• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.175-183
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• 2021

Gongjae Yoon DuSeo(1668~1715), from Haenam in the late Joseon Dynasty, is a scholar-born painter who was active during King Sukjong. He is the person who created the foundation as a pioneer of realist paintings in the late Joseon period during the transition from the middle to the latter period. He was born in Namin's prestigious family, but he ended his career as part of a partisan fight and immersed himself in painting and learning. 18C, the beginning of the late Joseon Dynasty, was a period when Silhak emerged and the Jinkyung era opened with awareness of nationalism. At this time, by incorporating the Silhak thought into the art world, the real reformed aesthetic consciousness was demonstrated to pioneer common people's customs, the application of Western painting methods, the pursuit of realist techniques, and the introduction of Namjongmuninhwa. His view of painting, who thoroughly learned the old things and pursued change, must have both the form and spirit that he can achieve 'HwaDo' only when it has the science of 'learning and knowledge' and the technical elements of 'practice and quality' emphasized. He has worked in a variety of reconciliations. In particular, portrait paintings are characterized by ihyeongsasin's realistic expressions of aesthetics. His masterpiece, 「Self-portrait」, excels in extreme-realistic depiction and innovation in composition, and stands out with an unconventional experimentation spirit that expresses his mind and thoughts in a painting with a sense of resentment. His landscape paintings combine to express the form as it is and mental notions, and beautifully embodied Do as a form, thus achieving ihyeongmido, which reached the level of'joyfulness forgotten even the heart of joy'. On the other hand, the generalization of the common people using various common people's lives as the subject of an open-mindedness aimed at gaining the facts of ihyeongsajin, a passive protest against corrupt power and an expression of a spirit of love. Since then, his painting style has been passed down from generation to generation to his eldest son Yoon Deok-hee and his grandson Yoon Yong, leading the change and revival of calligraphy art in the late Joseon Dynasty.

• Journal of the Korean Society for Library and Information Science
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• v.49 no.1
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• pp.423-441
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• 2015

The results of this study are as follows. Firstly, out of existing manuscripts of Baeggokjib, the one possessed by Sang-hyun Kim and the one possessed by Jonkyunggak, Sungkyunkwan University shows reading reaords. Secondly, as a result of the analyses of the differences between Doksoogi and Gomoonsamshibyookdoksoogi, in terms of 1) order of records 2) the difference in the number of old texts included in the mentioned reading records 3) the difference in the title of old text, 4) the difference in records of reading times, they were revised and rearranged to Doksoogi after the record of Gomoonsamshibyookdoksoogi. Thirdly, as a result of investigations and analyses of 36 types of old texts recorded in Dogsoogi, it was found out that 1) in terms of contents, he mainly read literary books 2) in terms of style of literary books, he read mainly prose, preface, epistle, idle stories, funeral orations, etc. 3) in terms of authors, he read the old texts of Han Yoo who was the literary person during Tang Dynasty 4) Deuk-shin Kim read tend to read mainly old texts instead of single books.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.12-23
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• 2008

This study reports the costume changes and the factors of the changes from stone status in joseon dynasty. It can be summarized as follows: First, the artisan for the statues is one of the most important factors for the costume changes. The artisans who were involved in building the King's tomb were also made the stone statues for scholars' tombs. This results in that the style of the King's tomb influenced the costumes of stone statues for scholars' tombs. Some craftsmen who were buddhist monks also influenced the introduction of buddhist arts. Second, the stone statues are classified into 3 types according to the dead's social position: the civil officer statues, the military official statues, and the servant statues are installed for the civil officer, the military officers, and others, respectively. This principle was applied well. However, the civil official statues are mainly installed in late joseon dynasty because the civil officers are socially preferred to the military officers in late joseon dynasty. Third, there are two types of civil officer statues; Gongbok type and jobok type. Civil officer statues of Gongbok type were mainly installed in early joseon dynasty and civil officer statues of jobok type were begun to be installed in the early 16th century. Civil officer statues of Gongbok type were fade out after the late 17th century. Fourth, there are three reasons why civil officer statues of jobok type were installed at the officers's tombs 270 years earlier than at the Kings' tombs: 1) Introduction of Daemyunghoejeon and its application, 2) an establishment of a system that requires to prepare jobok individually, and 3) self-confidence of scholars' class on political and cultural maturity.

• Proceedings of the Korean Society for the Gifted Conference
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• 2003.11a
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• pp.131-132
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• 2003

창의력 검사와 지능 검사와의 상관이 높게 나타남에 따라 창의력 검사가 지능 검사와 차별화된 능력을 측정하고 있는 지에 의문이 생겨났다. 본 연구에서는 유동성 지능과 결정성 지능을 측정하고, 이들과 창의력 검사와의 상관 관계를 조사함으로써 두 검사 사이에서 나타나는 상관관계의 원인을 탐색하고자 하였다. 이를 위해 창의력 검사로 널리 이용되는 Torrance Tests of Creative Thinking (TTCT)의 도형과 언어검사, 유동성지능을 측정하는데 대표적으로 이용되는 Raven's Advanced Progressive Matrices (RAPM), 유동성지능과 결정성지능 모두를 측정하는 Wechsler Adult Intelligence Scale (WAIS)을 과학고와 일반고 50명의 학생들을 대상으로 실시하였다. 실험결과 TTCT 도형과 언어 검사 모두 RAPM과의 상관은 유의미하지 않았으나 WAIS와의 상관은 유의미했다. WAIS 지능점수에 따라 학생들을 두 개의 그룹으로 구분했을 때 지능이 높은 그룹에서는 TTCT와 RAPM, WAIS의 상관결과가 모두 유의미하지 않았다. 지능이 낮은 그룹에서는 TTCT와 RAPM과의 상관은 유의미하지 않았으나 TTCT 도형 검사와 WAIS와의 상관은 유의미했다. TTCT와 WAIS 11개 소검사간의 상관 상관을 알아보았다. 분석결과 유동성지능을 잘 대표하는 소검사인 토막짜기, 모양맞추기, 숫자외우기는 TTCT 도형과 언어 검사 모두에서 유의미한 상관을 보이지 않았으며, 결정성지능을 잘 대표하는 소검사인 기본지식문제는 TTCT 도형과 언어 검사 모두에서 유의미한 상관을 보였다. WAIS 11개 소검사를 독립변인으로 하고 TTCT 전체 점수를 종속변인으로 하여 회귀분석을 한 결과 TTCT 도형과 언어 검사 모두 WAIS 소검사중의 기본지식문제가 TTCT 전체점수에 가장 높은 영향력을 미쳤다. 지능이 높은 그룹과 낮은 그룹에 대해 WAIS 11개 소검사와 TTCT 전체점수와의 상관을 구한 결과, 지능이 높은 그룹에서는 유의미한 상관을 의미는 소검사가 거의 없었던 것과는 달리, 지능이 낮은 그룹에서는 결정성지능을 대표하는 소 검사와 TTCT 도형검사 점수간의 상관이 유의미하게 나타났다. 이상의 결과를 통해 TTCT는 도형과 언어 검사 모두 유동성지능 보다는 결정성지능과 상관이 있음을 알 수 있는데, 이는 창의력 검사가 문제 해결 상황에 기존의 지식을 이용하는 능력을 측정하고 있기 때문으로 추정된다. 또한 지능이 낮은 그룹에서 높은 그룹에 비해 창의력 검사와 지능 검사 사이의 상관의 정도가 높았는데, 이는 일정 수준까지는 창의적 능력이 결정성 지능에 의해 제한을 받으나 일정 수준 이상의 결정성 지능을 갖게 되면 더 이상 결정성 지능이 창의적 능력을 제한하지 않기 때문인 것으로 해석된다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.35-44
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• 2016

This study targets flower-viewing sites appearing in "Kyungdojapji" and talks about the seasonal customs and tourist attractions of the later Chosun; Pilundae, Bukdun, Outside of Dongdaemun, Cheonyunjeong and near Seodaemun etc. Through related poetry, paintings and maps, it looks into what scenic elements each attraction was made of and how the elements were felt by visitors. It sub-divided and analyzed scenic features into objective objects, subjective emotions and experienced behaviors. As a result, representative objective objects were flowers and there were also scenes where people enjoyed poem-writing meetings along with drinking-related physical elements such as liquor, liquor glasses, liquor bottles etc. Through drawing out scenes, where users gave meaning to objective objects, it tried to interpret what space meant to them, through which the meaning of flower-viewing attractions is first and foremost a space to enjoy artistic taste. Each space is used as the center of cultural creation such as literary people gathering, viewing flowers, drinking and having poetry-writing meetings. Second, as shown in scenes viewers depicted in each space, visitors were confirmed to enjoy scenes through multi-sensory appreciation. By this, flower-viewing attractions were confirmed to be not just flower-viewing but also venues of sensory experience. This study, which drew out the scenic features of traditional flower-viewing attractions, is expected to be basic material in tracing the flower-viewing enjoyed by our ancestors as a pastime and its spatial meaning and in planning Korea-unique flower-viewing attractions.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.3
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• pp.1-14
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• 2021

This study attempted to examine the loving pigeon culture practiced in traditional gardens and to illuminate the aspect of pigeons as a landscape animal material. In order to understand the culture of enjoying old garden through pigeons, the contents were analyzed for the translated version of the old literatures and paintings. Pigeons have been used as Jeonseo-gu(傳書鳩) and also for medicinal purposes and food. Pigeons have various symbolic meanings such as abundance, hospitality, and longevity. From the Goryeo Dynasty to the early Joseon Dynasty, pigeons were raised in the palace and private garden. In the late Joseon Dynasty, temporary trend of ornamental pigeon culture occurred. Pigeons were synesthesia materials that enriched the forest. Various beautiful pigeons created a variable landscape of the primeval forest as a moving landscape material. The bell sounds that appear differently depending on the pigeon's movement led to a rich auditory experience of the landscape. The pigeon house was an ornamental element that enriched the old garden along with the pigeon. The owners of garden were involved in gardening through the act of buying a pigeon house and placing it in the garden or making a pigeon house themselves. In addition, the writers planted plum trees, peach trees, apricot trees, and hawthorn trees as a symbol of spring and a source of food for pigeons, and expressed them in poems and paintings. This study has a limitation in that the translation of the old text was used as an analysis data. The follow-up studies on specific cases of raising pigeons in the old garden, in modern and contemporary landscape spaces are urged.

• (The)Study of the Eastern Classic
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• no.69
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• pp.83-114
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• 2017

The purpose of this article is to analyze the standings of working-level officials belonging to Jongbusi (Court of the Royal Clan) holding the rank of "jeong" and below between the 18th and mid-19th Century. Jongbusi, which was headed by a Grade-3 official, was in charge of the compilation of royal genealogy and supervision of royal relatives. During the late Joseon Period, its officials were composed of its chief, jeong, jubu (Grade-6 official), and jikjang (Grade-7 official). By 1864, it was incorporated into Jongchinbu (Office of the Royal Relatives). Jongbusi nangcheong seonsaengan (Register of Staff Officials at the Court of the Royal Clan), which is preserved at the Jangseogak Archives of the Academy of Korean Studies, lists the officials who served at the office between 1794 and its incorporation into Jongchinbu in 1864. The register also includes the officials' ranks, names, DOBs, family clans, their ranks in the offices they were transferred from, their ranks in the office they were transferred to, etc. Those interested view it as a precious relic that provides valuable information on the officialdom of the dynasty. A majority of the officials who served at Jongbusi were those who passed the higher civil service examination. Many of them at the level of jikjang were those who passed the licentiate examination. Their designation as an official was part of the "muneum" system, which granted official posts to descendants of those who accomplished a distinguished service for the country or served as a high-ranking official. They were those transferred from equal or lower positions in another office. Many of jubu-level officials of Jongbusi were those transferred from honorable and important posts of other offices or local administrative offices. Many of jikjang-level officials of Jongbusi were those who previously served as dosa (assistant officials) at Uigeumbu (Bureau of Crime Investigation) headed by a Grade-1 official. The officials' transfer to an office with a lower position like Jongbusi appears to have been for the provision of placing them in working-level positions rather than letting them remain in positions only carrying an honorary title. As for the transfer of officials of Jongbusi to other offices, many of those with the rank of jeong were transferred to lower positions. Supposedly it was because not many Grade-3 positions were vacant. Many of them were transferred to honorable and important posts. Some of them were also transferred to positions at local government offices, supposedly to avoid an excess of personnel at the central government. Those at the level of jubu or jikjang of Jongbusi were transferred to equal or higher posts in other offices. Particularly, most of those holding the position of jikjang (Grade-7) were transferred to higher posts. The family clan that produced the largest number (10%) of Jongbusi officials was the Jeonju Yi Clan, which produced the largest number of those who passed the higher civil service examination. It was also found that the top 20 family clans produced about half of the entirety of Jongbusi officials. According to the aforesaid Jongbusi nangcheong seonsaengan, about 90% of the cases of promotion of Jongbusi officials occurred after the revision of Seonwon boryak (Royal Genealogy of the Joseon Dynasty). It is speculated that the supervision of royal family members, one of the two leading functions assigned to Jongbusi, was suspended in the late Joseon Period. The relevant function does not appear even in chronicles pertaining to the Joseon Dynasty. The reason being had something to do with the sharp decrease in the number of royal family members during the reign of King Injo (r. 1623-1649). Their number was decreased to the extent that royal ceremonies could not be adequately carried out. Naturally, the meaning of supervising royal family members faded. Witnessing such a sorry state of the royal family, Heungseon Daewongun, King Gojong's father who served as the regent, incorporated Jongbusi into Jongchinbu in an effort to enhance the status and authority of the royal family.

• (The)Study of the Eastern Classic
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• no.49
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• pp.73-107
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• 2012

Yeoheon Jang Hyeongwang(1554-1637), one of the greatest Mid-Joseon Confucianists did systematic studies on universe and nature. It can be considered that he inherited the academic tradition of Cho Sik (曺植) and Jeong Gu(鄭逑) and followed their steps of fengshui (風水) and compilation of geographical records. His living and thought and deserve researching with regard to geographical studies. This paper attempts to analyze Yeoheon's recognition of geography in general. In other words, I shall prove that his view of geography is Neo-Confucian. At the same time, I shall discuss how he named people's residence, how he understanded the Joseon territory, what he thought about fengshui, and what significance the complication of geographical records by his disciples had. Yeoheon considered that land is composed of water, fire, earth, and rock, and understanded the land according to the theory of Zhouyi (周易). He analyzed geographic environments by the system of Zhouyi. His study of geography is basically intended for practical use, and as a result is necessary for people to choose where to live and where to cultivate. In his opinion, it is essential to divide the land of the Joseon by means of geographical differences in order to help people to find a better place to live. We can see his Confucian view from the fact that he placed a greater emphasis on human beings over nature. Therefore, the practical use for humans is the first priority in his study of geography. Meanwhile, he considered nature itself as only the object of study. He realized the vitality of life by making a close observation of nature and attained the mind of the Heaven and Earth in a detached way. He, as a follower of Neo-Confucianism, enjoyed the land by feeling comfortable with his present status and by being satisfied with himself. He put his Confucian view of universe and world into practice in his life. As a part of his efforts, he named his residence and surrounding natural environments with the polar star and 28 stars, and accordingly they are reconstructed in a system of universe. The Confucian tradition of dongcheon gugok (洞天九曲) starting with Zhu Xi's administration of wuyi jiugu (武夷九曲) was widely prevalent during the Joseon period, but Yeoheon's system of organizing places is original. His sense of naming places reflects his ideas of following his predecessors, comparing natural objects to human emotions, and desiring to live in retirement. Yeoheon understanded the Joseon territory with comparison of the Chinese land. He expressed his knowledge in the form of changing geographical features of a district, appreciating natural beauty, locating towns, and being familiar with a region, and proposing his own climatology and view of the reality. His recognition of the Joseon territory resolves itself into the following several points. He regarded the Joseon territory as one organism, and considered the territory to be composed of ki (氣) as Neo-Confucianists usually do. In addition, he understanded not only natural environments but also towns from a perspective of the fengshui and adopted a comparative methodology in dividing regions. He also applied climatology to analyze persons and customs. He employed the methodology of fengshui from the comprehensive theory of the Yijing. It is because he was influenced by Cho Sik and Jeng Gu. Yeoheon chose dwelling places for people, or gave advice on several places of his hometown relying on his knowledge of fengshui. When it comes to his theory of fengshui, he agreed with the theory of topography with regards to the fengshui of tombs, but criticized the custom of delaying funerals in order to turn fortune in one's favor. In addition, he accepted that it is necessary to complement a town by creating forests around it. We need to pay attention to the fact that Yeoheon's disciples complied several geographical records. It proves that they inherited the tradition of "valuing practical use and governing on behalf of the people" from Cho Sik and Jeong Gu. Yeoheon put a great emphasis on geographical records and encouraged his disciples to compile them. In other words, he emphasized that they, as administrator or intellectual, need to be erudite in the history and custom of a region where they have lived, and have to establish a standard to encourage or warn people in the region while considering the geographical records. His opinion functioned as a guideline for his successors to compile geographical records later. This paper only analyzed several facts with regard to Yeoheon's knowledge of geography and an academic tradition concerning the study of geography. In the future, I shall discuss how his predecessors and successors understanded geography and how the tradition of compiling geographical records was transferred and developed between them. I believe that this study will contribute to establishing the history of geography, which the Joseon Confucianists researched for a long time but we have not paid an enough attention to until now.

• The Journal of Korean Philosophical History
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• no.25
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• pp.381-410
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• 2009

It is a very important book about painting theory, that "Xuanhehuapu"(宣和畵譜) was wrote by Emperor Huizhong(徽宗) in Song Dynasty. Fundamental discussions and studies in the relation of socio-economical base in Song Dynasty are still more needed. And accordingly, it is necessary to advent upgraded aesthetical articles. Li xue(理?) deeply influenced upon paintings and its theories in Song Dynasty. Similarly, Taoism(道家) and Zen Buddhism(?宗) also did. But some people who have not found "Xuanhehuapu" important meaning and rich and complicated aesthetic thought, gave low and even negative valuation to it. There is rich aesthetic in "Xuanhehuapu", which is not as simple and narrow as some people imagined. It was deeply influenced by the aesthetic thought of Confucianism(Lixue 理學), Taoism(Zhuangzi 莊子) and "Zhouyi"({周易}). I will be analytical in a few aspects "Xuanhehuapu" of aesthetics thought. 1. The calligraphy and painting is one flesh. 2. learn a good lesson from painting. 3. The handicrafts(Art, 藝) and Tao(道) unify. 4. It is a Art taxology. 5. It use a new art criticism methods.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.89-102
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• 2015

This study contemplates the tendency of the examination questions for History of Korean Landscape Architecture. The study targets the questions of 'Landscape Architecture History' which has been set in the written test for National Qualification Test of a landscape engineer for recent 10 years from 2005 to 2014 and derives analyzable items based on the guidelines of question-setting presented by Human Resources Development Service of Korea. The results of the study are drawn as follows. First, among 5 areas composing Landscape History, the proportion of Korean Landscape questions is getting increased while that of Western ones is decreasing. Second, about 30 traditional trees and 11 types of traditional landscape elements including traditional facilities were shown in Korean Landscape questions. Besides, history, geographic, practical science, horticulture, anthology books and the 25 tradition landscape-related historic documents categorized as the garden painting data were found. And the kings from ancient era to Choseon Dynasty who were associated with the time of palace garden building, the builders or owners of the villas, the authors of the document and Chinese scholars also appeared. Third, there were no the questions of prehistoric times and Balhae Kingdom, whereas those of Choseon Dynasty were dominantly focused. Among the traditional sites of Choseon Dynasty, Byeolseo(villas) were set most, followed by Dosung or Gung-gweol(castle towns or palaces), houses, Nu Jeong Dea(pavilions) and Seowon(local schools) in order. Nak-an eupseong and Yong-ju sa were the only cases for a castle town and a temple each. Fourth, being associated with tradition spaces, the questions asked for understanding the detailed contents of time of sites' construction, builders, location features, building structures, ground plan types and the components s of garden. In addition, as a result of checking whether traditional landscape sites were shown in the set questions in 9 Korean Landscape textbooks, Dongchundang, Pungamjeonsa, Simgogseowon did not appeared. As a result of reviewing the tendency of the examination questions for History of Korean Landscape Architecture, the questions which ask minor facts without generality and which include difficult information and site uncomprehended in the textbook should be reconsidered.