• Journal of the Daesoon Academy of Sciences
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• v.36
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• pp.1-34
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• 2020

It has been suggested that Jeungsan's prophetic poem that starts with the verse "For about seven or eight years, there will be a castle in the ancient country [七八年間古國城] ⋯" originally comes from Prophecies of Jeong Gam (鄭鑑錄). Despite Jeungsan, himself, obviously having been critical of that text, this claim has become the basic grounds for discourse suggesting that Jeungsan was not only interested in Prophecies of Jeong Gam but also considerably influenced by the text. However, the claim itself was formulated due to misunderstandings of the Chinese poems that had been included in A Compilation of Secret Prophecies Hidden in the Family-clan of Seogye (西溪家臧訣). These poems pursue a different ideological orientation than the poem from Prophecies of Jeong Gam. Ultimately, the Chinese poem in the verse 84 the chapter titled, Prophetic Elucidations in The Canonical Scripture of Daesoon Jinrihoe cannot provide a basis for the claim that Jeungsan was strongly influenced by Prophecies of Jeong Gam. This claim that Prophecies of Jeong Gam made a deep impact on Jeungsan and Daesoon Thought was based on three other texts outside of those that appear within verse 84 of Prophetic Elucidations. The first supposedly-related line is: "Heaven opens at the period of the Rat (Ja 子), Earth opens at the period of the Ox (Chuk 丑), humankind starts at the period of the Tiger (Ihn 寅)." This line comes from from Shao Kangjie's Book of Supreme World Ordering Principles (皇極經世), and the line could be quoted idiomatically as an expression in the Joseon Dynasty. Accordingly, attempts to relate Daesoon Thought to Prophecies of Jeong Gam are a distortion that arise from the assumption that Jeungsan had a significant interest in Prophecies of Jeong Gam. The second related line is "At the foot of Mount Mother (母岳山), a golden icon of Buddha has the ability to speak [母岳山下 金佛能言]." That line is nearly identical to the verse "On the summit of Mount Mother, a golden icon of Buddha has the ability to speak [母岳山頭 金佛能言]." Yet, Jeungsan changed '頭 (du, the summit)' to '下 (ha, the foot or under)' and express his own unique religious prophecy. This allusion to the prophecies of Jeong Gam is actually a criticism designed to disprove the earlier prophecy. Third, is the verse, "The form of Buddhism, creation of daoism, and propriety of Confucianism [佛之形體仙之造化儒之凡節]," which is characteristically related to Daesoon Thought. This verse can only be found in the prophetic text, Prophecies of Chochang (蕉蒼訣), and it is provided a main source when alleging that Prophecies of Jeong Gam was an influence on Daesoon Thought. However, considering the context of Prophecies of Chochang and the year of its publication (it is assumed to be compiled after 1950s), this does not hold water as Jeungsan had already passed into Heaven several decades before that time. This disqualifies the verse from being a basis for asserting Prophecies of Jeong Gam as an influence on Daesoon Thought. Contrary to the original assertion, there is a considerable amount of evidence that Prophecies of Chochang absorbed aspects of Daesoon Thought, which were simply revised in a novel way. There is no truly compelling evidence underpinning the argument that Prophecies of Jeong Gam had a unilateral impact on Daesoon Thought. There seems to be a great deal of confusion and numerous misinterpretations on this matter. Therefore, the claim that Daesoon Thought, as developed by Jeungsan, was influenced by the discourse on dynastic revolution and feng shui contained in Prophecies of Jeong Gam should be re-examined at the level of its very premise.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.212-240
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• 2022

This study is a multi-layered exploration of 「The Thirty-Six Scenery of Seongdeok Summer Mountain Resort(承德避暑山莊三十六景)」 (The 36th view of Kangxi) recited by Emperor Kangxi of China through literature study, ancient calligraphy diagrams, and field studies. The conclusion of tracing the landscape characteristics and implications contained in 「The 36th view of Kangxi」 through the analysis of the headword(標題語) and the interpretation of the Jeyeong poem(題詠詩) is as follows. 「The 36th view of Kangxi」 is an extension of the outer edge of the Eight Sceneries, and when compared to the existing Eight Sceneries peom and Eight Sceneries painting, it is found that the landscape is centered on the 'viewpoint' rather than the landscape object. In particular, it aimed to create a structured landscape centered on nine types of buildings represented by 'Jeon(殿)' and 'Jeong(亭)' was given. In particular, Yeouiju, located in Lake district, is a scenic country endowed with the character of a gardens in Garden, which is composed by collecting famous representative Chinese landscapes and landscapes of Sansu-si and Sanshu Painting. As a result of headword analysis to understand the characteristics of landscape components, 14 landscapes (38.9%) related to water elements and 13 landscapes(36.1%) related to mountain elements, the elements related to architecture and civil engineering were classified in the order of 3 cases(8.3%), and the elements related to the skylight were classified in the order of 2 cases(5.6%). However, in Jeyeong-si, the mention of landscape vocabulary for climate elements was overwhelming. In other words, in the poems of 「The 36th Scenery of Kangxi」, scenery vocabulary symbolizing 'coolness' such as 雲(cloud), 水(water), 泉(spring), 清(clear), 波(wave), 流(wave), 風(wind) and 無暑(without heat), etc. It is not a coincidence that it appears, and it is strongly attached to the sense of place of Summer Mountain Resort in Rehe(熱河). Among the 23 landscapes whose seasonal background was confirmed, the fact that the lower landscape is portrayed as the majority and the climate elements of the resort area are portrayed in three-dimensional and multi-dimensional ways are closely related to the period of enjoying the gardens of Kangxi, the main subject of the landscape. In addition, many animal and plant landscapes appearing in Jeyeong-si appear to be in the same context as the spatial attributes of not only recreation, but also contemplation and hunting. On the other hand, in Jeyeongsi, there are 33 wonders(91.7%) citing famous people and famous books through ancient poems, old stories, and ancient stories tends to be prominent. It is inferred that this was based on Kangxi's understanding and pride in traditional Chinese culture. In 「The 36th view of Kangxi」, not only a book-writing description of the feelings of being entrusted to the family sutras, but also the spirit of patriotism, love, self-discipline and respect for mother and filial piety are strongly implied. Ultimately, 「The 36th view of Kangxi」 shows the real scene of the resort, as well as the spiritual dimension, in a multi-faceted and three-dimensional way, and the spirit of an emperor based on the dignity of the royal family and the sentiments of a writer it deserves to be called a collection of imperial records that were intended to reveal.

• The Journal of the Convergence on Culture Technology
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• v.1 no.2
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• pp.21-36
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• 2015

This study is a descriptive study to examine how poem causes effects of literary treatment for the contemporary people and how to improve therapeutic effect with poem by illustrating the process of therapeutic effect by poem. Each poem in the poetry book has a well-organized flow. While those poems are mixed, it can be synapsed into the cognitive system of readers by their taste in the form of introduction, development, turn, and conclusion.' The poetry book is structured with the transition of literary treatment. Such transition structure is embodied in a circle. If poetic contents are positive and creative in such transitive structure, it gives more comfort and excitement to readers increasing therapeutic effect. Therefore, it is very important to progress literatherapy narrative with such creative works.

• Journal of the East Asian Society of Dietary Life
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• v.13 no.6
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• pp.514-526
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• 2003

Sungkyunkwan was the highest national education institute of confucianism in the Chosun dynasty. from the historical view of foodservice in Korea, Sungkyunkwan dining room(進士食堂) might be the oldest systematized school foodservice and it was thought that the Korean word of dining room(食堂) was originated from this. The Sungkyunkwan dining room was built in the period of King Tae-jong(太宗) in 1413 and developed during 500 years through the Chosun dynasty. The dining room was not only an eating place but also providing the specific food culture of students. About 200 students studied in Sungkyunkwan and they lived together, and the government of the dynasty made many rules and by-laws to regulate them. Wonjeom(圓點) regulation was one of them. Wonjeom(圓點) was recorded in the register of attendance(到記) in the dining room and the students could obtain 1 point if they attended at the dining room in the morning and the evening in one day. If the students did not obtain the certain points of Wonjeom, they were not qualified for the national examination(大科). And there were so many eating customs and self-regulations in the dining room they were referred in many literatures, such as ${\ulcorner}$the true records of the Chosun dynasty(朝鮮王朝實錄)${\lrcorner}$, ${\ulcorner}$Taehak-Ji(太學志)${\lrcorner}$ and ${\ulcorner}$Banjungiabyoung${\lrcorner}$. In this study, poems in $\boxDr$Banjungjabyoung$\boxUl$, about the Sungkyunkwan dining room and the eating customs such as the eating etiquettes, the daily 8 menu items, the special menus and the special day food, and the bestowal foods of King were reviewed.

• 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.

• Journal of Digital Convergence
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• v.13 no.10
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• pp.437-444
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• 2015

In this age of digital technology, we often experience overwhelming and inescapable feelings of weakness, vulnerability, loneliness and fear that propel us into a state of gloom or frustration. Poetry can also serve as a therapeutic medium for overcoming them because it provides unique opportunities for self-discovery and is a catalyst for healing and self-integration. This study examines the healing properties in English poetry. First, Poetry has expressed innermost feelings, which can serve as a catharsis the emotional release. Therefore it can nurture and strengthen the human capacity. Poetic language heals our soul and mind. Rhythm which comes in many forms and poetic form also are important components of the therapeutic value of poetry. So we can say English poetry can be used as a therapeutic means for healing and personal growth.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.11
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• pp.1786-1797
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• 2010

This study investigates the historical formation and characteristics of modern Korean consumption culture by reviewing previous literature about consumption spaces and conspicuous consumption in modern Korea. This study examined the historical formation and characteristics of three different periods of time: from 1876 to 1919, from 1920 to 1936, and from 1937 to 1945. In addition, the current study reviews previous literature related to advertising, poems, novels, historical events, and Orientalism. Based on this, the historical characteristics were also analyzed. The overall results were as follows: The first period from 1876 to 1919 was the beginning of modern Korean consumption culture, in which exotic goods such as foreign fabrics were preferred and consumed. In addition, clothing was simplified and westernized through modern reform. The second period of time, 1920 to 1936, was the development stage of modern Korean consumption culture that formed the foundation of modern consuming spaces where the recognition of the human form became more modern, and 'modern girls' styles appeared. The final period, 1937 to 1945, was the regression stage of Korean modern consumption culture, in which consumption decreased during the Sino-Japanese War and World War II. The results of this study' conclude that the leading-consumer items hold symbolic value as well as became signifiers within modern consumption spaces such as modern Korean department stores and that women were recognized as modern leading-consumers as shown by the dramatic increase in the number of products that targeted women.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.2
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• pp.111-121
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• 2004

The Mevelana sect is a spiritual Islamic group experiencing spiritual transaction with their god through a peculiar dancing as a form of religious ritual. The Mevelana, a sect of Islamic Sufism, has their head mosque in Konya in Turkey. Although Mevelana sect is regarded as heretic of Islam, it has exerted considerable influence on the Islamic religion through its peculiar religious worshiping form constituted in dancing and reciting poems. Nowadays, Turkey recognizes the Mevelana dancing as their precious cultural legacy of a long history, exerting public information efforts to give it for wider publicity of Turkey to the world. The Mevelana dress with ornament attired for the ritual dancing performance is regarded to symbolize a spiritual medium, which leads to conciliation with the eternity. The straight lines and curved line characteristic of the Mevelana dancer's trousers, skirt, jacket and such mirrors the image of the Orientals, which is in peculiar contrast with the white and gray colors of the dress with ornament. The impression of the spiritual Mevelana dressing in harmony with the dynamic dancing motion goes beyond mere a religious dressing. It is expressive of a graceful and sophisticated modern formative art, of which the mystic design gives an inspiration to the modern fashion. After Poiret, Islamic factors have emerged in the modern fashion. For instance, a hat with Arabic fashion lapel, a Fez hat of Turkish style, harem pants and such are still popular in the modern fashion. It seems probable that the Iraq War would far more activate the influence of Arabic culture to the modern fashion. By making an analysis on the religious background and formative characteristics of the Mevelana dressing, and by giving design examples on how the Mevelanan dressing has been applied to the modern fashion, this research suggests working out new designs by making a renewed application of their characteristics to the modern fashion.

• Journal of the Korean association of regional geographers
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• v.16 no.5
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• pp.497-516
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• 2010

The purpose of this study is to critically investigate the places of the 'Daegusibyeong(大丘十詠)', written by Seo, Geojeong based on Chinese poem, old documents, and field surveys in terms of a geographical perspective. It is asserted that the controversial aspects on the 'Daegusibyeong(大丘十詠)' are corrected through the analysis of old documents and field surveys. The results are summarized in the followings. 1) Ascertain historical and geographical evidence on places of 'Daegusibyeong(大丘十詠)' are accomplished properly based on old documents and field surveys. 2) The existing misinterpretation of the 'Daegusibyeong(大丘十詠)' are corrected by the finding of one Chinese character in the 'Dongsasimseung(桐寺尋僧)', the seventh poem of 'Daegusibyeong(大丘十詠)' consisted of 10 Chinese poems. 3) Subjects and content of the 'Daegusibyeong(大丘十詠)' in Sagajib(四佳集) are more rightly written than those of the old documents such as Daegueubji(大丘邑誌), Sinjeungdonggukyeojiseungram(新增東國輿地勝覽). 4) A few mistakes in the subject and word of the 'Daegusibyeong (大丘十詠)' are corrected as compared with the those of the old documents. 5) It is assumed that the brand value and image of Daegu city will be improved if the 'Daegusibyeong(大丘十詠)' is restored based on the results of the study and its restoration is utilized in Daegu city tour program.

• Korean Journal of Oriental Medicine
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• v.18 no.3
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• pp.31-38
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• 2012

Jo Taek-seung(曺澤承, 1841-1907), who devoted himself to medical science mostly living in Haenam, and his son Jo Byeong-hu(曺秉侯, 1869-?) are significant in the history of Korean oriental medicine. The medical science of Jo Taek-seung appointed as Jusa(主事) of Hyeminwon(惠民院) in 1902 was handed down to his only son Jo Byeong-hu, who succeeded to his father's medicine and polished up the medicine, and recorded the results "Sanghangyeongheombangyochwal(傷寒經驗方要撮)" in 1933. Jo Taek-seung's portrait has been handed down to Jo Taek-seung's descendents' house in Munane-ri, Haeman. Not only does Jo Taek-seung's portraits well present the features of portrait mode of Joseon Dynasty period in the 19th century in their front view, exposure of two hands, expressive mode, background articles, etc, but also praises, poems, etc. giving information on manufacture intent, etc. to give prominence to the authors recorded by Jo Taek-seung, time of manufacture and position of medical official appears in one screen. In this paper, through disaster-removing poetic sentence showed in Jo Taek-seun'sg portraits, it was found that the author of the portrait is Choi Byeong-uk who worked mostly staying in Seoul and the present portrait was the one re-painted in 1907 by revising the portrait painted in 1894 when Jo Taek-seung was 54 years old, after Jo Taek-seung died. With regard to revised portion, presuming through records on the picture and comparative analysis of mode with portraits of doctors in the 20th century, it seems that the clothing of Confucian scholars in the first version was revised into the clothing of medical officials showing the position of Jo Taek-seung who took office as Jusa of Hyeminwon at the time of re-painting the portrait. Jo Taek-seung's portrait not only becomes important materials in the oriental medicine and historical world in the aspect of manufacture process, mode, etc. of Korean portraits including an aspect of medical official's portraits, but has significant meaning from the aspect of fine art history or clothing history.