와 마찬가지로 각 조 사이의 관계가 전혀 유기적이지 않으며 주제도 천차만별이다. 하지만 그 안에 도연명(陶淵明), 두보(杜甫), 이백(李白), 한유(韓愈), 류종원(柳宗元) 등의 당대(唐代) 시인부터 소식(蘇軾), 황정견(黃庭堅), 매요신(梅堯臣), 장뢰(張?) 같은 송대(宋代) 시인에 이르기까지 직, 간접적으로 언급된 시인이 40여 명이나 되고 그들의 작품에 대한 평가와 격률(格律), 자구(字句), 용사(用事)에 대한 분석 및 고증, 그리고 주자지 개인의 시론이 단문 형태로 흩어져 있다. 하지만 그것들을 종합, 개괄하면 주자지의 심오하고 독창적인, 시의 격식과 내용을 함께 존중하는 시학(詩學)을 확인할 수 있다. 그러나 "죽파시화"는, 본래 주자지가 이른바 '남도시단(南渡詩壇)'의 주요 시인이었기 때문에 상대적으로 시 이외의 기타 저작이 홀시되었고 그의 스승이 장뢰(張?), 이지의(李之儀)였던 사실로부터 그의 시학 역시 강서시파(江西詩派)를 답습했을 것이라는 판단이 미리 내려진 탓에 지금까지 시문학사에서 온당한 평가를 받지 못했다. 하지만 주자지는 "죽파시화"에서 당시 형식과 기교에 편중했던 강서시파 말류의 병폐를 명확히 인식하여 독자적으로 자연스러움과 조탁을 고도로 통일시킨 시학을 제시하였다. 요컨대 기계적인 모방 이론에 반대하고 평담(平淡), 자연(自然), 청원(淸遠)의 풍격을 추구하는 한편, 연구(煉句), 연자(煉字)에 힘씀으로써 오히려 평담함의 시풍에 이르게 된다고 하였다. 주자지의 이런 시학은 중국 시문학사에서 그 지위를 재평가 받아야 하며, 아울러 송대뿐만 아니라 오늘날에도 시인과 평론가들이 참고할 만한 보편적 가치를 가졌다.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.509-518
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• 2023

Although German Neo-expressionism and Chinese modern ink painting are separated by thousands of miles in geographical space, they have a similar origin time, and there are many commonalities between them. In the aspect of creative attitude, artists of both styles can absorb and resist foreign styles, return to the past and conquer the tradition. In the aspect of formal expression, the objects of both paintings are representational rather than realistic, and the material characteristics of the media are emphasized. At the inner spiritual level, both expressionism and modern ink painting pay attention to social concern, and show the uncertainty of postmodernism together. The commonality between German neo-expressionism and Chinese modern ink painting does not mean to eliminate the difference, but to maintain the coexistence of difference and commonality.

• Composites Research
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• v.14 no.1
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• pp.1-7
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• 2001

In this study, damage evaluation of glass fiber reinforced thermoplastic composites was investigated with acoustic emission method. Specimens of 1.7mm thickness laminate were made from PET and 7 layers o171ass fabrics. Notch and impact loading were added to the specimen and normal tensile test and tensile test with the dead load were carried out. AE signal was measured as the functions of notch ratio to the width0 and impact energy in order to find out the correlation between fracture mode and AE parameters. The result has shown that low amplitude of AE signal was due to the microcrack of matrix and its growth, whereas the amplitude in the mid range was the response to the delamination and interfacial separation. In the range of high amplitude above 90dB. the fracture of glass fabric was found. Tensile strength decreased with increasing notch ratio to the width and impact energy because of tile effect or delamination, the cracking of matrix and stress concentration. In proportion to the size of damaged area. AE signal showed its wider range of frequency and energy as well as increased number of hits.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.34 no.4
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• pp.331-334
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• 1989

This studies were carried out to investigate the effects of the management of curing barn and the use of supplemental heat on prevention of barn rot during the rainy season. The managemental methods of curing barn were combined with hanging spaces ranged from 15cm to 30cm and ventilating conditions. The supplemental heat was applied with oil burner and oil fan heater. Barn rot was reduced in the wider hanging spaces, and the effects of hanging spaces was larger with ventilating during curing. Barn rot decreased by ventilating condition than non-ventilation. The use of supplemental heat dropped to lower relative humidity in curing barn. Supplemental heat and forced-air movement greatly reduced barn rot in comparison with tobacco cured under natural conditions.