• (The)Study of the Eastern Classic
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• 제68호
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• pp.319-344
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• 2017

Saam Park Sun(1523-1589) holds a very important position in history of 16th century $d{\grave{a}}oxu{\acute{e}}$ politics. Starting from King Seonjo's accession in 1567, he took a lead in changing the former Politics by Hoonchuck(勳戚政治) to $d{\grave{a}}oxu{\acute{e}}$ politics. He served a prime minister alone for 14 years. Following philosophy of $d{\grave{a}}oxu{\acute{e}}$ politics that Jo Gwang-jo(趙光祖, 1482-1519) had advocated a generation earlier, he sought reformative politics by rising elites. He pursued ideal politics of $d{\grave{a}}oxu{\acute{e}}$ in which principles and public opinion agreed with each other and to realize it, he was in the forefront of correcting 'shìdào(世道)' and improving 'qīngyì(淸議).' It is why $d{\grave{a}}oxu{\acute{e}}$ politics is called shìdào politics(世道政治). He emphasized 'old manners(古禮)' as standard to criticize wrong reality and to realize ideals. The 'old' in his mind was ideals, principles and traditions. The most meaningful reform was to go back to spirit of 'old.' It is why he put stress on and stuck to practice of 'old manners' in national liturgy.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• 제30권1호
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• pp.46-56
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• 2012

The research results of tracing the Landscape Philosophy of Hageowon garden(何去園) in Musu-dong, Daejon of Youhwadang, Kwon, Iijin(權以鎭, 1668-1734) is as below. The ideological background of the protagonist reflected in Hageowon is the Hyoje Ideology(filial piety and brotherly love, 孝弟) of Sinjongchuwon(painstakingly caring for one's ancestors), Musil ideology(pursuing ethical diligence and truthful mind, 務實) based on sadistic tradition and ethical rationalism, Confucionist Eunil Ideology(ideology on seclusion, 隱逸) of Cheonghanjiyeon(quiet relaxation, 淸閒之燕), and the Pungryu ideology(appreciation for the arts, 風流) of Taoism in the Taoist style. Thus, by substituting these ideological values into a space called Hageowon, the Byulup gardens(別業) such as the Symbolic garden(象徵園), meaning gaeden(意園), and miniascape garden(縮景園) were able to be constructed. 2) The space organization system of Hageowon is generally classified into three phases considering the hierarchy. The first territory is the transitional space having residential features, which is an area to reach peach tree - road(Taoist world 桃經) from Youhwadang(有懷堂). The second territory is a monumental memorial space where the Yocheondae(繞千臺), Jangwoodam(丈藕潭), Hwagae(花階), and the ancestral graves take place, centering on the yards of Sumanheon(收漫軒), and the third territory is the secluded space in the eastern outer garden where the mountain stream flows from the north to south and which is the vein of the left-hand blue dragon(靑龍) of the guardian mountain of Hageowon. 3) Symbolically, the first phase has symbolized the space as a meaningful scenery by overlapping the Confucionist place of Youhwadang - Gosudae(孤秀臺) - Odeokdae(五德臺), and the mystic world of Jukcheondang(竹遷堂) - peach tree - road(桃徑). The second phase, which is the space of Sumanheon(收漫軒), Yocheondae, and Jangwoodam, the symbolical value of Sinjongchuwon(愼終追遠) and the remembrance and longing for one's parents are reflected. The third phase, which is the eastern outer garden of Hageowon and where the mountain stream flows from the north to south, is composed of the east valley(東溪) - Hwalsudam(活水潭) - Sumi Waterfall(修眉瀑布). More specifically, (1) Mongjeong symbolizes the life of gaining knowledge through studying to realize one's foolishness, (2) Hwalsudam symbolizes a transcending attitude in life refusing to pursue wealth and fame, and (3) Jangwoodam symbolizes the gateway to the fairyland to enter the world of mystic gods. 4) The rationale behind Hageowon is that the two algorithms of Confucionism and Taoist Theory appear repeatedly and in an overlapping way. The Napoji(納汚池) and Hwalsudam, which pertains to the prelude of space development, has symbolized Susimyangseong(修心養成, meditating one's mind and improving one's nature), which is based on ethical rationalism. Moreover, if the Monjeong sphere pertaining to the eastern outer garden of Hageowon takes the Confucionist value system as its theme, including moral training, studying, and researching, Jangwudam, Sumi Waterfalls, and Unwa can be understood as a taste of Cheokbyeon(滌煩, eliminating troubles) for the arts where the mystic world is substituted as a meaningful scenery. 5) The miniascape technique called artificial mountain was substituted to Hageowon to construct a mystic world like the 12 peaks of Mt. Mu(巫山). By borrowing the symbolic meaning expressed in old poems, it has been named 'Habang(1/何放), Hwabong(2, 3/和峯), Chulgun(4, 5, 6/出群), Sinwan(7/神浣), Chwhigyu(8, 9, 10/聚糾), Cheomyo(11/處杳), Giyung(12/氣融).' The representative poet reciting artificial mountain were Wangeui(汪醫), Nosamgang(魯三江), Dubo(杜甫), Hanyou(韓愈), Jeonheaseong(錢希聖), and Beomseokho(范石湖). They related themselves with literature by transcending time and space and attempted to sing about the richness of the mental world by putting the mystic world and culture of appreciating the arts they pursued in the vacation home called Hageowon.

• (The)Study of the Eastern Classic
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• 제37호
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• pp.377-410
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• 2009

In the East Asian Confucianism society, Hakmun was aimed to bring human beings and nature into harmony, and to explore a unity between knowledge and conducts. For example, Neo-Confucianism aspired they could explain the human existence and society through a single concept of Iki(理氣, the basic principles and the atmospheric force of nature). In this philosophy, humanics and natural sciences had not been differentiated at all. The East-West cultural interchanges at the beginning of modernity caused a crack in the traditional academic concepts. Through the Hundred Days of Reform(變法自疆運動, a movement of Strenuous Efforts through Reforming the Law), the Western Affairs Movement(洋務運動) in China, Meiji Restoration(明治維新) in Japan, or Innovation Movements(開化運動) and the Patriotic Enlightenment Movement(愛國啓蒙運動) in Korea, the traditional meanings of Hakmun was degraded while it became a target of the criticism of the enlightenment movements. Accordingly, East Asians' perception of Hakmun rapidly began to change. Although there had been the Silhak(實學, practical science) movement in Korea, which tried to differentiate its conceptualization of Hakmun from that of Neo-Confucianism during the 18th and 19th century, the fundamental shift in meaning occurred with the influx of the modern Western culture. This change converted the ultimate objective of Hakmun as well as its methods and substances. The separation of humanics and natural sciences, rise in dignity of the technological sciences, and subdivision of learning into disciplines and their specialization were accelerated during the Korean enlightenment period. The inflow of the modern western science, humanized thought, and empiricism functioned as mediators in these phase and they caused an irreversible crack in the traditional academic thoughts. Confronting the western mode of knowledge, however, the East Asian intellectuals had to explain their new learning by using traditional terms and concepts; modification was unavoidable when they tried to explain the newly imported knowledge and concepts. This presentation focuses on the traditional concepts of 'gyeogchi'(格致, extending knowledge by investigating things) and 'gungni'(窮理, investigation of principles), pervasively used in philosophy, physics and many other fields of study. These concepts will mark the key point with which to trace changes of knowledge and to understand the way how the concept of Hakmun was converted into a modern one.

• (The)Study of the Eastern Classic
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• 제48호
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• pp.91-116
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• 2012

Writing is a process and work of expressing one's own feelings and thoughts that are not contained in rigid forms; however, the literary trend and environment during the Late Joseon was not so tolerant. A revivalist approach to writing was dominant during this period, which was summarized in the expression that "Prose must be written in the style of Qin and Han; and Poetry in that of High Tang. "Hence, it was practically a taboo to express one's raw emotions and disregard the custom and regulations of writing. Nevertheless, literati, who got tired of the dogmatic rule of Neo-Confucianism at the time that refused to see the changing world and the pseudo-archaic writing that merely imitated the outside and was empty inside, attempted new styles of writing to escape from the model or example and what was familiar. Lee Yong-hyu, who was in the middle of such transformations, learned the trends of Late Ming and Early Qing through the newly imported Chinese books and created his own style that reflected his personality. His writings refused the Neo-Confucian system of thoughts, which was a dominant ideology of the time, paid attention to the human nature and emphasized the restoration of the self. His writing could be described as being anti-pseudo-archaic and criticized the pretentious trend of the time. He argued that in order to restore the true self, one must recover the innocent mind that was bestowed on human by heaven/nature (cheon-li, 天理), and for this purpose, one must straighten out one's mind (sim, 心). His argument is similar to that of "Yangming School of Mind," which could be represented by the phrase, "Mind is the Principle (心卽理)." Yangming School claimed that moral principle existed within one's mind; and this was in stark contrast with the Neo-Confucian idea that "principle (li)"was external and transcendent, and was spoken by the great Confucian masters and written down in Confucian Classics. By denying the externality of the principle and underscoring its immanence, the idea that centralized Confucian Classics and canons was dismantled. Lee Yong-hyu's writing styles that denied the model and emphasized the restoration of the self was influenced by such thoughts. However, one must neither hastily judge that he is an advocate of Yangming School of Mind, nor determine the anti-pseudo-archaic writers' ideological basis as the philosophy of Yangming School. Once it is rigidly defined, be it Zhu Xi's philosophy or Wang Yangming's philosophy, it becomes another model that one must abide by, and again the self disappears. Thus, Lee Yong-hyu defied any kind of model that claimed authenticity or precedence and wished that people would live independently as oneself, and left such claims and wishes in writing. That is the reason, after more than two hundred years later, we still read his writings.

• Industry Promotion Research
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• 제5권3호
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• pp.61-71
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• 2020

The purpose of this paper is to reaffirm the logical framework of the saju analysis method by recreating the saju model of old-law to study and organize the theories of frame in old-law Myeongri, and then by organizing and comparing the logic structure of the saju analysis method of new-law and old-law. Some believe that Myeongri Theory first appeared in the world in the Warring States Period when they were active with Gwigokja and Naknokja as origin, while others believe that it was origin that "Okjokyeong" was written by Kwak-Bak of Eastern Jin after a while. Since then, Myeongri Theory, which had been organized by Won-Cheongang and Yi-Heojung, has undergone a major transformation since reaching the Song Dynasty Seo-Japyeong. Based on this point, the Myeongri Theory of the previous generation is called the Old-law, and the subsequent theory is called the New-law. The changes in the logic structure of the old-law and the new-law leave a big difference and disconnect between those. But comparative studies have confirmed that the philosophy and logic structure due to natural laws that have not changed much such as the symbolic system of nature called Yinyang & five elements and Cheongan-jiji, the idea of a heavenly response projected in the Three Wonders of heaven, earth and human, and the concept of generation and time in the position of year-month-day-time.

• Journal of the Korea Furniture Society
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• 제21권6호
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• pp.439-448
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• 2010

Furniture world which is closely associated with human life had been constantly developed, but traditional furniture disappeared after modernization almost. The reason lies rather in the importance of the diversity of Western-style furniture pursuing convenience and shapes, than in change of life style meanwhile. The diversity however reached the limit and it made a new advanced role of not only furniture, also design sector in general necessary, and as solution to solve this problem the immaterial value based on Eastern philosophy/mental was suggested in architecture and all around design sector overall as well. It means that the immaterial point which traditional furniture involved should be focused now and furthermore it's emotional and mental value which is more natural and has close relation with human being accordingly could be judged rightly. The reason why traditional furniture had been used since long time is the immaterial tendency which is well harmonized with the surrounding environment rather than the function. To verify this, the present study aimed to analyze not only the basic, also additional function of traditional furniture used in Hanok (traditional Koran-style house) by the inductive method for investigating the additional effects which users felt. Such immaterial role offers the user more convenience besides the original function of furniture and this made it available that furniture dominates the space. As good examples of such roles it was investigated that traditional furniture played meaningful roles like extensional serviceability, variable space, formation & movement of space, expression of grade of rank. That allowed that this study suggested the sustainable design and also the direction of development of interactive function of furniture through the expected effect having been showed in the modern space where the immaterial role of traditional furniture was applied to and the related cases.

• Journal of the Korean Institute of Landscape Architecture
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• 제21권4호
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• pp.55-68
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• 1994

It has been generally agreed that the city form especially in the preindustrial age resembled their own world view, either in the western or the eastern cultural sphere. So, we aimed to redefine the characteristics of oriental world views compared with the western one, in order to find the relative nature of the Korean townscapes. It is said that the both world views(of western and oriental) are composed of the contrastive binary concepts in common, but there seems to have been nearly contrary differences in these two world views. Wheareas the former was based on the passively segregational and oppositional dualism, the latter, on the dynamically harmonious and complementary dualism, called generally as 'Yin(陰) and Yang(陽)'. Thus, the oriental world view can be thought as the 'philosophy of the relationship', which aim to unify the dualism ultimately with the help of this relationship. So, we can assume a certain third and intermediate concept between these dual concepts of the world view, which can unify these two into the one holistic whole. And the focuses of the most traditional oriental philosophies were concentrated on this, so called, 'the third concept', namely Taoistic 'Tochu(道樞)', Buddhistic 'Kong(空)' or Confucian 'Chung(中)'. And this triple concept, including the third one, of the oriental world view revealed a more concrete form of the cosmological relationship, as the triple structure; 'Heaven(天), Earth(地), and Man(人)', in which the 'Man' is thought as the middle or the center of the world. In this manner, we could found this oriental 'triple world view' was revealed in the real topology of most places in the Korean traditional city and the whole townscape itself. So, in the scale of houses and the roads around them, we can construe the 'Maru(a central board-floored room)' and the 'Madang(a inner court)' as the 'third and intermediate space(中)' between the interior space(陰) and exterior space(陽) in the former, and between the private house(陰) and the public residential road(陽) in the former case, and between the dual parts(陰,陽) of the city representing the contrary social classes and the contrastive visual landscapes. So, we insist that this 'triple world view' represented in the townscape can be one of the most important characteristics of Korean traditional townscape. And this third intermediate spaces, which generate the active social contact and the harmonious relationship among the people, can be the most important cues, as the central places, in the interpretation of the Korean townscapes even in contemporary circumstance, which inherits its spatial and social frame more or less from the preceding one.

• (The)Study of the Eastern Classic
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• 제41호
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• pp.445-476
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• 2010

In this essay I aimed to analyze the concept of cultivation in east asian aesthetics. Most people regarded traditional asian paintings as an artwork that was obviously an artwork by artists. Moreover, they emphasized the cultivation of artists in their creation and used to accept the concept of cultivation which means cultivating one's mind. Generally speaking, to cultivate one's mind meant enlarging one's ethical behavior and he or she became a better person. And in creation, it meant considering all things more deeply. In this point of view, it was too vague to notice the meaning. What is an accurate meaning of cultivate artist's mind? What was the relation between creation and cultivation? In confucian philosophy, the concept of cultivation had two meanings. One was to enlarge one's ethical behavior and the other was to improve one's knowledge about things. The knowledge implied all of the one's experiences about things. Thus, the knowledge meant what he communicated with under his surroundings and created. In this perspective, to analyze the case of "Dohwaguenmungi" and "Limchungochi", cultivation was related to 'you(游)' and 'jing(精)'. It implied all of the artist's efforts to make communication with his objects deeper and wider, at last, he created his own meaning about object that he experienced. Therefore, I suggest that when we use the concept of cultivation in the context of creation, it should be used as the meaning related with improving one's knowledge about things.

• (The)Study of the Eastern Classic
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• 제55호
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• pp.59-84
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• 2014

This research is an attempt to newly interpret his academic evaluation and understand Seo Kye Bak Se-Dang's Sa Byeun Rok The Doctrine of the Mean. In academic world, his academic Characteristic was considered as anti-Neo-confucianism, out of Jung Ju Hak, out of Seong Ri Hak, and Sil Hak. His understanding of The Doctrine of the Mean was pretty critical, because he had unique academic characteristic to interpret Chinese classics rather than anti-Neo-confucianism, out of Jung Ju Hak, out of Seong Ri Hak, and Sil Hak. Especially, he took practical study with six Chinese classics as the central figure and it was a creative thing with philosophical method. He tried to find out original meaning which was essential thought of Confucianism, and pointed out disharmony for consistency about meaning of The Doctrine of the Mean when Jung Ja and Ju Ja interpreted The Doctrine of the Mean. It appeared as an effort of trying agreement between name and its duty, and role and function in things and act. In addition, he thought The Doctrine of the Mean as trying to follow nature, and it was the way of people to practice in bright side of mind. It is different from Ju Ja's thought which explains principle about people and things, and it has strong reality which is foundation of practice and allows dynamic energy of human life. Therefore, practice style of The Doctrine of the Mean develops filial duty as center of mass and appears manifestation of human's independence through how people pracice it. To sum up, he traced The Doctrine of the Mean as reality, practice, and physical science rather than ideal, theoretical, and metaphysical philosophy. It developed the spirit of study as understanding world as the center of human, thinking over the way of people, and studying the essence of Confucianism with practice of thought.

• (The)Study of the Eastern Classic
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• 제37호
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• pp.411-439
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• 2009

Fu-Shan(傅山, 1607~1684) was a progressive actualist between the late Ming(明) dynasty and the early Qing(淸) dynasty. He regards the intellectuals at that time as scarecrows leaned on the empty and exaggerative moral philosophy which the neo-confucian of Song(宋) dynasty established. He thinks that the neo-confucian discussion cause harmful side effects, disregarding the utility side and the variety of the actual world. His thought becomes known all in political thought and literature. He asserts that the neo-confucian ideas provides the logical frame which regulates the actual world and creates a kind of absolute moral ideology. Therefore he insists that the Saint in the true sense of the word consequently is the social reformer and revolutionist who exposes the irrational elements of society. He insists that literature also must be able to express vividness of the actual world. He thinks that genuine literature must have creative contents and find one's own free wild way. He asserts that old literary style from the mimicry is the act which goes against human natural. He thinks that the writing must be able to express the actual world.