• Industry Promotion Research
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• v.6 no.1
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• pp.87-93
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• 2021

Qi Baishi is a prolific master of modern Chinese painting in the 20th century and a profound influence on modern Chinese painting. With a lifetime of diligence and pursuit, he brought the development of traditional Chinese literati painting to the palace of world art. Qi Baishi's paintings have very different styles and rich connotations. There is a childlike "Plantain Crowd", which is childish but full of interest. There is also a simple and old-fashioned "Peony" in the late years, vigorous and powerful, moving heartstrings. There is also the irony of the present world, refuting the ugly "Tumbler", which is thought-provoking. Of course, the most worthy of study is Qi Baishi's landscape paintings. His landscape paintings surpassed their era and have unique historical value in the transformation of modern Chinese landscape painting. He was one of the pioneers of the transformation of Chinese landscape painting in the 20th century. In this article, through the research and collation of Qi Baishi's landscape paintings, the characteristics of Qi Baishi's landscape paintings and their surpassing of the times are discovered.

• International Journal of Advanced Culture Technology
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• v.12 no.3
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• pp.194-198
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• 2024

Beauty is inclusive, which appears everywhere. As classic forms, poetry, calligraphy and painting are a good way to express the beauty of literature and art. In history, literature was almost identical to art. Among them, there is no lack of penetrating judgment about beauty, but which is often forgotten. Since the Qing Dynasty, Yuyang's Notes on Poetry can be said to be one of the representatives. There are many versions, whose common ones are three volumes and two volumes. The three volumes were the first carving copies of Kangxi in the Qing Dynasty. The two volumes are the lithographic books in 1909, with the "Preface of Yongzheng and Yu Zhaosheng" as the base. For details, please refer to the text, which needs no further elaboration here. We it includes too many contents, so some parts are chosen as an example to trigger thought about aesthetics. Wang Shizhen was the literati of the Qing Dynasty who had the greatest influence on the Korean Peninsula in terms of poetry. In Yuyang's Notes on Poetry, he also specifically talked about the poetry diplomacy between the Qing Dynasty and the Chosun Dynasty, whose literature value was extremely high. Art contains both beauty and crafts.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.35-49
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• 2016

Dopo was the clothing of the Joseon period, which had a strong value of Confucianism. Apart from the kings and princes, government officers and Confucian literati wore Dopo as their official clothing and the uniform. The basic form of Dopo had the straight collar similar to Jikryeong. The difference is the shape of a Mu, which was fixed inside or on the back section along the side line of the front section and made two flaps on the back section. The clothing found in the tombs of Bae Cheonjo (1532~?) are from the mid-16th century to the early 17th century with the clothing style of the early Joseon period. The outer collar of all clothing was the shawl collar except for the Sibok and the inner collar was sewn to this. Two items had square tray collars, which were folded in half and sewn inside in half. The sleeve had a straight inseam from the armhole and its end around the wrist was round and wide. The carp-shaped inseam of the sleeve and wide sleeve indicated a change of sleeve shape. The shapes of the collars and the wide overlapped section of the dual collars demonstrated the shapes of the initial outer robes. The man's outer coats with wide sleeves were mostly cotton-quilted clothing. As described above, this paper examines the basic shapes of outer robes including Sibok, Jikryeong and man's outer coats on the basis of the clothing and artifacts from the tomb of Bae Cheonjo (1532~?) and examined the shapes, composition and features of Dopo. This paper aims to improve awareness of the wisdom and spirit of ancestors in life hidden in the sewing of the three Dopo items and on the importance of historical research.

• Korean Journal of Oriental Medicine
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• v.16 no.3
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• pp.45-52
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• 2010

This study aims to discuss the establishment and development of the Qiantang Medical School(錢塘醫派) represented by Zhang Zhicong(張志聰) via focusing on an academy of Chinese medicine named L$\"{u}$shantang(侶山堂). The teaching method in L$\"{u}$shantang(侶山堂) displays a representative feature of the Qiantang Medical School(錢塘醫派), but the foundation of the method consisting of lectures and discussions had already been laid by Lu Zhiyi(盧之頤) during the Ming-Qing transition period. The tradition was succeeded by Zhong Xuelu(仲學輅) in the Hangyuan Medical Board(杭垣醫局) even after L$\"{u}$shantang(侶山堂) was burnt down during a war taken place under the Qianlong(乾隆) period. That the function and the role of the local Confucian academies, which had been focused on the discussion of Confucian classics and local issues, were changed to adopt the education of medicine which had been treated as a lesser subject may be interpreted as a gradual change in the social perception of medicine. The change in the function of the Confucian academies combined with the tendency in which the literati elites of the period left the Confucian philosophy for medicine presents one of many examples showing the changes occurred during the Ming-Qing transition period. The education of medicine provided by the Confucian academies is regarded historically significant in that it was offered by ordinary civilians rather than the government before the formal school education system was established in the modern period. This educational tradition played an important role in bridging the Chinese medicine in the medieval times with that in the modern period.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.83-92
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• 2014

This study has researched the uses and plant materials of bamboo screen from the gardening books in Ming Dynasty: Yuanye (園冶), Zhang wu ji (長物志) and Xian Qing Ou Ji (閑情偶寄). The results were as follows; first, though these books nearly were written nearly at the same period, the bamboo screen was seen in a negative viewpoint or positively endorsed by authors. These show the extinctive process which had used bamboo screen creating for urban seclusion in early Ming Dynasty and that the meaning was changed by the social economic changes in Late Ming Dynasty. Second, the bamboo screen was devised as a support which was trained the branches of the creepers. This was an equipment to maximize ornamental effectiveness with some rose families which produced nearly all year round, and it was involved cultural enjoyment of Chinese indigenous custom. Finally, the bamboo screen was used rose families for the beautiful flowers. And this was constructed as a multipurpose facility which was used as the flower screen in blossoming season as well as the role as wall.

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.281-287
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• 2020

Dasan(茶山) Jeong Yak-yong wrote many works in various fields. His ideas and philosophy formed a mountain range. First, his aesthetic ideas improved from Dam(淡) to Dam(澹;light), and further to Dam (膽;courage). Because Dasan had the courage to make changes, this was possible. Second, Dasan has the aesthetic idea of Yun(韻). This can be seen in his life pursuing the quaint. Because Dasan was unable to participate in reality due to exile, so he was able to create our culture through many writings. First, Un-Rim-San-Bang(雲林山房) in Sochi Heoyu is the origin of our Namjong Literary Painting, and its origin is Dasan. Second, Dasan pursued Silhak(實學), and applies it to reality. It is Silsagusi(實事求是). Thirdly, Dasan pursued Enjoying Together with People(與民同樂). Aesthetics ideas of Dasan showed the Korean characteristics.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.4
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• pp.113-124
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• 1999

The purpose of this study is to search into the relation between the chinese seclusion culture and the gentleman's gardens by means of the historical and aesthetic approach. The periodic limits of this study is from pre-Qin to Tand. For gentleman's gardens in Tang dynasty at once got out of the noble's gardens which had imitated the imperial gardens until Tang, and became the origin of the gardens of the literati appearing in post-Tang dynasty. The major findings are as follows : First, in pre-Qin period, the origin of the seclusion culture is classified as the metaphysical seclusion of Taoism and the physical seclusion of Confucianism. Although Pu, Yuan, and Uou which could be said the first step of the chinese gardens were inquired, the clear relation between the seclusion and them is not found. Second, during Qin-Han dynasty, the role of the gardens, as the settings of the seclusion, are comparatively minor, too. But uan Kuang-Han's garden considerably escaped from that of pre-Qin in the aspect of function, and it has the characteristics of recreation. Third, during Wei-Chin and Liu dynasty, two types of the seclusions emerged. One is the small seclusion, and the other the Great Seclusion. Though, as formerly, the contemporary gardens did not escaped from the imperial gardens, Shi Chong's garden can be the setting of the Court Seclusion. But the seven Righteous in Bamboos' and Tao Yuan-Ming's settings of the seclusion were real natural environments rather than gardens. Forth, in Tang dynasty, in spite of relatively low status, Bai Ju-Yi's theory of the middle Seclusion enabled gentlemen to make seclusion in sinecures unlike the court Seclusion. The theoretical background of the Middle Seclusion was Zen Buddhism and the State Examinations System and Bai Ju-Yi's private social position also had an important effect on it. In Tang dynasty, there being nobiliary gentleman's gardens, Bai Ju-Yi's garden, Lushan Caotangyuan, was the setting of the Middle Seclusion. It can be called a real gentleman's garden, for it is simple and small unlike the imperial gardens or the nobiliary gentleman's gardens.

• Journal of architectural history
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• v.32 no.5
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• pp.81-94
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• 2023

Haeju was home to the Hwanghae-do Provincial Office and a hub for supporting the northwestern regions of Korea. Local commerce expanded in Haeju during the late Joseon period based on its abundant resources and regional products, leading it to evolve into a large city. King Seonjo temporarily resided in Haeju while seeking refuge from the Japanese Invasions of Korea, and Yi Yi (sobriquet: Yulgok) secluded himself in Seokdam in Haeju in his later years. King Seonjo's residence in Haeju and Yi Yi's retirement there boosted interest in the city among the literati and influenced its places of scenic beauty. The development of its local history and literary achievements were documented in a wide variety of historical records and visual materials. Eight scenic views in Haeju became famous through a poem written by Seong Su-ik in the late sixteenth century. Around the mid-eighteenth century, eight new scenic views became popular. Local officials and travelers from other regions produced a vast body of prose and poetry focusing on the landscape and society of Haeju, playing a crucial role in raising awareness of its scenic attractions. Most surviving visual materials related to Haeju were created in and after the nineteenth century. Many of them illustrate both landscapes and the everyday lives of people. Among them, paintings of scenic spots created by Jeong Seon (sobriquet: Gyeomjae), who never actually visited Haeju in person, raises some of the issues posed by relying on indirect materials. In contrast, Eight Scenic Views of Haeju, which is presumed to have been produced by a local painter, appears to have accurately highlighted the characteristics of each scenic spot. Moreover, Haejudo, a folding screen presenting a panoramic view of Haeju, incorporates content from paintings depicting eight scenic views, in this case Eight Scenic views of Haeju. This practice can be observed in visual materials of other provincial cities.

• The Korean Journal of Archival Studies
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• no.17
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• pp.3-37
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• 2008

In this article, I outlined the archival management system in Early Joseon Dynasty and examined the characteristics of the system. At first, I explained the three aspects of the archival management; the memory of the past, the documentation of the contemporary, and the vision of the future through the documentation. Secondly, I tried to understand the character of the Veritable Record and its compilation by the concepts of archival science such as 'authenticity', 'reliability'. In the memory of the past, the History of a Dynasty(Koryo-Sa) and the Comprehensive History of Eastern Kingdom were included. The arrangement of the past was accompanied with the systematic study of the domestic and foreign histories. At the beginning of the state building, there was many practical need to the experiences of government and social re-construction. It was also the process of the legitimacy establishment of the new dynasty. And the Bureaucracy promoted the development of the records and archival management system because it needed the continuity and evidence of business. The dualistic structure of the records and archival management system was the most unique character of this age. The management of general administrative records was not different from the modern one. But the historical drafts and the compilation of Veritable record were different. Here, I had to examine the characteristics of these procedures by the concept authenticity, reliability, and custodianship. In doing so, I suggested the need of conceptualization of the historical terms such as 'the primary sources' and 'the secondary sources' in historical study. The archival concepts will be the most useful means to that issue. Through the memory of the past and the documentation of the contemporary, they made visions of the future, new vision of the Literati Governance. In this tradition, in spite of the revision of the Veritable records by the new changed political party, both the orignal and the revised remained as the comparative evidence for the future generation in the name of the Black-Red Revised History.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.