• (The)Study of the Eastern Classic
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• no.72
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• pp.9-34
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• 2018

The purpose of this paper is to examine the life and poetry of Hanchung. The reason for studying Hanchong is because there is no research on Hanchong until now. In Chapter 2, I looked at the life and poetry of Hanchung. One thing to pay attention to in the life of Hanchung is that Hanchung has excellent writing ability. When Hanchung went to the envoys in China, Hanchung was recognized for outstanding Chinese writing by Chinese officials. Another thing to pay attention to in the life of Hanchung is the upright character of Hanchung. Hanchung judged Nam-gon as a delicate person and did not live a life to cooperate with him. He vigorously rejected Namgon. Because of that, Hanchung was killed by Namgon. In Chapter 3, I examined the poems of Hanchung. The poem of Hanchung can be divided into three kinds. First, it reveals the love of the people. This comes from the heart of a child who pity the poor. Second, it is the mind to live while keeping the fidelity of life. This is reflected in the images of bamboo, pine and pine trees. Third, poetry criticizes reality. There are poems in Hanchung that reveal criticism of loneliness and reality. This is a political reality that is not right at the base. So, it can be said that it is a city that reveals the reality criticism after all.

• (The)Study of the Eastern Classic
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• no.55
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• pp.59-84
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• 2014

This research is an attempt to newly interpret his academic evaluation and understand Seo Kye Bak Se-Dang's Sa Byeun Rok The Doctrine of the Mean. In academic world, his academic Characteristic was considered as anti-Neo-confucianism, out of Jung Ju Hak, out of Seong Ri Hak, and Sil Hak. His understanding of The Doctrine of the Mean was pretty critical, because he had unique academic characteristic to interpret Chinese classics rather than anti-Neo-confucianism, out of Jung Ju Hak, out of Seong Ri Hak, and Sil Hak. Especially, he took practical study with six Chinese classics as the central figure and it was a creative thing with philosophical method. He tried to find out original meaning which was essential thought of Confucianism, and pointed out disharmony for consistency about meaning of The Doctrine of the Mean when Jung Ja and Ju Ja interpreted The Doctrine of the Mean. It appeared as an effort of trying agreement between name and its duty, and role and function in things and act. In addition, he thought The Doctrine of the Mean as trying to follow nature, and it was the way of people to practice in bright side of mind. It is different from Ju Ja's thought which explains principle about people and things, and it has strong reality which is foundation of practice and allows dynamic energy of human life. Therefore, practice style of The Doctrine of the Mean develops filial duty as center of mass and appears manifestation of human's independence through how people pracice it. To sum up, he traced The Doctrine of the Mean as reality, practice, and physical science rather than ideal, theoretical, and metaphysical philosophy. It developed the spirit of study as understanding world as the center of human, thinking over the way of people, and studying the essence of Confucianism with practice of thought.

• (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.

• (The)Study of the Eastern Classic
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• no.69
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• pp.325-347
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• 2017

In order to examine the characteristics of the name of a thing appearing in the "Gugpung(국풍)", it was compared with the name of a thing in "The Korean annotation of the Classic of Odes(시경언해)" We have examined the reason why the names of things in "The Korean annotation of the Classic of Odes(시경언해)" and "Gugpung(국풍)" appear differently in terms of the difference between the purposes of compiling the two books and reflecting the changes in language. "The Korean annotation of the Classic of Odes(시경언해)" does not provide a proper language for the names of flora and fauna that can be easily seen in the collective term of plants or animals or in everyday life. However, in the "Gugpung (국풍)", they also presented their own words. We found the reason for the purpose of compiling the "Gugpung(국풍)". "Gugpung(국풍)" is a book made for women's education. Therefore "Gugpung(국풍)" was made not only to learn the contents but also to learn Chinese character contained in the contents. Consequently, unlike the "The Korean annotation of the Classic of Odes(시경언해)", most of the names of the Korean things are presented Although the names of the native language of "Gugpung(국풍)" and "The Korean annotation of the Classic of Odes(시경언해)" are consistent with each other, many cases have been found that appear differently. In many cases, they reflected the change of the history of the Korean language in the early 17th century, when the "The Korean annotation of the Classic of Odes(시경언해)" was published, and in the early 19th century, when the "Gugpung(국풍)" wind was written.

• (The)Study of the Eastern Classic
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• no.41
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• pp.477-516
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• 2010

The Korean art history academia has lately been carrying out active research on the Korean art market and art collectors. This area of research is significant in that it attempts to overcome the limitations of previous research trends focused on tracing back and analyzing preeminent masters, their schools and their influence, and approach new subject matters such as art and society, circulation and consumption of art works, which were unapproachable with previous research methods. This paper examines the life, artwork and art collection activities of Songeun(松隱) Yi Byeong-jik(李秉直: 1896-1973), an outstanding painter, calligrapher and art collector during the Japanese colonial period. The primary purpose of this paper is to advance the research project the author has recently initiated on modern Korean art collectors by reconstructing parts of this major art collector's individual lifestyle and to generally identify the art collection activities and the art works that he kept. Yi Byeong-jik, one of the preeminent art collectors during the colonial period, disposed his voluminous collection through two auctions in 1937 and 1941, and then held another auction two weeks before the onset of the Korean War on June 25, 1950 to sell off the remaining works. It seems that the reason why Yi had auctioned off his collections was for the purpose of investing in education. The tale that Yi safely kept 'Sam-guk-yu-sa(三國遺事),' which is considered a national treasure, even through the time of turbulence is evidence of his exemplary behavior as a model art collector. He may be one of the best examples of what an art collector should be in terms of giving back to the society and preserving things of beauty and value. However, one factor that limited and defined Yi's life was that he was a eunuch. This aspect of his life could be pointed out as the biggest factor that stopped him from becoming a mainstream participant in the art world despite his influence as a great painter, calligrapher, significant art collector, and discerning connoisseur.

• (The)Study of the Eastern Classic
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• no.54
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• pp.213-233
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• 2014

The present study examines Bangsanjib(舫山集, Collected Works of Bangsan) written by Heo Hun (許薰, pen name: Bangsan), a scholar of the late Joseon Dynasty. Chapter 2 reviews the author's life and his academic orientations against the backdrop of his times. Chapter 3 goes on to select some of his essays and analyze their contents and characteristics. In Chapter 2, Bangsan is portrayed as a hermit scholar who devoted his entire life to his scholarly achievements. Although he tried to develop his academic theories based on both the Geungi and Yeongnam Schools of Neo-Confucianism, the scholar was more inclined to the Geungi School. Chapter 3 analyzes Bangsan's essays in Classical Chinese with a focus on two themes: The first is the author's loyalty to the academic tradition of the Geungi School, which is demonstrated by his positivistic and pragmatic approach to philosophical issues. The second is his awareness of self-reliant national defense as is revealed by his assertion that Joseon should have knowledge, and provide education, on new weapons in order to be better equipped with such military equipment and become a powerful nation.

• (The)Study of the Eastern Classic
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• no.69
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• pp.481-507
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• 2017

The petition movement to Paris peace conference was the movement for 137 Neo-Confucian scholars including Kwak Jong-seok to ask for Korean independence in March, 1919. Kim Bok-han had led all the course of Ho-seo version. Although we don't know the exact contents on the both of Yeong-nam and Ho-seo versions, but Ho-seo version might be more conservative than Yeong-nam version in comparison with other versions. This was because Ho-seo version basically represented the conservative stance of the Neo-Confucian scholars in Ho-seo (Southern Chung-cheong province). However although Ho-seo version had conservative characteristic, the projecting and practicing of petition movement to Paris peace conference shows Kim Bok-han's active attitude. What I would like to explain in this paper is the background of how spontaneously Kim led the movement. Especially I tried to make Kim's historical status be revealed through talking the idealogical history of Neo-Confucianism ignored until now. Although Kim received blames he behaved with barbarians when he led the petition movement from the conservatives, Kim never submitted on those blames. Kim's tolerant attitude was prominent in relation with Hwa-seo school against which Nam-dang school(Kim's party) was a rival, especially from also after 'the problem of Choe Ik-hyeon' in 1903. This attitude was connected to the petition movement in tolerant manner. The tolerant attitude like this was revealed from Kim's historical consciousness attached importance to 'the completion of work'.

• (The)Study of the Eastern Classic
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• no.48
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• pp.65-90
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• 2012

This paper treats indigenous themes on of Kim Si-seup(金時習). has strong local color to the others of "Keumoh-shinhwa(金鰲新話)". This novel is set in Nam-won(南原) and Manbok-sa (萬福寺)which are used to realize the subject. Not only a folk game like Jeopo is used as important tool, but the main character of the novel is native Namwon man. Kim Si-seup stayed for a long time in Namwon. Because of this experience, he can realize unique and local setting, and then can break from the convention about a place setting of classic novel. The local color on is confirmed at . This tale have come down in Namwon, and then was recorded early 1970s. This tale is very similar with , so many researchers understood that the tale is the orginal work of . However, I suggest that is the orginal. Written with Chinese character, was very difficult to read. Besides, many Chosun scholar couldn't find this novel. Nevertheless, has a strong local color, so many Namwon people could accept this novel, and could create new folk tale easily.

• (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.

• (The)Study of the Eastern Classic
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• no.70
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• pp.33-58
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• 2018

The purpose of this paper is to clarify the life and poetry of Dokshok Hwang Hyok. In Chapter 2, we looked at the life of Hwang Hyok. There are two characteristics in the life of Hwang Hyok. First, Hwang Hyok had excellent literary talent. Secondly, Hwang Hyok wrote in an attempt to surrender during the Japanese Invasion of Japan. That is why he lived a 21 year detained life. In Chapter 3, we looked at poetry based on the life of Hwang Hyok. The features of poetry are as follows. First, the image of Somu and reality of Tiger and Dhole go around. Hwang Hyok lived a confined life because of the Japanese Invasion of Korea. Because of that, Hwang Hyok recognized the Japanese invasion of the Imperial Japan as a world where Dhole and tigers travel around. It symbolized the image of Sommu that he did not surrender. Second, Changsha, is the world and Gulwon images. Changsha is Gulwon the space of self-destruction. Hwang Hyok likened his dark life to Gulwon dead. This is because Hwang Hyok's life is similar to Gulwon's life. In other words, Hwang Hyok was most appropriate to compare his tough life to Gulwon, who drowned in Myeoglasu.