• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.186-205
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• 2013

${\ll}$Three Purities Album${\gg}$ in the Kansong Art Museum is an album of poems and pictures of apricot tree, orchids and bamboos drawn by Lee Jeong. Given that the poems and pictures in the album were drawn by Lee Jeong who has been recognized as a person who established the standards of ink bamboo drawings in the Joseon Dynasty, the album is highly valuable. Nevertheless, there are more values and meanings that Three Purities Album has. The production circumstances and transmission processes of Three Purities Album include the historical characteristics and meanings of the time so that it is also worthwhile as a historical material. During the Japanese Invasion of Korea in 1592, Lee Jeong was stabbed with a sword by Japanese invaders and got injured. After he suffered, he tried to make his masterpiece in his lifework and finally created Three Purities Album. For the work, Lee Jeong received memorial writings from Choi Rip, Cha Cheon-ro and Han Ho, and asked them writings. They were the best literary men in the poem and calligraphy fields at that time. Yu Geun, Lee An-nul, and Yu Mong-in made writings and poems to praise his work. Likewise, ${\ll}$Three Purities Album${\gg}$ is the 'treasure of the time' created through the participation of the best literary men at that time. Given the aspects, it is fair to say that ${\ll}$Three Purities Album${\gg}$ is not simply a personal artwork of Lee Jeong, but is a comprehensive artwork and also a cultural monument created through the skills and capabilities of the literary artists in the middle of the Joseon Dynasty. After the death of Lee Jeong, Three Purities Album was handed over to Hong Ju-won. But, during the second Manchu Invasion into Korea in 1636, the album was in danger of disappearance by fire. As of now, there are still signs of fire in it, which vividly shows the urgent situation at that time. After the second Manchu Invasion into Korea in 1636, Hong Ju-won recovered some damaged writings with the help of Yoon Shin-ji. Since then, the album had been handed down as a family treasure over the next 7 generations. It can be found in the writings by Song Si-yeol and Uh Yu-bong. Unlike the literary men who praised Three Purities Album in terms of its work when Lee Joeng was alive, they focused on the transmission courses of the album and involved persons. That seems to be because the stories and characters appearing in Three Purities Album impressed the later literary men and were meaningful to them rather than the album itself. It strongly reflected the positions of Hong Jung-gi and Hung Sang-han who asked for writings as the descendants of Hong Ju-won. That is because the traces of the persons involved in Three Purities Album are the causes for admiring their ancestors and enhancing their political legitimacy and family dignity. Therefore, in this aspect, it is possible to witness the fundamental causes of the unique artistic awareness by East Asian people who consider their historical meanings as well as the aesthetic value of artworks significant. Unfortunately, during the Japanese invasion at the end of the Joseon Dynasty, Three Purities Album was handed over to Japanese Tzuboikouso. But, fortunately, Jeon Hyeong-pil who made an effort to regain our cultural assets by investing his entire property during the Japanese Imperialism regained the album, which is now preserved in the Kansong Art Museum. ${\ll}$Three Purities Album${\gg}$ truly includes the whole processes to overcome national crises that Korean people experienced during the Japanese Invasion in 1592, the second Manchu Invasion of Korea in 1636, and the Japanese Imperialism, and it shows the sufferings of our cultural assets and the history of preservation. Also, the album shows that one artwork is able to accumulate its historical meanings in the process of transmission and thus enhances its meanings and values. ${\ll}$Three Purities Album${\gg}$ features accumulative and constant historical meanings and it is a typical case showing that an artwork is plenty of aesthetic and historical values. It is expected that this work will contribute to promoting more studies on finding historical meanings and hysteresis of artworks.

• Journal of The Korean Association For Science Education
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• v.21 no.1
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• pp.89-101
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• 2001

The purpose of this study was to develop the elementary school science instructional material for nurturing students' creativity and to analyze the effects of this material on the changes of students' creativity. This material was composed of student's worksheet and a teacher's guidebook, in which are relevant to the elements of creativity and creative activities that can be applied to elementary science curriculum of 5th and 6th grades. Student's worksheets include various creative activities: imagination, guided imagery, experimental activity, mind mapping as wrap-up, and 'let's think' as an extended activity, game, puzzle, making a cartoon, to be, role playing, and so on. These materials were applied to 5th grade science class, 156 students. They were divided into two groups: the treatment group to which developed material was applied and the control group which was a traditional lecture-centered class. After this material had been applied for 3 months, students of both groups took a test of creativity. Interviews and observation were also carried out with three level groups (higher, medium and lower level) which were divided within the treatment group based on their creativity score. The results of this study were as follows: The treatment group showed higher score on creativity than that of control group(p<0.01). In the result of interviews and observation, the students of the higher and the medium level accomplished their tasks by themselves better than those on lower level.All of them took an interest in visual activity. In a wrapping-up step, the higher level students made mind map more systematically and the medium students improved as time goes on, but low level students feel constrained. In totally, they used various expression methods and were interested in making drawings and cartoons creatively.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.38-55
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• 2019

At Otani University in Kyoto, Japan, there is a rubbed copy of Tripitaka Koreana, presumably printed in 1381. According to the postscript of the copy, written by Saek Lee himself, the rubbed copy was made at Haeinsa temple in 1381 and was kept at Sinluksa temple in Yeuju. The copy was delivered as a gift to Japan in 1414 and now is kept at the Library of Otani University. Although an approximate summary of the content of the copy was reported in the early 2000s after a basic survey, details of the copy, including the concrete format and packaging paper, are not known yet. In this paper a detailed survey of the copy is conducted on the 109 pages. The copy is divided into two parts: the wrapping and the inner pages. The wrapping paper is divided into yellow and brown colors depending on the material of the paper. The yellow colorwrapping paper was possibly made in 1381 at the time of the rubbed printing, and the brown wrapping paper was repaired after being moved to Japan. Using funds collected in February 1380, the copy of Gyeong(經), Yul(律), and Ron(論) chapters was printed in April 1381. Binding of the copy was completed in September, and the wrapping paper with the title in gold was made in October 1380. The box for keeping Buddhist scriptures was manufactured in November 1380. The copy was moved to Sinluksa temple in April 1382 and delivered to Japan in 1414. At Otani University, the copy is stored in separate rectangular boxes 32.1×25.3cm in size with a height of 23.6cm. The rectangular plate on the four sides is red in external color but black colorinside. The box for keeping Buddhist scriptures was probably made in 1381, but a partial repair was made later. Because of the difficulty of executing a detailed survey of the box for Buddhist scriptures, it is hard to find out its nation and period of production. We look forward to studying the copy as well as the box for Buddhist scriptures in future.

• Journal of Korean Society of Archives and Records Management
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• v.3 no.1
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• pp.1-21
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• 2003

In this paper the characteristics of the script centers golden and/or silver letter center in Koryo Dynasty and a set of seven rolls of the script written in silver letter on blue paper prayed by Yearn Seong-Ik were studied with focusing on the referred records and an epilog of the script. This script was discovered from Namgewon's stone stupa, when it was transported from original site of Daekam Dong, Kaiseong city to Kyungbok Palace in 1919. This script prayed by Yeom Seong-Ik which was written in silver paste on blue papers is a set of seven rolls, the size is 31.1 cm (length) ${\times}$ 27.2 cm (width). The cover painting and Beonsangwha(Buddha's preaching picture) were painted out and in the roll cover. This script was written with 14 letters on a line whose characteristic with the style of cover painting and Beonsangwha is similar to the golden and silver scripts prayed by kings of Koryo Dynasty. The person who prayed this script was a powerful vassal of the king Chungyeol period, Yeom Seong-Ik. According to Koryosa(Koryo History) and Koryosa jeolyo(summarized Koryo History), it is described that Yeom Seong-Ik offered his own house which was built by a group of strangers as a 'Writing Place for the complete collection of Buddhist Sutras and the place of the script of the complete collection of Buddhist Sutras. Therefore, it is possible to consider that this script a set of seven rolls of the script of Saddharma Pundarika-Sutra was written to pray for himself as well as his families' fortune at the place of golden script of the complete collection of Buddhist Sutras, and enshrined it in the Namgaewon stone stupa when the stupa was repaired in 9th year of king ChungYeol. Above all the most important point should be centered on that he offered his house as a writing place for golden script of the complete collection of Buddhist Sutras as recorded in Koryosa Jeolyo. The writing place for golden script of the complete collection of Buddhist Sutras should be emphasized on the meaning of its site. It is an important key point to clear that Kumjawon(Golden letter center) would be different from Kumjadejangso(the writing place of golden script for complete collection of Budihist Sutras) with Kumkyungsa(Goldm script place). As considereing the point that this script showed the characteristics of golden and/or silver scripts which prayed by king Chungyeol in Koryo Dynasty as they were, even though this script was manufactured by individual praying, this script follwed in the style of Kumjawon(golden letter center) and/or Unjawon(siIver letter center) as they were, because this script was written in the place of the golden script for the complete collection of Buddhist Sutras. In this paper all of the points described above with focusing on the referred records and an epilog of this script were collectively considered to make clear the characteristics of the script centers, golden and/or silver letter.

• (The)Study of the Eastern Classic
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• no.70
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• pp.495-524
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• 2018

This study investigated the literary theory of Jang Jiyeon and his compilation consciousness of the historical biography, and based on this, the study examined the aspect and characteristic of the personage adoption of "Ilsayusa". To figure out the characteristic of "Ilsayusa", this study attempted to investigate the Jang Jiyeon's cognition on epic literature first. Jang Jiyeon had interest in the historical biography in his early days. But he clearly expressed the negative position about the novels which had been handed down from old times, mentioning about their harmful effect, even though they were in a big popularity. The good readings he thought was supposed to be helpful for person's work, study, personality and even the custom, so it is thought that the compilation of "Ilsayusa" was planned as a part of a usefulness to help readers' actual lives by summarizing Jang Jiyeon's philosophy as the form of a historical biography of personages who had actually existed. The direct motivation and the awareness of the problem to compile "Ilsayusa" could be confirmed by the postscript he left. Pointing that Joseon's policy of appointing persons of ability resulted in the loss of the nation, Jang Jiyeon paid attention to the classical scholars from low class, people from under middle class and the local figures in Hamgyeongdo and Pyeongando in the process of compiling "Ilsayusa". Along with this, a kind of a sense of duty that the old heritage must be examined by descendents was manifested as the compilation of "Ilsayusa". Through this, Jang Jiyeon tried to show the good model to the readers of "Ilsayusa" what the way of living would be for raising their volition and keeping the fundamentals. The tendency and characteristic of compiling personages in "Ilsayusa" could be sorted in a few ways as written below. First, it includes all kinds of all actually existed episodes while he was collecting various historical biographies published before. Second, it includes the new kinds of personages paying particular attention to figures of middle class and commoners. Third, it compiled the female figures in a great volume and described new model of woman. Fourth, for areas, it has episodes of all areas in the nation including Pyeongando and Hamgyeongdo. Thinking about all the discussion above, we could estimate that "Ilsayusa" is the definitive edition of these kinds of books which inherited all performances of the biographical literature in better way, which had been accomplished in 19th century.