• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.29-36
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• 2019

Lee Sang's poems and his portraits are being used in various video media. Depending on the characteristics of the medium and genre, the representation of the poet or higher and his poems are selected and variations in different ways. In a modern era where literature communicates with various media, reviewing how a poet's portrait is shaped is also the process of reading what text wants to convey to the public through a single person. This study examined aspects in which representations of poets or higher were utilized in various image media, and compared and analyzed how poet aberrations are represented in each text. In particular, the discussion centered on the movie and the drama . In the movie , the above poem is used as a hidden puzzle. The film uses the popularly known 'genius' representation to track down Yi Sang's secret. Because of this, the film represents its ideal in a way that is faithful to the genre's custom of Thriller In comparison, the drama was about to re-emerge as a young man with a passion for the inner workings. The cynical attitude shown in the above text is also a reflection of the love for the nation and the times. These different typographical methods are worth noting in terms of the literary man's public perception of "Yi-sang" and the strategy of the new portrait attempt.

• Journal of the Korean Society for Library and Information Science
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• v.53 no.3
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• pp.345-372
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• 2019

This study investigated the total number of works at the Hong Jik-pil(洪直弼)'s manuscript collection "Maesanjip(梅山集)" (total vol.224) in the National Library of Korea, and then identified the list and characteristics of works written by other authors in the "Maesanjip". The total number of works of the manuscript "Maesanjip" is 3,017poems and 10,090proses, except for 260works created by others. The number of works by genre in the "Maesanjip" is as follows: 3,017 poems(詩), 52 appeals(疏啓), 8,290 letters(書), 257 letters for encouragement(書贈), 1,491 epitaphs(墓文). And the 260works by others are listed in vol.111 147 171 205 218~220 222~224 and these works were used as a reference for the compilation of "Maesanjip". Through this study, it was shown that when analyzing the works and studying the compilation of manuscript "Maesanjip", it should except for the 260 works by others from the book.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.67-88
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• 2008

In spite of a few numbers of Hyangga that is handed down today, Hyangga has diverse and abundant contents. So it is possible to survey Hyangga as a journey literature of the middle age. On this purpose we can inquire into the Hwarangs' group journey, because the Hwarang was one of the main enjoying group of Hyangga. Hwarangs' group journey shows many aspects. They made a journey for the public purpose like a tour of inspection of people's daily life and the fortresses of the country's peripheral areas. Also, they made a journey for personal purposes like enjoying the attractive view of the mountains and rivers or seeking pretty girls outside of the palace. On these journeys, Hwarang made and enjoyed Hyanggas. Among Hyanggas that remains today, Hyeseongga and Cheoyongga have a direct relation to Hwarang's journey. Hyeseongga was made to eliminate the calamities that occurred at the time of the start of a journey. It is expressed in this poem that Hwarang could take a peaceful trip with the condition that the celestial objects shed light on the earth path. As such, the trip becomes a sacred ceremony. Cheoyongga reflects the fact that the foreigner Cheoyong became Hwarang and toured the streets of Seorabeol, the capital of Shilla. The Cheoyong's bitterness of broken love is expressed in this poem. SongSadahamga and MoJukjirangga come under a broad category of Hwarang's journey literature. SongSadahamga is a farewell poem for Hwarang who leaves to fight on the battlefield. It was universal to make a journey for the fighting of a battle in Shilla period, so many Hyanggas would be made under those situations. MoJukjirangga has the content of Hwarang's trip for saving his follower who was taken by another senior. It expresses the intimate relationship between Hwarang and the follower. Though the words of the song have not been remained, Hyeongeumpogok, Daedogok, and Mungungok were created on the way of Hwarang's journey. These seem to be a series poems which have the proper characteristic features of the Hwarang's journey literature. In these poems, the king's open mind and liberal political views are reflected. In short, Hwarang created and enjoyed Hyanggas on the way of their journey, so Hyangga has the features of journey literature in Korean middle ages.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.124-133
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• 2011

The purpose of this study is to interpret the landscape characteristics of Changdeokgung's rear garden with the idea of Yijing(意境) the way to have a sense of an imaginative object. A term of Jing(境) in Yi-jing means a boundary of man's consciousness. On the boundary of consciousness for an imaginative object, there is a situation of man's emotion to be called Qingjing(情境) to meet an object, and beyond Qingjing, there is Yijing, a consciousness of the idea and the truth. The Structure of the Yijing is an analytical framework in this study. It is clarified that the idea of Yijing and landscape characteristics of changdeokgung's rear garden to analyze works of kings and related historical documents. In result, there were three kings named Injo, Sukjeong and Jeongjo who played big roles to develop the rear garden. First, Injo had built physical structure of the rear garden, the second Sukjong enjoyed Qingjing with composing the poems of Sangrimshipkyoung(上林十景), Jeongjo clearly had made a boundary of idea of Yijing broaden. It is an effective way to interpret imaginative characteristics of our traditional landscape through the concept of Yijing the useful way to understand and systemize a subject of idealistic consciousness.

• (The)Study of the Eastern Classic
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• no.33
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• pp.159-191
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• 2008

This study aims to look into the three-dimensional characteristics of Euniljisa (a scholar who lived in a hidden place) demonstrated in the poems of Myeongam Jeong-Sik (1683-1746, the 9th year of King Sukjong to the 22nd year of King Yeongjo), who was a scholar in the region of Yeongnam in the 18th century. Myeongam Jeongsik had a very righteous aspect in terms of integrity. He was born about 40 years after the Ching Dynasty was established. However, as shown in his pen name of 'Myeongam', he still used the Ming Dynasty as a subject of adoration and reverence, and he lived as an integral man of scholarly virtue in seclusion while refusing to have a government post during his lifetime. In his poems, there may be various discussions, but this study focused on following two aspects. First, the study reviewed his attitude toward the world, that is a retiring attitude, in looking into his works. Second, the study did not merely keep the existing two-dimensional perspective in simply reviewing a hermitage poem in the analyzing of a poem. Instead, the study attempted a three-dimensional review in seeking to see whether three items involving the fidelity and integrity of a dignified and daring person (a person who does not care about worldly views), the ambivalent emotion of Jo Wul reflected in the poem, and the delicate description and the expression of emotions, are placed in a serial relationship.

• (The)Study of the Eastern Classic
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• no.72
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• pp.9-34
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• 2018

The purpose of this paper is to examine the life and poetry of Hanchung. The reason for studying Hanchong is because there is no research on Hanchong until now. In Chapter 2, I looked at the life and poetry of Hanchung. One thing to pay attention to in the life of Hanchung is that Hanchung has excellent writing ability. When Hanchung went to the envoys in China, Hanchung was recognized for outstanding Chinese writing by Chinese officials. Another thing to pay attention to in the life of Hanchung is the upright character of Hanchung. Hanchung judged Nam-gon as a delicate person and did not live a life to cooperate with him. He vigorously rejected Namgon. Because of that, Hanchung was killed by Namgon. In Chapter 3, I examined the poems of Hanchung. The poem of Hanchung can be divided into three kinds. First, it reveals the love of the people. This comes from the heart of a child who pity the poor. Second, it is the mind to live while keeping the fidelity of life. This is reflected in the images of bamboo, pine and pine trees. Third, poetry criticizes reality. There are poems in Hanchung that reveal criticism of loneliness and reality. This is a political reality that is not right at the base. So, it can be said that it is a city that reveals the reality criticism after all.

• (The)Study of the Eastern Classic
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• no.36
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• pp.403-432
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• 2009

In this paper, I examined two things. First explore the of the reality(眞) in poems written on paintings and discussion on paintings in men of letters of Pre-chosun dynasty, furthemore, it analyzes the meaning and thought. To explain it, I would like to analyse the discourse surrounding the reality(眞) in poems written on paintings and discussion on paintings, and concept of the borrowing(假) and the unreal(幻). First of all, I examine the ways that the view of nature of Confucians is pertinent to the abiding in reverence and the investigation of principles of confucians, also painting is necessarry condition for their moral and spiritual self-cultivation. In the discourse surrounding the reality, it is to suggest from 'natural reality (天眞)' to escape from the reality(眞), and proceeds to examine the transformation of reality(眞) in mind(人心). Furthermore I examine the meaning of transform and delicate difference between borrowing(假) and the unreal(幻). In this process, concept of the borrowing(假) and the unreal(幻) is divided into the two meaning. False(假) is to become the Borrowing and painting, the unreal(幻) is change into the act of recognition. In conclusion, I examined the significant transformation of the reality(眞) and the unreal(幻). The reality(眞) has been recognized as a important concept, it is diverged into the Nature, outer things and painting mind, and the object of ultimate value in appreciation and painting of Pre-chosun dynasty.

• (The)Study of the Eastern Classic
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• no.68
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• pp.9-34
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• 2017

The purpose of this paper is to examine the unmanned life and poetic world of Ilong Choehuilyang. Choehuilyang is uninhabited and rarely left 227 poems and being recognized for his poetic achievements by later writers. Therefore, it would be meaningful to look at Choehuilyang's poetic world in the point of studying the unmanned poetry system. In Chapter 2, I looked at life as a base stage to understand Choehuilyang. Choehuilyang from his youth while studying at the age of 21, but turned to 武科. This is due to the gauntlet of the family who does not care about the 文武, Choehuilyang's grand physical condition and the resulting unattended temperament. Choehuilyang passed the exam in the past. And he won the war seven times under General Admiral Yi. However, when Admiral Yi Sun - shin was killed in Noryang, Choehuilyang returned to his hometown. After that, he died without going out until he was 92 years old. In Chapter 3, we examined Choehuilyang's spoetic world based on Chapter 2. Choi 's poetry can be divided into revealing the temperament of the unmanned, living peacefully in his hometown after returning home, and revealing his concern for the country. The poems revealing the unattended temperament are created by sensuous sheer or direct narrative when they are on the battlefield, when they watch the war after returning home. Peaceful life in Kangho was created in Naju, the hometown. And the poem that worried about the country was created by seeing the sick horan. I hope that the research that has been discussed so far will help to understand Choehuilyang's life and world.

• (The)Study of the Eastern Classic
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• no.67
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• pp.237-258
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• 2017

This study aims is consider the life and study viewpoint of Choi-Ja who lived in during the Musin regime of Koryo Dynasty. During this period, knowledge of the Confucian scriptures gradually generalized among scholars and writers. Therefore, it was possible to create an atmosphere that criticized sajanghak(詞章學). Choi-Ja regrets that people' reading style is not correct at the time. People are only trying to learn to participate in social exams and learn to read and write articles related to the Civil servant examination. Nevertheless, if he passed the Civil servant examination he criticized the government for failing to study harder, even though he had to work harder. Choi-Ja lamented that the intellectuals basically did not read about the Kyeongsabaekka(經史百家) and on the outward appearance. His scholarly attitude implies that he can be recognized as a genuine learningexperience when he forms the moral character of his inner self rather than his outward form. Choi-Ja' emphasis on six Confucian writings indicates that his virtues ere based on the Confucian spirit of Confucius. He pointed out the abuses of intellectuals at the time of his poems to build poems based on these Confucian traditions. He emphasized that the government ought to reflect on the Confucian scriptures and histories of the Confucian scriptures and reflect the politics of the people and improve the mood of the people.

• Journal of the Daesoon Academy of Sciences
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• v.38
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• pp.47-82
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• 2021

At the age of 15, Song Gyu, the second patriarch of Won Buddhism, met Jeungsan-gyo members and was substantially influenced by them. Jeongsan cultivated himself for three months in Mount Gaya based on their recommendations. He instructed his family members to practice reciting the Tae-eul Mantra. Henceforth, Jeongsan was said to attain supernatural power when he was around 18 years old, and he pursued the traces left by Jeungsan in Jeolla Province. Once there, he asked Jeungsan's younger sister to move to his hometown, Seongju, Gyeongsang Province, and he served her with his utmost sincerity. He went back to the birthplace of Jeungsan and received a Daoist book from Jeungsan's daughter titled, Essentials for an Upright Mind (正心要訣). Jeongsan practiced holy works for 10 months at Daewon-sa Temple in Mount Moak where Jeungsan was said to have attained unification with the Dao. After he had met Jeungsan-gyo members at the temple, he was able to stay in her house where he ended up meeting So Taesan. Before their meeting, it is obvious that Jeongsan was a member of Jeungsan-gyo. Afterward, Jeongsan entered into Won Buddhism and used the passage, 'saving lives by curing the world (濟生醫世).' He recited the writing of Jeungsan, which had been given to his disciples, as if it had been a mantra. In addition, he mentioned Jeungsan's poems or the Chinese poems that he had quoted many times. Jeongsan also interpreted passages from The Hyunmu Scripture (玄武經) written by Jeungsan in a unique manner. Jeongsan answered his disciples in his own way when they asked questions on the teachings of Jeungsan. He recognized Jeungsan as one of the Three Primes, who presided over the Great Opening.