• The Journal of Korean Philosophical History
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• no.32
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• pp.215-249
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• 2011

This essay reflects on the modernity of Korea by examining the transformation of the traditional knowledge system from a historico-semantic perspective with its focus on the opposition and collision of the old and the new conception occurred in the early period(1890~1910) of the acceptance of the Western modern civilization. With scientific success, trick of reason, Christianity and evolutionary view of history, the Western modernity regarded itself as a peak of civilization and forced the non-Western societies into the world system in which they came to be considered as 'barbarism(野蠻)' or 'half-enlightened(半開).' The East Asian civilization, which had its own history for several centuries, became degraded as kind of delusion and old-fashioned customs from which it ought to free itself. The Western civilization presented itself as exemplary future which East Asian people should achieve, while East Asian past traditions came to be conceived as just unnecessary vestiges which it was better to wipe out. It can be said that East Asian modernization was established through the propagation and acceptance of the modern products of the Western civilization rather than through the preservation of its past experience and pursuit of the new at the same time. Accordingly, it is difficult to apply directly to East Asian societies Koselleck's hypothesis; while mapping out his Basic Concept of History, he assumed that, in the so-called 'age of saddle,' semantic struggle over concepts becomes active between the past experience and the horizon of expectation on the future, and concepts undergoes 'temporalization', 'democratization', 'ideologization', 'politicization.'The struggle over the old and new conceptions in Korea was most noticeable in the opposition of the Neo-Confucian scholars of Hwangseongsinmun and the theorists of civilization of Doknipsinmun. The opposition and struggle demanded the change of understanding in every field, but there was difference of opinion over the conception of the past traditional knowledge system. For the theorists of civilization, 'the old(舊)' was not just 'past' and 'old-fashioned' things, but rather an obstacle to the building of new civilization. On the other hand, it contained the possibility of regeneration(新) for the Neo-Confucian scholars; that is, they suggested finding a guide into tomorrow by taking lessons from the past. The traditional knowledge system lost their holy status of learning(聖學) in the process of its change into a 'new learning(新學),' and religion and religious tradition also weakened. The traditional knowledge system could change itself into modern learning by accepting scientific methodology which pursues objectivity and rationality. This transformation of the traditional knowledge system and 'the formation of the new learning from the old learning' was accompanied by the intersection between the old and new conceptions. It is necessary to pay attention to the role played by the concept of Sil(hak)(實學) or Practical Learning in the intersection of the old and new conceptions. Various modern media published before and after the 20th century show clearly the multi-layered development of the old and new conceptions, and it is noticeable that 'Sil(hak)' as conceptual frame of reference contributed to the transformation of the traditional knowledge system into the new learning. Although Silhak often designated, or was even considered equivalent to, the Western learning, Neo-Confucian scholars reinterpreted the concept of 'Silhak' which the theorists of civilization had monopolized until then, and opened the way to change the traditional knowledge system into the new learning. They re-appropriated the concept of Silhak, and enabled it to be invested with values, which were losing their own status due to the overwhelming scientific technology. With Japanese occupation of Korea by force, the attempt to transform the traditional knowledge system independently was obliged to reach its own limit, but its theory of 'making new learning from old one' can be considered to get over both the contradiction of Dondoseogi(東道西器: principle of preserving Eastern philosophy while accepting Western technology) and the de-subjectivity of the theory of civilization. While developing its own logic, the theory of Dongdoseogi was compelled to bring in the contradiction of considering the indivisible(道and 器) as divisible, though it tried to cope with the reality where the principle of morality and that of competition were opposed each other and the ideologies of 'evolution' and 'progress' prevailed. On the other hand, the theory of civilization was not free from the criticism that it brought about a crack in subjectivity due to its internalization of the West, cutting itself off from the traditional knowledge system.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.117-133
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• 2021

The art of the Confucian literati' was mainly centered on literati' painting. Literary paintings combined with poem-writing-painting are based on the literary characters and studies. This is usually based on the technique of Shensi(神似) caused by a hobby accomplishment, enjoying the chinese painting and cherishing with chinese painting. The Confucian literati' cultivated their own character and sublimated humanism to art based on studying. They sought the life of supremacy and supreme gentleness, and enjoyed life on the boundary of pleasure through art. The aim of the Confucian literati' arts lies in the pursuit of expressing the artist's inner world, spirit, and the combination of the Confucian and the Taoism, Because of literati's spirit based on learning, the Confucian literati' arts still exist. The aesthetic of Sunbi Spirit is mainly in the customs of Sunbi, the loyalty of Sunbi, the Silhak(實學) of Sunbi, and loving of the people of Sunbi. We can find honor and loyalty in the Sunbi spirit of the Confucian literati' of the Joseon Dynasty. In addition, it is also possible to observe the loyal troops, the hard work for the country, and the Pung-ryu with nature. In other words, the Sunbi honor, loyalty, loyal troops, pursuit of study and the Pung-ryu show the spirit of the Confucian literati' of Joseon Dynasty. The aesthetic of the Sunbi spirit is in Pung-ryu, loyalty, Silhak, loving of the people etc. The aesthetic of experience of art is mainly based on the aesthetic experience by emotional intelligence and the aesthetic experience according to the individual's inclination. The aesthetic sense actually shows Pung-ryu, loyalty, Silhak and love etc. We can see it in many of our literary paintings. Therefore, the Confucian literati' painting in Chosun Dynasty were the intentionality of the mind and the intentionality of the spare. Furthermore, it has directivity of expressing the artist's inner world, directivity of substance, so it is possible to see that the characteristics of the Sunbi spirit are diverse.

• Journal of Korean Philosophical Society
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• v.139
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• pp.213-238
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• 2016

This paper examines how Dasan Jeong Yak-yong developed self-healing and his perspective of happiness during the hardest point of his political and social career. Just after the death of King Jeongjo (正祖, reign. 1766-1800) the arrest and persecution of those who accepted Christian knowledge from the West began. Among them were Jeong's family members and friends. Jeong, who had learned but had not accepted Christianity as a religious belief, was exiled to Ganggin 康津 in southern Jeolla Province where he was to spend the next 18 years. The two things that helped Jeong through his exile were the Book of Changes 易經 and his commitment to the study of Confucian thought, political, and social reforms. His life-long commitment to writing and his progressive understanding of the principle of changes of the universe in the Book of Changes, represented processes of self-healing and cultivation, depriving Jeong of self-pity and enabling him to attain the highest level in self-realization. According to Jeong, there are two kinds of happiness; "secular happiness" (yeolbok 熱福) related to power and wealth, and "pure happiness" (cheongbok 淸福), a free and idyllic life. For Jeong, the latter was more valuable than the former. Jeong believed that life pursing ethical virtues only could bring authentic joy to people. Furthermore, his devotion to the issues of systematic, social reforms was out of his desire to bring the public happiness by "practical learning", silhak 實學.

• Journal for History of Mathematics
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• v.28 no.6
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• pp.301-310
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• 2015

Since Jiuzhang Suanshu, the main tools in the theory of right triangles, known as Gougushu in East Asia were algebraic identities about three sides of a right triangle derived from the Pythagorean theorem. Using tianyuanshu up to siyuanshu, Song-Yuan mathematicians could skip over those identities in the theory. Chinese Mathematics in the 17-18th centuries were mainly concerned with the identities along with the western geometrical proofs. Jeong Yag-yong (1762-1836), a well known Joseon scholar and writer of the school of Silhak, noticed that those identities can be derived through algebra and then wrote Gugo Wonlyu (勾股源流) in the early 19th century. We show that Jeong reveals the algebraic structure of polynomials with the three indeterminates in the book along with their order structure. Although the title refers to right triangles, it is the first pure algebra book in Joseon mathematics, if not in East Asia.

• Journal of Korean Medical classics
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• v.25 no.1
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• pp.51-68
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• 2012

Objective : This paper is aimed at suggesting further tasks by checking and rectifying the errors of the ancieut Chinese-vernacular Korean translations of Park Ji-won(朴趾源)'s "Kumryosocho". Method : In order to correct the wrongly transcribed "Kumryosocho" was contrasted with the original "Xiangzubiji(香祖筆記)", of which the part is "Kumryosocho". And then the errors and mistakes are discovered in published ancient Chinese-to-vernacular Korean translations. Result : In the course of checking the existing translations of "Kumryosocho", this paper identified the following types of errors. 1. Errors attributable to unfamiliar names of medicinal herbs 2. Errors due to the unfamiliarity with the names of diseases or symptoms in Traditional Koreau Medicine(TKM). 3. Errors committed in hand transcription. These types of errors were committed as well in translating jargons routinely used in TKM books. To the surprise, the errors above have been repeated even in the latest version of its translation. This means that the medicine-related materials by Silhak scholars, including "Kumryosocho", were placed at a dead zone of the research between Chinese classic scholars and TKM scholars. Conclusion : To minimize errors and mistakes, it is needed to activate the cooperative work of heterogeneous experts in two academic fields.

• Journal of architectural history
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• v.32 no.5
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• pp.107-117
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• 2023

There are records and claims that tung oil was applied to Korean traditional buildings and furniture as finishing paint. Records of the use of tung oil(桐油) exist in the Annals of the Joseon Dynasty(朝鮮王朝實錄) and The Royal Protocols of the Joseon Dynasty(朝鮮王朝儀軌). However, there is also a claim that tung oil was not produced in Korea on its own, and that tung oil was not applied to important buildings such as palaces. Silhak scholar(實學者) Seo Yu-gu says that in Korea, people do not know how to grow tung trees, and boiled perilla oil is called tung oil. If tung oil was used in the Joseon Dynasty, it would be necessary to use tung oil for waterproof coating to preserve current architectural heritage, otherwise, tung oil coating would not be desirable. Analyzing the Yeonggeon Uigwe(營建儀軌) among the Joseon Dynasty's Uigwes shows that tung oil is neither mentioned nor used. In addition, as a result of analyzing the Uigwes mentioned in tung oil, it was found that perilla oil or Myeongyu(明油), not tung oil, was recorded in the actual material used. Therefore, the records of the use of tung oil during the Joseon Dynasty can be seen as records using Myeongyu(明油) or Beopryeon perilla oil(法煉荏油).

• Journal of the Korean Society of Costume
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• v.51 no.3
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• pp.75-85
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• 2001

The system of washing and shrouding a dead body is a series of procedures for encoffining in funeral rites, which are taken after death indentification by using CHOKWANG and praying for the resurrection of a dead body by calling a soul departed from the body. The washing and shrouding a dead body (hereinafter reffered to as "YEOMSEUP") is the broad concept which contains the procedures of washing, clothing and shrouding the body. The clothing includes washing, putting rices into the mouth. and then dressing while the shrouding includes first wrapping, second-wrapping and encoffining. The clothes for YEOMSEUP (all clothes and articles for funeral rites are designated) will be put in the coffin along with a dead body according to the YEOMSEUP procedures. Dasan, a SILHAK scholar in the late Yi Dynasty, pointed out some problems of the funeral rites observed in those days. At the same time, he found that the problems had arisen from the misinterpretation of the original descriptions in Chinese characters. and had tried to correct them. The books written by Dasan basically emphasized his ideology reshaping the whole procedures by trimming and removing meaningless formalities which are too much luxurious and wasteful and making them as a part of the original principles of the funeral rites. His Intents are clearly shown in his wrings on practical ettiquttes, such as SANGRYESAJON and SANGUIJEOLYO. In its attempt, this study aims at reformulating the DASAN\\`s SANGRYESAJON in terms of YEOMSEUP methods. A lot of virtues of the Dasan, like WOOSU, SIMUI, DAEDAE, MO, SORYUMHYO and DAERYUMHYO could also be found accordingly. The merits and characteristic in funeral rites are an obedience in filial duty, the pursuit of frugality. and the efficiency of practical functions. It could be said that the resurvey of DASAN′s theory on YEOMSEUP procedures is a meaningful work today when the original meaning of funeral rites fades out. Furthermore, discussions of refined burial service and encouraging cremation designed to improve land use, which are widely spread among people, could weaken the basic philosophy of YEOMSEUP and more likely propagate the atmosphere of despising the dignity of human beings.

• Journal of the Korean Society for information Management
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• v.32 no.3
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• pp.221-236
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• 2015

The purpose of this study is to analyze the research fields constituting the knowledge structure of the Korean Studies by applying hierarchical clustering method to domestic journal papers in Korean Studies. We analyzed 3,800 papers containing Korean author keyword that were listed in 14 kinds of Korean Studies journals published in 2004-2013, which have average impact factor more than 0.5 in 2011-2013. The results of the analysis show that the central research fields are the subjects related to political & social problems based on Confucian ideas focusing on Neo-Confucianism (Seonglihak) and Realist School of Confucianism (Silhak), to the political situation associated with territorial division of the Korean peninsula, and to the history from the period of japanese colonialism to modern and contemporary. It has been also found that the temporal backgrounds of researches in domestic Korean Studies were related to the modern times and the Joseon Dynasty periods, rather than the time of the ancient and contemporary.

• Journal of the Korean Society of Food Culture
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• v.20 no.2
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• pp.144-151
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• 2005

This study examined food culture appearing in Giroyeon paintings in the late Chosun Dynasty (early $17^{th}{\sim}l9^{th}$ century), a period under political and economical difficulties in overcoming frustrations and looking for self-restoration methods after Imjinweran$(1592{\sim}1598)$ and Byungjahoran$(1636{\sim}1637)$. Paintings related to Giroyeon include Lee Gi-ryong's $(1600{\sim}?)$ painted in 1629 under the reign of King Injo $(1623{\sim}1649)$, painted jointly by Kim Jin-yeo et al. in 1720, the first year of King Gyeongjong $(1720{\sim}1724)$ and Kim Hong-do's painted in 1804 under the reign of King Sunjo $(1800{\sim}1834)$ in the early $19^{th}$ century. These paintings over three centuries of the late Chosun show changes in the character of Giroyeon, food culture and tableware culture, etc. According to these paintings, the character of Giroyeon was expanded from a feast held for high civil officials to a banquet comprehending general civil servants. These paintings show Hyangeumjueui, which means the decorum of respecting and sowing the aged men of virtue with alcohol beverage, table manner, seated culture represented by cushions and mats and individual-table culture. In addition, the expansion of demand for sunbaikja and chungwhabaikja and the diversification of vessels and dishes are demonstrated in Giroyeon paintings after Imjinweran in 1592. in this way, Giroyeon paintings show the historical characteristics of the late Chosun Dynasty, such as the collapse of Yangban-centered political system, the disintegration of the medieval system due to the emergence of the Silhak and the diversification of food culture.

• Journal of the Korean Society of Food Culture
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• v.18 no.6
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• pp.536-543
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• 2003

The Chosun Dynasty in the $18^{th}$ century was a period of revival for science, art, and culture, bringing about Silhak(practical science), a new trend in the history of Chosun thoughts. In the history of fine arts, realistic landscape paintings and genre paintings were popular as realism became prevalent. From the aspect of food culture, in particular, the luxurious and elegant Korean-styled food culture was completed during this period. Iwanwasuseoksihoedo was painted by Jeong Hwang (1735-1800) in 1789, depicting a banquet on an elder's $60^{th}$ birthday. It is classified as a genre painting in the late Chosun Period but it contains things that comes into our heart, which are white porcelain with blue celadon pictures, white porcelain bowls, busy atmosphere of a banqueting house where food is being carried in a hurry and elders' serene appearance. All these things show the abundance of life, the room and comfort of old ages, and the beauty and relish of life in the well-arranged living ground. Hoehonyedo was painted on an elder's $60^{th}$ marriage anniversary by an unknown artist presumably in the $18^{th}$ century is a painting as realistic as a documentary photograph. The work gives viewers pleasure and comfort because it describes not a mighty clan but the superb later years of an official who had lived right and upright life. In the aspect of food culture, it displays the food culture of the splendid sixtieth marriage anniversary of a Korean official through noble etiquette among family members, seat planning, unique table culture and high quality tableware including white porcelain with celadon pictures and pure white porcelain.