• Title/Summary/Keyword: 조선 후기

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역사속 과학인물 - 농촌생활 백과사전 <林園經濟志>남긴 조선후기 "서유구(1764~1845)"

  • Park, Seong-Rae
    • The Science & Technology
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    • v.35 no.10 s.401
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    • pp.40-41
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    • 2002

  • 조선 후기 이조판서ㆍ대제학을 지낸 서유구(1764~1845년)는 조부와 부친의 가문과 전통을 계승하여 농학에 큰 업적을 남겼다. 서유구의 농학 대표작은 "임원경제지"로 1백13권에 52책으로 되어있는데, 이는 농학지라기보다 농촌생활의 백과사전이라 할 수 있다. 이 책은 한국 과학기술사 또는 농업기술사 연구에 좋은 재료가 되고 있다.

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만명(晩明)과 조선후기(朝鮮後期) 소품문(小品文)에 나타난 '병(病)'에 대한 미학(美學) 고찰

  • Gu, Gyo-Hyeon
    • 중국학논총
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    • no.43
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    • pp.33-54
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    • 2014

  • 本文所探討的主題是關於晩明與朝鮮後期小品文的'病'之美學, 病是一个從晚明與朝鲜后期的小品文出現的特殊素材, 是一個表現眞情眞趣韻致的方法論. 晚明與朝鲜后期的小品文作家提唱童心表現眞趣, 也通過病表現眞情. 病是眞性的表露. 有病, 才有個性. 才有鋒芒, 有與世俗不同之處, 不受世俗所汚影響, 沒有世故之態的人格. 病之所以爲明季世人與18世紀朝鮮後期所稱訟以爲美, 乃在於其怪與奇. 病的主要原因是癖狂懶痴傲.. 本稿分析以癖爲主. 下列小品文的'癖之美學的特徵. 其一. 癖是一種特殊幷几近变态的行为. 但在晚明文人與朝鲜小品文人的眼里, 病可是真情至性的表現. 其二. 晩明與朝鮮文人以爲生活是有寄託的, 有寄託才能安心度日. 其三. 晩明與朝鮮小品作家通過癖, 不但能使生活和心情獲得寄託, 也可以轉移心思, 移情養性. 其四, 癖是可以有治兵養心. 通過以上的共通審美意識, 講道結論, 晩明與朝鮮後期小品文有密切的关系. 再說朝鮮後期小品文受到晩明小品文的影響.

The Meaning of Namgyeong on Shimchungga of Shin, Jae-hyo (신재효 판소리 사설 <심청가>에 구현된 남경의 중의적 의미)

  • Lee, Moon Sung
    • (The) Research of the performance art and culture
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    • no.36
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    • pp.169-184
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    • 2018

  • This paper reveals the double meaning of the temporal background and spatial background on Shimchungga. Its temporal background is the fictional and romantic time of the story, while the time of the weary lives of ordinary people is realistic and historical in the late Joseon Dynasty. The spatial background has a dual meaning that reminds us of the ancient capital of China and Seoul of the Joseon Dynasty. Namgyeong, a spatial background is fictional and romantic where the daughter of the public, Simcheong, becomes "The mother of all the people." In addition, Namgyeong reminds us of Seoul, the capital of Joseon Dynasty. Shimchungga is based on the customs and manners of the late Joseon Dynasty, and it is embodied by borrowing time and space from China. It is recalled Joseon's as backgrounds of China First of all, Namgyeong on Shimchungga is the ultimate attraction of the free imagination of the ordinary people as well as Shin, Jae-hyo in the late Joseon Dynasty.

A Study on the Buddhist Stone Arts of Mt. Bukhan (북한산 불교 석조미술 연구)

  • Lee, Seohyun
    • Korean Journal of Heritage: History & Science
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    • v.52 no.1
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    • pp.90-119
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    • 2019

  • The purpose of this study is to investigate the significance of Buddhist stone art in the cultural zone of Mt. Bukhan. Mt. Bukhan witnessed the prevalence of Buddhist culture in and around it since the introduction of Korean Buddhism and served as the center of Buddhist culture in the nation, where new Buddhist temples continued to be built from the Three Kingdoms Period to the Joseon Period. Of the characteristics of its Buddhist culture, it is very noteworthy that the construction of military temples in and around it in the latter half of Joseon supported the function of Buddhist temples as basic places of worship. These military temples were closely related to the mountain's geopolitical location, traffic routes, and position in the national defense system-- its mountain fortress was an important defense facility. The stone art works of Mt. Bukhan can be categorized into various types, including stone stupas, stone pagodas, rock-carved Buddhas, stone Buddhas, towers and monuments (stone monuments), stone lanterns, flagpole supports, and rock-carved sarira pagodas. There are diverse types of stone art left on the mountain. As for its period characteristics, it is clear that the Buddhist art of Silla spread even to the Gyeonggi region, and that most of the works of stone art were created during the first half of Goryeo and the latter half of Joseon. Starting in Goryeo, the Buddhist temples of the mountain maintained close relations with the royal court by operating as the royal buddhist shrine for the royal family. In the latter part of Joseon, the construction of the Bukhan mountain fortress became the most important opportunity to produce stone art. As for the distribution of the stone artwork, it was usually created in the west part of the mountain from Unified Silla to the first half of Goryeo and in the southern and eastern parts of the mountain from the latter half of Goryeo to the latter half of Joseon. It is estimated that central Buddhist temples of the mountain changed due to Silla's military goal of advancing toward the west coast along the Han River in its early days and the construction of the Bukhan mountain fortress in the latter half of Joseon to protect the capital city. Finally, the stone art of Mt. Bukhan holds very high significance in art history because various types of stone art continued to be created on and around the mountain, the stone artwork of the mountain reflected representative styles for each period, and e rare and ofthe works produced on the mountain exemplified rare and unique styles.

  • https://doi.org/10.22755/kjchs.2019.52.1.90 인용 PDF