• Journal of North-East Asian Cultures
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• v.30
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• pp.123-143
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• 2012

in the late 14th century, korean confucian literati, sinjinsadaebe(新進士大夫), tried to reform korean society in the base of neo confucianism. after Joseon Founding, korean confucian literati modified a lot of confucian ceremonies in order to substitute buddhist ceremonies. at first, they titled confucian ceremonies as "gyu sik(regulation manuals)", "Eui mun(ceremonial manuals)", and "Eui je(ceremonial manuals)". but in the end, they titled confucian ceremonies as "Eui gwe(Ritual Protocol Manuals)". they also titled the reports on national occasions as "Eui gwe(Ritual Protocol Manuals)". among the confucian reforms, the most important reforms were auspicious ceremony. korean confucian literati tried to make perfect confucian auspicious ceremony. the first national achievement by confucian reformers was the five national rituals in annals of king sejong. and the second national achievement by confucian reformers was the five national rituals. the royal cart regulated in the five national rituals in annals of king sejong was cart decorated by ivory. but the royal cart regulated in the five national rituals was the sedan with cover. the reason of the change of royal cart were king sejo's political showmanship and diplomatic pretext toward ming(明) china. after the publishment of the five national rituals, the royal cart was represented by the sedan with cover.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.117-133
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• 2021

The art of the Confucian literati' was mainly centered on literati' painting. Literary paintings combined with poem-writing-painting are based on the literary characters and studies. This is usually based on the technique of Shensi(神似) caused by a hobby accomplishment, enjoying the chinese painting and cherishing with chinese painting. The Confucian literati' cultivated their own character and sublimated humanism to art based on studying. They sought the life of supremacy and supreme gentleness, and enjoyed life on the boundary of pleasure through art. The aim of the Confucian literati' arts lies in the pursuit of expressing the artist's inner world, spirit, and the combination of the Confucian and the Taoism, Because of literati's spirit based on learning, the Confucian literati' arts still exist. The aesthetic of Sunbi Spirit is mainly in the customs of Sunbi, the loyalty of Sunbi, the Silhak(實學) of Sunbi, and loving of the people of Sunbi. We can find honor and loyalty in the Sunbi spirit of the Confucian literati' of the Joseon Dynasty. In addition, it is also possible to observe the loyal troops, the hard work for the country, and the Pung-ryu with nature. In other words, the Sunbi honor, loyalty, loyal troops, pursuit of study and the Pung-ryu show the spirit of the Confucian literati' of Joseon Dynasty. The aesthetic of the Sunbi spirit is in Pung-ryu, loyalty, Silhak, loving of the people etc. The aesthetic of experience of art is mainly based on the aesthetic experience by emotional intelligence and the aesthetic experience according to the individual's inclination. The aesthetic sense actually shows Pung-ryu, loyalty, Silhak and love etc. We can see it in many of our literary paintings. Therefore, the Confucian literati' painting in Chosun Dynasty were the intentionality of the mind and the intentionality of the spare. Furthermore, it has directivity of expressing the artist's inner world, directivity of substance, so it is possible to see that the characteristics of the Sunbi spirit are diverse.

• Journal of the Daesoon Academy of Sciences
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• v.39
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• pp.175-214
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• 2021

In the Joseon Dynasty, Confucian literati sacralized their daily lives through ritual practices across the three dimensions of time, place, and humanity. 1) In the dimension of time, they cultivated in their personal lives by accepting and thoroughly practicing the ethical principles of the Elementary Learning (『小學』). These practices of self-cultivation developed into ritualized practices of daily routine from the perspective of neo-Confucianism. 2) In the spatial dimension, local public schools (鄕校), local private academies (書院), and village private schools (書塾) were constructed as the symbolic places for disseminating Confucian norms through intensive seminar activities and collective learning sessions (講會). These places were also used for the pious recitations of selected Confucian proverbs that had been ritualized by Confucian literati. 3) In the dimension of humanity, pious consciousness, reinforced by the ritualized practice of periodic sacrifices or intensive reading, was subconsciously deepened and projected onto dreams individuals reported of their deceased fathers or teachers. According to the Confucian ritualization process, people were seen as being able to sanctify their daily lives by thoroughly internalizing and effectively realizing Confucian values.

• The Journal of Korean Philosophical History
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• no.35
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• pp.43-71
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• 2012

Rural Neo-Confucian Literati were major governing elite in Joseon Dynasty. They were small and medium-sized landowners all over the country and elite having Confucian knowledge. They formed villages of the same family name and exerted their influence on the community showing off their successful ancestors. Therefore, there were lots of examples that they took the actual leadership in local communities. In this sense, the Hwacheon-gun pa family line of the Andong Kweon clan were the representative rural neo-Confucian literati of Hwang-gang and Shindong areas in Jecheon. This group was formed after Kweon Sangha and his brothers' movement in 1675. Kweon was the best pupil of Song Siyeol, a prominent scholar and man of power. Although facing away the government examination, he was respected as sallim, rustic literati, on account of his teaching and writing activities and later called to High State Councillor. After his death, memorial halls and facilities to worship him, including Hwang-gang Sowon Academy, were built in the place he taught students. These facilities contributed to his descendants' acquiring his life values. They also made a contribution to the settlement of reject-heterodoxy sentiments based on their loyalty to the Myeong Dynasty in the area. Kweon Seop, Kweon Sangha's nephew, also played an important role in Hwacheon-gun pa family line's growing as rural neo-Confucian literati in Jecheon area. He built memorial halls to enshrine Kweon Sangha and made rules to develop his family line. In addition, he extended their living space over Hwang-gang area and each place had the shrine to hold a memorial service for their ancestors. As a result, Kweon Sangha and Kweon Seop's family wielded power in Jecheon for hundreds years as the same family name group. Rural neo-Confucian literati didn't produce more elite government officials than the groups in the capital, but their growth enabled cultural development of the local community and the Joseon Dynasty.

• (The)Study of the Eastern Classic
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• no.32
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• pp.103-128
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• 2008

King Jeongjo had lost his father, Sado-Seja(Prince Sado) by Noron(Older Faction). Especially those who tried to kill Sado-Seja and king Jeongjo consisted of king's family-in-law of king Youngjo and Sado-Seja. Therefore king Jeongjo's first goal was to strengthen his kingship than other things because he could gain the throne overcoming the strong hinderance of Noron and king's family-in-law. King Jeongjo requested his subjects to be "Kukbyon-In"(國邊人: a person for king) pointing out the harm of the king's family-in-law and "Tangpyong-Dang"(蕩平黨: the strongest faction consisted under the rule of king Youngjo). For the purpose, king Jeongjo built up "Gyujang-Gak". Gyujang-Gak was spoken to contain and protect the writings of earlier kings superficially, but in reality, it was an apparatus to gain and train the friendly subjects for king Jeongjo. Like that, it was the most important for king Jeongjo to suppress the king's family-in-low and to win Neo-Confucian lterati over to himself's side. Until now, the politics of Joseon Dynasty had been mainly explained on the point of view of "Seonghak-Non"(聖學論). "Seonghak-Non" means that Neo-Confucian lterati were treated as real hero, not kings in the political space of Joseon Dynasty and the role of factions were recognized important. But king Jeongjo denied these ideological stream and tried to change that political system. King Jeongjo wanted to strengthen the throne through the method which insisted the king as a hero in politics. For the purpose, king Jeongjo criticized the Neo-Confucian literati's viewpoint about politics and learning at that time and anticipated to be sole leader of politics and learning on that critique. King Jeongjo aimed to destroy the dignity of "Salim"(山林: Neo-Confucian Sages) with attacking their wrong behaviors. King Jeongjo also criticized the period of king Injo when the regime of "Sarim"(士林: pure Neo-Confucian lterati) faction fully appeared as the starting period when the factional harms were getting worse. King Jeongjo wanted to previously block the oppositions to win subjects over to himself's side with criticizing the period of king Injo and to take away the initiative from his opponents with insisting "Salim-Muyongnon"(山林無用論: a theory ignoring Neo-Confucian Sages). King Jeongjo's critique was not limited just on the system of factional politics. "Seonghak-Non" eventually took root in Neo-Confucianism. Therefore king Jeongjo criticized Neo-Confucianism. He insisted that the essence of Chinese Classics was pragmatical learning, not Neo-Confucianism. Through that critique, king Jeongjo aimed to destroy the ideological base of his opponents. However, king Jeongjo failed to be a sole leader of his subjects in the both boundaries of politics and learning even though he criticized the Neo-Confucian lterati's viewpoint about politics and learning. Because he abruptly died leaving his reformational scheme behind as well as his loyal subjects guarding himself against Noron Byeok-Pa(老論 ?派: the opposing party in Older Faction) were gone behind himself. The politics of Joseon Dynasty returned to more powerful politics for king's family-in-law after king Jeongjo's death.

• Journal of architectural history
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• v.8 no.2 s.19
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• pp.33-45
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• 1999

The essence of Chinese landscape architecture is realization of a space that embraces nature and human integrating the openness and encloseness. The concept of landscape architecture that artificially furnishes natural elegance into urban areas coincides with the spiritual basis of Chinese literati-painting which subjectifies the scenery of objective world and entrusts personal feelings on that. In other words, the ultimate ideal of Chinese landscape architecture is embodying the Utopia of confucian intellectual in a city. This paper has tried to shed a light on inter-relationship of literati-painting theory and Chinese landscape architecture theory through comparing them. It is the identical spiritual basis they shared harmoniously that made landscape architecture, poetry and painting possible to meet.

• (The)Study of the Eastern Classic
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• no.54
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• pp.253-288
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• 2014

A pen name Chuman(秋巒; a mountain of Fall), Jeong Ji-wun(1509-1561) is a famous person wrote "Cheonmyeong-Doseol" which made two men, Yi Hwang and Ki Dae-$s{\breve{u}}ng$ dispute Sachil-Nobyeon(traditional argument about heart/mind). But except this point, few people of nowadays know who Jeong Ji-wun was. Therefore this paper is made for understanding Jeong Ji-wun in the point of view in history of thought. "Cheonmyeong-Doseol" by Jeong Ji-wun had systemized traditional theory of Cheonil-Habil(sky and human are an organic body), through this theory, Jeong Ji-wun had taken an important role who developed the Neo-Confucian theory in the field of political thought at that time. All Neo-Confucian literati used the theory of heart/mind as a sole useful method in political field from after King Myeonjong and Seonjo. "Cheonmyeong-Doseol" by Jeong Ji-wun was a first step to this scene. Especially "Cheonmyeong-Doseol" was got famous by arguments of Yi Hwang and Ki $Dae-s{\breve{u}}ng$, great scholars in the history of Chosun Dynasty. They firstly developed Sachil-Nobyeon, Sandan(pure morality) comes from li, Chiljeong(emotions) comes from Ch'i, is it right or not? This argument with "Cheonmyeong-Doseol" raised up the level of Neo-Confucian theory at that time. Like this, "Cheonmyeong-Doseol" was on the first step for Neo-Confucian literati to study and develop their theory of political thought which covered politics in Chosun Dynasty.

• Korean Journal of Oriental Medicine
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• v.16 no.3
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• pp.45-52
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• 2010

This study aims to discuss the establishment and development of the Qiantang Medical School(錢塘醫派) represented by Zhang Zhicong(張志聰) via focusing on an academy of Chinese medicine named L$\"{u}$shantang(侶山堂). The teaching method in L$\"{u}$shantang(侶山堂) displays a representative feature of the Qiantang Medical School(錢塘醫派), but the foundation of the method consisting of lectures and discussions had already been laid by Lu Zhiyi(盧之頤) during the Ming-Qing transition period. The tradition was succeeded by Zhong Xuelu(仲學輅) in the Hangyuan Medical Board(杭垣醫局) even after L$\"{u}$shantang(侶山堂) was burnt down during a war taken place under the Qianlong(乾隆) period. That the function and the role of the local Confucian academies, which had been focused on the discussion of Confucian classics and local issues, were changed to adopt the education of medicine which had been treated as a lesser subject may be interpreted as a gradual change in the social perception of medicine. The change in the function of the Confucian academies combined with the tendency in which the literati elites of the period left the Confucian philosophy for medicine presents one of many examples showing the changes occurred during the Ming-Qing transition period. The education of medicine provided by the Confucian academies is regarded historically significant in that it was offered by ordinary civilians rather than the government before the formal school education system was established in the modern period. This educational tradition played an important role in bridging the Chinese medicine in the medieval times with that in the modern period.

• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.419-427
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• 2020

Ye-chan(倪瓚) is one of the four great masters of the Yuan. He built his own unique art world under the rule of the times under the rule of immigrahts. His theory of painting, i-ch'i(逸氣) in the heart, is a spiritual product made up of the influence of traditional oriental thoughts such as Confucian scholar(儒), Buddhism(佛), and Zen Buddhism(禪). The i-ch'i is a new awareness of nature that has arisen between literary noblemen(文人士大夫) under the influence of freshness(淸淡), emptiness(虛無), non-action(無爲). This is beyond the mundane world and became the theoretical basis for literati painting. The i-pi(逸筆) of Ye-chan is a method of drawing the i-ch'i in the heart. This is the boundary of his literati painting obtained through his long efforts and practice. Ye-chan realized the high ground of unity of poem and calligraphy(詩書一體) and unity of poem and Zen(詩禪一致), which he realized in his daily life.His artistic spirit expressed the high level of staying away from being clean(脫俗遠塵), doing not stay in one place(一所不住), and unity of poem and calligraphy(詩書一体). Through this, he built a unique world of literati painting in the Art World of the late Yuan and early Ming dynasty.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.3
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• pp.79-93
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• 2016

The present study aimed to understand the taste of literati appearing in the Korean-Chinese garden by comparing "Yanghwasorok(養花小錄)" and "Zhangwuzhi(長物志)", which are one of the representative gardens in Korea and China. The main subject of comparison is plants; the research results are as follows. First, Gang Hui-an stated that the ultimate purpose of growing and appreciating the gardening plants is the completion of oneself, while Wen Zhen-heng(文震亨) used gardening plants as a means to practice a life of reclusiveness(隱逸). Second, Gang Hui-an claimed that growing plants is human's cultivation of virtue on the basis of Confucian view's gaining knowledge by the study of things(格物致知), whereas Wen Zhen-heng realized the taste of 'elegance(雅趣)' through form of plants or planting method. Third, although plant preference of literati of both countries is similar in many parts, there is a slight difference for putting gardening plants in pots and appreciating them. For example, even for selecting or placing pots, simplicity and lightness are characteristically reflected from Gang Hui-an while splendor and refinedness are characteristically shown from Wen Zhen-heng. Moreover, in light of the taste of appreciation of literati of the Song Dynasty(宋代), which is a sample of literati spirit, Gang Hui-an inherited the inner world of the spirit whereas Wen Zhen-heng expressed 'literati-ness' in visual images.