• Sijohaknonchong
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• v.30
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• pp.21-52
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• 2009

This study observed what roles and identity the Taoist Hermits have when they appear in Korean Verse, SiJo, which was preoccupied by the illustrious-officials in Choseon Dynasty. This study has found that languages of Taoist Hermit frequently appear in SiJo, through the historical study documents focusing on only the mountain wizards in terma of the genre, SiJo. Of those terms used by Taoist Hermit, most prominent was 'JeokSongJa', which was expressed as that sought by the illustrious-officials-they were using the sentence, 'I will follow JeokSongJa' to the extent that it is an idiom. This suggests that the illustrious officials in ChoSeon Dynasty meant if one was going to be entitled to become a Taoist Hermit, he should seek 'JeokSongJa' first. We can see those illustrious officials were using the words with a ideological tone, affected by then 'JangRyang' or 'BeomRyo' who were devoting themselves to finding 'JeokSongJa' with a belief that they could become a Taoist Hermit and live forever, which had been handed down as a legend or a myth. Meanwhile, Li Po is a profile who can not considered, separately in the history of Korean Literature. Li Po recited poems, as a great poet and a hard drinker, who were incited in SiJo of those illustrious officials as a intimate person. In contrast, among those who were accepted as a negative profile, were a Chinese Emperor JinSi and HanMuje. These two emperors, who were looking for a herb of eternal youth and Mt. BongRae, figures who had lost their positions in the real political circle. In addition, they couldn't make their dreams to get perennial youth and long life come true, which stimulated the illustrious officials of that time to recite those poems indicating there is no ideal Utopia so it's better be satisfied with the reality living up to the realistic idea of Confucianism. In this sense, those two emperors are negative. There are also women Taoist Hermits present in SiJo, including MaGo nymphs, SeoWangMo, MuSanShinNyo, and Hang-A. MaGo nymphs were grandmothers who superintend the longevity, often incited as a beautiful woman; SeoWangMo was a Toast Hermit who had an elixir of life; MuSanShinNyo is a beautiful woman who was representing the attachment of cloud friendship; and Hang-A is expressed as a goddess who betrayed her husband and as a result staying lonely in the moon palace. These women goddesses were characterized by their beautiful appearances, generous and delicate personalities. widely incited in romantic poems.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.115-131
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• 2020

Through literature research and field investigation, this paper attempts to study the distribution, morphology and the typification of the visual and perceptual stone inscription in Wuyi-Gugok of China. The results are as follows: First, there are 350 stone inscriptions in total from the 1^st Gok to 9^th Gok in Wuyi-Gugok. Second, according to the analysis of the stone inscription distribution, 74(21.2%) stone inscriptions in the 5^th Gok, 67(19.2%) in the 6^th Gok, 65(18.6%) in the 1^st Gok, 60(17.2%) in the 2^nd Gok and 53(15.2%) in the 4^th Gok are confirmed. The above five Goks contain 319(91.1%) stone inscriptions, so they have rich cultural landscape. Third, according to the survey, the number of the stone inscriptions existed in the Sugwangseok of the 1^st Gok are 41(22.6%), in the Homagan of Cheonyubong of the 6^th Gok are 29(8.3%), in the Jesiam of the 4^th Gok are 23(6.6%), in the Nyeongam of the 2^nd Gok are 22(6.3%), in the Hyangseongam of the 6^th Gok are 21(6%), in the Unwa of the 5^th Gok are 19(5.4%), in the Bokhoam of the 5^th Gok are 18(5.1%), in the Eunbyeongbong of the 5^th Gok are 17(4.9%), in the Daejangbong of the 4^th Gok are 14(4%), in the Daewangbong of the 1^st Gok and the Geumgokam of the 4^th Gok are 12(3.4%). Thus, a total of 228 (65.1%) stone inscriptions are concentrated in these 11 sites, which represent the popularity and cultural value of these rocks. Fourth, the stone inscription of Wuyi-Gugok, praising the landform and topographical geological landscape of Mount Wuyi, mainly describe the scenic name of each Gok related to Zhu Xi's Gugok culture, appreciate Zhu Xi's tracks and the stone inscription in the sacred land of Neo-Confucianism culture, and also record the Confucian edification of mencius thoughts, Muigun(武夷君) and the myths and legends related to the site names of Wuyi mountain, which can remind people of the worldview of the celestial paradise where the gods live and the fairyland of the land of peach blossoms. In addition, it indicates that the historical and cultural landscape, which is full of colorful history and myths and legends, including allusions related to Confucian, buddhist and Taoist celebrities and the ancestor ancient things related to traditional culture of China is very diverse. Fifth, the results of the classification, based on the content of the stone inscription in Wuyi-Gugok, are classified as the scenery name inscription, the praise scene inscription, the recording travel inscription, the recording event inscription, the philosophy inscription, the expressing emotion inscription, the religion inscription, the inscription for auspiciousness, the slogan and expressing ambition inscription and the official document notice inscription, among which there are 102(29.1%) praise scene inscriptions, 93(26.6%) scenery name inscriptions and 61(17.4%) recording travel inscriptions. The stone inscriptions of Wuyi-Gugok have the characteristics of the special emphasis on scenery names, landscape praise and commemorative tours. Sixth, the analysis of the intertext between the 「Figure of Wuyi-Gugok」 and Wuyi-Gugok rock letters, in the study found that the method of propagation between media was mostly the method of propagation of quotations and maintained intermedia through extension, repetition, extension, and compression.