• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.2
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• pp.73-90
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• 2011

The purpose of this research was to find out the characteristics of secluded cultural landscapes that were retained by Eyogye Cho Lyeo(漁溪 趙旅) as a recluse or a schola at the early time of Chosun dynasty through his poems, residential site and his successors' landscapes. The study sites were selected such as Wonbukgae(院北齋), Chamijeong(採薇亭), Gomaam (叩馬巖) and his graveyard. In order to do that, Wonbukgae, Chamijeong, Gomaam and his cemetery were selected as studying sites. Also researching methods were used by grasping the landscape elements through reading ancient books such as "Eyogyezip(漁溪集)", field-researching, analyzing characters of his secluded landscapes and interpreting his poem's meaning. This research found that: 1) After Danjong(端宗)'s dethronement, he returned to his home town and never come out to the world again. He wanted to keep fidelity to his king forever. 2) He was affected for his seclusion from many people who were Ryu Gyebun(柳桂芬), Bae Junghu(裵仲厚) as his classmates at Sunggyungwan(成均館). Also Won ho(元昊) and Kim Sisyub(金時習) as members of Sangyuksin(生六臣) affected him for sake of their seclusion. 3) The meaning of his seclusion expressed the notation of seclusion as a fisherman from his pen name as 'Yeogye'. Also this kind culture has very particular behavior such as concentration phenomenon of action, absolute eccentricity of seclusion, tourism of nature and deep knoledge of feng shui, strong persistence of seclusion and confucian practical attitude of filial behavior. 4) The secluded cultural landscape is divided to four regions. They have two types of landscape such as secluded cultural landscape of his lifetime and landscape transmission of his posterity and scholars. 5) The interpretation of his poems and their aesthetic analysis found two characters. His poems were expressed by landscape substance like plants, natural and man-made elements. Their theme was confucian, peaceful and faithful seclusion.

• Journal of Korean Philosophical Society
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• v.105
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• pp.373-400
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• 2008

This essay is an analysis on Daoist deconstructivism and Confucian constructivism about music and language. (1) Daoist criticizes that the Confucian constructive music and language fail to describe original sounds and original facts of doing nothing (wuwei, 無爲). According to Daoist, music and language can be an instrument to describe true facts in the world. So Daoists try to attain a state of 'seeing things as things themselves (yiwuguanwu, 以物觀物)' by 'forgetting oneself (wangwo, 忘我).' (2) However Confucian music and language is a part of one's life. Confucians try to get truth, goodness, and beauty by exercising one's music and language. Confucian music is associated with political and moral development in society. The Confucian genres of poetry (shi, 詩), appealing letter (shu, 疏), declaring writing (biao, 表), record (ji, 記), and written words (ci, 詞) are processes of developing one's life. Further, Confucian rhetoric of 'Xing (興)' in writing poem shows that one's language can be developed in contexts of one's life. (3) Although music and language is associated with human subjective narratives as if Confucians say, diverse narratives of different subjectivity cannot appear in one's lives if all kinds of narrative is absorbed in Confucian absolute ideological slogan to devide things into good and bad. Accordingly, the Confucian view of music and language can develop diverse narratives when it does not show an inclination toward moral dichotomy preunderstood by Confucian ideology.

• Sijohaknonchong
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• v.24
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• pp.259-278
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• 2006

In this study, I've researched the sijo written by Yukdang, Choi, Nam Sun, and Manhae. Han, Yong Woon who were the leading intellectual and the pioneers experiencing the time of flowering and the colonial period. Their lives had the common things in various way. They were involved in Independence movement as the intellectual at that time. They also showed the various activities such as modern poem. sijo, and even Chinese poetry. In this thesis, 1 compared their sijo and considered them. Especially, I've researched the two divided parts focused on the tone shown in the sin one part was focused on the 'lover', and the other was on the 'life'. The summarise which I've researched is as followings. First, I've researched the sijo focused on the 'lover' They have the common things in having the presupposition of farewell to their 'lover'. But there were significant differences as followings. In the case of Yukdang, he expressed the passive tone based upon the despondency and the loss with the absence of his lover. Meanwhile, Manhae tended to reveal the resigned and negative tone based to his lyrical world. The contrasted tone in their poems is considered to have something to do with their realistic matters. There should also be several things to be discussed in the future.

• (The)Study of the Eastern Classic
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• no.62
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• pp.117-143
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• 2016

This paper aims to reveal the thoughts of Confucian Hong chanyu illuminate the literary activity. Hong chanyu is representative of the modern and contemporary Confucian scholars. In chapter 2, a Confucian scholar said the spirit of the Hong chanyu. He was considered unnecessarily cause and form. He thought it was a real need and times of where they live. Hong chanyu it was called moderation. Chapter 3 examined the literary activities of the Hong chanyu. One section made of a Chinese poetical circles for background. Gwansu meeting was created in winter 1976. member was of 13 people. They visited the natural scenery and historical sites found. And it was expressed written poetry.Section 2 says what kind is this Chinese poem they have created. The first is the content eulpeun history. The second is more satire in the world. The third is content to enjoy the tasteful in nature.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• The Journal of Korean Philosophical History
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• no.59
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• pp.261-286
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• 2018

It is possible to communicate with objects in various styles, but especially the poem[詩], the ode[賦], the inscription[銘] are remarkable. The word is not the mouth, but the mind and the soul. Therefore, if a person is in a relationship with an object that defines the person, what conversation with the object is the person's inner. So if you know what a person has been with things, you can imagine his outer surface, and you can get inner if you know what you talked about. Seo Kyung-duk who lived a poverty life, but can not live without things, so his things are not a thing, Seo Kyung-duk also recorded especially about the dojookjang[bamboo cane], the buchae[fan], and the $k{\breve{o}}mungo$[Korean lute] Seo Kyung-duk with the buchae, Seo Kyung-duk with the dojookjang, and Seo Kyung-duk with the $k{\breve{o}}mungo$. These are the pictures we can imagine. And I can draw Seo Kyung-duk to talk with those things. Seo Kyung-duk, who is reflected in the dojookjang, shows the reality of participating in the rescue of the people's hardships and the stubborn world. Seo Kyung-duk, who is reflected in the buchae, is a philosopher who explores the origin of existence with the appearance of realistic preachers who have to wash away the difficulties of the people. Seo Kyung-duk, who is reflected in the $k{\breve{o}}mungo$, is a philosopher who grasps Ki(氣) the phenomenon and the source, the immaterial and the material, the type and the intangible. Both the strings and non-strings are $k{\breve{o}}mungos$. The $k{\breve{o}}mungo$ is strong in ideology symbolizing the Confucianism ideological ideals, and Seok Kyung-duk is also in the extension line. Seo Gyeong-deok, who has seen through the dojookjang, the buchae, and the $k{\breve{o}}mungo$ has a realistic sense of realizing that he should worry about the pain of the world and fulfill a good world. He is a philosopher who pierces the root of existence and can be governed by the logic of Ki(氣).

• Journal of the Daesoon Academy of Sciences
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• v.22
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• pp.1-32
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• 2014

This paper is searching the meaning of Gangseong(姜聖) which came from Gucheon Sangje(九天上帝, the Lord and Creator of the Great Origin of the Ninth Heaven) incarnated in the Gang(姜) family. To study the meaning of Gangseong(姜聖), this paper concentrate on Maitreya(彌勒尊佛) and the sentence about Wonsibanbon(原始返本) Sangje's incarnation in the Gang's family appeared on term Gangseong in the middle of divinity terms(九天應元雷聲普化天尊姜聖上帝). Furthermore, Sangje's surname Gangseong(姜姓) has relation with Maitreya and the sentence about Wonsibanbon. What Maitreya has relation with Gangseong(姜聖) is the legendary poem that Maitreya Statue became complete woman(六丈金佛 化爲全女) and what Wensibanbon has relation with Gangseong is the fact that family name Gang is primary surname all over the world's human beings. Wonsibanbon comprises correction of family lineage and theocracy(政敎一致) which came from tracing and reviving the beginning. As a primary family name, Sangje's incarnation family name Gang plays a leading edge role of religious activity of Sangje because primary family name Gang represents the one and only Truth(眞法) or the principle of Wensibanbon which means the union[unity] of religion and politics(政敎一致), and combining saintliness and heroism (聖雄兼備). According to the one and only Truth(眞法) like this, the first emergence and role of the completely "DoTongKunJa" (道通君子, the perfection of man with Dotong) who Sang-Je declared will build the union[unity] of religion and politics shows realization of advance-oriented salvation. Under the principle of Yangsan(兩山, twin mountain, 甑山, 鼎山, the three-story Maitreya Statue of Geumsan Temple) which implies emergence of the completely "DoTongKunJa"(道通君子) who will accomplish the union[unity] of religion and politics(政敎一致), combining saintliness and heroism(聖雄兼備) and advent of the one and only Truth(眞法出現). This could be possible by the almighty of Sangje who incarnated in Gang's family name according to the principle of Wensibanbon from the text Jeonkyung(典經) as shown. Adjusting family lineage (血統) means to straighten out the relation between ancestors and descendants, and which has close relation with the activity after Sangje's incarnation in Gang's family name according to the principle of Wensibanbon. As far as family lineage was concerned, there are three aspects of close relation between ancestors and descendants. First, general connection between ancestors and descendants, Second Dotong(道通)-related connection, Third after -death entrance(冥府)-related connection. Descendants should know a family history from moral laws of family relationships(天倫) by the Compatibility principle. As for second Dotong-related connection between ancestors and descendants, the fact descendants' Dotong can be accomplished by the act of ancestors' charity shows human beings world(人間界) where descendants live has close organic relation with divine world(神明界) where ancestors live. As for third after-death entrance-related connection between ancestors and descendants, after-death entrance are totally related with both Heavenly order(天道) of ancestors and Humane-order(人道) of descendants. At this point, we can see the relation between ancestors and descendants are very close and organic. As shown from the text Jeonkyung, Sangje as Gucheon Sangje(九天上帝, the Lord and Creator of the Great Origin of the Ninth Heaven) and Maitreya(彌勒尊佛) has descended to the earth adopting Gang's family name according to principle Wensibanbon. By Sangje's incarnation in Gang's family name, the legitimacy of the religion and the perfection of Do could be successed under the law of Yangsan(兩山). Furthermore, Sangje realize the one and only Truth by Adjusting family lineage and producing the completely "true man" through Cheonji Gongsa.

• 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 the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.84-94
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• 2015

This study is to examine how the admiration for Chutzu(朱子)'s achievement while he was preaching his policies after renouncing the world in Wuyi-Gugok(武夷九曲), Mt. Wuyi and Joseon-style transformation culture were unfolded and developed through Gugok management cases such as position, name, poetic diction, Jungsa(精舍) architecture and engraving of Muyi-Gugok set in Mt. Gugok, Snacheong. The results were as follows: Myungam(明庵) Jeong Sik(鄭拭, 1683~1746)'s Muyi-Gugok, which consists of Suhongkyo(垂虹橋, gok 1) - Oknyeobong(玉女峰) - Nhongwhaldam(弄月潭) - Nacwhadam(落花潭) - Daeeunbyeong(大隱屛) - Gwangpyungryea(光風瀨) - Jaewhaldae(霽月臺) - Gorooam(鼓樓巖) - Wharyongpok(臥龍瀑, gok 9) is the representative case where Chutzu's Wuyi-Gugok was exactly copied and fulfilled to the Joseon Dynasty. In a large frame, Gugok Wonlim culture, Myungam's Muyi-Gugok management has a will of succession of Dotong(道統) through admiration for Chutzu in a rigid way. Another name of Mt. Gugok is Mt. Muyi and Gugok's name is Muyi-Gugok and the residence existed between gok 4 and gok 5. In addition, the name of Jeongsa for Gugok management is also 'Muyi Jeongsa(武夷精舍)' and Gugok name and contents of Poetry are also similar and all of these are clear evidence that Myungam tries to copy Chutzu's Wuyi-Gugok to Mt. Gugok. Also, Gugok set before Myungam were located in Mt. Gugok and among them, verified four Gugok names are corresponded to those of Chutzu's Wuyi-Gugok and it tells that conforming behavior as one of admiration ways for Chutzu already arrived at Mt. Gugok before Myungam and this was an oppotunty to widen Mt. Gugok Muyi-Gugok's tradition and horizon. Also, considering that Myungam's gok 6, Gwangpyungryea and gok 7, Jewoldae are names from 'Gwangpungjewol(光風霽月)' Based on Chutzu's poem and they are closely related to Joseon's classical scholar spirit, they are associated with Joseon-style transformation of Chutzu's Muyi-Gugok. Meanwhile, gok 5 'Daeeunbyeong' was transformed to 'Nangaam(爛柯巖)' in gok 5 - "Deoksan-Gugok(德山九曲) of Jooko(竹塢) Ha Beom-Woon(河範運, 1792~1858) and those characters's engravings are handed down. In "Pome of Deoksan Gugok" transformed from Myungam's Muyi-Gugok, respect and admiration for Chutzu is weaken while Ha Beom-Woon admires Nammyeong(南冥) Cho shik(曺植, 1501~1572), a symbolic character of himself's school and from this, a movement to promote partisan unity is identified. After Myungam died, Muyi-Gugok in Mt. Gugok was transformed from a space to succeed Chutzu's Dotonga to one to commemorate the memory of ancient sages, but, it is a typicality case that widen the spectrum of Joseon's Gugok-Wonlim culture through Muyi-Gugok's imitation and transformation.