• (The)Study of the Eastern Classic
• /
• no.34
• /
• pp.7-38
• /
• 2009

This paper attempts to explore the theory of moral leadership in the Great Learning. There are two fundamental contents in the elements of moral leadership's human nature in the Great learning. These are meaning of general principle(綱領指趣) - studying, self cultivation and social authority from rectifying name, and category of concrete learning(學問綱目) - the scheme of manifesting original nature (明德之方) and the scheme of loving the people(親民之方). In this, there are two principles. One is the principle of stage. In the theory of moral leadership of the Great learning, there are stages from self-cultivation to making the world tranquil. The other is the principle of stop at the highest good in manifesting nature and loving the people. In the meaning of general principle, moral leader must have good nature that he or she preforms his or her original nature and accomplishes self-cultivation. For this he or she must learn and study, and endeavors self-polishing. In the category of concrete learning, at first, in the scheme of manifesting original nature, there are investigation things-extending knowledge and making the will sincere-rectifying the mind as the pre conditions of the self-cultivation, and moral leader must carry out harmonization peoples and accomplishing public morals as the result of self-cultivation. The harmonization people means that everyone has equal position and lives with each other in harmony In the scheme of loving the people, there are the connected ethics of self cultivation-regulating the family(修身齊家) and the connected ethics of regulating the family-ordering the state(齊家治國) by effect of self-cultivation.

• The Journal of Korean Philosophical History
• /
• no.23
• /
• pp.217-244
• /
• 2008

This research studied Minor Annotation of Elementary Learning("小學枝言") and Private Examination of Classic of the Mind("心經密驗") from the ethical perspective. Minor Annotation of Elementary Learning and Private Examination of Classic of the Mind are writings that play a role of bridge between Chinese classics(經學) and Theory of Statecraft(經世論). These two essays were written for the purpose of putting virtue into practice, which had been attained by studying Chinese classics, through a vehicle called Theory of Statecraft. If Minor Annotation of Elementary Learning called as a book of cultivation of outward morality or outward behavior, then Private Examination of Classic of the Mind is the book for cultivation of inward temperament. The 'practice' emphasized by Dasan through these two essays denotes ceaseless efforts toward goodness or virtue. Such efforts can be interpreted as 'ethical practice', if looked at from the perspective of aggressive struggle toward virtue. Dasan, in these two essays, had stressed to practice Good(善) through positive and lively actions. The matter of Good and Bad(善惡) in humans is not associated with their mind, but related to their practice. That is to say, humans may turn out to be good through means of 'ethical practice'. For Dasan, 'ethical practice' toward Good should have to be continued and upheld not only in the course of self-cultivation, but also in 'establishing relationship' with others. Such an assertion of Dasan was to lay emphasis on accomplishment of 'ethical practice' toward Good amid close relationship between personal and social ethics. Also, Dasan had emphasized free will(自由意志) in humans. This means that Good and Bad will be determined according to humans' free will, and to the same extent, that humans are responsible for its consequence. It is noted that Dasan had stressed that any human having free will should have to be a 'man of virtue'(君子) through means of 'ethical practice'.

• (The)Study of the Eastern Classic
• /
• no.41
• /
• pp.7-35
• /
• 2010

Jang Hyungang(張顯光, 1554~1570) was one of the very famous Neo-Confucianists of T'oegye School in the Chosun dynasty. Jang, nevertheless, refused to accept Toegye's theory and had developed his own theory called li-qi-gyeong-wi-seol(理氣經緯說). So the theory was very unique in the history of Korean Neo-Confucianism. He matained that Tao(道), meaning the universal process which all beings including the human must follow, is accomplished by the unity of li(理, principle) and qi(ch'i, 氣, material force). He compared li and qi to warp(經) and woof(緯). According to his explanation, Tao is fulfilled by combining li and qi, as a textile is woven the combination of warps and woofs. He could, for I know, succeed to emphasize the unity of li and qii through this theory. Lots of Scholars in the Chosun dynasty criticized Jang's theory of li and qi for regarding li and qi as one, and thought that the theory originated from Luo Ch'inshun(羅欽順, 1465~1547), a famous Neo-Confucianist of in Early Ming China. Luo Ch'inshun maintained li-qi metaphysical monism that li and qi is united entity. In this respect, it seems that Jang's theory is similar to Luo's. However, I think that there are very important differences between the two. It is true that the main characteristics of Jang's theory is the unified relations between li and qi in this world. In the system of his philosophy, nevertheless, the topological position of li and qi are different in grade each other. Jang insisted that li is a supreme being to be materialized and realized through the movement of qi'in the process of universal development. Qi is accordingly only a kind of matter which completes li. In this sense, Jang's theory can be regarded as li metaphysical monism that li is the only substance. It means that Jang Hyeongwang's theory is a great contrast to Luo Ch'inshun's li-qi metaphysical monism.

• (The)Study of the Eastern Classic
• /
• no.62
• /
• pp.291-319
• /
• 2016

The purpose of this study is aesthetical inquiry on agreement inherent in the 'Pyeongkunyul of "Siakhwaseong" "Yulryo" is to have come from the 'Taekuk'. as the structure of 'Yumyaungdaedae' which 'represents a "Dosu". it becomes "Habsanweil" and it consists of "HwangjongYul" on it. There are two kinds of ways to "Pyeongkunyul" and "Sambunsonikyul". "PyeongkunYul is characterized by soundly solving the challenges of the "Jueibulban". "Yulryo" is to pursue a 'Hwa' through that "Eum" response each other. The human ear to listen to "Yul" and can be divided "Yul" because the same "Eum" is to meet with one another. The other two 'Eum' at the same time the "Maeknory" is caused by the ratio of the frequency. because "Hwaibudong". In the "DongEum" and 'octave of Eum' is not a "Maeknory" when listening ear of a person 'Dong'. In contrast, "Hwa" is a sound relationship revealed in "12Yul" in "Dong Eum" with the exception of 'octaves of Eum', that is the most easy to hear 4Do(5Do) at "Yulryo" From the point of view for "Joenchecaeyong", 4do forms a pure sound there is no Maeknory, such as "Dongeum", only partial ones in the "12Yul" by "Sambunsonik". 4Do(5Do) in "Pyeongkunyul" although though the "Maeknory" of about times put to 3 seconds to occur, so that makes the perfect "Hwa" in all of the "12Yul" "Yulryo" is apparent to the sound. "YangYul" and "Eumryo" that began from "Taekuk" which must be extended to the same "Eumga" Therefore "12Yul" consisting "Pyeongkunyul" is based on the "Yackry" of "Habsanweil" As a whole to achieve the overall Harmony and based on the As aesthetical on agreement inherent of "Hwa".

• The Journal of Korean Philosophical History
• /
• no.32
• /
• pp.309-336
• /
• 2011

There were various linking points that connect Li xue(Neo-Confucianism) to aesthetics in Song Dynasty as following. 1. The traditional moral as "pursuing pleasure of Kong-zi and Yan Hui" 2. Esteem of "life and vitality". Scholars of Li xue in Song regarded the pleasure of acting up to "benevolence" as a beauty, and this benevolence originated in the "heaven and earth; the universe". "Benevolence", that is to say, is name of the nature that continuous reproduction breed in an endless succession by "Yin-Yang the universe", thus the natural "life and vitality" of the "heaven and earth" as the matter of course is the perfect beauty. 3. An idea of "serene contemplation". Originally the "serene contemplation" belongs to discipline of "Li xue", however simultaneously this conception was entirely applicable to aesthetic point of view. 4. Cosmological consciousness. In the same manner, the "pleasure" which is moralistic and moreover aesthetic is indivisible from cosmic contemplation itself. Because of this point, the art and aesthetics of Song Dynasty self-consciously had the cosmological consciousness in its fullness. 5. Respect of beauty of nature. Scholars of "Li xue" considered as : no matter what "Li" or "Qi" that producing all things is "coming of itself", that is by no means artificially operated or prearranged in advance. Such standpoint was applied to creative art and made art of Song Dynasty esteem beauty of nature (coming of itself) exceedingly. 6. Laying stress on "disposition". Scholars of "Li xue" ordinarily valued much of "disposition of a sage", consequently this tendency influenced on aesthetics. "disposition" indicates the whole impression that one who has appearance and the inside(personality, temper, thought, etc.) gives to others. By putting that impression into practice of art and literature, it is to materialize the works of art as a unity of form and subject, also as an expression of human existence that breathed into one's sensibility on the whole. 7. Principles of "completing inquiry", "study the laws of nature by close access" of "Li xue". These principles made art and literature of Song Dynasty take a serious view of "Li" of all over the universe, so made them close investigate things, and after all have achieved very remarkable characteristic in art and literature, especially in paintings of Song Dynasty. Theory of painting in Song Dynasty had occupied considerably high position in Chinese aesthetic history. It was positively superior to former generations no matter what in quantity or in theoretical minuteness and its systematic level. Undoubtedly the Chinese theory of painting had been achieving development time after time since Song Dynasty. However if we could make a comparison it with every single period (ex. Yuan, Ming, and Qing Dynasties), there is no prominent period than Song Dynasty in theory of paintings. Song period had number of essays of Landscape painting.

• (The)Study of the Eastern Classic
• /
• no.66
• /
• pp.331-362
• /
• 2017

The paintings of the Eight Drunken Immortals refer to the paintings based on an influential poem called "The Song of the Eight Drunken Immortals" by Du Fu, a Chinese poet from the Tang Dynasty. This poem is about the eccentricity of the Eight Immortals known for their love of drinking. The Eight Drunken Immortals have been widely appreciated among East Asian intellectuals, and their stories have also been translated into paintings. Greatly influenced by Li Gonglin's Painting of the Eight Drunken Immortals, people in China have the tendency to create similar scroll paintings, using contour drawing tools. Meanwhile, in Korea, the paintings of the Eight Drunken Immortals have been widely appreciated both as a type of visual art embodying the Drunken Immortals' taste for the arts and as a meaningful object conveying the people's wish for longevity and eternal friendship. According to historical records, the paintings of the Eight Drunken Immortals from the Ming Dynasty were drawn on eight-fold folding screens using a sophisticated ink wash painting technique. In the meantime, the Painting of the Eight Drunken Immortals appreciated by King Jeongjo from the Joseon Dynasty was a colored landscape painting with small human figures on an eight-fold folding screen. Since the recent discovery of Yi Han-cheol's Painting of the Eight Drunken Immortals on an eight-fold folding screen, it has now become possible to imagine how renowned artists such as Kim Hong-do and Kim Yang-gi would have made the narrative figure paintings. In particular, the story of Li Bai, one of the Eight Immortals, was the most famous one often told in the paintings. After the 19th century, there was even an entire panel of narrative folding screen made about Li Bai. As painting manuals and outline drawings were pervasively used, the narrative paintings on Li Bai were mass-produced among commoners. As you can see from this, the Eight Drunken Immortals have been visually represented as thirsty souls who are not disconnected from the world, as honest men of refined taste for the arts, and as protagonists of an object that conveys the people's wish for longevity and eternal friendship. In other words, the paintings of the Eight Drunken Immortals embody multiple undertones: as paintings based on Du Fu's poems and as narrative paintings on the Eight Immortals.

• (The)Study of the Eastern Classic
• /
• no.50
• /
• pp.179-209
• /
• 2013

This study takes as its text "Yangarok", the record written by Mukjae Lee Mun Geon (1494-1567) about his grandson rearing and examines the conflicts between the grandfather and the grandson. The reason it is focused on the conflicts between the grandfather and the grandson particularly among many aspects of Yangarok is that the paper notices the dual feelings of love and hatred lying in the mind of Mukjae, the subject of the narrative. Because the record of grandson rearing plainly reflects the dual elements of the grandfather, love and hatred, expectation and disappointment, and hope and resignation, it shows the acute conflicts between the two persons well. At the time of the grandson's birth, Mukjae went through a gloomy period both in family and socially. He had to taste tremendous frustration in the status as an exile pushed back from the center of the political world, and his only son was handicapped, so he could not expect his caring after that. Spending each day in such frustration, he faced the birth of his grandson just like a miracle. However, the excitedness and expectation he had in the beginning of the child raising were turned into disappointment and complaining as time went by. His change lets us think about the distance between love and hatred existing in human relations. This study analyzes Yangarok but is focused on the conflicts between the grandfather and the grandson for further discussion, so it attempts to understand Yangarok from a different perspective. First of all, Chapter 2 of this article notices the fact that cause results in effect and examines the ultimate factors raising grandfather-grandson conflicts. Next, Chapter 3 considers the concrete aspects of grandfather-grandson conflicts. Based on the above examination on the causes and aspects of the conflicts, Chapter 4 focuses on the value that Yangarok has as the material for introspection and lays the ground to think about the messages that this record implies for contemporaries.

• The Journal of Korean Philosophical History
• /
• no.31
• /
• pp.53-86
• /
• 2011

Taoism exercised its influence and has made much progress apparently under the aegis of the Tang dynasty. But since the external alchemy, a traditional way of eternal life that they have pursued, met the limitation, they were placed in a situation where they needed to seek a new discipline. From this period to the early North Song dynasty, three religions have established the unique theoretical systems of their own theory of ascetic practices. They showed their own unique formats as follows. Neo-Confucianism established the theory of moral training, Buddhism did the theory of ascetic practices and Taoism had theory of discipline. By this time, a person who claimed the Intermixture of Three Religions composed the new system of theory of ascetic practice by taking advantage of other religions and putting them into his own view. Chen tuan established the theory of internal alchemy of Taoism and was the most influential figure in the world of thought since North Song dynasty. He clearly declared that he accepted the merits of other religions in his theory. He added I Ching of Confucianism in I Ching of secret of Taoism to stop the logical gaps during the process of disciplines in Taoism and took ascetic practices on mind of Buddhism into his system while he sought a way to integrate the dual structure of body and mind. The theory of Chen tuan's internal alchemy was training schema with stages of 'YeonJeongHwaGi', 'YeonGiHwaSin', and 'YeonSinHwanHeo' based on the concepts of vital, energy and spirit. The internal alchemy practice that Chen tuan was saying started from the practice of Zen to keep the mind calm with the basis of fundamental principles of interpretation of book of change according to Taoism. When a person reached the state to be in concert with all changes at the end of the silence and be full of wisdoms, he finally returned to the state of BokGwiMuGeuk by taking the flow of subtle mind and transforming it into energy. He expressed this process by drawing 'MuGeukDo'. Oriental philosophy categorized human into 'phenomenal existence' and 'original existence'. The logic of theory of ascetic practice has been established from these 'category of existence'. It would be determined whether it will return to 'original existence' or be stepped up from 'phenomenal existence' according to how the concept of 'self' or 'I' was made. Chen tuan who established the theory of internal alchemy in Taoism has established the unique theory of internal alchemy discipline and system of intermixture of three religions in this aspect. Today is called 'era of self-loss' or 'era of incurable diseases' caused by environmental pollution. It's still meaningful to review the theory of discipline of Chen tuan's connecting the body and the soul to heal the self, and keep life healthy and pursue the new way of discipline based on it.

• Korean Journal of Environmental Biology
• /
• v.38 no.4
• /
• pp.650-657
• /
• 2020

We conducted a phylogeographic analysis of Korean endemic Zacco koreanus populations inhabiting the East-flowing river (Gangneung Yeongokcheon; GY, Yangyang Namdaecheon; YN), the Han River (Seomgang; SG, Soksacheon; SS), and the Nakdong River(Gilancheon; GA) using the mitochondrial DNA cytochrome oxidase I (COI) gene (619 bp). Population genetic analysis was further performed to assess the population connectivity for the GY river where there is a large number of human-made artificial weirs with several fishways. The phylogeographic analysis revealed that while the populations of the East-flowing river and those of the Han River formed a monophyletic lineage, the Nakdong River individuals represented a distinct lineage with 3.7-4.2% (mean=4.0%) genetic distance from the other lineages. The population genetic analysis of the GY showed that a mid-stream population harbored relatively higher mitochondrial diversity relative to up- and down-stream populations, and there was no genetic differentiation between these three populations. The latter findings might suggest high genetic connectivity between the populations via genetic flow along the fishways. However, an analysis using faster-evolving genetic markers, such as microsatellites, is needed to confirm the findings of high population connectivity. Our study suggests the possibility of the presence of cryptic species in Z. koreanus in the Nakdong River basin. However, further study with more individual samples as well as additional markers or even more advanced genomic tools is required to test our hypothesis. Ecological or phenotypic analyses should be conducted to test whether the observed Nakdong River lineage represents a different or cryptic species, or simply hidden, but excessive, intraspecific diversity.

• Journal of Korean Society of Forest Science
• /
• v.110 no.1
• /
• pp.53-63
• /
• 2021

Sophora koreensis Nakai is an indigenous plant in Koreawith a restricted natural range, part of which is in Gangwon province. The species is known to contain phytochemicals that have beneficial effects on human health, and it is economically important in bioindustry. Because of the limited number of plants in a small range of habitats, the mass-propagation method should be developed for use and conservation. In vitro tissue culture is a reliable method in terms of mass propagation from selected clones of the species. We investigated the optimal conditions of the medium in this process, especially focusing on the concentrations of plant growth regulators(PGRs) in the culture of stem-containing axillary buds. Three statistical methods, i.e., ANOVA, response surface method(RSM), and fuzzy clustering were used to analyze the plant growth, number of shoots induced, and shoot length with various combinations of PGRs. Results from the RSM differed from those of the other two methods; thus, the method was not suitable. ANOVA and fuzzy clustering showed similar results. However, more accurate results were obtained using fuzzy clustering because it provided a probability for each treatment. On the basis of the fuzzy clustering analysis, stem tissue produced the greatest number of shoots(11.03 per explant; 63.33%) on a medium supplemented with 5-��M 6-benzylaminopurine and 2.5-��M thidiazuron(TDZ). Proliferation of shoots(2.18 ± 0.21 cm, 63.33%) was attained on a medium supplemented with 2.5-��M BA, 2.5-��M TDZ, and 2.5-��M gibberellic acid.