• (The)Study of the Eastern Classic
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• no.73
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• pp.219-248
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• 2018

Confucius said, "I do not murmur against Heaven. I do not grumble against men. My studies lie low, and my penetration rises high. But there is Heaven;-- that knows me!" and said, "Does Heaven speak? The four seasons pursue their courses, and all things are continually being produced, but does Heaven say anything?" The only key Jen仁-concept of confucianism is based on Tien(天). This articles intend to articulate Dasan's commentary of Tien(天)-concept in Confucian analects("論語"). Dasan was to contrast Chu-Hsi's a commentary in assembled commentary of Confucian analects("論語集註") with 2) old commentary of Confucian analects("論語注疏"), and reestablished Tien(天))-concept on old & contemporary commentary of Confucian analects("論語古今註"). He analyzed, deconstructed, and re-interpretations Tien(天)-paragraph of in Confucian analects. Dasan collected, complied, and re-interpretation dispersed original meaning of Tien(天)-paragraph of Confucian analects. Cheong Yagyong tried to recover the original meaning of Tien(天)-concept in Confucian analects.

• (The)Study of the Eastern Classic
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• no.36
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• pp.229-264
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• 2009

This paper aims for a study on the theory that mind is Li(principle). The method of research is laid emphasis on searching for the historical development of the perception Theory in late Cho-Sun. First of all, I investigated a meaning of the perception theories of Ho-Rak school, that were criticized in the Cho-Sun academic world. The next, I investigated the theory of Li-ju-Ki-ja that was raised by Yi Sang Jung. He thought that Li is supervisor and Ki is assistance. And he put a construction on the Perception Theories of Toegye school. Yi Jin sang's theory of perception is the result of criticism against Ho-Rak school, and a fresh and in-depth construction of Yi Sang Jung's perception theory. His viewpoint was contradiction to the theory of Sim si Ki(the theory that Mind is made of Ki). And he rediscovered the human conscience that was born endowed from Heaven.

• The Journal of Korean Philosophical History
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• no.31
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• pp.7-32
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• 2011

Cheng Yi(程?, 1033~1107) understood that nature is full of "changes(易)". And he noted that human being as part of nature also exists only in a series of changes, i.e. birth, growth, extinction and death. All things including human being arise from the same principle, or "Heavenly Principle." Hence human being can fundamentally be one with all other beings, or nature. It is called "Unity of all things(萬物一體)" and "Unity of heaven and human(天人合一)." This philosophical perspective cannot be regarded as being unique to Cheng only; neo-Confucian predecessors called "the five masters of the Northern Song(北宋五子)" anticipated Cheng's vision already. Nevertheless, Cheng elaborated on the shared vision, revealing his philosophical uniqueness. Cheng maintains that only human being receives the principle in the unstained form, and thereby is capable of being one with nature. The one who realizes her/his potential to be one with nature is a sage(聖人); for Cheng, the order and pattern found in nature is nothing other than moral principle that human beings have to live up to and vice versa. Cheng's idea on the principle which human being receives from Heaven no doubt relates to Mencian notion of the innate goodness of human nature(性善); the innate goodness of human nature is no other than Heavenly Principle, and to become a sage depends on whether one can realize her/his potential - human nature, i.e. Heavenly Principle in her/himself. For Cheng, human nature tantamount to Heavenly Principle has no evil quality; all the evil in the world comes from imperfect "physical endowment(氣質)," or "capacity(才)" which is various from person to person, making various personalities. Accordingly, the task of moral cultivation in Cheng's theory can translate into the matter of rectification of one's physical endowment.

• The Journal of Korean Philosophical History
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• no.52
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• pp.311-340
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• 2017

This research focuses on the theory of Zhi-jue(知覺) by Kim Chang-Hyup(金昌協) through comparison between Kim Chang-Hyup's and Zhu Xi(朱熹)'s. In the point of supervision, Zhu Xi considered that Zhi-jue is one of the conditions caused by supervision, one the other hand, it is the action that make possible supervision. Kim Chang-Hyup emphasize the concept of Zhi-jue itself, he considered that Zhi-jue is the action that make possible supervision, and separate Zhi-jue from Xing(性) or Qing(情). In this process, Zhi-jue became the subject itself about supervision, so the mix about relation between Zhi-jue and supervision is solved. But there is a problem about gap between Zhi-jue and the nature from separate between Zhi-jue and Xing. Kim Chang-Hyup intend to separate Zhi-jue and Qing as subject and object, so he considered that Xing is not a reason of Zhi-jue, but rules. It's not a answer about what is the reason of Zhi-jue. Yet Zhu Xi also considered that Xing is the rules of Zhu-jue, only in the case that Zhi-jue means the resulf of supervision, Zhi-jue is considered as the effect of Zhi(智). So the relation problem about Zhi-jue as a subject and the nature is brought up by Joseon scholar who attempted to arrange the concepts of neo-confucianism. Eventually, in case of the relation about Zhi-jue and Xing, King Chang-Hyup and Zhu Xi has a common point, only in case of the relation about Zhi-jue and supervision, Definding Zhi-jue as the subject of supervision is the character of Kim Chang-Hyup's theory of Zhi-jue.

• The Journal of Korean Philosophical History
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• no.59
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• pp.9-38
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• 2018

Joseon Neo-Confucianism had important disputes throughout its hundred years of history. Starting in mid-16th century, Four-Seven Dispute focused on 'Qing (情, emotion)' while Horak Dispute that emerged in early 18th century put emphasis on whether people and things have the same 'Xing (性, nature).' These two disputes lasted until late Joseon. In that process, their issues were clearly recognized and consequently, characteristics of Joseon Neo-Confucianism were well demonstrated. With Western power surging in since mid-18th century, Joseon Neo-Confucianism should develop logic to cope with the Western power. One of responding logics was Zhulilun (主理論, theory of reason) in Neo-Confucianism. Diverse discussions particularly on 'Xin (心, mind)' were expansively made. From the notion of Xin Tong Xing Qing (心統性情) that Xin converges with Xing and Qing, an argument that Xin should be seen as 'Li (理, reason)' and another that Xin is basically 'Qi (氣, force of nature)' were up against each other. The academia heated up with issues raised such as whether Xin and Mingde (明德, bright virtue) are the same notion and whether Mingde should be seen as 'Li' or 'Qi', etc. Defining morality dispute in the late Joseon along with Four-Seven Dispute and Horak Dispute as 'three major disputes in Joseon Neo-Confucianism,' this paper focuses on clarifying their status, actuality and significance. Morality dispute was not only a theoretical dispute. It has significance in the aspect of 'topicality.' It directly and indirectly affected movements against Western and Japanese power, loyal troop's activities and independence movement as well. Compared to Four-Seven Dispute and Horak Dispute, morality dispute is more complex and expansive. In addition, it requires systematic organization of data. Intercomparison of three major disputes is one of key topics to determine characteristics of Joseon Neo-Confucianism.

• (The)Study of the Eastern Classic
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• no.41
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• pp.7-35
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• 2010

Jang Hyungang(張顯光, 1554~1570) was one of the very famous Neo-Confucianists of T'oegye School in the Chosun dynasty. Jang, nevertheless, refused to accept Toegye's theory and had developed his own theory called li-qi-gyeong-wi-seol(理氣經緯說). So the theory was very unique in the history of Korean Neo-Confucianism. He matained that Tao(道), meaning the universal process which all beings including the human must follow, is accomplished by the unity of li(理, principle) and qi(ch'i, 氣, material force). He compared li and qi to warp(經) and woof(緯). According to his explanation, Tao is fulfilled by combining li and qi, as a textile is woven the combination of warps and woofs. He could, for I know, succeed to emphasize the unity of li and qii through this theory. Lots of Scholars in the Chosun dynasty criticized Jang's theory of li and qi for regarding li and qi as one, and thought that the theory originated from Luo Ch'inshun(羅欽順, 1465~1547), a famous Neo-Confucianist of in Early Ming China. Luo Ch'inshun maintained li-qi metaphysical monism that li and qi is united entity. In this respect, it seems that Jang's theory is similar to Luo's. However, I think that there are very important differences between the two. It is true that the main characteristics of Jang's theory is the unified relations between li and qi in this world. In the system of his philosophy, nevertheless, the topological position of li and qi are different in grade each other. Jang insisted that li is a supreme being to be materialized and realized through the movement of qi'in the process of universal development. Qi is accordingly only a kind of matter which completes li. In this sense, Jang's theory can be regarded as li metaphysical monism that li is the only substance. It means that Jang Hyeongwang's theory is a great contrast to Luo Ch'inshun's li-qi metaphysical monism.

• Journal of Korean Medical classics
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• v.19 no.4
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• pp.12-26
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• 2006

유하간(劉河間), 주단계적학설전파이후(朱丹溪的학說전播以后), 인위명대모사의가용약적시후편중고한(因위明代某些의家用葯的時候偏重苦寒), 소이도치료상비위이극벌진양적폐두(所以도致了상脾胃而克伐眞陽的弊두). 종이위료교정착오(종而위了교正착오), 형성료주장온보적온보학파(形成了主張溫보的溫보學派). 설기(설己), 손일규(孫一圭), 張景岳等溫보학파강조주재생명적비위(張景岳等溫보學派强凋主宰生命的脾胃), 신명양기(腎命陽氣), 재변증론치방면입족우선(在辨證論治方面立足于先), 후천(後天), 중시비여신(重視脾與腎), 선용료감온적약물(善用了甘溫的藥物). 저대우교정착오기착극대적작용(저대于교正錯오起着極大的作用), 동시논증(同時논증), 이론전개상비위여신명이주제공탁료(理론展개上脾胃여腎命以主제공托了), 우기후자가심료명문학설적연구(尤其后者加深了命門학설的硏究). 장경악활동적명대시이주자학위국책적(張景岳活동的明代是以朱子學위國策的), 구비사변성적철(具비思辨性的哲) 학배영상(학背영上), 추상(推想)"리(理)"이발휘의(而발휘의) 학이론(학理론). 우시저시기의가문입족우(于是저시期의家門立足于) "황제내경(黃帝內經)" 여연기론진행료기초이론화임상연구(여연氣論진行了基초理론和임床硏究), 경악통과편찬(景岳通과編찬) "내경(內經)"이저작(而著作)"류경(類經)"등(等), 근거자기적임상실험(根据自己的임床실험), 제출료온보학설(提出了溫보학설). 타쟁론적초점시자기제출적(他爭론的焦点是自己提出的)"음부족론(음不足론)". 침대전현적쟁론상(침대前현的爭론上), 경악이하간여범계위대상경(岳以河間여凡溪위대象). "경악전서(景岳全書)" 지운(之云): "양자유하간출(襄自劉河間出), 이서화입론(以署火立論), 전용한량벌차양기(專用寒凉伐此陽氣), 기해이심(其害已甚), 뢰동원선생비위지화필수온양(賴東垣先生脾胃之火必須溫養), 연상미능진척일편지류(然尙未能盡斥一偏之謬), 이단계복출(而丹溪復出), 우입음허화동지론(又立陰虛火動之論) ...... 한량지폐우복성행(寒凉之弊又復盛行), 부선수기해자기거이불반(夫先受其害者旣去而不返), 후습이용자유미이불오(後習而用者猶迷而不悟)", 지분료하간여단계시(指분了河間여丹溪是)"헌기지마(軒岐之魔)". 저사주장현출독특적유해저(些主장현出독特的유解), 이대후대학설발전적봉헌(以대后代학설발展的奉헌). 경악침대단계적"양상유여(景岳침대丹溪的)"양상유여(陽常有餘), 음상부족(陰常不足)", "기유여변시화(氣有餘便是火)", 설성(설成)"양비유여(陽非有餘), 진양부족(眞陽不足)", "기부족변시한(氣不足便是寒)", "상화부시사화(相火不是邪火)", 대단계학설견지료비판적입장(대丹溪학설堅持了批判的立장). 단계제출(丹溪提出)"양음설(養陰說)"이수립음허화왕적병기이론(而수立陰虛火旺的病機理론), 타적(他的)'양유여음부족론(陽有餘陰不足論)'상(上), '음(陰)'주요지생식물질(主要指生殖物질), "양(陽)"지정욕(指情欲). 가시중심사상시강조생리적양생(可是中心思想是强조生理的양생), 몰수립실제(沒수立실제)'음허화왕(陰虛火旺)'적병기(的病機). 취시장경악실재완성료저사병기(就是張景岳실在完成了저些病機). 경악재(景岳在) "진음론(眞陰論)" '장형질설성진양적상(將形질설成眞陽的象), 이명문위기(以命문위其)', 용(用)"개부족(皆不足)"해석질병(解석질病), 이익화(以益火) 장수이론위치법(장水理론위治法). 이차제조좌우귀환(而且制造左右歸丸) 음이귀납료치료방법(飮以귀納了治료方法), 발휘진음(발휘眞陰), 진양학설이구조유계통적이론(眞陽學說而구造有系統的理론). 저양위의가적쟁론핵심리유상화론(저兩位의家的爭론核心里有相火論), 논자상교연구타문적이론이보고기결과(논者相교硏究他문的理론而보告其結果).

• (The)Study of the Eastern Classic
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• no.37
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• pp.411-439
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• 2009

Fu-Shan(傅山, 1607~1684) was a progressive actualist between the late Ming(明) dynasty and the early Qing(淸) dynasty. He regards the intellectuals at that time as scarecrows leaned on the empty and exaggerative moral philosophy which the neo-confucian of Song(宋) dynasty established. He thinks that the neo-confucian discussion cause harmful side effects, disregarding the utility side and the variety of the actual world. His thought becomes known all in political thought and literature. He asserts that the neo-confucian ideas provides the logical frame which regulates the actual world and creates a kind of absolute moral ideology. Therefore he insists that the Saint in the true sense of the word consequently is the social reformer and revolutionist who exposes the irrational elements of society. He insists that literature also must be able to express vividness of the actual world. He thinks that genuine literature must have creative contents and find one's own free wild way. He asserts that old literary style from the mimicry is the act which goes against human natural. He thinks that the writing must be able to express the actual world.

• Journal of the Daesoon Academy of Sciences
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• v.33
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• pp.319-349
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• 2019

This study aims to elucidate the origin and yield of life and its characteristics and purpose in Daesoon Thought. Thereby, Taegeuk (the Great Ultimate) and Sangje (the Supreme God) have been deemed the source and ontology of life. The structure of each living creature is explained through reason (理), energy (氣) and spirit (神). In addition, through vital reason and living energy, the purpose of life makes the realization of the benevolent characteristics of life possible through the mind of Sangje. This line of research is unique among currently available research views of life as it perceives the spirit to be an ontological entity with functions and interactive engagement. By way of contrast, prior research suggests that spirit is life itself and includes it in the category of life and death. The Daesoon view of life is unique in that it is somewhat influenced by ontology and developmental theories from Confucianism, yet the concept of divine beings suggests a humanistic Sangje, who presides over the Great Ultimate. The realization of reason in this model is rather thought-provoking. Humans, just like other living things, are born with vital essence and function and interact as a main source to preside over the innate spirits inside themselves. Humans take responsibility for a certain sphere in the Three Realms that make up the world. They are also recognized as a significant feature in the world. Such an idea in Daesoon Thought depicts that 'the enshrinement of spirit into human being (神封於人),' follows Heaven and Earth. This is done to rectify humans in order to meet the needs of the universe and ultimately establish the era of the enshrinement of spirits into human beings. As for humanity, this possibility exists because of the spirits contained within their inner-selves. When cultivating oneself, humans and outer spirits actively interact with each other. This is likely to cause changes in a human's constitution and characteristics. In the end, one can be enshrined with corresponding divine beings according to one's degree of cultivation. Humans are born through the command of Sangje and the accomplishments of their ancestors as well as the energy of the universe. Present day humans encounter the era of human nobility and the era of humankind's divine salvation. Thereby, the purpose of human life is to contribute to the universe. To achieve this goal, the most important thing is to wholly realize that one's nature and reason were endowed by Heaven, which emerged from virtuous conduct in society. This is also akin to the movement of reason in Jeungsanist Thought. Sangsaeng (mutual beneficence) among oneself and others and between human beings and divine beings can be completed through the resolution of grievances for mutual beneficence and the grateful reciprocation of favors for mutual beneficence. If one accomplishes the perfected state of one's own nature and reveals it wholly, then one will be fully able to interact with spirits and reach the state of the human nobility.

• (The)Study of the Eastern Classic
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• no.59
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• pp.405-428
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• 2015

Painting theorists in Song dynasty often spoke 'Li' when they talked about paintings. But 'Li' of the song dynasty is not limited to the 'ethics'. First, it includes visible 'natural's truth', such as the differences of 'geography' and 'physics' between the depicted objects. Second, it also includes 'common sense' which was based on both the observation and the thinking. The theorists thought if the 'common sense' was improper in the painting, the whole work was invalid. Thirdly, it also includes 'the reasonable sense in special situation', which requires great imagination ability and elaborative faculty. For example, when playing wind instruments and stringed instruments in the same time at the same concert, the painter should accurately draw the different gestures of musicians according to that the wind instrument is 'sound when the finger lift' and the stringed instrument is 'sound after the finger have left' in that moment. Fourthly, it includes 'art reason', theorists call it as 'ShenLi' or 'MiaoLi'. 'ShenLi' or 'MiaoLi' require the creator to join the spiritual concept besides his observation and thinking. For example, 'banana in snow' is neither observed available nor thought of available, but is the result of spiritual concept of creators for seeking everlasting. And at last, it certainly includes 'the principle of ethics'. Painters often highlighted the ethical relations of the feudal nation and the value of individual gentleman through the allegory story of figure painting and even the sudden composition in the landscape painting. 'Geography', 'physical', and 'common sense' are required the meticulous observation and the rational thinking for the painted object. And 'the reasonable sense in special situation', 'the art reason', 'the principle of ethics' are required enhancing painting style in the painting artistic conception and realm of life based on the nuanced observation, making 'technology' into the 'Tao'. This is the six reasonable increasing requirements for the painting work. Therefore, 'seeking the final reason' is the fundamental spirit of painting theory of Song Dynasty.