• Journal of Korean Medical classics
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• v.13 no.1
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• pp.146-183
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• 2000

통과이상적연구(通過以上的硏究), 장상한학술적성숙기(將傷寒學術的成熟期), 칙지명대여청대관여상한의학사적내용정리(則至明代與淸代關與傷寒醫學史的內容整理) 여하(如下). 1. 명청시대적시대배경사상한학적내용갱풍부(明淸時代的時代背景使傷寒學的內容更豊富), 촉진상한학술적발전(促進傷寒學術的發展) 병차출현료흔다관여상한적저작(幷且出現了?多關與傷寒的著作), 단실제상야출현료상한론내용적중복여지론술일반부분(但實際上也出現了傷寒論內容的重複與只論述一般部分), 혹저자립안조잡적처방지폐단(或著者立案粗雜的處方之弊端). 차기우출현각종상한학파적리유(此期又出現各種傷寒學派的理由), 시인위당시류행적사조(是因爲當時流行的思潮), 칙정주리학적영향여명대문단부고(則程朱理學的影響與明代文壇復古), 의고적추향(擬古的趨向), 환유금원시대적백가쟁오등(還有金元時代的百家爭嗚等), 성료형성상한학파적기초(成了形成傷寒學派的基礎). 2. 위료불실거상한론적본래의식(爲了不失去傷寒論的本來意識), 주장정리화고정원문회부왕숙화이전모양적착간중정파시왕안도기료개단(主張整理和考訂原文恢復王叔和以前模樣的錯簡重訂派是王安道起了開端), 방유집확대료기의식(方有執擴大了其意識). 유창여침명종시대표저학파학자(喩昌與沈明宗是代表這學派學者), 장로(張?) 정응모(程應?) 주양준(周揚俊) 오겸등수료저학설(吳謙等隨了這學說). 3. 주장(主張)'존왕(尊王)(숙화(叔和))찬성(贊成)(무기(无己))'적유호구론파(的維護舊論派), 주장료불능수변개상한론삼음삼양편적배렬여순서(主張了不能隨變改傷寒論三陰三陽篇的排列與順序), 문자(文字), 구문(句文), 문장(文章), 고세식(高世?), 진념조등인(陳念祖等人). 4. 주장상한론적정수재어변증론치(主張傷寒論的精髓在於辨證論治), 선우운용칙능득상한핵심리론적학파시변증론치학파(善于運用則能得傷寒核心理論的學派是辨證論治學派). 저학파분사개계통(這學派分四?系統), 이처방수집증상적의가유허굉(以處方收集證狀的醫家有許宏), 가금(柯琴), 서대춘(徐大椿); 이치법수집증상적의가유오인구(以治法收集證狀的醫家有吳人駒), 우이(尤怡); 이분유륙경찰증상적의가유진념조(以分有六經察證狀的醫家有陳念祖), 포성(包誠); 이증상분류증후적의가유류순(以證狀分類證候的醫家有劉純), 왕긍당(王肯堂), 진지정(秦之楨), 침금오등인(沈金鰲等人). 5. 회통파유량종류형(?通派有兩種類型), 일시수통상한여온병적학파(一是誰通傷寒與溫病的學派), 간칭회통파(簡稱?通派), 대표의가유도화(代表醫家有陶華), 오정(吳貞), 유근초등인(兪根初等人), 령일개유회통중의여서의적립장상해석상한적의가당종해(?一?有?通中醫與西醫的立場上解釋傷寒的醫家唐宗海). 6. 경전학파시이상한론위보귀적경전래인식(經典學派是以傷寒論爲保貴的經典來認識), 병차지유숭상차경여사상적학파(幷且持有崇尙此經與思想的學派), 차리분량개편우원문적고증래연구적경전고증파(此里分兩?偏于原文的考證來硏究的經典考證派), 화인위지유상한론(和認爲只有傷寒論), 재능총괄치료외감병(才能總括治療外感病), 부정온병학설병배척적경전림상파(否定溫病學說幷排斥的經典臨床派).

• The Journal of Korean Philosophical History
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• no.43
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• pp.55-80
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• 2014

Park, Se-dang criticized or accepted Zhuxi's annotation with his own way of understanding Confucian classics. His way of understanding Zhuxi can explain through the motive of writing his book, sabyeonrok and his basic view of scripture interpretation in the book. He thought one can achieve learning from lower to upper level. That means it is good for one to study from text easy to reach and attain, grasp. But if one begin to study from text or contents hard to understand, that will make to lose the proper way or province to the value of learning. This is what Park, Se-dang's basic point of interpreting Confucian classics, called 'learning from lower to upper level.' Park, Se-dang gave high praise Cheng Hao and Cheng Yi and Zhuxi who recreated confucianism into world from darkness. He thought Cheng-Zhu school corrected confucian's ways of learning went wrong from Chinese Han. So we need to reconsider the assessment of his view as anti?post-Zhuxi. He also thought there were a lot of way to understand Confucian classics. He insisted Zhuxi's way of annotating Confucian classics was one of them, and so as his. He understood Zhuxi's thought in this way of thinking and his academic method of 'learning from lower to upper level.' Therefore to interpretate Confucian classics new way he criticised or accepted Zhuxi's way of annotating scripture though his own way of understanding Confucian classics and academic method of 'learning from lower to upper level.'

• (The)Study of the Eastern Classic
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• no.32
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• pp.245-278
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• 2008

The purpose of this paper is to create an inter-religious dialogue between the Western Christian concept of the spirit and Eastern ch'i philosophy within the category of panentheism. The Hebrew term ruah means 'moving air' and 'wind' which derive from the particular experience of the ancient Hebrew people living in the desert. The Greek pnuema also means 'life' and 'wind' which denote the natural power. Both ruah and pneuma consist of the main idea of the spirit exploring the symbol of relationality of the divine in Western tradition. Eastern ch'i philosophy indicates a vital force for keeping the body and soul alive, which is unconscious and spontaneous. Ch'i as a vital force constitutes cosmogony and cosmology with the constant movement of yin and yang. Yin and Yang as representing earth and heaven are dynamic breaths, blending harmoniously to become all existence. The ethical implication of the inter-religious dialogue between the spirit and ch'i would be the integration and interconnection of heaven, earth, and human beings. The dialogue suggests becoming one body with nature and human community through embodying the non-dualistic spirit of life. The inter-relationality means that since all modalities of existence are made of the cosmic life, human beings are part of the divine cosmic process. This is related to degree of spirituality in the entire chain of being: rocks, trees, animals, humans, and goods represent different levels of spirituality based on the varying composition of the spirit and ch'i. All beings that internally embody with the spirit and ch'i are organically inter-connected, and they are integral part of a continuous process of transformation of life towards holistic liberation of human and nature community.

• (The)Study of the Eastern Classic
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• no.67
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• pp.105-128
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• 2017

The purpose of the present study is to explore the significance of the Commentaries on Pavilions (樓亭記) from the Sancheong-gun area. To achieve this purpose, the study analyzes the works handed down in Sancheong-eup, Chahwang-myeon, Obu-myeon, and Geumseo-myeon, focusing on the two characteristic themes: the discipline and enlightenment of heart and mind (in Chapter 2) and the succession of integrity and the tradition of ancestor worship (in Chapter 3). The first characteristic theme "the discipline and enlightenment of heart and mind" is explicated in Chapter 2 by reviewing the Commentary on Hwanajeong Pavilion (Hwanajeonggi) written for the namesake building located in Sancheong-ri, Sancheong-eup, and the Commentary on Gyeongjeonjae Pavilion (Gyeongjeonjaegi) in Maechon-ri, Geumseo-myeon. The second theme "the succession of integrity and the tradition of ancestor worship" is examined in Chapter 3 based on the Commentary on Sulgojeongsa Pavilion (Sulgojeongsagi) from Jangwi-ri, Chahwang-myeon, and the Commentary on Maeranjeong Pavilion (Maeranjeonggi) from Yangchon-ri, Obu-myeon.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.80-100
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• 2024

This paper investigated the major history and reality of iconological composition for Jagyeongjeon Hall's flowered wall in Gyeongbokgung Palace, which was controversial in terms of preservation and management of cultural heritage. While analyzing the moment and cause of the flowered wall's renovation as it is now, modified or disappeared patterns were identified, and meaningfully misinterpreted congratulatory phrases were reviewed. The research results can be used as meaningful basic data when discussions are made for the restoration of the wall in the future. Jagyeongjeon Hall's flowered wall has reached the present day with large and small changes, but the inflection point that had a significant impact was the Joseon Expo (朝鮮博覽會) held at Gyeongbokgung Palace in 1929. This is because the wall that remained in the Jagyeongjeon Hall area was demolished to build an exhibition hall while preparing for the expo, and it was restored after the end of the event. It is highly likely that the modification or disappearance of the patterns constituting Jagyeongjeon Hall's flowered wall was also due to the restoration process carried out after the expo. There is a view that was transformed into its current state in the process of repair work carried out after the Korean War, but it is difficult to find any meaningful circumstances and evidence. Currently, character patterns known as 'Seongnidori(聖人道理)' are arranged on the inner wall of the section from Gyeongdomun Gate(擎桃門) to Yeogangmun Gate(如岡門), but considering the design form and example, it can be read as 'Seongjasinson(聖子神孫)'. The inner wall of the section from Yeogangmun Gate to Yeonsumun Gate(燕壽門) was originally made in the form of a flowered wall, and the phrases presumed to be 'Gyegyeseungseung(繼繼繩繩)' and 'Cheonse(千世)' were arranged. In the case of the section from Yeonsumun Gate to Hamgyumun Gate(含奎門), the inner wall where the pattern has disappeared is originally composed of geometric and character patterns, and there were also phrases specified as 'Cheonsu(千壽)' and 'Mansemansu(萬世萬壽)'. On the outer wall of the section from Yeonsumun Gate to Hamgyumun Gate, there is a possibility that the phrase known as 'Nakgangmanse(樂彊萬歲)' can be read as 'Cheonsemanse(千歲萬歲)'. In addition, the current outer wall was composed of one drawing board, but in the past, two drawing boards were composed separately.

• The Journal of the Korean dental association
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• v.38 no.3 s.370
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• pp.211-214
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• 2000

• Journal of the Korean Society of Costume
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• v.16
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• pp.125-131
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• 1991

• Korea Multimedia Society
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• v.17 no.3_4
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• pp.1-15
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• 2013

• 전기의세계
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• v.48 no.1
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• pp.15-23
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• 1999

• Railway Journal
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• v.19 no.3
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• pp.40-50
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• 2016