• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.4
• /
• pp.1-13
• /
• 2011

The purpose of this study is to consider practical examples of the method of utilizing plant material 'lotus' used by the ancients, and the value and meaning they wanted to get from it. The method of this study to do this is descriptive study to consider and interpret poem and painting reflecting impression and concept world of lotus. Summary of this study is as follows. First, ornamental value of lotus could be divided in effect of group plant and detail value held by the flower, the leaves and the stem. Especially, group plant lotus in large site provides unique landscape differentiated form other flowering plants. As well, another feature of lotus is its high ornamental value spread in detail elements including the flower, the leaves, the stem and the lotus seed. Second, fragrance expressed 'Hyang-won-ik-cheong(香遠益淸)' is an important charm of lotus. Lotus was utilized as olfactory element providing fragrance. The ancients considered lotus fragrance not only for enjoy but as symbolic object comparing noble man's dignity so that they expressed it in poem and painting. Third, lotus was utilized as acoustical element. That is, the sound of raindrops harmonizing the surface of water and wide lotus leaves was called 'hearing lotus fond and rain', enjoying it as classic grace. Fourth, summer play lotus sightseeing was called mind wash up meaning 'washing the mind polluted by the mundane world'. Such poetic taste was widely enjoyed by various classes from general public to royal family. Besides, poetic taste related with lotus is the method of drinking alcohol using the feature of big lotus leave and vacant stem, called 'Beog-tong-ju(碧筒酒)'. And in the Joseon dynasty period, when the distinction between the man and the woman influenced by Confucian, lotus seed and 'lotus collecting song' was important sign to express romance between man and woman. Lotus has been enamored by wide classes transcending cultural background as thought and religion since ancient times. Due to such reasons, various symbolic meaning of lotus and planting examples related to religious facilities as temples could not be considered in various manner is limitation of this study, and which is research project for the future.

• (The) Research of the performance art and culture
• /
• no.35
• /
• pp.93-123
• /
• 2017

The Buddhist dance, which is considered to be the essence of Korean folk dance, has changed and developed over many years, having profound influential relations with Buddhism in terms of its origin, source, title, and costumes. Today the Buddhist dance is performed in two fixed types, Jangsam dance and Buk dance, but it is estimated that there must have been various forms of Buddhist dance during the Japanese rule based on the its historicity and various origination theories. It was around 1940 that Jang Yang-seon, the master of Haejugwonbeon, turned 'Seungininsangmu' into a work through Yang So-woon. The present study analyzed the video of 'Seungininsangmu' performed at the 'Performance in the Memory of Yang So-woon' in 2010, and the analysis results were as follows: first, the dance has a clear message to be delivered in its title and connotes an origination theory of Buddhist dance, which argues that the Buddhist dance was created by a Buddhist that underwent agony and corruption during his ascetic practice and later returned to Buddhism. Secondly, the process of Jangsam dance - Buknori - Bara dance - Heoteun dance - Hoisimgok - Guiui shows the thematic consciousness of the dance clearly in a sequential manner. Finally, the dance was in a form of combining various expressive methods according to the story and its development including the Bara dance, a dance performed in a Buddhist ceremony, the Heoteun dance, which is strongly characterized by individuality and spontaneity that are folk features, and Hoisimgok, the Buddhist music. Those findings indicate that the dance reflected well the flow of putting the Buddhist dance on the stage or turning it into a work in the early 20th century. Compared with the types of Buddhist dance in a strong form including the Jangsam dance and Buk dance, 'Seungininsangmu' conveys the meanings that the original Buddhist dance tried to express in terms of content and reflects on the diversity of combined Akgamu and theatrical elements in terms of form. The present study is significant in that it offers many implications for the Buddhist dance capable of future-oriented development.

• (The)Study of the Eastern Classic
• /
• no.69
• /
• pp.205-232
• /
• 2017

In the former half of the 18th century, For this period the literary people who led the literature of Nam'in were Sadaebu named the so-called Munoepa. There were Gang Pak(姜樸), Lee In-bok(李仁復), Lee Jung-hwan, Oh Gwang-un(吳光運), and Gang Pil-shin(姜必愼) in Munoepa(門外派). All these people as Sadaebu of Nam'in kept company with families of each other, had close relations from early childhood, and shared with same opinions in various ways like politics, culture, etc. They had intimate relationships not only in politics but also in literature, and primarily acted their part regarding the development of literary circles in the first half of the 18th century. Many individual poets who achieved the outstanding literary accomplishment appeared in the late period of Joseon Dynasty, especially in the eighteenth and nineteenth centuries. They actively made progress in their literary works with Sisa. The poets in similar positions had the Sisa to show their literary ability and check on their view about the literature. They briskly tried to express their own literary intention in activities of Sisa. Gang Pil-shin is a literary representative of the late period of Joseon Dynasty Nam'in. Through the exchange relationship of Gang Pil-shin, we can confirm certain aspects of his literary world. People who have tied up with Gang Pil-shin are largely divided into three. First, it is a literary person in Geungi Nam'in literati, typified by Backryeonsidan, Jinju Gang family, Gyeongsang Provinces area that was a place of residence. The exchanges of Gang Pil-shin were done via a poetry club. a poetry club was basically conducted mainly on relatives such as Gang Pak. However, the members of a poetry club changed according to the area where you live. Gang Pil-shin made a poetry club while coming back and forth between Seoul and Gyeongsang Provinces. This means that Gang Pil-shin also had special attention as Geungi Nam'in (近畿 南人), but also had a positive nature as Yeongnam south person. A closer look at what linguistics of Gang Pil-shin Geungi Nam'in and Yeongnam Nam'in had special characteristics late period of Joseon Dynasty It is possible to confirm the special characteristics of Seoul and the local literary exchange. For this reason, it seems that more detailed examination of the literature of Gang Pil-shin is necessary.

• (The)Study of the Eastern Classic
• /
• no.69
• /
• pp.115-146
• /
• 2017

This paper is about the research on ontology design for a digital archive of seonsaengan(先生案) of the Joseon Period. Seonsaengan is the register of staff officials at each government office, along with their personal information and records of their transfer from one office to another, in addition to their DOBs, family clan, etc. A total of 176 types of registers are known to be kept at libraries and museums in the country. This paper intends to engage in the ontology design of 47 cases of such registers preserved at the Jangseogak Archives of the Academy of Korean Studies (AKS) with a focus on their content and structure including the names of the relevant government offices and posts assumed by the officials, etc. The work for the ontology design was done with a focus on the officials, the offices they belong to, and records about their transfers kept in the registers. The ontology design categorized relevant resources into classes according to the attributes common to the individuals. Each individual has defined a semantic postposition word that can explicitly express the relationship with other individuals. As for the classes, they were divided into eight categories, i.e. registers, figures, offices, official posts, state examination, records, and concepts. For design of relationships and attributes, terms and phrases such as Dublin Core, Europeana Data Mode, CIDOC-CRM, data model for database of those who passed the exam in the past, which are already designed and used, were referred to. Where terms and phrases designed in existing data models are used, the work used Namespace of the relevant data model. The writer defined the relationships where necessary. The designed ontology shows an exemplary implementation of the Myeongneung seonsaengan(明陵先生案). The work gave consideration to expected effects of information entered when a single registered is expanded to plural registers, along with ways to use it. The ontology design is not one made based on the review of all of the 176 registers. The model needs to be improved each time relevant information is obtained. The aim of such efforts is the systematic arrangement of information contained in the registers. It should be remembered that information arranged in this manner may be rearranged with the aid of databases or archives existing currently or to be built in the future. It is expected that the pieces of information entered through the ontology design will be used as data showing how government offices were operated and what their personnel system was like, along with politics, economy, society, and culture of the Joseon Period, in linkage with databases already established.

• (The)Study of the Eastern Classic
• /
• no.48
• /
• pp.91-116
• /
• 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.

• (The)Study of the Eastern Classic
• /
• no.71
• /
• pp.9-39
• /
• 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
• /
• no.50
• /
• pp.295-318
• /
• 2013

The purpose of this study was to define the 'caligraphy as a modern concept of art. For this purpose, it was necessary to exclude the elements betraying 'the caligraphy as a pure art' in reference to 'autonomy' as an indicator of modernity in order to reflect on the current topology of the caligraphy in our age. Checking the current conditions facing the caligraphy from the pre-modern, modern and post-modern perspectives will clarify the current topology of the caligraphy and further exploring 'the caligraphy as a post-modern art concept. To this end, this study defines the caligraphy 'as a pure formative art' and thereby discusses it in terms of nature and form. In terms of nature, the caligraphy should be subsumed into a spacial art, but it has a nature of a temporal art created and appreciated over time. Hence, among the spacial arts, the painting is most similar to the caligraphy, while among the temporal arts, the caligraphy is most similar to such rhythmic (of high mobility) or performing arts as music and dance. Merely, the painting does not reveal the flow of time on the canvas, while music and dance leave no residual in terms of audibility and visuality. All in all, the caligraphy is sort of 'temporal-spacial art' like dance in that the visible letters express the artist's sense of life on the plane over time like music. In terms of form, this study compares the caligraphy with engraving, wood print and character design to define the caligraphy as a pure art concept. The caligraphy as a modern art concept, namely, the autonomy of the caligraphy is associated with legibility and meaning in addition to the question whether it is an applied or a pure art. The legibility and meaning of the characters are not only the essential elements of the caligraphy but also are the factors limiting its autonomy, which must be a paradox. All in all, the legibility and meaning of the characters must be the key criteria for determining the caligraphy as a practical art or literary art or as a pure figurative art. In this context, this study discusses the caligraphy as a pure art by comparing it with the spatial art 'painting' and the temporal art 'music.' It might be impossible to define the caligraphy or a genre of art as an autonomous art of self-perfection and categorical identity. Moreover, any attempt to define the caligraphy would fail to interpret the caligraphy appropriately. Merely, we are obliged to position the caligraphy in the process of localizing 'their modernity' and thereby, discuss how to respond to their scheme.

• (The)Study of the Eastern Classic
• /
• no.48
• /
• pp.253-287
• /
• 2012

This research aimed to discuss the necessity of education and evil through perspective of Sunja and Hannah Arendt. In case of Sunja, it was reviewed by his opinion about Sunja as the central figure. As for Arendt, it was researched with "Eichmann in Jerusalem" as the central figure which she wrote participating in the trial process of Eichmann who was a war criminal of Nazi. Sunja thought evil as the nature of people and understood that they all are originally selfish, envious, and seeking desire. Therefore, Sunja thought it is important to properly seek human desire. He claimed Haw Seong Gi Wi(化性起僞, changing evil human nature into goodness through manner) which changes human nature from evil to goodness. A teacher who leads evil into goodness is surely needed in the process of Haw Seong Gi Wi. At the same time, in the dimension of educational content it put stress on the role of Ye(禮, manner) which lets them realize discernment so that they properly seek human desire and Ak(樂, harmony) which harmoniously controls human emotion, and key point on education regarding Ye and Ak. As for Arendt, however, she recognized evil as normal one. Even though he thought that conforming the order of superior authority was the best value and then took evil of killing many Jews in thoughtlessness, Eichmann maintained that he did not take evil but only conformed the order. This way, people could take evil in thoughtlessness in totalitarianism, and it makes circumstance that they could not take goodness. Therefore they could take evil in thoughtlessness and experience the radical evil and the banality of evil. Accordingly, political praxis which guarantees people's plurality as the words and praxis is needed. It is named natality because the truth that they are born in this world is a starting point, and makes the essence of education. In this process, teachers have to be a representative of this generation for children as new social members, and be able to keep children's newness. Sunja and Arendt have the same equality and difference in that they referred to the necessity of education to overcome human evil. It is the same quality that goodness could recover the function of community and the practice of education is considered important in the goal of education and the dimension of directivity. It is different in methodical characteristic of education that Arendt, however, suggests praxis as the way that they express themselves in totalitarianism while Sunja thought that continuous practice piling up virtue for goodness is important.

• (The)Study of the Eastern Classic
• /
• no.59
• /
• pp.93-120
• /
• 2015

The purpose of this study is to explore the source of appealing which Gusadang Kim Nakhaeng's writing for ancestral rites is equipped with. Gusadang was one of the Confucianists in Yeongnam during the 18th century and was praised for his scholarly virtue of jihaenghapil and silcheongunghaeng. Although Gusadang's writing for ancestral rites and his teacher Milam Lee Jaeui's letters were even specially named as 'gujemilchal', there has been almost no research on Gusadang's writing for ancestral rites yet. Therefore, this study selects three pieces of Gusadang's writing for ancestral rites which are especially rich in emotional expression for discussion. Chapter 2 titled as 'the Reconstruction of Memory in a Microscopic Perspective' presents the reason why Gusadang's writing for ancestral rites is recognized even as a piece of work equipped with appealing. Writing for ancestral rites begins from the point that there exists memory that can be shared by both the living and the dead. In reconstructing the anecdote with the dead on the stage of ritual writing in detail, the writer's memory plays an important role. Chapter 3 titled as 'the Rhetorical Reconstruction of Elevated Sensitivity' examines rhetorical devices needed for writing for ancestral rites. Proper rhetoric is needed to upgrade the dignity of the ritual writing and arouse sympathy from the readers. Although writing for ancestral rites is supposed to express sadness in terms of its formal characteristics, it should not end up being a mere outlet of emotion. Chapter 4 looks into 'the Descriptive Reconstruction of Lamenting Sentiment'. There should be a clear focus of description to make the gesture of the living towards the being not existing in the world any longer an appealing story. While maintaining a distinct way of description, Gusadang organizes the noble character of the dead, pitiable death, the precious bond in the past, and the longing of those left for the dead systematically. Writing for ancestral rites is a field to mourn over the death and reproduce the sadness of the living through writing. To make the text written in that way get to work as ritual writing properly, it should be appealing necessarily. This study has found the fact that such appealing that gives life to ritual writing is grounded on authenticity.

• (The)Study of the Eastern Classic
• /
• no.34
• /
• pp.207-224
• /
• 2009

This research is a quest of theories of poetry of Wang Yak-heo who was a literary critic during Chin(金) dynasty in ancient China. Wang Yak-heo left a fine piece of work, dubbed ${\ll}$Honam Yuro Jib${\gg}$ and, in this paper, the author closely reviewed the theories of poetry that is appeared, especially, in the three volumes of ${\ll}$Talks on Chinese Poetry${\gg}$ among the collections of Wang's poetry criticism. In particular, the author investigated the positive and negative aspects of Honam's commentaries on the works by Chinese poets, including his principles of poetics, creative skills, and practical criticism, etc. Wang Yak-heo has not been known much in the history of Chinese literary thoughts, however, his theory of criticism, especially, among the talks on Chinese the works by Chinese poets, his literature criticisms establish unique and distinctive point of views. Wang Yak-heo's poetics, more than anything else, valued nature, meanings, truth, and contents therein. He exhibited realistic view of literature. Meanwhile, he analyzed the methods of expression by Du Bo(杜甫, pronounced, "Du Fu" in Chinese), So Sik, also known as So Dong Pa (蘇軾, Su Shi or 蘇東坡, Su Dong Po in Chinese), and Hwang Jeong-gyeon(黃庭堅, Huang T'ing-chien), and highly evaluated the realistic poems written by Du Bo, Baek Geo-I (白居易, pronounced, "Bai Juyi" in Chinese), and So Sik. Also, he opposed to formalism or externality, however, he never made light of formality of poetry. In his comments on the works by Chinese poets, he highly evaluated the poems sung by So Sik and Beek Geo-I, in the mean time, however, he criticized their works without hesitation. Having set up his own unique criteria for critique, Wang didn't accept other opinions in a seemingly illogical manner, and he presented what he thoughts and other different points of view from others. Specifically, he attached great importance to whether or not modification of words and phrases, grammar, and whole context were congruent to one another and had been well harmonized. However, in his poetics, Wang was so wrapped himself in reasonableness or rationality, he analyzed each and every word in great detailed manner, as the result, he sometimes didn't read the sentiment or mood that the writers intended to express through poems. He excessively restricted himself to the words and phrases, so that he was not able to realize natural emotions and joy of imagination that were presented in the poems, and, in the end, this brought about adverse effects to the poet's thought.