• Publications of The Korean Astronomical Society
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• v.33 no.3
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• pp.31-44
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• 2018

Song, I-Yeong (1619 ~ ?) was an active astronomer in the Joseon dynasty at the era of adopting the Shixian-li, Chinese calendar in Qing dynasty. His astronomical contribution was recorded in Annals of the Joseon Dynasty, Diary of the Royal Secretariat, Comparative Review of Records and Documents-Its Revision and Enlargement, and Treatise on the Bureau of Astronomy. In addition the details on his life and works were found at the genealogies of the Song Family from Yeonan and the Kim Family from Seonsan. His major astronomical activities can be summarized in three items. First, as a specialist astronomer, he has attempted to make a systematic observation of two comets. Second, he designed and fabricated the Jamyeong-jong, the weight-powered armillary clock, which became a typical model of the astronomical clock in the Joseon dynasty. Last, he served as a royal astronomical professor, greatly contributing on implementing the Shixian-li. Song has concentrated on performing astronomical duties for his royal official service time. Song is regarded as an important astronomer who made it possible to enforce the Shixian-li until the late Joseon dynasty.

• Cross-Cultural Studies
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• v.26
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• pp.227-248
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• 2012

Orchid Dream Wonderful Biography(蘭花夢奇傳), whose author was Yimmeishanren(吟梅山人), is a Xia-Yi-Ai-Qing(俠義愛情) novel in the late Qing Dynasty. The work published in 1905 when Emperor Guangxu(光緖) governed China. The novel was reprinted for several times to its excellent art feature as well as its public praise. Orchid Dream Wonderful Biography narratives the life story of the heroin, Songbaozhu(松寶珠). Songbaozhu disguises herself as a man, takes the imperial examination, and takes part in the war. However, she is abused after marring Xuwenqing(許文卿), finally, she dies in misery. Songbaozhu's tragic fate show that although a woman may disguise as a man and makes great contributions in novel, it would never come true in reality. Songbaolin(松寶林) is also home to female hero. She has a younger brother and sister were strictly education. She is a female hero of the pitch. The writer creates her, had to satisfy a social reality male. Orchid Dream Wonderful Biography, this work has had a tragic or a reality. This work represents the limits of consciousness and the writers. Orchid Dream Wonderful Biography did not transcend male-oriented notions.

• The Journal of Korean Philosophical History
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• no.35
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• pp.309-334
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• 2012

This study attempts to study in what form Folk Taoism in the late of $Chos{\breve{o}}n$ Dynasty has existed and discuss the contents and characteristics of ideological aspects forming the foundation of private Taoism. While Guan Yu Belief(關帝信仰) in the late of $Chos{\breve{o}}n$ Dynasty is a folk belief focusing on Guan Yu, Seoneumjeulgyo(善陰?敎) and Musangdan(無相壇) are religious groups with organization. In case of Seoneumjeulgyo(善陰?敎), 'Seoneumjeul' contains perspective of Tian(天觀) of Confucianism but the ascetic practice method is to practice by reciting the name of the Buddha and the targets of a belief are Gwanje, Munchang, Buwoo. This shows the unified phenomenon of Confucianism, Buddhism, Taoism of Folk Taoism in the late of $Chos{\breve{o}}n$ Dynasty. Guan Yu Belief started at the national level led by the royal family of $Chos{\breve{o}}n$ after Japanese Invasion of Korea in 1592 was firmly settled in non-official circles. Guan Yu in the late of $Chos{\breve{o}}n$ Dynasty is expressed as the incarnation of loyalty and filial piety as well as God controlling life, death and fate. As this divine power and empowerment were spreading as scriptures among people, Guan Yu Belief was settled as a target to defeat the evil and invoke a blessing. Seoneumjeulgyo is the religious group that imitated 'Paekryunsa(白蓮社)' of Ming Qing time of China. Seoneumjeulgyo emphasized 'sympathy' with God through chanting. And it expressed writing written in the state of religious ecstasy as 'Binan(飛鸞).' Binan is also called as revelation and means to be revealed from heaven in the state united with God. Seoneumjeulgyo pursued the state united with God through a recitation of a spell and made scriptures written in the state united with God as its central doctrine. Musangdan published and spread Nanseo(鸞書,Book written by the revelation from God) and Seonso(善書) while worshipping Sam Sung Je Kun(三聖帝君). The scriptures of Folk Taoismin the late of $Chos{\breve{o}}n$ Dynasty can be roughly divided into Nanseo(鸞書) and Seonso(善書). Nanseo is a book written by the revelation from God and Seonso is a book to the standards of good deeds and encourage a person to do them such as Taishangganyingbian(太上感應篇) and Gonghwagyuk(功過格). The characteristics of Folk Taoism in the late of $Chos{\breve{o}}n$ Dynasty are as follows. First, a shrine of Guan Yu built for political reasons played a central role of Folk Taoism in the late of $Chos{\breve{o}}n$ Dynasty. Second, specific private Taoist groups such as Temple $Myory{\breve{o}}nsa$ and Musangdan appeared in the late of $Chos{\breve{o}}n$ Dynasty. These are Nandan Taoism(鸞壇道敎) that pursued the unity of God through 'sympathy' with God. Third, private Taoism of $Chos{\breve{o}}n$ was influenced by the unity of Confucianism, Buddhism, Taoism with private Taoism in the Qing Dynasty of China and religious organization form etc. Fourth, the Folk Taoism scriptures of $Chos{\breve{o}}n$ are divided into Nanseo and Seonso and Nanseo directly made in $Chos{\breve{o}}n$ is expected to be the key to reveal the characteristics of Folk Taoism.

• The Journal of Korean Philosophical History
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• no.50
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• pp.139-169
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• 2016

Nakron School of the ruling Noron Party in late Joseon Dynasty was at the helm of state with Neo-Confucian ideology and it came out of being obsessed with conventional 'spiritual' aspects and changed both political and academic atmosphere with interests in 'matters.' The power leading such a change was scholars in Seoksil Seowon (石室書院) which centered around Kim Won-Haeng (金元行). However, except for few progressive scholars-Bukhak scholars (北學論者), most of Nakron scholars secretly acknowledged the actuality of Qing Dynasty but they failed to get out of old Neo-Confucian traditions. It was difficult for them to accept Bukhak theory which jeopardized the existence of administration. They sought plans both to keep Neo-Confucian traditions and Sinocentrism in Joseon and to reach the cultural level of Qing Dynasty and in that process, they recognized restoration of the statecraft study (經世學) summarized on Seongridaejeon as an alternative. Hwang Yun-Seok is a representative Neo-Confucian scholar in such response of Nakron. He rediscovered value of the science of xiangshu in the Neo-Confucian category and highlighted importance of Seongridaejeon yet again.

• Industry Promotion Research
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• v.6 no.3
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• pp.49-57
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• 2021

The purpose of this paper is to examine the editions of 'Jeokcheonsu', the best Myoungri Classic in name and reality, that was featuring dozens of annotations and interpretations from the Qing Dynasty to the Republic of China, and modern times. The original author of 'Jeokcheonsu' was Gyeongdo of the Song Dynasty, firstly annotated by Yugi of the late Yuan Dynasty to Early Ming Dynasty, and Im Cheolcho of the Qing Dynasty annotated again. However, several observations in the original text suggest that the author's period of writing is postulated since the middle of the Ming Dynasty, and if the book is not likely to belong to the Song Dynasty, the author is also unlikely to be Gyeongdo of the Song Dynasty. Besides, if you look at the statements of Jin Soam and Jeong Jiwoon, who published the early editions of 'Jeokcheonsu', there are many negative opinions about the usual author recognition. In this study, we conducted a comparative analysis of the four existing editions of 'Jeokcheonsu', 'Jeokcheonsu-Jibyo' edited and published by Jin Soam, 'Myeongri Suji Jeokcheonsu' revised by Jeong Jiwoon, 'Jeokcheonsu-Cheonmi' annotated by Im Cheolcho, and 'Jeokcheonsu-Jingui' edited and published by Seo Rako. It is hoped that this study will help us understand 'Jeokcheonsu' more deeply and help us with related research, such as comparative studies of annotations in the future.

• Journal of The Geomorphological Association of Korea
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• v.27 no.3
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• pp.75-85
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• 2020

Few studies have dealt with the question of when Mt. Baekdusan became known as a volcano. Attention has been focused rather on the issue of establishing the boundary between the Joseon Dynasty and the Qing Dynasty than the scientific nature of Baekdusan as a volcano. It is only in the late Joseon Dynasty that Park Jong (1764), who was the scholar of the Gwanbuk region, authored the first travel journal on Mt. Baekdu and described poseok. Due to the scientific curiosity of Westerners on the existence of mysterious snow peak on the border, it was first introduced to the Royal Geographical Society by a British man, H.E.M. James in 1887, who revealed for the first time that Mt. Baekdu is a dead volcano, and that the white color on the top is due to wide-spread pumice. Russian expedition teams including Strel'bitskii (Стрельбицкий, 1894, and Garin (Гарин-Михайловский, 1898), also explored this mountain seeking natural resources and territory of East Asia and the Manchurian region in pursuit of Russian Imperial interests explored and described Baekdusan as a volcano.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.61-70
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• 2019

The painting group of Late Ming and Early Qing Dynasty is an era of confusion between the orthodox who faithfully cooperated with the Qing Dynasty and the individualist who had a hostile attitude. The country was ruined by these dynasties, and the family left the real world with the suffering of the breakdown and stayed in the mountains.Paldaesanin and Seokdo, the representative Yumin painters, did not form any a sect as a unique expression style for finding a true self.And, through his work, he expressed on madness and oddity through new ideas and composition that he feels misery and anger in his heart. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. Paldaesanin portrayed a strange figure with a spirit of resistance and a sad and angered emotion, through a unique technique of painting.The content is cynical, satirical, ironic, and on madness and oddity. On the other hand, Seokdo explained "ilhoeg" that the method of writing and the method of writing in "Hwaeolog" agree with each other.This has allowed us to achieve autonomy as a "rule without rules" that goes beyond the existing rules. And he delicately portrayed beauty, desire, and emotion with the use of sensuous brushes and the beauty of the colors.Their unique paintings were later conveyed to yangjupalgoe and led to the flow of paintings in the 18th century.

• Journal of the Korean association of regional geographers
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• v.10 no.3
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• pp.497-510
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• 2004

This study searched for comparison with geography of Qing China, origin of geographical name, people's feature and costume, description on regional geography, and perception on locality on view of a geographer, Ji-Won Park, a renowned Korean scholar of practical learning on the late 18th century. This study on the first three chapters of his Yorha Ilgi - "Crossing the Amnok(Yalu) River("渡河錄")," "Several Records on Senyang("監京雜識")," and "Writing Essays, Riding Horses("馹迅隨筆")," focusing on landscape of Qing China, inquiry on geographical name, feature and costume, and descriptions on locality, gives a glimpse on Park's geographical view on geography of Qing China. His writing style to compare landscapes between Korea and Qing China, full of his love for Korean landscape, is very delicate and clear, Although he sentimentalized when he passed through Bonghwang-castle(鳳凰城) in China, his subtle and beautiful writing explains that land and mountains in Han-yang(Seoul) are much more wonderful than those in China. His vivid depiction of landscape and weather on his way in Qing China is remarkable and explanation on geographical names like Parhae(渤海), Yoha(遼河), Taejaha(太子河), Senyang(瀋陽) etc. is enough to stimulate readers' curiosity on geography.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.41-53
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• 2004

The significant role of colors in fashion design is not enough to emphasize in terms of one of the important design elements and its influences on the behaviors of the people. The purpose of this research is to examine the traditional Chinese colors and its ways of color combinations to appreciate the Chinese culture and its people. The Chinese traditional costume of Ching Dynasty were investigated through historic records, historic nobles, costume accessories and so on. The results of the study were summarized as follows： (1) The Blue was the most favoured color for clothing among men and women during Ching dynasty and various blues in terms of hue, value and intensities were used. (2) The bright Yellow which had been a symbol of Emperor were prohibited being used among people. Though, the late period of Dynasty, the regulation became not to strict and various shades of yellow families were adapted among People. (3) The Red which had been preferred during Ming Dynasty were constantly favoured for the formal wears of auspicious events such as weddings. (4) Dark color groups were loved for the clothing which were used as a ground colors against the flamboyant patterns revealing strong visual effects through value contrast or primary color combinations. (5) The White had a symbol of mourning and there were some intentions to adopt pale color groups such as mint, jade, gray, moon whit,. silver white to make up for white. (6) Contrast color combinations were one of the basic ways of color combination in Chinese traditional costume. Therefore Chinese color combinations has a strong visual effect and easy to draw attention of people by the contrast of the hue, value or intensity of color. (7) Multi-color combinations were another characteristics of Chinese costume in the formal wears which bears many surface designs. The surface decorated with full of motifs, were appreciated by the people expressing their longings and hopes through the auspicious meanings of patterns and striking visual effects of color combinations.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.67-71
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• 2024

Mo Youzhi (1811-1871) was a famous scholar, poet and calligrapher in the late Qing Dynasty. Mo Youzhi's life was rich in experience and broad vision, especially during his ten years in the Shogunate of the Tsengoku Domain, and he made friends with many political and cultural elites. Mo Youzhi is talented and diligent, and has a good relationship with celebrities from all walks of life at that time, so that his talents have been fully demonstrated. In the Qing Dynasty, the study of calligraphy became the absolute dominant force in the world of calligraphy, and the first great prosperity occurred after the Qin and Han dynasties. In accordance with the times, Mo Youzhi devotes himself to learning, takes into account the calligraphy, and goes out on his own path. Moe's work seal, li, kai, line, especially fine seal. Based on its Lishu, this paper expounds its typical style and atypical style respectively, and also discusses the relationship between its Lishu and other fonts. Finally, the author briefly summarizes the significance of Li Shu for the creation of contemporary Li Shu.In the course of discussion, always based on calligraphy ink, consult the relevant literature, combined with Mo Youzhi's life experience, try to be objective and fair, the listed points of view can be based on.