• Cross-Cultural Studies
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• v.19
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• pp.7-24
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• 2010

This paper is to survey a serise for The Red Cliff which is depicted The Former and Latter Odes on the Red Cliff written by Su Shi. This subject was mainly painted by the literati painters and consistently represented. In format of The Red Cliff, there are basically a types of pictorial depicton in accordance with their contents. Describing the whole scenes and the part of the story. Others is painted which bring from one scene of describing the whole scenes of the story.

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.283-291
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• 2020

Chusa is a pearl in our cultural history. His unfavorable times and circumstances made him more and more devoted, and through this, his art was able to bloom brilliantly. He was born and raised in a prestigious family, and was able to establish his academic world broadly through the encounter with Ongbanggang and Wanwon, the great masters of the Qing Dynasty culture at the time of the 20s. Particularly, his artistic activities in the area where he lived in exile allowed him to establish Chusache. He also showed the essence of his literary spirit as a picture of Sehando. Through numerous letters, he can also examine his culture, art, and thought. Furthermore, based on the archaeology of the Qing Dynasty, you can also examine the thoughts and philosophies of the real world. This article intends to examine and review the Aesthetic Sense of Chusa's literary art in terms of mentality through Sehando·Bujakrando. This is because it is judged to be an aesthetic sense that is the essence of Chusa art.

• Journal of the Korean Geographical Society
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• v.44 no.3
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• pp.260-281
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• 2009

This study analyzed people's travels to Mt. Jiri in the Joseon Dynasty; and more specifically, the purpose of such travels and the methods used to do so. Using previous studies dealing with travels to Mt. $K\breve{u}mgang$ and Mt. Chungryang under taken by Joseon people, this study strived to extrapolate the characteristics of the travelers who visited Mt. Jiri, the motivation for their travels, the journey itself, and the style of travel employed. As a result of this exercise, those who traveled to Mt. Jiri were found to exhibit common characteristics in terms of aspects such as their area of residence, personalities, and hobbies. As these were naturally reflected in their travels, the motivation for such trips, as well as the journey to Mt.Jiri itself, tended to differ from those associated with travels to Mt. $K\breve{u}mgang$ and Mt. Chungryang. As far as the style of travel was concerned, the study focused on such aspects as the length of the trip, preparations, nature of the companions, transportation, meals and accommodations, as well as the activities carried out during the travel itself. Here, the comparison with the travelers to Mt. $K\breve{u}mgang$ and Mt. Chungryang revealed no significant differences.

• (The)Study of the Eastern Classic
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• no.32
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• pp.103-128
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• 2008

King Jeongjo had lost his father, Sado-Seja(Prince Sado) by Noron(Older Faction). Especially those who tried to kill Sado-Seja and king Jeongjo consisted of king's family-in-law of king Youngjo and Sado-Seja. Therefore king Jeongjo's first goal was to strengthen his kingship than other things because he could gain the throne overcoming the strong hinderance of Noron and king's family-in-law. King Jeongjo requested his subjects to be "Kukbyon-In"(國邊人: a person for king) pointing out the harm of the king's family-in-law and "Tangpyong-Dang"(蕩平黨: the strongest faction consisted under the rule of king Youngjo). For the purpose, king Jeongjo built up "Gyujang-Gak". Gyujang-Gak was spoken to contain and protect the writings of earlier kings superficially, but in reality, it was an apparatus to gain and train the friendly subjects for king Jeongjo. Like that, it was the most important for king Jeongjo to suppress the king's family-in-low and to win Neo-Confucian lterati over to himself's side. Until now, the politics of Joseon Dynasty had been mainly explained on the point of view of "Seonghak-Non"(聖學論). "Seonghak-Non" means that Neo-Confucian lterati were treated as real hero, not kings in the political space of Joseon Dynasty and the role of factions were recognized important. But king Jeongjo denied these ideological stream and tried to change that political system. King Jeongjo wanted to strengthen the throne through the method which insisted the king as a hero in politics. For the purpose, king Jeongjo criticized the Neo-Confucian literati's viewpoint about politics and learning at that time and anticipated to be sole leader of politics and learning on that critique. King Jeongjo aimed to destroy the dignity of "Salim"(山林: Neo-Confucian Sages) with attacking their wrong behaviors. King Jeongjo also criticized the period of king Injo when the regime of "Sarim"(士林: pure Neo-Confucian lterati) faction fully appeared as the starting period when the factional harms were getting worse. King Jeongjo wanted to previously block the oppositions to win subjects over to himself's side with criticizing the period of king Injo and to take away the initiative from his opponents with insisting "Salim-Muyongnon"(山林無用論: a theory ignoring Neo-Confucian Sages). King Jeongjo's critique was not limited just on the system of factional politics. "Seonghak-Non" eventually took root in Neo-Confucianism. Therefore king Jeongjo criticized Neo-Confucianism. He insisted that the essence of Chinese Classics was pragmatical learning, not Neo-Confucianism. Through that critique, king Jeongjo aimed to destroy the ideological base of his opponents. However, king Jeongjo failed to be a sole leader of his subjects in the both boundaries of politics and learning even though he criticized the Neo-Confucian lterati's viewpoint about politics and learning. Because he abruptly died leaving his reformational scheme behind as well as his loyal subjects guarding himself against Noron Byeok-Pa(老論 ?派: the opposing party in Older Faction) were gone behind himself. The politics of Joseon Dynasty returned to more powerful politics for king's family-in-law after king Jeongjo's death.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.1-21
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• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• Conservation Science in Museum
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• v.17
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• pp.69-84
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• 2016

Yuso is the term for decorative tassels of a braided string which hangs a scroll painting. This study, drawing on extant research concerning the yuso made for Joseon period portrait scrolls of kings and meritorious retainers, focuses on the yuso created to hang literati portraits. Concretely, It examines yuso of seven portraits in the collection of the National Museum of Korea in order to characterize their appearance and determine their material composition. The study found that most of the yuso are sixteen-strand strings braided into a rounded cross-section(dongdahoe). The seven yuso, of which six are red and one indigo-blue, reflect the popular style associated with Joseon period literati portraits. The yuso for the portrait of Yun Geup(duksu 3503) is made from gilded paper. Analysis showed Fe particles present in a red pigment underlying the gold layer, suggesting the presence of red ochre(seokganju), an iron oxide mineral. The yuso of the portrait of Shin Im(duksu 4846) is used a paper which contains gold as well as traces of Pb, Hg and Ag. The paper in the yuso for the portrait of Yi Seongwon(bongwan 10122) mainly consisted of Ag, indicating silver paper having been used in its fabrication. The inner paper in the yuso of the portrait of Yi Seogu(sinsu 1065) is a leather combined with Ag, Fe, and Br, according to chemical analysis. The FTIR of the leather sample reveals that the spectrum in the fingerprint region is nearly identical to that of sheepskin, indicating the yuso was made from gold-coated sheepskin.

• The Journal of Korean Philosophical History
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• no.31
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• pp.321-346
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• 2011

This is a preliminary study in order to deal intensively with the overall characteristics of Korean military science in the future days. First off, the history of military science of China based on the precedent studies was recapitulated, and a comparative study on the acceptance process of the books on military art and science, as well as on understanding patterns of literati on the subject through literature searches, ranging from the Three Kingdoms Period to the Goryeo Dynasty in Korean peninsula, was conducted. In case of Korea, the Chinese books on military strategy, including Sun Tzu's the Art of War, had already been passed down during the Three Kingdoms Period, and broadly read by scholarly people. They had utilized diverse methods based on their knowledge of Confucianism. In the reference materials, the authors of Korean military strategy books had greatly relied upon the Chinese books on military strategies, however, they had made the military principles run in their own way. At the end of Goryeo Dynasty, 'Military Science' had been well established as a subject in academia, and this curriculum had been taught not only at the National Confucian Academy, Seonggyun-gwan, in the capital but also at the country public school ("Hyanggyo") in the province together with Confucianism. Because of the limits of reference materials, however, it was difficult to confirm whether or not such strategic experiences were actually led to the publication of the books on military art and science, or how many books on military strategies and tactics had been published up until the end of Goryeo Dynasty. But, the facts that there were not many publications of the books on military strategies during the era of Three Kingdoms and of Goryeo Dynasty don't mean that Korean military science had entirely relied upon the Chinese military art and science. For instance, such strategies, tactics and leaderships as exhibited in the process of the Great Victory at Salsu River ("Salsu Daecheop") achieved by General Eulji Mun-deok, as well as the Great Victory at Gwiju ("Gwiju Daecheop") achieved by General Kang Gam-chan could never happen by chance.

• (The)Study of the Eastern Classic
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• no.54
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• pp.253-288
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• 2014

A pen name Chuman(秋巒; a mountain of Fall), Jeong Ji-wun(1509-1561) is a famous person wrote "Cheonmyeong-Doseol" which made two men, Yi Hwang and Ki Dae-$s{\breve{u}}ng$ dispute Sachil-Nobyeon(traditional argument about heart/mind). But except this point, few people of nowadays know who Jeong Ji-wun was. Therefore this paper is made for understanding Jeong Ji-wun in the point of view in history of thought. "Cheonmyeong-Doseol" by Jeong Ji-wun had systemized traditional theory of Cheonil-Habil(sky and human are an organic body), through this theory, Jeong Ji-wun had taken an important role who developed the Neo-Confucian theory in the field of political thought at that time. All Neo-Confucian literati used the theory of heart/mind as a sole useful method in political field from after King Myeonjong and Seonjo. "Cheonmyeong-Doseol" by Jeong Ji-wun was a first step to this scene. Especially "Cheonmyeong-Doseol" was got famous by arguments of Yi Hwang and Ki $Dae-s{\breve{u}}ng$, great scholars in the history of Chosun Dynasty. They firstly developed Sachil-Nobyeon, Sandan(pure morality) comes from li, Chiljeong(emotions) comes from Ch'i, is it right or not? This argument with "Cheonmyeong-Doseol" raised up the level of Neo-Confucian theory at that time. Like this, "Cheonmyeong-Doseol" was on the first step for Neo-Confucian literati to study and develop their theory of political thought which covered politics in Chosun Dynasty.

• (The)Study of the Eastern Classic
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• no.62
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• pp.263-289
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• 2016

Confucius, whose life coincided with the Warring States period of China, is one of the most respected sages in world history whose teachings and life produced countless disciples in China, Korea, and Japan. There are innumerable pictures, sculptures, and other artworks that portray memorable deeds of Confucius and interesting anecdotes that involve his pupils. One of the most popular subjects for these Confucian portrayals is the anecdote in which Confucius and his pupil, Zhi Ru, discover a tilting vessel at an ancestral shrine in the Lu dynasty and use it to understand the doctrine of the mean. The vessel becomes the basis for the famous Chinese expression, "the cautionary vessel beside one's seat," which is nowadays used to denote one's motto for life. Portraits of these tilting vessels can be divided between those showing the vessels only and others that show Confucius observing the vessels. The former serve as visual reminders, for rulers and policy makers, of the doctrine of the mean that is necessary to fair and righteous governance. The latter form part of the pictorial biography of Confucius with educational content and messages. Interestingly, portraits of Confucius observing or studying tilting vessels have been famous among members of the royal court and the literati, circulated either as single artworks or included in the folding screens of human portraits. Portrayals of other Confucian anecdotes are mostly found in albums that visualize the genealogy of the Way; in contrast, the portraits of Confucius and the tilting vessels were included in folding screens that were popular among the literati that enjoyed stylish works of art and antiques. The portraits of tilting vessels thus highlight the diverse functions and symbolic value of human portraits. This study classifies the portraits of tilting vessels into various forms, and analyzes the period-and objective-dependent changes and characteristics in these portraits. With its exploration of the diverse functions and aspects of portraits of Confucian anecdotes, this study will shed new light on how ancient artists reanimated the lives of great sages and how these artworks differ in their expressions and styles.

• Cross-Cultural Studies
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• v.27
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• pp.123-143
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• 2012

China's Yueyanglou(岳陽樓) cultural landscape and cultural landscape of Korea, respectively Yueyanglou(岳陽樓) investigated and the following results were extracted. First, multi-cultural personalities to ever Yueyanglou(岳陽樓) China's outstanding natural beauty around the emotion of his drawing on the literature and a new cultural landscape was formed. Their main feeling of the beauty of nature through his ash under adverse conditions up again in politics, which expresses the desire to advance. To this end, his outlook on life and also an attitude overhaul yeotboinda. This information formed the cultural landscape of Korea Yueyanglou(岳陽樓) not deviate from that has been investigated. Second, Korea is entirely China's 'sun' Lou Yueyanglou(岳陽樓) was a significant effect of cultural landscape. The beautiful landscapes of the Joseon Dynasty literati in the Joseon reported only in words and pictures they admired China's leading natural and cultural landscape and paste the name of the famous' sun Lou watch it was transformed into a cultural landscape. For this reason, the current remaining two 'sun' Lou, but probably the Joseon Dynasty, called the 'sun tower base and is estimated to be more common than now. In addition, in Hadong Yueyanglou(岳陽樓) near the sun 'Lou, China has also attached near the nomination could be an important clue.