• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.1-13
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• 2014

As part of reconsideration on naming of the scenic site No.1 "Myeongju Cheonghak-dong Sogumgang," this study attempts to identify whether there is any mistake with reference to place naming of Korea's No.1 scenic site and if so, to correct the problem by examining the origin of the name and its transition progress through analysis and interpretation of old maps, ancient documents such as traditional geographic books, Yusangi(遊山記) and Letters Carved on the Rocks. The findings of this study are as follows: In traditional geographic books, a term of 'Mt. Cheonghak(靑鶴山)' was first found from "SinjungDonggookyeojisungram(新增東國輿地勝覽)" and after a place name, 'Sogumgang(小金剛)' first appeared in "Yeojidoseo(輿地圖書)" in the middle of the 17th century, it was reproduced in "Jungsuimyeongji(增修臨瀛誌)", which was published in the early 20th century. However, as a result of analyzing old maps, the place name, Sogumgang cannot be found in any local or national map except place names such as Cheonghak-dong, Mt. Cheonghak and Temple Cheonghak. Even though 'Biseonam,' 'Cheonyudong,' 'Gyeongdam' and 'Mt. Cheonghak' appear in Yulgok's "Yucheonghaksangi(遊靑鶴山記)", any part in which 'Sogumgang' was referred is not found. Later, Cheonghak-dong Sogumgang seemed to had been called 'Mt. Cheonghak' or 'Cheonghak-dong(靑鶴洞)' for more than three centuries as seen in Lee Sun-il's "Godamilgo(孤潭逸稿)", Heo Geun's farewell records, Heo Mok's "Cheonghak-dong Guryongyeongi(靑鶴洞九龍淵記)", Yoon Sun-geo(尹宣擧)'s "Padongilgi(巴東日記)" and Lee Won-jo's letters and a poem composed by Gang Jae-hang in the middle of the 18th century is the only record in which the place name, 'Sogumgang' is shown. Meanwhile, 'Sogumgang' carved on Inung Rock(二能巖) in front of Temple Gumgang is presumed to be carved by Inunggyeoone(二能契員) in the 1870s or in 1930s, considering the size of each character, calligraphy, overall layout, wear extent and records in Jiriji. Therefore, no evidence can be found to say that each character of 'Sogumgang' was written by Yulgok because 'Sogumgang' has strong evidences of the origin of its place name. To sum up the findings stated above, since Yulgok's "Yucheonghaksangi", this place seems to have been referred as 'Mt. Cheonghak Cheonghak-dong' and as it is confirmed that the place name, 'Sogumgang' first appeared in "Ohyeongosijo(五言古時調)" of "Ibjaeseonsangyugo(立齋先生遺稿)" and "Yeojidoseo" in the middle of the 18th century, it can be inferred that the place name, Sogumgang had been partly mingled as an another name of Mt. Cheonghak. Therefore, even though it is difficult to say the existing place name has a significant problem, it is thought that it will be better to name 'Mt. Cheonghak Cheonghak-dong' rather than 'Cheonghak-dong Sogumgang' in order to stress on this place's traditional identity as a scenic site related to Yulgok. In addition, as confirmed in this study process, it is said that each character of place names, 'Mt. Cheonghak' and 'Gyeongdam(鏡潭)' and name 'Yoon Sun-geo' carved in Rock Sikdang stated in Yoon Sun-geo's "Padongilgi" in 1964 is a pledge showing the influence of "Yucheonghaksangi" as an ancient travel literature as well as a mark of the Giho school scholars' respect and spirit to honor Yulgok.

• Journal of the Korean Society for Library and Information Science
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• v.28
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• pp.301-390
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• 1995

In this paper, I intended to study the policy executed by the king Sungjong(성종), the ruler of the early Chosun(조선) Dynasty, for the purpose of the training for the literary scholars under the diplomatic necessity and from his own interest in literature, and the compilation and the publication of anthologies of the famous civil officials in those days under the influence of this policy. The overall findings of the study can be summarized as follows : 1. Sungjong was comparable with the Sejong(세종) in his studiousness and especially, he was very interested in literature. He composed verses personally, showed them to his civil officials and demanded their poems in response to his own ones. Futhermore, he executed steadily the institutions of Eung-je(응제), Kaw-si(과식) and Weol-kwa(월과) that demanded creative writings from his civil officials. The purpose of these institutions which was propelled by the king Sungjong was the training for the literary scholars under the diplomatic necessity. 2. Chosun Dynasty exchanged envoys with Myeong(명) Dynasty during the time of the king Sungjong as many as 100 times. The training for the excellent literary scholars was nationally urgent problem because the competent literary scholars were needed whenever Myeong Dynasty dispatched the envoys to Chosun Dynasty. Eung-je, Kwa-si and Weol-kwa were executed from practical demand and 1 - 3 persons at the minimum, 60 - 70 persons at the maximum took part in this institution at a time. This means that 60 - 70 literary works were produced at a time. Therefore, the steady execution of Eung-je, Kwa-si and Weol-kwa inevitably resulted in mass production of literary works. 3. The king Sungjong instructed his civil officials to compile the anthologies of the then representative civil officials as a means to encourage literary compositions, read it himself and took actions to publish them at the expense of government. There were six anthologies compiled and published under this policy of the king Sungjong, Kang Heui­maeng's Sasukjejib(강희맹, 사숙제집), Shin Suk-ju's Bohanjaejib(신숙단, 보한제집), Kim Su-on's Shikujib (김수온, 식우집), Choe Hang's Taeheojeongjib(최항, 태허정집), Seo Keo-jeong's Sagajib (서거정, 사가집), Lee Seok-hyeong's Jeoheonjib(이석형, 저헌집). Yu Ho-in's Noekyejib(유호인, 뇌계집+CZ48), Lee Seung-so's Samtanjib(이승소, 삼탄집), Kim Jong-jik's Jeompiljaejib(김종직, 점필제집) of three were examined by the king Sungjong, but published later because of the death of the king. 4. jeompiljaejib was compiled by order of the king Sungjong and passed Eulram (을람 : king reads an anthology personally) which contained Joeuijemoon(조의제문) that criticized the king Sejo(세조) who had usurped a throne. The recording of Joeuijemoon became an issue in process of Muosahwa(무오사화), and it was ordered that the printing blocks should be broken and the published books should be collected and be burnt up. These procedures destroyed the social atmosphere that people considered it an honor writing literary compositions, compiling and publishing anthologies thanks to the steady efforts of the king Sungjong. 5. It had an important effect on the compilation and the publication of anthologies after that, breaking the printing blocks, collecting and burning up the pulished books of Jeompiljaejib because of recording of Joeuijemoon. Namely, it got universalized to delete compositions that can cause problems in the future as well as the parts related to political issue, from the objects of recording. Such tendency became one of the important principles of the anthological compilation after that.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.4
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• pp.22-34
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• 2016

The purpose of this study was to analyze commemoration characteristics of fifty-nine Vietnam war memorials in Korea(VWMK) including monuments and national cemeteries from landscape architectural point of view such as location, spacial characteristic, landscape detail, sculpture, and interpretive text. Based on the commemoration characteristics of the analysis, the commemoration culture among Vietnam, the U.S.A., and Korea were studied and differences compared. The results are as follows. First, monuments were mainly located in public open space such as national cemeteries, parks, and plaza, and some of them were elected along with Korea war memorials to honor Vietnam war veterans at the national level. Second, because the monuments were relatively small and memorial towers were conventionally built on a square platform, the memorial style had been simply standardized to stereotype the commemoration characteristics. Third, outmoded memorial towers, stone plates, emblems, and memorial walls were used as main landscape details and standardized facilities were considered from an artistic and social point of view. Fourth, realistic soldier statues to show heroic and humanitarian image were in majority, while symbolic and abstract sculpture were small in number, they were mostly conventional and unexpressive. Fifth, the causes of participation in the Vietnam War were predominantly expressed as 'defending freedom', 'keeping world peace', and 'national economic development' based on anti-communism and patriotism, and also the collectivity of Vietnam War veterans by troop and local level was emphasized through engraving each veterans's name on towers, plates, and walls. VWMK are mostly conventional and stereotyped in style and show strongly national official memory and the collectivity of veterans from a sociopolitical perspective, and aim for anti-communistic patriotism ideologically. Further study and projects will be required to make creative and innovative memorials and to study how to rethink sublime fundamental themes like war, death, and the individual veteran's experience in VWMK.

• Korean Journal of Heritage: History & Science
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• v.50 no.1
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• pp.18-41
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• 2017

The Gangjin WolnamSaji(月南寺址) is a small site where three-story pagodas and a destroyed tombstone remained. In 1973, it was discovered that the destroyed tombstone was that of the second master of Susunsa, Hye shim(慧諶), who had a special relationship with the military regime in Goryeo, and it once again attracted attention as a result of the recent excavation of the Rooftile of Yeonhwamun(蓮花文). In particular, the Windchime excavated in 2012 is a large-sized one group with a length of 23cm, and a relatively large Sanskrit character was decorated on four sides of the body. In addition, it was also confirmed in preservation process that the word 'gaecheon(盖天)' was engraved. The Sanskrit characters(梵字) om( , oṃ), a( , a), hum( , hūṃ), brum( , bhrūṃ) were decorated on the body of the Wind-chime excavated in WolnamSaji. Om( , oṃ), a( , a), hum( , hūṃ) are known as the Sammiljineon(三密眞言) and brum( , bhrūṃ) has the meaning of having the highest honor. In addition, the Sammiljineon(三密眞言) allows us to understand the truth by responding to the principle of universe, which is the Vairocana Buddha(毘盧遮那佛), and brum( , bhrūṃ) has the meaning of unity. In the end, the meaning of the Sanskrit decorating the four sides of the Wind-chime, of WolnamSaji(月南寺址), can be interpreted as the expression of the Buddha's doctrine, or the willingness to be combined with Buddha, the highest existence in itself. It is possible that the word 'gaecheon(盖天)' carved on the body can be regarded as the name of the master craftsman related to the making of the Wind-chime, but it is unlikely that it is the name of the master craftsman, considering that it is a place where the location is not easily seen. If so, you can think of the original function that the Wind-chime has. In other words, it can be interpreted symbolically and implicitly that the wish of the sound of the airwaves symbolized by the words of the Buddha covers the sky and spreads all over the place. It is thought that the Wind-chime excavated in WolnamSaji(月南寺址) was made in the mid to late 13th century considering the comparisons with another wind-chime excavated from the temple site, the historical situation in the late Goryeo, the publication date of the scriptures(經典) of Esoteric Buddhism(密敎).

• The Korean Journal of Archival Studies
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• no.24
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• pp.215-274
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• 2010

Iron-making industries of the country, regardless of age has been the focus. This makes the iron production technology and production techniques that result in increased economic activity and because of the central charge. Therefore, the social development of ancient iron-making technology is based on phase-sensitive. Modern steel making up the monopoly of the country's target under the strict control of production, distribution was. It is essential to produce iron weapons was a threat is because you can keep the throne in the hands of the forces that can cause side effects when I went was to block. This study created a rail Cholbi(iron monument) and the regional distribution pattern of the production, construction background, looked on. Cholbi(iron monument) for the production and recording "the Annals of the Joseon Dynasty" often appear in history books and many academic interests, but was off target. Compared to a stone monument that was not generally as well as the Japanese colonial period and over the course of modernization destroyed, damaged a lot of cases the cause may be found in front. Cholbi(iron monument), except for the gravestones of the Joseon Dynasty monument erected in honor of virtue, as an example of content that dominated a packman business, founding of the school and confirmed that a few were built as a special purpose. Cholbi(iron monument) compared to the production technology or the cost of the monument's difficulty in financing follows. Therefore Cholbi(iron monument) the establishment of the Joseon Dynasty through the background of the economic situation and the local government can look. And iron technology began complaining about the object of history, economic conditions, with the change of season has been a change in people's consciousness tells you. Important data of ancient history as an epigraph that has been as important, the Middle Ages to modern times ranging from newly born to the time Cholbi(iron monument) in the development of the country's documentary subject to change should have been brought. Based on these discussions changes the identity of the hero monument and production inspector, review of production through the Joseon Dynasty period Cholbi (iron monument) contemplated the significance is reflected in production.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.69-86
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• 2020

Haenghaeng Ilgi (Diary of a Royal Trip) (koo 7152; hereafter Ilgi) in the collection of the National Museum of Korea provides an account of Crown Prince Sado's incognito royal visit to Pyeongyang in the fourth month of 1761. Ilgi was written by Ham Daeil, a low-ranking military officer in Pyeongyang. Ham was singled out for praise by Crown Prince Sado (1735-1762) and served the prince from the seventh day of the fourth month to the first day of the fifth month. Ilgi documented the deeds of Crown Prince Sado during this period and provides detailed information on his incognito visit to Pyeongyang, which was not officially recorded. Ilgi shows characteristics differentiating it from many other diaries. For example, the quality of the paper, neat handwriting, and well-organized sentences differ from those of common diaries. These distinctions indicate that Ilgi is closer to an official document than a private diary written by an individual. Since Ilgi records Crown Prince Sado's incognito visit to Pyeongyang, is only vaguely known otherwise, its contents need to be examined in terms of whether or not they are fully factual. As the first step in such verification, It is traced that Ham Daeil's family history which turned out to match what is written in Ilgi. Moreover, Ilgi mentions about Prince Crown Sado's writing a piece of calligraphy, and a matching piece of calligraphy written by Sado still survives today. It can be confirmed that the contents of Ilgi are factual in at least these regards. However, although Crown Prince Sado was known to have met people from various social classes during his visit to Pyeongyang, Ilgi focuses only on Crown Prince Sado and Ham Daeil. This suggests the possibility that the surviving version of Ilgi may be an edited condensation based on original texts containing more complete information on Crown Prince Sado's visit. Ilgi is presumed to have been produced during the generation of Ham Jeonghui, a son of Ham Daeil. The dates of birth and death of Ham Daeil fall during the reign of King Yeongjo. It is unlikely that any records regarding Crown Prince Sado would have been published while King Yeongjo, who was hostile to Sado, ruled the country. Ilgi also provides strong evidence that Ham Jeonghui presented the subsequent king, King Jeongjo, with the calligraphy by Crown Prince Sado and the diary. It is unclear if the book Ham Jeonghui presented him was the same as the extant version of Ilgi. Nonetheless, considering the situation at the time when King Jeongjo was pursuing several projects to honor his father Sado, it is highly probable that Ilgi was produced during the reign of King Jeongjo. The periods of presenting the calligraphy and the diary respectively overlapped with the production of Hyeollyungwon, the royal tomb of Crown Prince Sado, and Sado's sixtieth birthday. Therefore, is it considered reasonable that Ham Jeonghui produced Ilgi to promote his own social ambitions.

• (The)Study of the Eastern Classic
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• no.37
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• pp.127-159
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• 2009

This paper is about the conception of "Hwangjoin(皇朝人)" during the reign of King Youngjo in the Joseon Dynasity. Originally, Hwangjoin meant the Chinese people till the mid-term of the Joseon Dynasty but the meaning was changed to the immigrants from the Ming(明) dynasty in reign of King Youngjo. They were Han Chinese(漢族) and moved to the Joseon between the Japanese Invasion in 1592 and the Manchu war in 1636. The Joseon government gave a warm welcome to them. Two wars made the Joseon government pay attention to the national restoration and served the entrance of 'Sallim(山林)' on the central government as a momentum. Song, Siyeol(宋時烈) was the leader of Sallim, who made an issue of 'Daecheong-boksu Discourse(對淸復讐論;to revenge on Ching(淸) Dynasty)' like a way of 'Bukbeol(北伐;to attack Ching Dynasty)'. His plan came to fail because of the death of King Hyojong and was replaced with Jonju Discourse(尊周論;respect for Zhou Dynasty). Daebodan(大報壇) was built in the reign of King Sukjong, which meant Joseon got the justness that they inherited from the Ming Dynasty. Later Daebodan expanded and it led to works in honor of loyal subjects and patriots, victims of two wars and a policy of a warm reception for Hwangjoin. King Youngjo did his best to theorize Daemyeong Euiri Discourse(對明義理論) and Jonju Discourse for himself. His efforts came out as a spread of conception on Pungcheon(風泉;fengquan), publication and education of Eoje-seo (御製書) and making literary works(英祖御製). King Youngjo employed many policies for Hwangjoin. First, operation of Chungnyanggwa(忠良科) opened a door for them to go into politics. Second, descendants of Hwangjoin had charge of Hwangdan's guard(皇壇 守直) posts. and joined in the sacrificial rites of Ming Emperors. Third, they could have government jobs and honorary posts for ancestors' merits. Fourth, a list of Hwangjoin, "Hwainlok(華人錄)" was published and they got preferential treatment unlike Hyanhwain(向化人). King Young's Pungcheon(風泉) had an effect on literature such as Lee, Gyusang(李奎象)'s "Beong-sejaeunlok(幷世才彦錄)" and Song, Gyubin(宋奎斌)'s Pungcheon-yuhyang(風泉遺響)". The general people of Joseon were jealous and envious of them because of special treatment polices for Hwangjoin. So people wanted to be included in Hwangjoin as far as possible and there were cases of pretending to be a Hwangjoin. The conception of "Hwangjoin(皇朝人)" during the reign of King Youngjo was realized as the policy for Hwangjoin based on Daemyeong Euiri Discourse (對明義理論) and Jonju Discourse(尊周論). It was a way of becoming clear about Joseon's position in political principle.

• (The)Study of the Eastern Classic
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• no.34
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• pp.63-88
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• 2009

This paper was a quest of pattern of holding "Dae Hak - the Great Learning" during Joseon Period having investigated the characteristics of the Essentials of the Studies of the Sages(聖學輯要, Seong Hak Jibyo) that was compiled by Lee I was a reinterpretation of the Great Learning, and also academic enrichment. During the period of Joseon Dynasty, the Great Learning had held the most important position as core scripture in the intellectual society that pursued Seong Hak(聖學, sage learning). Throughout the Joseon Period, the Great Learning was the essential text for the Emperorship Learning(帝王學, Jewang Hak) as well as Seong Hak, and it can also be said that Seong Hak Jibyo compiled by Yulgok - the courtesy name of Lee I, was the comprehensive collections thereof. While compiling Seong Hak Jibyo, Yulgok presented a model of Seong Hak of Joseon, which was based on "the Great Learning". Yul Gok organized the system of "Seong Hak Jibyo" largely in five parts, and properly arranged the Three Cardinal Principles(三綱領, samgangryeong) and Eight Articles or Steps(八條目, paljomok) therein. Particularly, in the Chapter Two, "Cultivating Oneself(修己, sugi)", Yulgok deal with 'being able to manifest one's bright virtue'(明明德, myeong myeong deok) among the Three Cardinal Principles as the core curriculum, meanwhile, Yulgok also covered "Investigation of things, gyeongmul(格物)," "Extension of knowledge, chiji(致知)," "Sincerity of the will, Seongui(誠意)," "Rectification of the mind, Jeongshim(正心)," "Cultivation of the personal life, susin(修身)," among Paljomok(eight steps) as the ultimate purpose of 'Stopping in perfect goodness'(止於至善, jieojiseon) These well preserve the principal system of Confucianism where "Cultivating oneself and regulating others (修己治人, sugichiin)" are core value, and his instructions as such also back up academic validity logically by presenting specific guidelines for practice according to each domain. Reinterpretation of "The Great Learning" by Yulgok in Seong Hak Jibyo is an arena to investigate the characteristics of Confucianism in Joseon Period, which was different from that of China, furthermore, such guidelines might take a role as criteria to understand the characteristics of humans and learning possessed by Korean people.

• Journal of the Daesoon Academy of Sciences
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• v.38
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• pp.83-114
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• 2021

This paper identifies what the theoretical similarities and differences are in the concept of Sangsaeng held by Zhuxi (1130~1200) and Jeungsan (1871~1909). Human beings cannot live alone. For humans to survive, they must live with others. However, humans have an infinite desire not only for survival but also for material things, honor, and power. In other words, humans, on the one hand, seek harmony and symbiosis for survival, and on the other, constantly confront, conflict and compete with one another to satisfy their infinite desires. Thus, human-to-human interrelationship is not a co-prosperity that creates partnerships for harmony but one of adversaries within competition that must be fought and defeated. At the same time, humans can achieve harmony and cooperation by overcoming their infinite desires and realizing morality. Therefore, various social problems that originate from competitive structure, which are dominated by confrontation and conflict, can be solved through human effort and reflection, so that humans can focus on solving social problems by mobilizing their own wisdom. Jeungsan emphasized Sangsaeng as mutual beneficence and it became one of the creeds of Daesoon Thought. In the Neo-Confucianism of Zhuxi, there is an ideology of Sangsaeng as co-prosperity and this is comparable to mutual beneficence in Daesoon Thought. In Zhuxi's terminology it is called 'In (仁), humanity.' In Neo-Confucianism, a harmonious world is achieved by loving people and caring for and nurturing all things when the principles of humanity are realized. This means that when the principle of co-prosperity is realized in Daesoon Thought, there will be no conflict or grudges, and only an acquired vision of reconciliation and mutual beneficence will be achieved. Zhuxi also emphasizes the realization of humanity (cheonli) by eliminating self-interest. At this time, the relationship between humanity and 'self-interest' is similar to the relationship between the mutual beneficence and grievances in Daesoon Thought. Just as the principle of 'In' fosters love among people and the benefit of things immediately after self-interest is removed, the principle of mutual beneficence is realized immediately after grudges are resolved. This achieves an endless of paradise on earth.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.169-178
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• 2021

The Korean girl group "Kara" has suffered the trilemma of its de facto failure to debut, the crisis of team breakup, and the CEO crisis of the agency. But the group has made an outstanding achievement in the history of Korean pop music after overcoming all odds. Their success strategy has never been disclosed by insiders involved in Kara's total music projects. This study has been carried out in the analysis of the strategy to provide academic implications and to honor the contribution of the late CEO Ho-yeon Lee and Kara's key member Ha-ra Gu. Therefore, between Nov. and Dec. 2020, we conducted in-depth interviews with managers, composers, stylists and Ha-ra Gu(Only in 2019, before her death) who took part in the project. The research model is set up by combining Porter's Competitive Advantage Strategy and the music value chain model into categories of "Product Innovation Differentiation (PD)" (producing, album production, performance activities) and "Marketing Differentiation (MD)" (market targeting, image specialization, promotion and communication). The analysis showed that the PD focused on complete rediscovered harmonization and revalued members' personality and sincerity with peppy songs and dainty dances as well as emission of "bright energy" which caused healing effects instead of mimicking other star singers recklessly. In terms of MD, they selected Japan's 10-20s as their main market, increasing intimacy with fans and media with the image of cute+pretty+classy+sexy. The result suggests that Poter's differentiation can function as a meaningful strategy frame in the fostering, hit, and revival of idol groups. In addition, it reaffirmed that spontaneous and passionate activities of early-stage or celebrity fan may serve as a valid catalyst for realizing differentiation, as Kara's caller of Japanese actor Gekidan Hitori caused a strong "priming effect" that drove Kara's unexpected wonderful success in Japan.