• Cross-Cultural Studies
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• v.25
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• pp.529-548
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• 2011

Zu Wen-Zao(朱文藻), Li Tiao-Yuan(李調元), Hong Liang-Ji(洪亮吉), Peng Yuan-Rui(彭元瑞), Qian Dong-Huan(錢東垣), Sun Xing-Yan(孫星衍), Ruan Yuan(阮元), Chen Zhan(陳?), Wu Shi-Fen(嗚式芬), Feng Gui-Fen(馮桂芬), He Shao-Ji(何紹基), Fan Zu-Yin(潘祖蔭) made the contributions to the theoretical construction to the science of Chinese characters in their books "Shuwenxizhuankao(說文繫傳考異)", "Liushufenhao(六書分毫)", "Liushuzhuanzhulu(六書轉注錄)", "Xiqinggujian(西淸古鑒)", "Xiaoeryajiaozheng(小爾雅校證)", "Jiujingzhengsuzikao(九經正俗字考)", "Jiguzhaizhongdingyiqikuanshi(積古齋鐘鼎?器款識)", "Shuwenshengxi(說文聲繫)", "Shuwenjiuzizhengyi(說文解字正義)", "Jungulu(?古錄)", "Shuwenjiuzizhukaozheng (說文解字段注考正)", "Shuowenduanzhubozheng(說文段注駁正)", "Haidongjinshilu(海東金石錄)". They analyzed the rules behind character construction, and tried to find out the nature of Chinese characters, the relationship between Chinese characters, the evolutionary laws of Chinese characters, the characteristic of ancient Chinese characters etc.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.117-133
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• 2021

The art of the Confucian literati' was mainly centered on literati' painting. Literary paintings combined with poem-writing-painting are based on the literary characters and studies. This is usually based on the technique of Shensi(神似) caused by a hobby accomplishment, enjoying the chinese painting and cherishing with chinese painting. The Confucian literati' cultivated their own character and sublimated humanism to art based on studying. They sought the life of supremacy and supreme gentleness, and enjoyed life on the boundary of pleasure through art. The aim of the Confucian literati' arts lies in the pursuit of expressing the artist's inner world, spirit, and the combination of the Confucian and the Taoism, Because of literati's spirit based on learning, the Confucian literati' arts still exist. The aesthetic of Sunbi Spirit is mainly in the customs of Sunbi, the loyalty of Sunbi, the Silhak(實學) of Sunbi, and loving of the people of Sunbi. We can find honor and loyalty in the Sunbi spirit of the Confucian literati' of the Joseon Dynasty. In addition, it is also possible to observe the loyal troops, the hard work for the country, and the Pung-ryu with nature. In other words, the Sunbi honor, loyalty, loyal troops, pursuit of study and the Pung-ryu show the spirit of the Confucian literati' of Joseon Dynasty. The aesthetic of the Sunbi spirit is in Pung-ryu, loyalty, Silhak, loving of the people etc. The aesthetic of experience of art is mainly based on the aesthetic experience by emotional intelligence and the aesthetic experience according to the individual's inclination. The aesthetic sense actually shows Pung-ryu, loyalty, Silhak and love etc. We can see it in many of our literary paintings. Therefore, the Confucian literati' painting in Chosun Dynasty were the intentionality of the mind and the intentionality of the spare. Furthermore, it has directivity of expressing the artist's inner world, directivity of substance, so it is possible to see that the characteristics of the Sunbi spirit are diverse.

• The Korean Publising Journal, Monthly
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• s.320
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• pp.42-43
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• 2002

• KOMUNHWA
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• no.20
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• pp.3-13
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• 1982

• Industry Promotion Research
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• v.5 no.2
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• pp.27-32
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• 2020

This study is a study on the size of the stone statues of the royal tombs in the Joseon Dynasty. In summary, the size of the stone statues of Moon, Inseok and Unmanned Stone increased in the 1600s and then decreased slightly in the 1700s, but increased in size in the 1800s. It was confirmed that the average analysis result. The statue of Seok-in of the Royal Tombs of the Joseon Dynasty reflects the characters of the time, and through this, the typical figures of the times can be examined. The royal tomb has consistency and uniqueness, and the norms regarding the size of stone statues have changed over time. As a building of the authoritative symbol of the ruling class, it was a national construction where royal tombs were built according to rituals and laws. It is said that the size of the stone statues in the Joseon Dynasty was about 90cm smaller than the stone statues of the tombs. In this study, the significance of this study is to confirm the stone size of each stone age in the royal tomb of Joseon.

• Journal of the Korean Society for Library and Information Science
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• v.54 no.1
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• pp.145-174
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• 2020

The study is aimed at exploring the contents and composition of archive of works and subjects digital figures for works by Shin Saimdang, Heo Nanseolheon and Song Deokbong among female writers during the mid-Joseon Dynasty. To this end, first, to investigate and analyze the theoretical background and the preceding study by studying literature. Second, based on the reason for the character selection, the life of Shin Saimdang, Song Deokbong, and Heo Nanseolhun are analyzed. Third, the works and themes are analyzed through the writings left by Shin Saimdang, Song Deokbong, and Heo Nanseolheon, as well as by various researchers on them. Fourth, it presents the contents and composition of the archive of digital figures in works and subjects with the focus of Shin Saimdang, Song Deokbong and Henan Seolheon.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.53-62
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• 2014

Human has noticed a beautiful natural scenery and appreciated it as a scenic site by giving meaning to it and evaluating it. How the beautiful natural scenery was appreciated as a scenic site depends on natural features, social and cultural environments, and the current of the times. Mt. Jiri is the highest mountain in inland South Korea and keeps ancestors' history and culture intact. Joseon Dynasty literary men frequently mentioned Mt. Jiri as a tourist attraction where they could pursue and share their studies against its beautiful natural scenery. The countless literary men visited Mt. Jiri and some of them left their journeys as travelling records. This research aimed at apprehending travel routes of Chunwang Peak of Mt. Jiri based on the contents of travelling records and investigating the scenic site value of scenic resources as the literary men in Joseon Dynasty recognized. The scenic resources of Mt. Jiri were related to the change of the reason or motivation of person who climbed and it should be noted that there was a change of reason or motivation in climbing Mt. Jiri from a following of master's paths to discovery of a new trails. Thus, even if there was a difference in reason or purpose of natural scenic beauty, the concept of scenic sites of the past and the present day should be included into the extended meaning of scenic sites. This research aimed the routes of well-known literary men need to be developed as programs utilizing "the concept of ancient sages' footprints" and the development of these contents shall be used for vitalization and self-support of a regional economy.

• Sijohaknonchong
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• v.25
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• pp.129-144
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• 2006

The purpose of this paper is to reveal the rhetorical features of the Chosun Sijo through researching them. A poem has been made by imagination and rhetorics which are based on the poet's experience. The qualifies of the Poem have been determined by how the poet described the object oddly. So it is essential for the poet to struggle to make embellishments and artistic skills when he or she makes a poem. But the Chosun clerisy ostracized the poet who was trying to do these things mentioned above, which was a kind of special poetic point of view the Chosun clerisy had. They recognized embellishments and artistic skills as a resort to petty trick as a result of their sticking to the external form of the objects. The reason they thought them like this was that the Chosun clerisy thought the embellishments and artistic skills could show the self-pride and self-righteousness. Also, there were concerns on the distortion of the object nature by the artificial concoction. Because they can interrupted and distorted the stream of feeling and the original meaning, the artistic skills mush not be recognized as the artistic skills of itself. As a result, they valued the poem made from restraining the rhetoric and artistic skills. They valued the poem which had common words related people's daily life, but was able to feel the simple Lyricism. The poem based on these features has remains as a work which makes people enjoy the nature, and face their life without any resorts, and which has the natural leeway.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.1-21
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• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.170-189
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• 2019

Sochi Heo Ryun (小癡 許鍊, 1808-1893) was a literary artist of Chinese paintings of the Southern School during the late Joseon dynasty and the founder of paintings in the literary artist's style of Jindo County in South Jeolla Province. He was also a professional literary artist who acquired both learning and painting techniques under Choui (a Zen priest) and Kim Jeong-hee's teachings. Heo Ryun's landscape paintings were influenced by Kim Jung -hee. However, his ink orchid paintings, which he began producing in his later years, were not related to the 'Ink Orchid Paintings of Chusa (秋史蘭)'. His ink orchid paintings as a whole drew attention as he followed the old methods but still used rough brush strokes . Ordinary orchids were drawn based on Confucian content. However, his Jebal (題跋) and seal (印章) contain not only Confucian characters but also Taoist and Buddhist meanings. Therefore, it is possible to guess his direction of life and his private world of suffering. Ryun's ink orchid paintings reflected a variety of philosophies and aesthetic sensibilities. He went through a process of stylistic change over time and formed an 'Ink Orchid Painted Thought' in later life. The main characteristic of Sochi's ink orchid paintings is that he formed his own special methods for orchid paintings by mimicking the Manuals of Paintings. He drew orchids with his fingers in the beginning. Then, Jeongseop, Lee Ha-eung, Cho Hee-ryong, and others developed an organic relationship with the painting style of ink orchid paintings. Then in later years, orchid paintings reached the point of 'Picture Painted Thought (寫意畵)'. The above consideration shows that ink orchid paintings, which he produced until the end of his life, were the beginning of his mental vision and will to realize the image of a literal artist.