• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.179-186
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• 2020

Wongyo Lee KwangSa (1705~1777) is a scholar and artist who represented an era in the period of change and revival of Korean culture and art in the 18th century. In 1755 (31st Yeongjo), he was transferred to Sinjido due to the Naju Byeokseo Incident, and died in exile for a total of 23 years. He tried to correct the problems of the flow of calligraphy in common writing and the flow of calligraphy in the Joseon Dynasty, and wrote 『Wonkyo Seogyeol』. By realizing an original artistic state that is evaluated as having completed the 'Dongguk Jinche', which is a unique and subjective and self-conscious calligraphic flow of the Korean people who wants to reestablish the essence of calligraphy, it has had an absolute influence on the Honam area. Wonkyo's calligraphy aesthetics are developed into the beauty of ChanggyeongBalsog based on Shimjin of Yangminghak, Yanggangmi of Power of controlling all the stands of brush hair, and Vitality of Push out the brush with all your might. He recognized free sculpting and energetic, muscular strokes as the key to calligraphy, and suggested honing the old tombstones written in JeonYe. Vibrant stroke means that Cheongi naturally permeates in the midst of Samgwa and Gilgok, and the brush is operated with Push out the brush with all your might of Power of controlling all the stands of brush hair. These calligraphy aesthetics radiated sinchae with geungol and singi, and were expressed in Wongyo font, full of vitality as a living creature, pursuing the unique pilgrimage and pilgrimage unique to our nation, revealing the true nature of nature.

• Archives of design research
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• v.19 no.2 s.64
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• pp.207-216
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• 2006

Even though the notion exists that wall paper has got a short durability for interior decoration in terms of paper's nature, it can be the most important element among the modern dosing wall papering because of the variation of the walls visual effect. Wall paper hasn't been preserved well according to the paper's character and official records haven't been done well. So, by studying a case in which a room is maintained well, seeing various commercial samples which were used for an advertisement and reading several booklets it is possible to study historical evidence. In regard to wall paper and Papering. data, the commercial historic nature of the traditional wall papering has been recognized again in order to study the root of the technical and commercial background. In theory, the historic background research of traditional wall paper in the past is said to have established its theoretical system and the development of modern wall papering in the middle of Britain in 18th century. Through the theoretical study of wall papering, the following things have been researched: handling don the method of the traditional wall papering and lining paper, stylization of pattern by using the method of continual linking, subdivision of commercial cost and specialization of wallpaper, handing down the past traditional adhesion method, the origin of string wallpaper, utility of traditional wallpaper and its various abilities, the change from the face to face linking to duplicated linking, the development of DIY products by women's wallpaper selections. Put against other materials, wallpaper remains the most popular and preferable product for managing a wall and provides a decorative, wall dosing technique. This study can estimate the source of wallpapering history in order to create a systemic approach towards the future's wallpaper industry. This is very important data in order to establish a theoretical system of traditional wallpapering according to its historical research about wallpapering skills and its commercial aspect.

• Journal of Korean Classical Literature and Education
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• no.37
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• pp.75-109
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• 2018

This paper explains how the exile experience and the writer's consciousness were presented in Namhaemungyeonrok and Bukgwannojeongrok, both written by Yu, Eui-yang in the 18th century. He was banished to Namhae island and Jongseong because of the King Yeongjo's anger. The author composed his writings by presenting historic events and tales related to the places he was passing, and by presenting poems as well. It means that the author tried to understand these places through history and literary works. Moreover he presented in detail, the lives of people living in the places of his exile. It shows how he tried to understand and recognize their lives as they themselves did. In addition, focusing on the relationships and conversations with the people from each place, the author described his life in exile. There are some reasons he presented his exile experience in the ways mentioned above. First, he was a government official and a writer. Second, as the reason for his banishment was not very significant, he felt relaxed more or less. Last, by focusing on his journey and the place of his exile, he was able to forget the agony he was facing to some degree.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.4-21
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• 2021

The purpose of this study is to examine the names and types of walls constructed in the late Joseon Dynasty in YeonggeonUigwe, a record of construction works of the Joseon Dynasty, and to examine the current status and name of walls constructed in the main hall and the Yeongnyeongjeon Hall of Jongmyo Shrine. The results of the study are as follows. First, the name of the wall can be divided into four types depending on the characteristics, including direction, location, shape, function, material, and complexity, and was used as a compound word in front of the wall. Second, some of the wall types related to the material were found to have differences in the timing of theypes of walls. Since the 18th century, the use of earthen walls has been reduced, and the use of wooden walls and paper walls are often used. Third, the walls of the Jongmyo Shrine were composed of a mud wall and a fireproof wall. A fireproof wall was installed in the main hall, including a pillar, while the Yeongnyeongjeon Hall was installed only between the pillar and the pillar. Fourth, the Gap Wall can be defined as the "wall constructed at the upper part of the chamber used in the construction of the building in Jongmyo." This study is meaningful in that it attempted to clarify the definition of a wall in the late Joseon Dynasty by examining the names and examples of walls used in the late Joseon Dynasty, focusing on walls that lacked research in familiarity.

• Cross-Cultural Studies
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• v.42
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• pp.393-418
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• 2016

Raquel, the representative work of Vicente García de la Huerta, an 18th century Spanish playwright achieved theater box-office success and popularity during staging. It has been evaluated by many scholars and critics as the ideal drama that faithfully followed the norms of neoclassicism, which pervaded the aesthetic mainstream at the time. However, the factor that enabled the popular success of this theater production was its ability to harmonize the themes or contents with a traditional play to meet the unique trends and tastes of Spanish viewers who were still appreciated earlier Baroque theater, rather than complying with external norms of neoclassicism such as principle of three unities or exclusion of comic figures etc. That is, Spanish viewers of the time thoroughly rejected theater of neoclassicists who attempted to unilaterally enlighten them while regarding the Baroque theater of earlier times as full of superstition and irrationality, illogic and disorder, regardless of their own dramatic taste. In this situation, Huerta's tragedy Raquel, achieved the harmony of neoclassical tragedy and Spanish theatrical tradition. It thus emphasizes the importance of public support and sponsorship in dramatic success. Traditional dramatic elements shown in Raquel can be summarized as honor, poetic justice and love and these elements are major dramatic codes penetrating the entire Baroque theater of Spain.

• Art History and Visual Culture
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• no.21
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• pp.126-147
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• 2018

This paper is to find the theme and meaning of the Beauvais Grotesque tapestry considered a conundrum. The three works are chosen from Beauvais Grotesque consisting of six tapestries, which are The Offering to Pan, The Musician and Dancers, The Camel in the J. Paul Getty Museum. I analyzed these works by dividing them into grotesque ornaments, chinoiserie motifs, and scenography. The Offering to Pan shows the influence of Raphael's Grotesque tapestry, but Beauvais work followed the design of Jean Berain's Grotesque with arabesque. In The Musician and Dancers, chinese ceramics, textiles, and Chinese people in edge were noted. Especially, the Chinese with yellow skin in the border reveals the European gaze on China at that time. In the 18th century, Chinoiserie was prevalent through stage designs rather than books. The Camel, playing Brighella, makes it clear that this tapestry is a stage of Comedia dell'arte. The characteristic of Comedia is a mixture of genres such as music and dance, with no scripting 'improvisation.' Features of Comedia are 'improvisation' without a script and a mixture of genres such as music and dance. Thus, the Grotesque tapestry transfers the stage of the Comedia into threads woven. In addition, the horizontal stage decoration with the disappearance of the perspective vanishing point is related to the era of regent of Philippe d'Orl?ans (1674-1723). Above all, the grotesque, Chinoiserie, and scenography are all fantasies separated from reality. Therefore, the Beauvais Grotesque tapestry represents of 'improvisation' and 'fantasy' in which there is no narrative theme or meaning, as if the script of Comedia did not exist.

• (The)Study of the Eastern Classic
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• no.72
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• pp.265-298
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• 2018

This paper examines the contents and meaning of the education reform theory among the social reform theory of Wie Baek-gyu(1727~1798), a representative Confucian scholar of Honam in the 18th century, and suggests the moral educational implications of his educational reform theory. Wie Baek-gyu, who lived through the Yeongjo and Jeongjo eras, diagnosed the contradictions and problems of society at that time as the absence of morality. And emphasized the reform of school education as a center of ways to overcome social disruption. The educational reform theory he envisioned was to systematize the process from child education to higher education centered on the system reorganization of the school, and to formulate school education in conjunction with the selection of talent. He emphasized the cultivation and practice of moral character in the course of admission and curriculum of the school, and suggested a system that reflects the opinions of the local people in the admission process, thereby establishing the school as the center of the local society. His educational reform theory, which embodies the school system based on moral education and further shapes the school system and educational contents as the center of edification and recruitment of talented people, is a big indication of the curriculum of the current moral curriculum that emphasizes the cultivation and practice of inner morality based on personality education. In this paper, I summarized and reviewed the general contents of his perception of the times and social reform theory, the diagnosis of the educational reality that is the basis of his educational reform theory, and the specific contents of the education reform theory. Based on this, I presented the meaning to the current moral and curriculum.

• The Journal of Korean Philosophical History
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• no.41
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• pp.185-222
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• 2014

Nog-Moon Yim Seong-Joo(녹문 임성주) is a philosopher of late Choseon Dynasty of the 18th Century. He concluded that the debates between the school of Ho and that of Rack originated from the seclusion of Li(理) and Ki(氣), and theorized the new Li and Ki theory according to his own perspective. The prime point of Nog-Moon's Philosophy is said to be Li-Ki dongshil(理氣同實), Mind and Nature ilchi(心性一致) ; he proves his prime potints based on his pure and clean Ki substance. Thus Li-Ki is reduced to monism from dualism, and Mind-Nature(心 性) is reduced to mind. Since the basis of the existence of Mind is Ki(氣), Nog-moon's theory of Substance is concluded to be Ki-monism. Nog-Moon presents his great philosophy of Ki monism suggested by Jeong Myeong-Do's monistic methodology; he explains the universality of Substance and the diversity of Phenomenon with the logical structure of ilwonbunsu(一原分殊). The characteristics of Nog-Moon's philosophy is that ilwon(一原) and bunsu(分殊) are bonnyeon(本然) identical, which means Substance and Function(體用) are identical, or bonmalilchi(本末一致). It means Mind and Nature are bonnyeon(本然) identical, Ki and Mind and Nature are identical. With the expression of seongrihak (性理學) Gijil(氣質) is not different from bonnyeon(本然). Therefore 1 define the philosophy of Nog-Moon had been built on the context of a sage.

• The Journal of Korean Philosophical History
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• no.36
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• pp.43-74
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• 2013

This paper aims to analyse Han Wonjin's criticism centered on Kim Changhyup's theory of Jigak(知覺). In the early 18th century, Kim Changhyup whose position considered as the leader of Rakhak(洛學) circle was the central figure in the debate on the controversial subject of Jigak. Han Wonjin as an opinion leader of Hohak(湖學)'s legacy was required to argue with his counterpart in order to establish his circle's standpoint. The main issue they discussed was the relationship between Ji(智) and Jigak. Kim contends that Ji and Jigak belong to different categories, and that the substance-function(體用) relation cannot be applied to them. According to him, the relation between Ji and Jigak is that of Do(道) and Gi(器). Similarly, the relation between Sim(心) and Sung(性) is that of subject and object. He also maintains that Jigak is not the phenomenalized mode of Ji, but the innate capability that employs Sung as the source of morality and turns it into feelings. In contrast, Han argues that Ji, as a ontological foundation of Jigak, is what enables Jigak to be a moral activity. In criticizing Kim Changhyup, Han maintains that if one denies the relation between Ji and Jigak, then one would have to characterize Jigak as a blind function with no moral sense. If one admits Jigak can have moral contents on its own without the connection with Ji, then one would have to allow two moral foundation, which leads one's idea into heretical beliefs. Han holds that Jigak can a moral function only when it is grounded upon Ji. In conclusion, Han emphasizes Ji as the base of Jigak that enables Jigak to realize morality while Kim emphasizes the role of Jigak as the principal agent of moral activity.

• The Journal of Korean Philosophical History
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• no.37
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• pp.97-134
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• 2013

Kim Ee-man was born and grew up in Jecheon (堤川). As a government officer and a Confucian scholar belonging to Namin School, Kim Ee-man was active in the early and middle of 18th century. Kim Ee-man composed good poems since he was a child. In addition to being a good poet, Kim Ee-man later became a model government officer, who had thorough awareness on serving citizens (爲民). When he was a governor in Yangsan (梁山) county, he built an embankment for farmers by out of his own salary. The academic world of Kim Ee-man faithfully succeeded the basis of Toegyehak (退溪學) and he took Sohak (小學) as important. The reason of Kim Ee-man having established a practical guideline in the form of inscription and proverbs was also directly related to the issue of moral practice. Kim Ee-man also received the influence of ancient classic study from his teacher Lee Seo-woo (李瑞雨) and took Yookgyeong (六經, Six Classics in China) important in practice. Kim Ee-man started the study on Joojahak (朱子學, the doctrines of Chu-tzu) in later years. He became more thorough in being a public figure while reinforcing effort on differentiating the principle of heaven (天理) and human desire (人欲).