• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.50-58
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• 2011

Cheongpunggye is located in a valley where Baekaksan, the main mountain of Seoul and Inwang Mountain corresponding to right-white tiger(石白虎) divination based on topography are crossed. The owner of Cheongpunggye is Seonwon Kim Sangyong and many people had visited there without pause because of beautiful landscape since the early times of Chosun. Seonwon Kim Sangyong had ever studied together with Yulgok Yi I and Woogye Seong Hon. He was one of the Western faction(Seo-in) which was the leading power of Injo Coup and died for his chastity during Second Manchu Invasion of Chosun. He is known as a model of fidelity which is a symbol for scholar's spirit in Chosun together with his younger brother Cheongeum Kim Sangheon. Jangdong region, the clan village of New Andong family was the birthplace of Yulgok School which was the fundamental of scholar spirit of Chosun. And Jangdong would be the source of Jin-Gyeong(Real Scenery) Culture which was bloomed by Baekak club composed of Gyeomjae Jeong Seon, Sacheon Lee Byeongyeon, and Gwanajae Cho Yeongseok. The contents of this study are as follows. First, this study explored the placeness of Seochon region through the historical background like the relation between Jangdong, the clan village of Andong Kim family and Andong Kim family, and achievements of Seonwon Kim Sangyong and circumstances of that times. Second, this study tried to know original landscape of Cheongpunggye by investigating location, topography, water system etc. based on analysis of literature, old map, and paintings describing Cheongpunggye. The study was progressed in this way. To infer the original landscape, about 50 landscape elements of Cheongpunggye shown in Punggyejibseunggi(楓溪集勝記), Cheongpunggye Cheop, Cheongpunggye(淸風溪), the work of Gyeomjae Jeong Sean were searched, and then the location and form of the elements was analyzed. Furthermore, by analyzing the meanings of the names for the landscape elements, the thoughts(Naturalism, Taoism, Confucianism, Buddhism) supporting the structure of Cheongpunggye could be inferred. It is thought that these findings can contribute to exploration of placeness of Cheongpunggye. The study on original landscape of Cheongpunggye can be used as basic data when these works are executed-revival of Cheongpunggye, restoration of small streams in upper part of Cheonggyecheon, renewal of Seochon region.

• The Journal of the Convergence on Culture Technology
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• v.8 no.2
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• pp.227-234
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• 2022

Seok Jeon Hwang Wook (18913~1999), a descendant of a traditional literary writer in the western part of Honam, did not join the flow of modern and contemporary calligraphy and painting. And throughout his life, he enjoyed himself without losing the appearance of a scholar, immersed himself in traditional calligraphy, and gained spotlight at his late age for his original hand grabbing calligraphy. Immediately after the Korean War, all of his property was lost due to his two sons' left-wing activities, causing great pain at home. Even in the most painful and difficult time in human history, he relied on brushes, poetry, and gayageum to keep his upright scholarly spirit and national love. And beyond the pleasures of the worldly senses, he played with self-satisfaction in the 'true pleasure(大樂)' without greed. In the course of his studies, he focused on honing the fonts of Wang Hui-ji, Gu Yang-sun, An Jin-gyeong, Jo Maeng-bu, and Xin-wi and Lee Sam-man without a special teacher. In particular, he faced a crisis of having to give up his brush due to tremor that came after his 60th birthday, but he showed a strong will. He transformed it into a new style of art, such as developing hand grabbing calligraphy(握筆法) with a strong and strong energy that no one could match. From 1965 to 1983, 'right hand grabbing calligraphy' was used, and from 1984 to 1993, 'left hand grabbing calligraphy' was used. She made her name as a calligrapher widely known in 1973 (age 76) with her first solo exhibition, The Calligraphy Exhibition commemorating her 60th wedding anniversary. His writing method is naturally rough and sloppy by breaking away from the previous calligraphy methods and artificial technique, and is unfamiliar yet full of muscle. And the calm, strong and rough chuhoegsa(錐劃沙) and the heavy yet majestic ininni(印印泥) individual handwriting expressed a strange feeling and achieved original Seokjeon calligraphy that went beyond the existing calligraphy writing methods, and his indomitable calligraphy spirit was As a unique existence in the history of calligraphy, he still remains as a model.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.68-79
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• 2012

This study examines features in using Japanese apricots that assume a leading place with a special symbolism among various species of trees adopted to traditional gardens from a landscaping view. Specific aspects of how Japanese apricots were adopted to traditional gardens are as follows. First, while Japanese apricots are used in modern landscape space, there traditionally were six types in use of Japanese apricots as Tammae(探梅) Jungmae(庭梅) Bunmae(盆梅) Byoungmae(甁梅) Chomae(造梅) and Mukmae(墨梅). Second, Japanese apricots planted in gardens[庭梅] were placed mainly in a front yard of Sarang-Chae(the men's part of a traditional house) took a central area because symbolism and ornamental values of Japanese apricots suited what classical scholars sought. Preferred planting sites at that time include south of the building, the yard of Sarang-Chae, space in front of windows and next to fences and waterside. Third, Japanese apricots in traditional gardens were planted in five ways; Dansik(單植) Daesik(對植) Gunsik(群植) Yeolsik(列植) Honsik(混植). Dansik was the most common way in planting Japanese apricots and Daesik intended to enhance orderedness and symbolism of space. Japanese apricots for appreciating in an open field took the form of Gunsik in general but Honsik was also used with species of special symbolism. This study offers an opportunity to grasp traditional planting methods of Japanese apricots based on understanding of cultural aspects of Japanese apricots by focusing on Japanese apricots, the representative traditional species of trees. Results of the study would help to recognize the need to newly understand Japanese apricots and be useful information to plant and use Japanese apricots in a traditional way.

• (The)Study of the Eastern Classic
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• no.32
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• pp.311-362
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• 2008

This study aimed to make clear the education process, from antenatal training to early childhood education, of Joseon Royal Family. Centered on the successors to the throne and reviewed also the education of other Royal Family members, this study carried out comparative analysis on them. Antenatal training is pregnant woman's essential physical and mental attitude. It is indispensable to the health and good nature of unborn baby. Antenatal training had been based on the theory of Oriental medical science that fetus can sympathize what mother see and feel. Such theory, combined with Confucian self-culture theory, had taken very important position in Confucianism. Not to speak of Royal Family, noble family regarded antenatal training very essential as beginning of education and root of nature formation. For firstborn son and firstborn grandson, Boyangcheong (輔養廳, special nursery agency) was set up before their age became three, but not for other sons and grandsons of Royal Family. When firstborn son or firstborn grandson grew up to read letters, Ganghakcheong (講學廳) was set up for their early education. Other sons of king also learned in their early ages at Ganghakcheong while other grandsons of king learned at Gyohakcheong (敎學廳). Education courses were almost same between successors and non-successors but there were wide difference in the ranks of their tutors; firstborn son's tutor marked 2nd Jeong(正) class, firstborn grandson's tutor marked 2nd Jong(從) class and other royal sons' tutors were just 9th Jong(從) class.

• The Journal of Korean Philosophical History
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• no.37
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• pp.7-45
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• 2013

This study is about the origin of Toigye's SaDanChilJeongRiGiHoBalRon (四端七情理氣互發論: theory of humanity and the relation between humanity and heaven's principle). In this study, I looked into the influences of Toigye's elders on such theory of Toigye. In this process, I introduced SimHakJangGuJipJuDaeJeon (心學章句集註大全) I obtained recently as a main material. This book was written by an uncelebrated scholar born in 60 years before Toigye. It showed "SaDanRiBalYiGiSuJi ChilJeongGiBalRiSeungJi (四端理發而氣隨之 七情氣發而理乘之)", which was as same as Toigye's study logic. Regarding the fact that such two logics were same, I traced the transferring path of such logic weighing the possibility of transferring such book or HoBalRon shown in such book while not completely neglecting an accidental coincidence. I also induced that the pro-Toigye-era also had the academic circumstance under which RiGiHoBalRon could be born even supposing an accidental coincidence. In addition, I also emphasized that such book was positioned to pioneer Toigye's neo-Confucianism in various aspects.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.315-325
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• 2021

Yeonjae(淵齋) Song Byeong-seon(宋秉璿, 1836-1905) was the ninth-generation descendant of Uam (尤庵) Song Si-yeol (宋時烈). During his lifetime, he gained the trust of Yu-rim(儒林) and was called to the court several times. However, he eventually refused an official] post and spent his life cultivating his studies in the wild. When the Eulsa Treaty(乙巳條約) was signed on November 17, Yeonjae pleaded with King Gojong about the abolition of the treaty. And on the morning of December 30, Yeon-jae committed suicide at his old house in Hoedeok(懷德). At this time, Yeon-jae sent the final appeal to the king, leaving a message to the king, the people, and Yu-rim about the restoration of national sovereignty, fulfilling his duties as a leader of Sarim(士林). After that, in 1962, Yeonjae was awarded the Order of Independence Medal of National Founding. Song Byeong-seon's excursions took place throughout his life. 22 long and short travelogues are existed today. The excursions were mainly done by land, so most of them rode horses or mules. He sometimes used floats or kilns. But he sometimes knew how to use the waterways effectively. This is because in some travel reports, routes using inland waterways and sea routes appear. The journey of the series continues all the way to finding the relics of his ancestors. In this process, it is clear that he reaffirmed its mission of succession to the family and promised to be a part of the brilliant feat of the ancestors. In addition, the reading of the scriptures and Neo-Confucian discussion were added to the excursions. His excursions continued as a means of publicizing and expanding the Neo-Confucian worldview. Thus, Yeonjae inherited the spirit of John Wangyangi(尊王攘夷) left by his ancestors, and finally raised the banner of Wijeongcheoksa(衛正斥邪) high. And he resolutely set out on the road to death for the country.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.59-70
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• 2013

This study was to suggest cultural landscape preservation, value creation, as well as utilization plan to help landscape development of Hahoe village by identify the existence of Okyeonsipyeong(玉淵十詠) natural features, which were set around Buyongdae(芙蓉臺) in Hahoe Village by Seoae(西崖) Ryu, Seongryong(柳成龍), and understanding their characteristics and meanings of natural features and meanings. Based on the writings of "Okyeonseodanggi" and "Okyeonsipyeong", the major results of this study are as belows. 'Okyeon(玉淵)' letters carved on the rocks, also known as the name of pavilion in Okyeonjeongsa(玉淵精舍), is the center of Okyeonsipyeong that symbolizes the enlightenment of clean noble man, as well as the symbolic locational expression of studying room. One of Okyeonsipyeong, 'Wansimjae', is assumed to be the name from the combination of two Buddhist names, 'Wanjeok(玩寂)' and 'Seshim(洗心)', 'Dangho(堂號)', lined on both sides with Wonlakjae, the residence of Seoae, as the center. Wansimjae is after all the natural feature indicating the overall Okyeonjeongsa as the core of Okyeonsipyeong with west edge Gyeomamjeongsa(謙巖精舍). Among ten Okyeonsipyeong natural features, Wansimjae(玩心齋), Ganjukmun(看竹門), Gyeomamsa(謙菴舍), Dalgwandae(達觀臺), Ssangsongae(雙松厓), and Dohwacheon (桃花遷) are on the right side of the stairway from Okyeonjeongsa to Gyeomamjeongsa, while Chuwoldam(秋月潭), Neungpadae(凌波臺), Gyeseonam(繫船巖), and Jijuam(砥柱巖) are on the road to the cliff under river cliff in Buyongdae as well as to the dock, and all are located within 500m radius close and diameter area. As the results of lexeme and context analyses of Okyeonsipyeong poet, they are mainly about Confucian teachings symbolizing the constancy of the classical scholar including ego becoming one with the nature and back to the nature, unworldliness and farsighted view, transcendence and seclusion, as well as integrity spirit. In Dohwacheon and Gyeomamsa poets, there is Tao characteristics and brotherhood that pursue fairylands such as Mooreungdowon(武陵桃源). To create tourism brand and landscape of Okyeonsipyeong, it is necessary to prepare storytelling plans including the letters carved on the rocks introduction in Buyongdae area, and also synopsis of the Silgyeongsusang musical, 'Buyongjiae(芙蓉之愛)' that is related to 10 natural features. In addition, the related plans of the experience road from Gyeseonam, which is the boat stop in Buyongdae, to Ganjukmun of Okyeonjeongsa, and again to viewing routes on the stairways to Gyeomamjeongsa using boats are necessary. For preliminary preservation and maintenance plans, the safety of the stairway from Okyeonjeongsa to Gyeomamjeongsa should be secured, the rock inscription should be preserved, landscape interpretation plates should be installed, trees and shrubs around Dohwacheon rock inscription should be removed, Dalgwandae letters carved on the rocks should be restored, and the bamboo forest outside Ganjukmun as well as Prunus persica plantation around Dohwacheon should be pointed out.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.84-94
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• 2015

This study is to examine how the admiration for Chutzu(朱子)'s achievement while he was preaching his policies after renouncing the world in Wuyi-Gugok(武夷九曲), Mt. Wuyi and Joseon-style transformation culture were unfolded and developed through Gugok management cases such as position, name, poetic diction, Jungsa(精舍) architecture and engraving of Muyi-Gugok set in Mt. Gugok, Snacheong. The results were as follows: Myungam(明庵) Jeong Sik(鄭拭, 1683~1746)'s Muyi-Gugok, which consists of Suhongkyo(垂虹橋, gok 1) - Oknyeobong(玉女峰) - Nhongwhaldam(弄月潭) - Nacwhadam(落花潭) - Daeeunbyeong(大隱屛) - Gwangpyungryea(光風瀨) - Jaewhaldae(霽月臺) - Gorooam(鼓樓巖) - Wharyongpok(臥龍瀑, gok 9) is the representative case where Chutzu's Wuyi-Gugok was exactly copied and fulfilled to the Joseon Dynasty. In a large frame, Gugok Wonlim culture, Myungam's Muyi-Gugok management has a will of succession of Dotong(道統) through admiration for Chutzu in a rigid way. Another name of Mt. Gugok is Mt. Muyi and Gugok's name is Muyi-Gugok and the residence existed between gok 4 and gok 5. In addition, the name of Jeongsa for Gugok management is also 'Muyi Jeongsa(武夷精舍)' and Gugok name and contents of Poetry are also similar and all of these are clear evidence that Myungam tries to copy Chutzu's Wuyi-Gugok to Mt. Gugok. Also, Gugok set before Myungam were located in Mt. Gugok and among them, verified four Gugok names are corresponded to those of Chutzu's Wuyi-Gugok and it tells that conforming behavior as one of admiration ways for Chutzu already arrived at Mt. Gugok before Myungam and this was an oppotunty to widen Mt. Gugok Muyi-Gugok's tradition and horizon. Also, considering that Myungam's gok 6, Gwangpyungryea and gok 7, Jewoldae are names from 'Gwangpungjewol(光風霽月)' Based on Chutzu's poem and they are closely related to Joseon's classical scholar spirit, they are associated with Joseon-style transformation of Chutzu's Muyi-Gugok. Meanwhile, gok 5 'Daeeunbyeong' was transformed to 'Nangaam(爛柯巖)' in gok 5 - "Deoksan-Gugok(德山九曲) of Jooko(竹塢) Ha Beom-Woon(河範運, 1792~1858) and those characters's engravings are handed down. In "Pome of Deoksan Gugok" transformed from Myungam's Muyi-Gugok, respect and admiration for Chutzu is weaken while Ha Beom-Woon admires Nammyeong(南冥) Cho shik(曺植, 1501~1572), a symbolic character of himself's school and from this, a movement to promote partisan unity is identified. After Myungam died, Muyi-Gugok in Mt. Gugok was transformed from a space to succeed Chutzu's Dotonga to one to commemorate the memory of ancient sages, but, it is a typicality case that widen the spectrum of Joseon's Gugok-Wonlim culture through Muyi-Gugok's imitation and transformation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.37-47
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• 2018

This study was attempted to understand present status and characteristics of landscape components of the domestic Korean Gugokwonlim created by the classical scholars in the Joseon Dynasty. The results are as follows. First, Distribution of Gukokwonlim in Korea shows that 55(51.4%) are located in Daegu and Gyeongsangbuk-do, and 22(20.56%) are located in Chungcheongbuk-do. Concentrated locations of Gugok are on the part of Baekdudaegan, from Sobaeksan mountain to Sokrisan mountain via Wolaksan mountain, and the Nakdong River basin of the Nakdong vein in the right bank. This consideration seems to be closely related to the academy of Yeongnam Confucianism and the their trend of Wonrim enjoyment. Second, according to the result of examining the distribution of Gugok according to the basic local government authority, The biggest number of the Gugok places(10 places, 9.35%) are located in Andong, which is called 'the capital of Korean spiritual culture.' Additionally in order, 9 places(9.45%) is located in Goesan, 8 places(7.48%) in Mungyung, 6 places(5.61%) in Bonghwa, and 5 places(4.67%) in Yeongju. Third, in order to the creating time of Gugokwonlim, 33 (33.0%) were created in $18^{th}$ century, and other 33 (33.0%) were created in $19^{th}$ century. In addition, 14 were created during $20^{th}$ century, while 13 were created in $17^{th}$ century. And 4 were created in $16^{th}$ century. Respectively. great number of $18^{th}$ and $19^{th}$ centuries shows that many(66.0%) Gugokwonrim were created between late 18th to 19th centuries. Fourth, There were 97(90.65%) of 'Gugok' in the form of collecting type, and a total number of bottom-up style Gugok were 99(92.5%) while top-down style Gugok were 8(7.5%). Fifth, Among the contents of Gugok, 67 were found in pome of Gugok(64.49%), 29 caved letters in rock(27.10%), and 16 in painting of Gugok(14.95%). Sixth, The most emerged landscape components of Gugok was Dae(臺) 124(13.05%), followed by Am(巖) 115[11.2%, including of Am(岩)] 115(11.2%), and Dam(潭) 73(7.68%), Jeong(亭) 48(5.05%), Dong(洞) 39(4.10%), San(山) 36(3.78%), Am(岩, rocks) 31(3.26 %), Bong(峯, peaks) 27(2.84%), Yeon(淵) 23(2.42%) and Chun(川) and Tan(灘) 22(2.31%). Mostly, common landscape components of Gugok are entrusted natural things. It is expected that more studies about the analysis of characteristics of Gugok's positioning types considering total distance and a gradient are required to understand more clearly characteristics and location distribution of true Gugok and its landscape components.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.39-45
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• 2012

The purpose of this research is to look into the tea-drinking pictures of the Joseon Dynasty in order to find the unique landscape traits of tea-drinking spaces of the era. A number of tea-drinking pictures were drawn during the Joseon Dynasty period and in most cases, the names of the painters are stated as well. These factors make tea-drinking pictures a seminal source that illustrates the landscape traits of the last Dynasty of Korea. For those pictures contain the main components of landscape such as the tastes of 'Yangban'(noblemen), natural characters, and space traits. Since tea was first introduced in Korea during the Three Kingdom Period, tea-drinking culture has a long history in the country. There have been various studies about tea and many study results have been presented. Few research, however, have looked into tea culture from the point of landscape. Under the premise that tea-drinking pictures of Joseon Dynasty can be a cultural code that explains Korean tea-drinking culture, this thesis looked into those pictures from various angles and analyzed them in order to elucidate the attributes of scenery components of tea-drinking spaces that Koreans have forged and developed, and following results could be found. The Landscape components illustrated in tea-drinking pictures of the Joseon Dynasty can be divided into the element of architecture, the element of water, stone and plants. First, for the element of architecture, it was found that tea-drinking took place in anywhere in Korea without specific tea-drinking buildings or gardens unlike the case of Japan. This has to do with traits of Koreans who were not bound by formality and truly loved nature. Second, for the element of water, water contributed to making harmonious landscape. Third, for the element of stone, it was clear that stone had a practical role in providing comfortable place for lying and enjoying tea-drinking and scenery. Fourth, plants made elegant figure in the landscape and were planted in accordance with their inner meaning. Tea-drinking pictures of the Joseon Dynasty elucidates that when it comes to tea-drinking, Koreans were not obsessed with a formality of tea-drinking, or a set of tea ceremony, which is profoundly different with Japanese, and Koreans did not put a limit on a place for tea-drinking because for Koreans any place they sat could be a great place for tea-drinking.