• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.2
• /
• pp.1-18
• /
• 2011

This study has been examined characteristics of Yeoju Lee family, rich group at Miryang in the middle of the Joseon Dynasty, around Geumsidang(今是堂) Lee Gwang-jin remains as a cultural landscape appeared in pictures, poetry, and a strange story. Geumsidang Lee Gwang-jin returned to his old home abandoned the middle government post after the death of Moonjeong queen in socially confused stage and tried to manage an annex to a Geumsidang located in Baekgok of Eungchun riverside, and Geumsidang he managed was affected by his teacher and uncle Wolyoun Lee Tae of a view of nature, filial behavior, and nature management etc. Also, 'Painting of 12 landscapes to Geumsidang' is landscape painting with the actual view not like the '8 landscapes of So-Sang' or '8 landscapes of Sa-Si' which is abstract landscape and Lee Gyeong-hong drew 12 landscapes of Geumsidang that includes Angbong(鶯峰: nightingale peak), Yongdu mountain(龍頭山), Mubong Buddhist temple(舞鳳寺), Maam mountain(馬巖山), Wolyeon-dae(月淵臺), Saindang village(舍人堂村), Youngnam-ru(嶺南樓), Miryang eubseong(密陽邑城), Eyeonso(梨淵沼: pear tree deep water), Yullim(栗林: chestnut tree forest), Miryang river(密陽江), Sammundong fields(沙門野), land and government office owned by Yeoju Lee family as landscape objects. 'Poems of 12 landscapes to Geumsidang' by Lee Yong-gu 11th sons of Lee Gwang-jin was written based on 'Painting of 12 landscapes to Geumsidang', and sang for time, season, and changes of the weather. All 12 poems are all a quatrain with seven Chinese characters in each line consisted of all 28 words, but does not match completely with shown elements in pictures because it is not a simple description of pictures but it is recreated by writer's personality. Therefore these painting shows not only th meaning of filial behavior but also village owned by Yeoju Lee family rich group in Miryang, and these poem recreated the pictures by changing as certain scenic spot with the object of enforcing territory of Yeoju Lee family.

• (The)Study of the Eastern Classic
• /
• no.34
• /
• pp.167-206
• /
• 2009

This paper discovers and introduces the collection of letters, "A Collector of Correspondence from Chinese Intellectuals (中朝學士書翰錄)" which was made by Kim Youngjak(1802~1868) who had collected the letters from Chinese intellectuals. "A Collector of Correspondence from Chinese Intellectuals (中朝學士書翰錄)" is a collector which contains handwritten letters to Kim Youngjak from Chinese people such as cheng gong shou(程恭壽), weng xue han(翁學涵), zhang bing yan(張丙炎), shao yan han(少言翰), and li wen yuan(李文源). Kim Youngjak had frequent meetings with Chinese intellectuals not only directly but also indirectly. He had exchanged letters with li bo heng(李伯衡), shuai fang wei(帥方蔚) for 30 years. In 1858, he went to Beijing and met Chinese intellectuals ye ming li(葉名澧), zhang bing yan(張丙炎), wu kun tian(吳昆田), cheng gong shou(程恭壽), and zhao guang(趙光). After coming back to Chos?n, he continued to exchange letters with them. "A Collector of Correspondence from Chinese Intellectuals (中朝學士書翰錄)" contains autograph letters by Kim Youngjak and Chinese intellectuals. It has ten letters for Kim Youngjak written by cheng gong shou(程恭壽), weng xue han(翁學涵), zhang bing yan(張丙炎), shao yan han(少言翰) and so on. One letter and five poems which zhao ting huang(趙廷璜) wrote to the son of Kim are also contained. The letters by zhao ting huang(趙廷璜) shows a sincere friendship with Kim Youngjak. The relationship between li bo heng(李伯衡) (who had exchanged letters with Kim for 30 years) and his son li wen yuan(李文源) proves that the cultural interchange between Korea and China had lasted successively. Kim Youngjak has not been widely known in academic circles yet but should not be ignored for the study in the cultural interchange between Korea and China. He proposed to have a relationship with li bo heng(李伯衡) and shuai fang wei(帥方蔚) first and they sent back positively. Therefore, they had a literal and private relationship by only exchanging letters each other. Also considering the fact that Kim Youngjak, as a man of high birth, had a close relationship with Chinese intelletuals, we can notice that Chinese and Korean intellectuals had open minds based on sincerity and trust. This was possible because many intellectuals before him like Hong Daeyong made a basis of the tradition of companionship. At this point, the relationship between Kim Youngjak and Chinese intellectuals and "A Collector of Correspondence from Chinese Intellectuals (中朝學士書翰錄)" have an important value. The collections of Kim Youngjak's works contain only several letters and poems which he sent to Chinese intellectuals. Accordingly, the letters in "A Collector of Correspondence from Chinese Intellectuals (中朝學士書翰錄)" are important to understand the aspects of their interchange.

• (The)Study of the Eastern Classic
• /
• no.59
• /
• pp.157-181
• /
• 2015

This thesis pursued exchanges of Hwangsang with Chusa Family, who existed in the 19th century. What was Chusa to Hwangsang and what was Hwangsang to Chusa? The answer is concluded to the question of which existence Chusa was to Hwangsang but not of which existence Hwangsang was to Chusa. However, disregarding social positions of the nobles and the commoners, brothers of Chusa also cherished Hwangsang and respectfully treated him as a poet at all times. Chusa was a critic who recognized Hwangsang as a successor to Dasan poetics and became a patron of the literary circles on the other hand. Hwangsang's Chinese poems related to Chusa Family are counted as 45 JE 52 SU in total which consist of 31 JE 34 SU in "CHIWONYUGO" and 14 JE 18 SU in "CHIWONSOGO", On the other hand, Chinese poems which Chusa wrote for Hwangsang are only a few pieces shown in "WANDANGJEONJIP". Hwangsang first met three brothers including Chusa in September 1853 when he came up to the capital for the 4th time. Jeong Hak-yeon, the oldest son of Dasan Jeang Yak-yong, played an important role in the whole process that Hwangsang met Chusa's three brothers and was recognized as a poet. As the oldest son of Dasan Family, Jeong Hak-yeon made efforts in various ways for Hwangsang. Hwangsang tried his efforts to exhibit his ability as a poet to Chusa and to get Chusa's introduction of his poetical works. Considering Chusa's importance in then literary circles, the introduction seemed to reflect recognition by the literary circles in the metropolis and it also showed that Hwangsang was no more than an obscure poet in the provincial area. Poetical composition of Hwangsang for Chusa three brothers commonly contained friendship, intimacy and special respect at all times. Seeing from exchange process between Hwangsang and Dasan Family or Chusa Family, it is found that mutual exchanges were actively made in the mid-nineteenth century overcoming regional differentiation between capital and province, or feudalism class distinction of social positions of the nobles and the commoners.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.1
• /
• pp.63-73
• /
• 2014

This study was intended to analyze the correlation between the builder's intentions and the colors that are revealed through the analysis of the manifestation of symbolic colors as the signs and symbols that are shown in the traditional space of Soshaewon as one of the representative retreating villa gardens of Chosun Dynasty and the interpretation of the meanings. The research on the traditional colors and the intended background of Soshaewon and so on was conducted by examining the relative literature and the contents as the objects for the empirical analysis were the scenic beauties and spatial elemnts that are shown in the plan of Soshewon and the poems about Soshewon 48 scenes as well as the contents of the poems related to Five Primary Colors that are used based on "the Ideology of Five Elements of the Positive and Negative". Espectially, this study was conducted by dividing the spatial elements shown in Soswaewon broadly into the visual, synesthetic and symbolic & cognitive spaces in order to classify the locations and directions of the spaces and natural objects as the visual space, the seasons, the points of times and the five sensory organs as the synesthetic space and the "Four Moral Begginings" & the "Seven Emotions" of New Confucianism as the symbolic and cognitive space and by analyzing if there are any correlation between the decided intentions and the spatial meanings that are revealed by analyzing the system of five primary colors which are used in each spatial element.7) As a result from the analysis of the colors that are used based on the three spatial components of Soshaewon, it was found that one of Five Primary Colors were used 74 times in total. First, in the visual spatial component, one of the colors was used 18 times in total including 2 times of blue, 1 time of red, 6 times of yellow, 4 times of white and 5 times of black. The fact that yellow symbolizing the source of everything and white symoblizing cleanness and pureness are used relatively more often than blue and red symbolizing nature and life respectively can be interpreted that the builder, Mr. San-bo Yang's intention to build Soshaewon is related to the meaning symbolizing the pure will of the builder who wanted to seclude himself from society rather than to give priority to enjoying nature. Second, in the synesthetic spatial component which are selected from the 48 scenes of Soshaewon, one of Five Primary Colors was used 38 times in total including 11 times of blue, 8 times of red, 4 times of yellow, 5 times of white and 10 times of black. Since blue and red symbolizing nature and life respectively are used more often than yellow and black symbolizing the source of the world and pureness & knowledge respectively, it was interpreted that the builder means to be faithful to the unique basic functions of the retreating villa with which the builder wanted to enjoy his passion for enjoying nature and exploring knowledge even though the builder built the villa garden for the purpose of keeping himself pure while being unstained by the world. Finally, it was analyzed that one of Five Primary Colors was used 18 times in total including 4 times of blue, 5 times of red and 9 times of white in the symbolic and cognitive spatial components of the 48 scenes. Since it was found that white symbolizing the builder's political pureness is used at the same frequency as blue and red symbolizing nature and life respectively are used as a result from the analysis, it was interpreted that the intention of creating Soshaewon was emotionally revealed at the same percentage in the aspects of his political pureness and enjoyment of nature through his poems. Especially, as a result from such 3 kinds of analyses regarding to the frequency of using Five Primary Colors, it was found that the number of times using Five Primary Colors in the synesthetic spatial component was 38 as the highest percentage, around 51% followed by each 18 times as the24.5% respectively in the visual and cognitive & symbolic spatial spaces. Based on such results, it can be interpreted that the builder, Mr. San-bo Yang's intention of creating Soshaewon sympolizes that his intention for enjoying the basic nature and the vitality of nature within the retreating villa garden is hidden at the same proportion as his intention for keeping himself pure from the unrightful world. It was intended to reveal the traditional colors which are hidden in a traditional retreating villa by analyzing the correlation between the symbolic meanings and the spatial components of Soshaewon based on the Five Primary Colors which are originated from the "Ideology of the Five Natural Elements of the Positive and Negative", but it is thought that it is possible to explore whether such a theory can be generally applied to other kinds of retreating villa gardens or not through a study on other retreating villa gardens as other examples in which the builder's apparent pure intentions, such as enjoyment of nature and persuit of study, etc., unlike Soshaewon are hidden.

• Korean Journal of Heritage: History & Science
• /
• v.46 no.2
• /
• pp.186-205
• /
• 2013

${\ll}$Three Purities Album${\gg}$ in the Kansong Art Museum is an album of poems and pictures of apricot tree, orchids and bamboos drawn by Lee Jeong. Given that the poems and pictures in the album were drawn by Lee Jeong who has been recognized as a person who established the standards of ink bamboo drawings in the Joseon Dynasty, the album is highly valuable. Nevertheless, there are more values and meanings that Three Purities Album has. The production circumstances and transmission processes of Three Purities Album include the historical characteristics and meanings of the time so that it is also worthwhile as a historical material. During the Japanese Invasion of Korea in 1592, Lee Jeong was stabbed with a sword by Japanese invaders and got injured. After he suffered, he tried to make his masterpiece in his lifework and finally created Three Purities Album. For the work, Lee Jeong received memorial writings from Choi Rip, Cha Cheon-ro and Han Ho, and asked them writings. They were the best literary men in the poem and calligraphy fields at that time. Yu Geun, Lee An-nul, and Yu Mong-in made writings and poems to praise his work. Likewise, ${\ll}$Three Purities Album${\gg}$ is the 'treasure of the time' created through the participation of the best literary men at that time. Given the aspects, it is fair to say that ${\ll}$Three Purities Album${\gg}$ is not simply a personal artwork of Lee Jeong, but is a comprehensive artwork and also a cultural monument created through the skills and capabilities of the literary artists in the middle of the Joseon Dynasty. After the death of Lee Jeong, Three Purities Album was handed over to Hong Ju-won. But, during the second Manchu Invasion into Korea in 1636, the album was in danger of disappearance by fire. As of now, there are still signs of fire in it, which vividly shows the urgent situation at that time. After the second Manchu Invasion into Korea in 1636, Hong Ju-won recovered some damaged writings with the help of Yoon Shin-ji. Since then, the album had been handed down as a family treasure over the next 7 generations. It can be found in the writings by Song Si-yeol and Uh Yu-bong. Unlike the literary men who praised Three Purities Album in terms of its work when Lee Joeng was alive, they focused on the transmission courses of the album and involved persons. That seems to be because the stories and characters appearing in Three Purities Album impressed the later literary men and were meaningful to them rather than the album itself. It strongly reflected the positions of Hong Jung-gi and Hung Sang-han who asked for writings as the descendants of Hong Ju-won. That is because the traces of the persons involved in Three Purities Album are the causes for admiring their ancestors and enhancing their political legitimacy and family dignity. Therefore, in this aspect, it is possible to witness the fundamental causes of the unique artistic awareness by East Asian people who consider their historical meanings as well as the aesthetic value of artworks significant. Unfortunately, during the Japanese invasion at the end of the Joseon Dynasty, Three Purities Album was handed over to Japanese Tzuboikouso. But, fortunately, Jeon Hyeong-pil who made an effort to regain our cultural assets by investing his entire property during the Japanese Imperialism regained the album, which is now preserved in the Kansong Art Museum. ${\ll}$Three Purities Album${\gg}$ truly includes the whole processes to overcome national crises that Korean people experienced during the Japanese Invasion in 1592, the second Manchu Invasion of Korea in 1636, and the Japanese Imperialism, and it shows the sufferings of our cultural assets and the history of preservation. Also, the album shows that one artwork is able to accumulate its historical meanings in the process of transmission and thus enhances its meanings and values. ${\ll}$Three Purities Album${\gg}$ features accumulative and constant historical meanings and it is a typical case showing that an artwork is plenty of aesthetic and historical values. It is expected that this work will contribute to promoting more studies on finding historical meanings and hysteresis of artworks.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.37 no.4
• /
• pp.51-59
• /
• 2019

This study aims to examine the design and construction methods of movable Pavilions. Through the literature analysis, the setting up of the construction background, location and direction, size and composition, materials and construction methods were analyzed. The results are as follows; First, the movable pavilion is designed to enjoy a wide range of views. It was a creation that reflected the way in which the ideal life was pursued based on the experience of enjoying scenery rather than owning one's own house and running a pavilion. Second, the formation of movable pavilion was intended to enjoy the scenery by season without restrictions on time and place. It can also relieve the hassle of having to move tools to enjoy the wind every time. Third, the movable pavilion faces to a place with good scenery and determines its position and direction. Most of them were built on a small scale and divided the space for viewing the scenery, playing GO(Baduk), writing poems, and playing musical instruments. Also, wood was used mainly. To reduce the load, roofs and walls were constructed with light materials such as bamboo, straw, thick sheet of oil, and cotton cloth. The construction method was mainly used by the method of fastening for easy coupling and dismantling. When a building was constructed on the upper part of a ship or cart, the wooden structure of a regular pavilion was constructed. Fourth, when comparing the design and construction characteristics of ordinary pavilion and movable pavilion, the movable pavilion is easy to see for contrast purposes, so there is no limit to setting the location and direction. Instead, more stringent systems and techniques were called for, because as mobility forces should be considered, structurally measures to withstand loads, and they should satisfy their function and form as pavilion.

• The Research Journal of the Costume Culture
• /
• v.19 no.2
• /
• pp.283-295
• /
• 2011

This study deals with the interchange with art that is contained in the works of Yves Saint Laurent, and it is disclosed through his works that modern fashion is part of expressive art while pursuing creative function as a work of art. The study has been performed on the basis of the references, the pictures of his works and interviews posted in domestic and overseas fashion magazines such as Vogue, Fashion News, Mode & Mode, Gap, Collections, etc. Regarding the scope of this study, it specifically deals with works he created from 1958 until 2002, when he announced his last collection. The results of the study show that with respect to Post-Impressionism, his works were greatly affected by van Gogh(who had used colors as active media in depicting his internal mental state) which gave birth to gorgeous and handicraft-like 'Couture-style clothes'. With respects to Fauvism, the works of Matisse also had an impact on Yves Saint Laurent, who added a sense of fauvism in his works through the use of colors, motif, or full reproduction of images from paintings. We see the influence of cubism upon Laurent when we examine his works of 'clothes with artistic value,' which utilized applique, beaded decoration, patchwork, embroidered patterns, relief-like ornaments, etc. using motif or objet much as we see in the works of Picasso and Braque, artists who expressed a new dimension of the formative arts. Laurent's use of neoplasticism, or plainness of painting, demonstrates a new formative art on the three-dimensional human body by using the works of Mondrian, which consist of black lines and primary colors, although generally Laurent's 'neoplastic'works differed from the works of Mondrian by more actively utilizing the lines and colors when designing dress and its ornament. In addition, the paintings and poems of surrealism artists and poets were directly used in the clothes or their images were sometimes borrowed. In order to express respect toward the spirit of surrealism and its artists, the human body motifs such as lips and eyes(which were frequently used by the surrealism artists) were applied to embroidery, printing and beaded decoration. Finally, being inspired by such Pop artists as Andy Warhol, Roy Lichtenstein and Tom Wesselman, Laurent further emphasized the aesthetic value of the popular consumer image in his own work, resulting in the wide recognition of the designs of Yves Saint Laurent as representing the new wave of the Pop Art school.

• Korean Journal of Cognitive Science
• /
• v.4 no.2
• /
• pp.5-28
• /
• 1994

In this thesis we attempt to analyze modern Korean poetic texts in the franmeworks of text limgisitics and cognitive pragmatics. Both frameworks describe and explai human verbal communicantion in terms of congnitive information-processing procedures.By utilizing analytical devices provided by seven standards of textuality we can analyze any type of text,especially in terms of the cognitive operations underlying the production and reception processes.It is clamed in cognitive pragmatic framework that human ostensive inforential communication is regulated by the Principle of Relevance.We claim that the relevance-based framework of pragmatics provides evidence and rationale for those cognitive operations identified in the text linguistic framework. poetic texts involve every kind of cognitive strategies and processing procedures underlying human verbal communication.So,if modern Korean poetic texts are satisfactorily analyzed by text linguistics and cognitive pragmatics,it means that both frameworks are very useful tools for analyzing texts and that all the other text types which are less complicated than poetic text will also be analyzed by these frameworks. Researchers of poetry,and poets,are sensitive to poetic effects.They feel more of poeticity while reading poetic texts than ordinary readers do.However,these researchers or poets sometimes give different interpretation of a single poetic text.The interpretation of poetry cannot be anything,because poets write poems with particular intertions and do not just throw them out so as to be interpreted at ramdom.This thesis suggersts that the poeticity felt by the reader can be described and accounted for in a scientific way.In other words,text linguistics and cognitive pragmatics enable the researchers of poetry to become objective in interpreting poetic texts. It will be clearly shown that we have to see poetic texts from a cognitive perspective,since they are by-products of cognitive processing performed by discourse participants.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.34 no.1
• /
• pp.1-17
• /
• 2016

The purpose of this paper is to understand the value of Dongji(東池), Seoji(西池) and Namji(南池), the lotus ponds of Fortress Wall of Seoul as part of the cultural landscape of the period through a consideration of personal behavior and impressive landscape characteristics via various old writings on each pond. The objects of this study include poems, diaries, travelogues and essays describing these ponds. The results are as follows. First, the preferred landscape elements of these three ponds were lotuses, willows and water itself. Second, while Dongji was recognized as a natural landscape, the composition of Seoji was a mixture of with natural and urban landscapes, and Namji was more urban altogether. Third, in aspects of personal behavior, while Dongji was a place where people broke their journeys to gaze at the scenery or looked down distantly, in Seoji, people stayed for a long time in a pavilion called Cheonyeon-jeong(天然亭) and engaged in various leisure activities, and in Namji, there were many gatherings under a temporary shelter or at a friend's house near the pond. Night was the best time to enjoy Namji because during the day, the area was crowded with people, horses, carts and so on. Fourth, the landscapes of fortress walls were impressively described often. Fifth, because these ponds were integrated into the surrounding area, they were like public openspaces mixed with water spaces, natural environment and adjacent facilities. The lotus ponds of the Fortress Wall of Seoul were located in a place connecting inside and outside of fortress, supplemented the cultural features in city, were valued as public openspace, and made it possible to experience the unique landscape of Hanyang. Although these ponds were buried and have now disappeared, they still hold great cultural meaning and potential value as water landscapes of the old city.

• Korean journal of communication and information
• /
• v.31
• /
• pp.85-111
• /
• 2005

This paper aims at dealing with the communication of Korean gong sound. It is based on 'music-spirit theory' of Han-Gi Choi and Mead's 'symbolic interactionism', and does this by interpreting the message of gong sound that is mentioned in Korean literature. The gong sound brings out the message of symbolizing evaporation of Korean people's joy and regrettable matters in the playing yard by regulating of breathing according to the steps. By the novel "Gong Sound" of Sun-Tae Moon Korean gong sound has a message of people's joy, anger, avarice, anxiety and sorrow. In Jeong-Rae Jo's novel "Arirang" the Korean Gong Sound includes a message of evaporation of people's regret and raises the national spirit during the Japanese Imperialism. By Jeong-Ja Yoo's collection of poems, "The sound of flower breathing carried by gong sound", the Korean gong sound carries a message of a roar of spirit and breathing of the spring flower. In conclusion, the Korean gong sound is a sublime sound of sky which carries the message of symbolizing evaporation of people's joy and regrettable matters through the sound communication in the open space, and awakes us to a method of breathing with sky.