• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.1
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• pp.31-41
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• 2021

This study targets the city of Paju, Gyeonggi-do, where many challenges are facing ecological assets management due to the increase in recent development. Using the survey data provided by the National Institute of Ecology in Korea, the study analysed the differences in the local residents' perception of local ecological assets. The Q methodology, which is useful for revealing differences in opinions, was applied to classify the narrative groups, which had different points of view in evaluating each asset. Next, the study compared the differences in perceptions of the vulnerability of ecological assets. As a result of the analysis, the city of Paju was divided into two main narrative groups: a 'Nature Conservation Group' and a 'Heritage Conservation Group'. The Nature Conservation Group wanted to prioritize ecologically valuable assets, such as wetlands, brackish zones, and forests. The Heritage Conservation Group preferred preserving ecological assets having a cultural contexts, such as royal tombs, graves, and the surrounding landscape. Evaluating the ecological assets, the two groups identified 23 ecological sites under threat from development among the 25 ecological sites considered. The Nature Conservation Group noted the importance of sites such as the Sannam Wetlands, Gongneungcheon, Gongneungcheon Brackish Zone, and Simhak Mountain. These were considered to be the most vulnerable ecological assets in the city. The study found differences in the perceived values for each ecological asset by residents. The results can serve as useful data for decision-making on ecological asset management in the city of Paju.

• 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 Journal of Korean Philosophical History
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• no.29
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• pp.153-178
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• 2010

The aim of this research was to examine the traditional Confucian view of self-realization in East Asia and the meaning of life implied therein. The researcher closely reviewed the phase of self-realization of both Confucius and Mencius who are central in Confucianism, especially in the primordial Confucianism, and after investigating maturity of personality as well as educational characteristics thereof, the researcher tried to elicit its modern significance. In Analects, Confucius who is the founder of Confucianism mentioned about 'the pleasure of studying and practicing what he has learned'(學而時習 "Hagisiseup" in Korean), since after, his past was then just the process of self-realization that lasted throughout life. That is, the six phases of self-realization, to wit, 'bending on learning(志學, "Jihak")-'standing firm'(而立, "Irip")-'having no doubts'(不惑, "Bulhok")-'knowing the decrees of Heaven'(知天命, "Jicheonmyeong")-'ear being obedient organ for the reception of truth' (耳順, "Isun")-'able to follow what my heart desires without transgressing what is right'(從心, "Jongsim"), are lying hidden and undeveloped during lifetime, and, at the same time, these phases illustrate the state of enlightenment of life in an in-depth manner. By showing the process of living which is being sublimated in respect of quality, and by going through important process of self-innovation up to six times during lifetime, Confucius edifies us the activity of complete self-realization as well as the importance of education and learning. Meanwhile, these are connected to Mencius in a similar pattern, and strong influence of the characteristics of the learning of the mind and heart( 心學, "Simhak") based on his philosophy permeates the self-actualization phase of Mencius. Mencius' self-actualization phase is expressed in terms of six stages, viz., Person of Goodness(善人, "Seonin")-Trustworthy Person(信人, "Sinin")-Person of Beauty(美人, "Miin")-Great Person(大人, "Daein")-Sage(聖人, "Seongin")-Divine Person(神人, "Sinin"), and these six phases of self-actualization process are educational and learning model for people who dream actualization of perfect personality during their lifetime. Confucian and Mencian view of self-realization congruent with self-discipline internally, and it also reveals a stereotype of human externally. These are a process of performing organic ideals in order for cultivating oneself and regulating others(修己治人, pronounced 'sugichiin' in Korean) which has been pursued by Confucianism. Briefly, these self-realization phases are the arts of living that will lay foundation for "Being Born Human, pronounced Saramim' in Korean" and for becoming "Fully Human, 'Sarmadoem'" and finally for "Human Feelingness, 'Saramdaum'

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.4
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• pp.67-80
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• 2022

SipWooDo (十牛圖: Painting of Ten Bulls), a Buddhist painting, is a kind of Zen Sect Buddhism painting, which is shown as a mural in many of main halls of Korean Buddhist temples. MokWooDo has been painted since Song Dynasty of China. It paints a cow, a metaphor of mind and a shepherd boy who controls the cow. It comes also with many other types of works such as poetry called GyeSong, HwaWoonSi and etc. That is, it appeared as a pan-cultural phenomenon beyond ideology and nation not limited to Chinese Buddhist ideology of an era. This study, therefore, selects MokWooDo chants that represent Confucianism, Buddhism and Taoism to compare the writing purposes, mind discipline methods and ultimate goals of such chant literatures in order to integrate and comprehend the ideologies of such three schools in the ideologically cultural aspect, which was not fully dealt with in the existing studies. In particular, the study results are: First, the SipWooDo of Buddhist School is classified generally into Bo Myoung's MokWooDo and Kwak Ahm's SimWooDo (尋牛圖: Painting of Searching out a Bull). Zen Sect Buddhism goes toward nirvana through enlightenment. Both MokWooDo and SimWooDo of Buddhist School are the discipline method of JeomSu (漸修: Discipline by Steps). They were made for SuSimJeungDo (修心證道: Enlightenment of Truth by Mind Discipline), which appears different in HwaJe (畫題: Titles on Painting) and GyeSong (偈頌: Poetry Type of Buddhist Chant) between Zen Sect Buddhism and Doctrine Study Based Buddhism, which are different from each other in viewpoints. Second, Bo Myoung's MokWooDo introduces the discipline processes from MiMok (未牧: Before Tamed) to JinGongMyoYu (眞空妙有: True Vacancy is not Separately Existing) of SsangMin (雙泯: the Level where Only Core Image Appears with Every Other Thing Faded out) that lie on the method called BangHalGiYong (棒喝機用: a Way of Using Rod to Scold). On the other side, however, it puts its ultimate goal onto the way to overcome even such core image of SsangMin. Third, Kwak Ahm's SimWooDo shows the discipline processes of JeomSu from SimWoo (尋牛: Searching out a Bull) to IpJeonSuSu (入鄽垂手: Entering into a Place to Exhibit Tools). That is, it puts its ultimate goal onto HwaGwangDongJin (和光同塵: Harmonized with Others not Showing your own Wisdom) where you are going together with ordinary people by going up to the level of 'SangGuBori (上求菩提: Discipline to Go Up to Gain Truth) and HaHwaJungSaeng (下化衆生: Discipline to Go Down to Be with Ordinary People)' through SaGyoIpSeon (捨敎入禪: Entering into Zen Sect Buddhism after Completing a Certain Volume of Doctrine Study), which are working for leading the ordinary people of all to finding out their Buddhist Nature. Fourth, Shimiz Shunryu (清水春流)'s painting YuGaSipMaDo (儒家十馬圖: Painting of Ten Horses of Confucian School) borrowed Bo Myoung's MokWooDo. That is, it borrowed the terms and pictures of Buddhist School. However, it features 'WonBulIpYu (援佛入儒: Enlightenment of Buddhist Nature by Confucianism)', which is based on the process of becoming a greatly wise person through Confucian study to go back to the original good nature. From here, it puts its goal onto becoming a greatly wise person, GunJa who is completely harmonized with truth, through the study of HamYang (涵養: Mind Discipline by Widening Learning and Intelligence) that controls outside mind to make the mind peaceful. Its ultimate goal is in accord with "SangCheonJiJae, MuSeongMuChee (上天之載, 無聲無臭: Heaven Exists in the Sky Upward; It is Difficult to Get the Truth of Nature, which has neither sound nor smell)' words from Zhōngyōng. Fifth, WonMyeongNhoYin (圓明老人)'s painting SangSeungSuJinSamYo (上乘修真三要: Painting of Three Essential Things to Discipline toward Truth) borrowed Bo Myoung's MokWooDo while it consists of totally 13 sheets of picture to preach the painter's will and preference. That is, it features 'WonBulIpDo (援佛入道: Following Buddha to Enter into Truth)' to preach the painter's doctrine of Taoism by borrowing the pictures and poetry type chants of Buddhist School. Taoism aims to become a miraculously powerful Taoist hermit who never dies by Taoist healthcare methods. Therefore, Taoists take the mind discipline called BanHwanSimSeong (返還心性: Returning Back to Original Mind Nature), which makes Taoists go ultimately toward JaGeumSeon (紫金仙) that is the original origin by changing into a saint body that is newly conceived with the vital force of TaeGeuk abandoning the existing mind and body fully. This is a unique feature of Taoism, which puts its ultimate goal onto the way of BeopShinCheongJeong (法身淸淨: Pure and Clean Nature of Buddha) that is in accord with JiDoHoiHong (至道恢弘: Getting to Wide and Big Truth).