• The Science & Technology
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• v.26 no.8 s.291
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• pp.79-81
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• 1993

• Proceedings of the Costume Culture Conference
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• 2005.04a
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• pp.48-50
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• 2005

• Journal of architectural history
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• v.30 no.4
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• pp.17-29
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• 2021

Young-dang(影堂) is a ritual pavilion where figures of a dedicated person is enshrined. According to literature, establishment of Young-dang architecture is thought to have the affinity with Buddhist tradition in the beginning of its history. A tradition of enshrining figure could be found especially in Buddhism. Until the mid Joseon dynasty, enshrining figure made of wood, clay and bronze was quite often at Young-dang. In Confucian ritual tradition, a pavilion where enshrining ancestor's sprit tablet called Sadang(祠堂) or Myo(廟). In regarding portrait is a sort of figure, it has to be concerned with Buddhist ritual tradition. For this reaseon, Young-dang started to be distinguished from older aspect of existence in mid Joseon dynasty when the study of Confucian courtesy widely spread. It show the transformation process of Young-dang architecture from Buddhist tradition to Confucian tradition in J oseon dynasty.

• The Journal of Korean Philosophical History
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• no.41
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• pp.155-184
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• 2014

This Paper is research for Yulgok School(栗谷學派)'s lixue(禮學) in the first half of 17c centering around Uiremunhae(疑禮問解) and Uiremunhaesuk(疑禮問解續). Uiremunhae and Uiremunhaesuk are a book between Kim Jangsaeng(金長生) Kim Jip(金集) and his follower's questions & answers about li. A book or letter of questions & answers about li is useful for comprehension of lixue's opinion, especially questions & answers about controversial li shows their critical mind and a foundation of cognition for li. Thus I make showing then situation of Kim Jangsaeng and his follower in relates to understanding and performing Zhuxi's family rituals on analyzing questions & answers about controversial li. Kim Jangsaeng Kim Jip and his follower's characteristic of lixue are several on analyzing Uiremunhae. First, Kim Jangsaeng and his follower researched for Zhuxi's family rituals with systematic approach and in-depth research, and detailed in reference to the Classic of li, Zhuxi, Zheongyi(程?), Zangzai(張載)'s thoery of li and chinese lixue data, and Lee Hwang(李滉), Lee Yi(李珥), Song Yikpil(宋翼弼), Jeong Goo(鄭逑)'s thoery of li and korean lixue data. Next, on questions & answers about controversial li, Kim and his follower basically maintained following Zhuxi's family rituals. Zonfa, sacrificial rituals and funeral rituals are all such that, and if there happened omission and contradiction in Zhuxi's family rituals, they refered to Zhuxi's theory of li on the collected works of Zhuxi and the analects of Zhuxi and searched righteous li by historial invesigation. Then, Kim and his follower critically were in succession to Lee Yi and Song Yikpil's thoery of li. finally, They also had to considered then situation on li(Zhuxi's family rituals' li and ancient li)'s operation and actualizatin on considering principle and mind of li.

• (The)Study of the Eastern Classic
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• no.49
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• pp.357-392
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• 2012

An author is bound to reflect his or her own thinking and inclination in his or her works. The previous studies on Changam(蒼巖), however, mostly discussed the aesthetics in the forms of his introductions and works, hardly addressing his thinking reflected in his works. Recognizing that he had the "reactionism tendency" unlike the Bukhak-School(北學派), which was the cultural mainstream of the days, this study examined the specific patterns of the reactionism calligraphy style in his learning and calligraphy processes and works. He loved to write xing-cao-shu(行草書) with a focus on the materials written in one's own calligraphy, but he also emphasized that one should obtain the force of his or her calligraphy style by mastering kai shu before calligraphy xing cao shu. He thus left a lot of works in the xiao kai(小楷) of the Wang Xzhi(王羲之) calligraphy style throughout his life, which is attributed to the influences of the calligraphers of dong-guk-jin-che(東國眞體) in the latter half of Joseon(朝鮮) and those of Lee Gwang-sa(李匡師), his master in spirit. He is distinguished from the other calligraphers of the times in that he made lifelong efforts to compensate for the lacking stroke of the pen in the model calligraphy of Wang Xzhi. In the calligraphy theory, he put importance on the traditional method of Han-Wei(漢魏) and took Cai Yong(蔡邕) and Zhong Yao(鍾繇) as the fundamentals. For da kai(大楷), he constantly practiced the with the stroke of the pen by added to it, the letters of Wei(魏) Wudi(武帝), by Yan Zhenqing(顔眞卿), and letters of Kim Saeng(金生). His late works using the intended conception of and , in particular, present his unique calligraphy style that added the crooked forms of to the shapes of characters of that were in the kai-shu(楷書) style. It is a limitation that a considerable number of calligraphy materials Changam studied or consulted were either reprint copy or block book rather than original rubbing edition due to time and space restrictions. However, it is also true that those restrictions made an important contribution to his creation of his unique calligraphy style with deep local colors at the result of his constant efforts.

• (The)Study of the Eastern Classic
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• no.72
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• pp.185-215
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• 2018

This paper discusses the Historical significance of Li-thought at the Hoejae, Lee-Eonjeok's Bongseonjabui. In this study, I tried to derive the value and meaning in the history of the Chosun Dynasty by examining the comparison between the Bongseonjabui and Book of Ancestor-memorial Ceremonies written in the 16th century The following is a summary of the Historical significance of Li-thought of Bongseonjabui. First, it is the first concrete result of the Chosun Dynasty concerning the Family Rituals. Second, it is characterized not only the description of actual procedures but also the explanations of both the theory and reality in Ancestor-memorial Ceremony. Third, it is an example of harmonizing with the national system and the customs of time by applying to the situation of Chosun society at that time. Fourth, it is an example that focuses on the essential meaning of the Ancestor-memorial Ceremony, not the attitude of one side the Zhu Xi's Family Rituals as in the later books.

• The Journal of the Convergence on Culture Technology
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• v.2 no.1
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• pp.53-70
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• 2016

There has been many researchs about "朱子家禮" providing the basic mannerism in Josun Dynasty era and influencing rituals to communicate ancestors. However, the arrangement of ritual has not been researched and understood as formality. In this study, the Yin, Yang and the five element theory was researched in the perspective of understanding in the universe order and ancient astronomy that provided the academic basic and idea in the era to understand the arrangement of the ritual, and based on this, the arrangement in "朱子家禮" was analysed. As a result, it was confirmed that the arrangement in ritual was made by the structure of symbol of Yin, Yang and five elements, which is the logic of order in universe people understood at that time. Through this, by understanding the meaning of the arrangement in ritual, the ritual culture would be properly understood and passed to next generation despite of changes in culture.

• FLOWER RESEARCH JOURNAL
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• v.17 no.4
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• pp.324-327
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• 2009

The white flowered 'Eorayeon 1ho' is the first Kangwon National University cultivar of L. ${\times}$ formolonga, commonly known as seed propagating lily. Crosses were conducted from 1999 to 2003 among the selected selfing lines($S_3$) of L. longiflorum 'Lorina', L. ${\times}$ formolonga 'Augusta' and 'Raizan Herald'. A new cultivar was preliminarily selected as 'E-No.1' in 2003 for its stable upward flowering habit. The evaluation of characteristics was investigated from 2003 to 2004 in Chuncheon and Yungweol, Kangwon province. 'Eorayeon 1ho' blooms in early July at outside, with high resistance to Botrytis and having upward flowering habit. The plant height is 112.4 cm and the percentage of seed germination is 96.4%. This seed propagating cultivar shows good quality as a cut flower and low blasting rate.

• FLOWER RESEARCH JOURNAL
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• v.17 no.4
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• pp.328-331
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• 2009

The white flowered 'Eorayeon 2ho' is a cultivar of Lilium ${\times}$ formolonga developed in Department of Horticultural Sciences, Kangwon National University, Chuncheon, Korea. $F_1$ hybrid LA-77 was selected from the cross between a selected selting line($S_3$) of L. longiflorum 'Lorina' and a selfing line($S_3$) of L. ${\times}$ formolonga 'Augusta' in 2000. The $F_1$ hybrid LA-77 was backcrossed by a selected line of L. ${\times}$ far molonga 'Raizan No. 1' from 2001 to 2002. 'MF-No.2' was preliminarily selected for its upward flowering habit and high plant height. The evaluation of characteristics was investigated from 2003 to 2004 in Chuncheon and Yungweol, Kangwon province. 'Eorayeon 2ho' blooms in early July at outside, with high resistance to Botrytis and showing upward flowering habit. The plant height is 132.6 cm and the percentage of seed germination is 95.3%. Mean tepal length and width are 16.0 em and 4.3 cm, respectively. The length and width of leaf is 12.3 and 3.2 cm, respectively. This seed propagating cultivar shows high plant height suitable for a cut flower.

• (The)Study of the Eastern Classic
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• no.33
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• pp.57-96
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• 2008

Kim, Kyung Jang(1597~1653) as a disciple of Jang Hyun Gwang was very famous for his virtuous conduct. But his collection of works has been published recently. There has never been any studies about his thoughts, learning and life. Therefore this study has a target to arrange the process of his life and events, and to introduce outlines of his learning. The items of this study will be as follows: The first category will be his lineage, his life, and writings. The second category will be his learning. This category has two lower categories. The first will be focused on his intention to morally accomplished self by the method of self cultivation and practise of Confucian proprieties. The second will be focused on his learning of the Change and of the Confucian proprieties. And giving attention to his 6 diagrams that have symbolized principles of the Change, this paper tries to compare these to the other scholars ones and so will explane the features of his diagrams. The most important thing in this paper is to define his learning as so called in the rhetoric of Confucianism Wi-gi-ji-hak(爲己之學), which means self organization of one's moral personality by the method of self cultivation and to distinguish the steps of his learning developed. This method has never been applied, but this is expected to become a effective method for explanation of the truth of the Confucian scholar's world of learning.