• Cross-Cultural Studies
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• v.48
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• pp.67-106
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• 2017

This study focuses on two specific history of Korean literature in Chinese: the outline of The History of Joseon Literature (2010) by Li Yan and The History of Joseon Literature (1988, 2008) by Wei Xu-sheng; it was conducted to compare narrative viewpoints to the history of South and North Korean literature and therefore identify distinguishable characteristics. As a result, the following was concluded. First, The History of Korean Literature by Cho Dong-il and The History of Korean Literature in North Korea (15 volumes) include thorough discussions on division of historical eras, concept of genres as well as individual literary works and applied such discussions on writing literary history. However, Wei Xu-sheng and Li Yan's The History of Korean Literature did not illuminate theoretical discussion of South and North Korea. Li Yan's outline of The History of Joseon Literature was published in 2010 and the first edition of Wei Xu-sheng's The History of Joseon Literature was published in 1986 and later was published as revised editions in 2000 and 2008. Regarding published dates, it is a matter of course to reference Cho Dong-il's The History of Korean Literature, published in the 1980s, or The History of Korean Literature in North Korea (15 volumes), published in the 1990s; nevertheless, neither Wei Xu-sheng nor Li Yan used those texts in their works. Their works were heavily influenced by the narrative tradition of the history of national literature and therefore, entailed unsophisticated discussion on the division of historical eras or the concept of genres. Second, those two texts also emphasized external factors such as politics, society, economy and culture and explicitly mention these factors in historical overview of each chapter. Such an approach is commonly used in narratives of literary history under socialist regimes, including The History of Korean Literature in North Korea (15 volumes). Accordingly, evaluations based on 'political standards' - stress of people, nationality, practicality and so forth - in main texts are particularly accentuated, akin to narratives of literary history under socialist regimes. Finally, since those two Korean literature history works are written by Chinese scholars, they focus on correlation between Chinese literature history and Korean literature history. However, several genre-related terminologies such as Xiaopin (a kind of essay), Yuefu (a kind of popular song/poem), Yuyan (fable), Shuochang (telling of popular stories with the interspersal songs), Shizhuan (biography or/and memoirs in history) were adopted directly from Chinese literature. In analyzing Korean literature using terminologies introduced from Chinese literature, differences between original and alternative definitions were not examined in detail. While some terminologies and concepts were adopted directly without further consideration as to state of the two nations, it is also interesting to note that dichotomy, mainly used in Korean literature history, was used to discuss the genre of Cheonki (romance tale), relevant to Suyichon and Keumosinhua, rather than follow traditions of Chinese literature history.

• Journal of the Korean Applied Science and Technology
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• v.40 no.2
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• pp.355-362
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• 2023

Characters in visual media have different symbolic meanings depending on their orientations or roles. 『山海經』 is a fantasy novel written around the 3rd or 4th century BC., and the characters in the classical Chinese novel have various meanings and symbols, such as disasters, wealth, diseases, etc., according to their types. The symbolism of animals that the Chinese think of, the symbolism of characters in fantasy novels, and the morphological analysis are necessary elements in the development of characters and the film industry in China. This study analyzed the images of characters as follows, focusing on classical Chinese fantasy novels 『山海经』, 『山海经圖象全體』, and 『山海經圖』 and the fantasy novels of the Qing Dynasty 『山海经存』 and 『山海经圖錄』. First, the shapes of characters are slightly different in illustration images. Second, Among 453 characters in 山海經, there are a total of 8 characters related to flood damage, such as floods, rainy season, etc.: 'Jangwoo', 'Hapyu', 'Hwasa', 'Yeongryeong', 'Buje', 'Seungwoo', 'Manman', and 'Naeo' Third, it can be seen that the characters are creative ones that are combined with objects and animals and plants, apart from the symbolic meanings of real animals and characters in 山海經. It is believed that the continuous analysis of the characters in 山海經 will enable them to be widely used in the film industry.

• (The)Study of the Eastern Classic
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• no.49
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• pp.325-355
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• 2012

This research aims to generalize the thoughts of military science of the intellectuals through the books on military arts and science, which were published in the early Joseon Dynasty. In the early Joseon dynasty, it was in a position to establish the foundation in the new monarch internally, and, at the same time, to overcome foreign powers on both northern and southern borders externally. Thus, the books on military arts and science should have to be published under a premise of such situations. Accordingly, the books on military arts and science of those days took account of political stability having reflected the activities not only as the founder of Joseon but also as the military officer in the late Goryeo along with the books' own purpose to found military arts and sciences. The books on military arts and science that published in the early Joseon Dynasty were written mostly based on Chinese military books and its annotations, except some descriptions of the history of war. However, the intellectuals at that time endeavored to redefine military arts and science from the perspective of Confucianism having evaluated Chinese military science books that were biased to boost Machiavellian tactics. As a result of this, the geographical distinctions between China and Korea were the start of an argument for the military arts and science. There were also disputes over the relationships between the military science and the Yin-Yang School, and between the military science and Confucian school. Organizing our country's own history of war for the first time in the early Joseon Dynasty is worth for putting a high evaluation. However, it cannot help but to point out the limits of the books that there are noticeable descriptions about the factors related to toadyism, and that there are no descriptions about the wars against Japanese raiders. The books on military arts and science in the early Joseon Dynasty put emphasis on the commander's leadership that should be good at both literary and martial arts, as well as the harmony in military-to-military relations. After all, the intellectuals in the early Joseon Dynasty had linked the military arts and science to the sages of Confucian school under a premise that scholarship is to be used in combination with martial arts. And, as the nexus between the two, they noted the items of virtue, such as humaneness and righteousness (仁義); ritual and music (禮樂); loyalty and filial piety (忠孝); three fundamental principles (三綱); five moral disciplines (五倫). It can be said that this point is the typical features of the military arts and science in the early Joseon Dynasty, which cannot be found in Chinese military classics.

• (The)Study of the Eastern Classic
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• no.54
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• pp.319-348
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• 2014

This paper examines the centered on the Ritualized of Royal archery as a national event led to the demonstration of military rites was settled during the early Chosun Dynasty. And aims at considering of traditional of archery a Royal family and high position military people's. It was maintained as an system for both stability of royal family and centralization of government authority. As we know, since ancient times, the performance number of shooting arrows had been reduced in the early Chosun Dynasty. And one more reason is, traditionally Royal family liked shooting archery. For example, King Taejong was very openly shooting archery to inside palace and outside field. He says the archery is a principal element of military persons. Anyhow, to the King Jungjong, many Kings played shooting archery. However, at that time, the Royal archery came from ancient Korea and Kingdom of Koryo. In this historical background, Military rites will be established not just from ancient China. It specially called five manner of rituals. However, the rule of Confucianism to be Government police, archery ritual was declined. It's involved Curriculum of education. And this is related to the who got the new group of government authority. They are young confucianist. From there, the Confucianism manners, were to change of traditional of archery in Early Chosun Dynasty.

• (The)Study of the Eastern Classic
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• no.71
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• pp.9-39
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• 2018

We considered the historical significance and the individual aspects of heroes that are reflected in the historical differences between men and women expressed in the old tales. To achieve this purpose, the paper selects , , , , and as text. Their characters were then catalogued into cultural heroes-Choi ChI-won, popular heroes-Jeon Woo-chI, family heroes-Chung So-jeo, pro-Japanese enlightenment hero-Ilneyomhong and Lee Hyung-kyung. He also tried to achieve his goal by describing the historical significance of the hero's type. China and Joseon were at odds with each other, so their relationship was uncomfortable. It is at the forefront of that concerns this issue. As he was a great writer of Silla, he was able to play a leading role with Chinese writers. We needed Choi ChI-won, a cultural hero, to express our pride that Joseon has a superior culture than China. Joseon was a Confucian society with a strong anti-semitic system. Accordingly, the people were persecuted by the aristocrats for all their centers, and this required a folk hero. He is the leader of the war. Jeon Woo-chI is a real folk hero who solves the people's grudge and wishes through doctoring. As women go back to the late Joseon Dynasty, they change the way women treat men after experiencing war. For this reason, there are novels about female heroes such as <江都夢遊錄>, <朴氏傳>, and <李學士傳>. I think the writer given hope to women who are upset by incompetent men even in their work at the time. Jeongsojeo is a leading hero in the family who is more active than the female lead who is faithful to old wives, but is responsible for helping her husband. Joseon goes through the 淸日 and 露日 wars and is at the center of Japan's prosperity. Japan is the Japan-Korea Treaty of 1905 after the Japanese Resident-General of Korea after heavy emphasis put on with the politics. At this time, he published pro-Japanese newspapers and published pro-Japanese novels to highlight pro-Japanese collaborators. It is Ilneyomhong and Yeoyongwoong.

• (The)Study of the Eastern Classic
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• no.49
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• pp.7-38
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• 2012

This study is an argument that Yeoheon Jang Hyun Gwang's Yeok-Hak-Do-Seol has been on the context of the typical Confucian methodology of self-organization for a sage's or superman's character (爲己之學) and completed the methodology. Therefore the context from Confucius to Southern Song China Era is argued as a context of development and systematization of the methodology. In addition the fact that Zhuxi(朱熹) and his students had systimatization of the methodology with the publications of some important textbooks is also explained. The most stressed thing of this study is Yeoheon's Yeok-Hak-Do-Seol is just the text that succeeded them as the methodology of self-organization and had a special purpose of completion of the methodology not only with comprehensive items of practice but also intuition into the human's life and the world by his mastery of Yeokhak(易學). The viewpoint this study keeps is the Confucian methodology of self-organization is considered for the purpose of development and upholding the Confucian truth, and thus the methodology itself has been regarded as the necessary one that is the closest approximation to a pursuit of Confucian truth. According to this viewpoint we can observe the features of methodology of the pursuit of Confucian truth from the Yeok-Hak-Do-Seol. However the Yeok-Hak-Do-Seol has its purpose merely on a human being's self-organization but also on an enormous enterprise to make the universe peace or sustainability of the world. His stress on the enterprise shows that his methodology is not a merely repetition of the tradition of the Zhuzixue but a creative deveopment of the tradition. The other feature is that his methodology is systematization on the basis of Yeokhak, or the study of Yi-jing(易經). The main method he intensified is easiness and simplification that is the main point which he extracted from Yi-jing as the most important and necessary way of life.

• (The)Study of the Eastern Classic
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• no.57
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• pp.331-357
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• 2014

This paper is to examine Okdong Lee Seo's historical view through analyzing Yeokdaega("歷代歌"), Okdong's full-length historical epic. As long as Okdong Lee Seo was a Confucian scholar holding moral cultivation as the highest value, his Yeokdaega is hard to explain separately from the Confucian world view. Okdong's Yeokdaega is a long old-style sino-korean poem consisting of 526 7-syllable verses, yet it considerably differs in structure from other historical epics known so far. Okdong's Yeokdaega consists of two parts: the first narrates Chinese historical facts from the beginning to the fall of Ming dynasty, and the second describes the social irrationality of the time and reveals his strong social criticism. It is very different from an ordinary historical epic piece narrating the orders and disorders and the rise and fall of historical facts. It is thought that Okdong's Yeokdaega was written based on his Confucian historical view. It seems that for Okdong the rise and fall of Chinese historical dynasties did not merely mean historical facts but functioned as a tool explaining the reason for people to persue moral cultivation. Okdong summed up his knowledge of the rise and fall of Chinese historical dynasties, his sharp criticism on social irrationality, and his stimulation about the necessity of moral cultivation, and then created a long 526-verse historical epic Yeokdaega. For the reasons, it is not easy to say that Okdong's Yeokdaega is the result of pure literary activities only for artistry. However, Okdong's Yeokdaega is not inferior to other historical epic pieces written by the time in literary value. Especially, Okdong's Yeokdaega can be said to be more meaningful since it was, over its literary value, not only a tool to strengthen his own study and will but also a educational tool for others around himself.

• FLOWER RESEARCH JOURNAL
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• v.18 no.2
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• pp.125-135
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• 2010

To discover the main characteristics of Korean traditional flower arrangement, they were compared with different articles and old paintings used in royal court ceremonies. The primary research involved principle of design. The times periods used were the Joseon Dynasty era of Korea, the Ming era of China, and the Edo eras of Japan. The result, which shows both the similarities and differences, of the research is summarized as follows. The similarities were that they all respect the features of nature, and their image expresses their creator's thinking. There was one technique, called 'Suje', in which a part of the stem is coming out from one branch. Also, each three eras preferred flowering trees and ornamental trees more than annuals or foliage plants. one of the differences was that korea used a simple number of materials. The work had volume and appeared mild by using a soft curved line which was repetitive and massive. The Joseon Dynasty era advanced a sense of beauty with artistic symmetry and balance. The work seemed soft and natural because of the little change in blank space, with almost no angle of line. The form had a characteristic preference of being taller than the typical Japanese arrangement. It appeared simple, calm, and rustic by using only one kind of material. In contrast, the Chinese style was gorgeous and displayed volume in a non-symmetrical tripodal form, which incorporated various colors and materials. Also, they avoided processing the materials in order to emphasize the original beauty of nature. Chinese flower arts did not become formalized because they did not consider the formality seriously the formal. The Japanese style was also gorgeous because it incorporated various materials and angles. It included an extreme technique in which an artificial line divided the blank space delicately. The line was both strong and delicate in an established form. The restriction of the main branch gave a light feeling, as well as more strain as in a balance sense. The Japanese eras emphasized more the use of line and a sense of blank space.

• (The)Study of the Eastern Classic
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• no.67
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• pp.35-67
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• 2017

This paper is a study on popularise aspects and consciousness of times about Seol-In-Gui's narrative in the Joseon Dynasty. Seol-In-Gui is general of Dang(唐) and he entered the war between Goguryeo(高句麗)and Dang. The war between Goguryeo and Dang is ended victory of Goguryeo. And Joseon peoples was long for power of Goguryeo and recognized again history of Goguryeo. So discourse of regaining native land was formed in the Joseon Dynasty. Besides was very popular in the Joseon Dynasty. Seol-In-Gui's narrative and are quite similar. And Dang-Tae-Jong, Ul-Ji-Gyeong-Deg's old story was prevalence. Dang-Tae-Jong and Ul-Ji-Gyeong-Deg entered war between Goguryo and Dang. Therefore Seol-In-Gui's narrative was popular in the Joseon Dynasty. Popularise aspects of Seol-In-Gui's narrative as follows. First, Seol-In-Gui's conquest of Yodong(遼東) narrative and heroism was gradually emerged in Seoul block printed of 40, 30 sheets version and printed book of . Second, Dang-Tae-Jong, Ul-Ji-Gyeong-Deg, Hab-So-Mun's individual narrative was formed. Third, Seol-In-Gui's narrative was expended to female hero's conquest of West-Beon(西蕃) narrative. Because are adaptations of . And is succession of Seol-In-Gui's narrative. Seol-In-Gui is people, Ben-Li-Hwa is female, Ben-Li-Hwa and Ul-Ji-Gyeong-Deg are ethnic. It is revealed that people, female, ethnic are real ability of Chinese nation. Furthermore it is revealed that people and female must are appointed and ethnic must is combined. Besides it is revealed that it is necessary built up national strength of Joseon Dynasty like Goguryeo and Goryeo. After the Manchu Invasion of Korea in 1636 national strength of Joseon Dynasty was weaken. So the Joseon Dynasty People long to be intensifed national strength keep in check China.

• (The)Study of the Eastern Classic
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• no.33
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• pp.437-470
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• 2008

Woo-Suk Hwang Jong-Ha(友石, 黃宗河 1887-1952), Woo-Chung Hwang Sung-Ha (又淸, 黃成河, 1891-1965), Gook-In Hwang Kyung-Ha (菊人, 黃敬河, 1895-?) and Mi-San Hwang Yong-Ha(美山 黃庸河, 1899-?) were not only renowned writers and painters but also brothers spaced four years apart The Hwang brothers were not specially trained by educational institutions, but studied on their own, relying on picture books from China and the artpieces of masters. Even though brothers each born only four years from the next, they preferred different techniques, and the subjects they were proficient at drawing were all different to some extent: Tiger Painting by Hwang Jong-Ha, Finger Painting by Hwang Sung-Ha, Ginseng Painting by Hwang Kyung-Ha and Painting of Four Gracious Plants (plum, orchid, chrysanthemum, bamboo) by Hwang Yong-Ha are an example of this. They also showed differences in their manner of holding various exhibitions. They did, however, forge strong familial ties by holding the Exhibition by Four Brothers or by producing joint paintings. In particular, they established an art school called the Song-Do Society for the Research of Writings and Paintings in Gaesung, North Korea as a means to nurture young artists and to offer opportunities to introduce their own artwork. They were both friends and artists, as they spent their childhood together and share their thoughts and hobbies as well as their own individual and unique works of art. Moreover, they went the through ups and downs of Korean history from the end of the Joseon Dynasty through the Japanese occupation however, they strove to keep the tradition of Korean paintings alive, and even persevered in writing and drawing countless artwork with paper, brush and Chinese ink until the day they each died.