• (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 Korean Medical classics
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• v.32 no.3
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• pp.85-102
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• 2019

Objectives : To examine the progression and presentation of King Jeongjo's Gyeok-ki(膈氣) symptoms during his reign. Methods : Based on recordings in the The Daily Records of Royal Secretariat of Joseon Dynasty related to Gyeok-ki(膈氣), characteristics of King Jeongjo's case was analyzed, then compared and examined against the political situation he was in. Results : During the 24 years of reign, King Jeongjo's Gyeok-ki(膈氣) developed in four stages; beginning stage with mild symptoms, intrinsic stage where it became the King's main disease, peak stage where symptoms intensified, and chronic stage where symptoms became rather manageable but the disease occurred regularly. Conclusions : From the year of accession to the year of death, King Jeongjo consistently complained of Gyeok-ki(膈氣), which seems to be strongly related to his family history and political situation.

• (The)Study of the Eastern Classic
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• no.56
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• pp.171-207
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• 2014

This thesis is to clarify King Jeongjo's perspective on Chunchu and critical mind on Chunchu Study in Joseon through analyzing more than twenty sets of King Jeongjo's Chaekmun: Chunchu (策文:春秋) which are included in Hongjaejeonseo (弘齋全書). Chaekmun covers extensive themes of Chunchu Study such as composition or contents of Chunchu and assessment of Chunchu and three legends, etc. With this Chaekmun, King Jeongjo emphasized importance of the scripture Chunchu as the 'great scripture for governing a nation' and stressed the need of right interpretation and understanding on Chunchu. Along with the Article Chunchu in Gyeongsagangeui in the year of 1793 and 1796, this material presents not only King Jeongjo's perspective on Chunchu and his academic characteristics but also status and major issues of Chunchu Study in Joseon with significant value in history of thoughts.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.10-25
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• 2015

The purpose of this research is to investigate the reality behind Jeongjo's enjoyment of the palace garden. If I were to summarize the results of this research, they are as follows: First, The 'Sanghwajoeoyeon(賞花釣魚宴)' has the differentiation which decided and regularized the rules and the regulations with the annual meetings for the Kyujanggak(奎章閣). Jeongjo had held the events five times. Second, The 'Seshimdae(洗心臺) Excursion' is based on the tragic personal history of Jeongjo. There were four events. Third, Jeongjo had enjoyed the 'viewing of the waterfall(觀瀑)' of the Okryucheon(玉流川) where a lot of the water overflows right after it rains. This is worth the special mention with regard to the point that it is a temporary landscape and not an usual landscape. Fourth, As an event for the military officers, the 'Seoljungryonghohwe(雪中龍虎會)' was held seven times. This event had been held in the middle of the winter. And each of the attendees skewered a pheasant and roasted and ate it. Also, it emphasized the sovereign and the subjects being the partners of the joys and the sorrows by giving the alcoholic drinks and the music. Fifth, Jeongjo had consoled the hard work by the civilian subjects either by holding the brazier feast(煖爐會) in the winter or by granting the alcoholic drinks and the foods according to the historical facts of the brazier feasts. Sixth, Jeongjo was good at archery and enjoyed it. During the period of his reign, Jeongjo held twice Yeonsarye(燕射禮). Seventh, Jeongjo soothed his desire to get out of the busy everyday life at the royal palace garden. While appreciating the natural landscape of the backyard, he was awakened of the meaning of the Book of Changes(周易) in which all the things had been created and changed. Eighth, At the royal palace garden, Jeongjo actively prepared the place for enjoyment by the sovereign and the subjects together. It is judged that this is because, in order to materialize his political ideals, the support by all the subjects who had been close was needed. The limitation of this research is the fact that the research had been proceeded with limited to the translations, among the many old writings related to Jeongjo. With the accumulation of the excavations of the new thoughts and of the results of the translations, the researches that are deeper will be needed.

• Journal of architectural history
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• v.29 no.3
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• pp.51-66
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• 2020

Paldalmun gate was built in 1794 as the southern gate of Suwon Hwaseong. The signboard's paintworks of Paldalmun gate was applied to the signboard of the state-run building in the 18th century. The signboard of Paldalmun gate was repainted along with the building when repaired in 1969. In that time, the signboard's paintworks during the reign of Jeongjo era was transformed. The purpose of this study is to restore the image of Jeongjo era paintworks on the Paldalmun's signboard, which has been modified since the 1960s due to modification. For the purpose of the examination, we examined the traces of paintworks remaining on the signboard of Paldalmun gate and examined several state-run signboards decorated with 'Yukhwamoon' paintings similar as the signboard of Paldalmun gate, which made around the 18th century. Through the above-mentioned researches, typical color features were identified in the decorated with 'Yukhwamoon' paintings on signboard in the 18th and 19th centuries. In addition, the type of pigment used in the signboard's paintwork of Paldalmun gate was verified through the 『Hwaseong Seongyeok Uigwe(華城城役儀軌)』 and the 『Han-gul Jeongri Uigwe(한글整理儀軌)』, while analyzing the characteristics of age-related deterioration according to the type of paintworks in various traces of pigment coatings remaining on the signboard of Paldalmun gate.

• Journal of architectural history
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• v.17 no.5
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• pp.23-37
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• 2008

Hyeunryungwon is a tomb for Crown Prince Sado, who was the father of King Jeongjo, the twenty second king of Joseon dynasty. The tomb had been originally in the Eastern part of Seoul, but was relocated in 1789 to the downtown Suwon, which was renowned as a good tomb site among the Royal family at that time. King Jeongjo looked through the records from the previous generations for the ideal location and direction for the tomb. He personally studied Feng Shui theory and designated its location and direction. He ordered for lavish decorations for the stone adornments of the surroundings of the grave mound, which was against the regulations of the royal family. He found his reasons in the precedent that allowed sumptuous decoration. However, for the arrangements of Jeongjagahk(T shaped building) and other attached facilities, he made unusual choice that other precedent royal tombs did not have. Instead of following the conventions that Jeongjagak should be facing south of a grave mound, he put it on the right side of grave mound. Also conventionally, Subokbang(a place where guards can stay) and Suragan(a kitchen that prepares food for sacrificial rites) should be facing symmetrically, but they too, were on the same side with Jeongjagak. It was a measurement that the grave mound of Hyeunryungwon can have a full view without being obstructed by other facilities and it was also personally ordered by King Jeongjo. The distinguishing features of Hyeunryuwon was motivated by King Jeongjo's filial affection, and his academic pursuit of precedent royal tombs initiated the unconventional and innovative challenges.

• Journal of the Korean Society for Library and Information Science
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• v.56 no.4
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• pp.73-100
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• 2022

In this study, Samryesugwon is compared with King Jeongjo's anthology because it is not clear why King Jeongjo made Samryesugwon from the Three Classics of Li in a same category but in two different text. As results of this study, it is hard to find information of title because there is no table of contents on the Samryesugwon. Also, King Jeongjo considered and respected the Yili and Zhouli as the original Classics of Li, but not the Liji. Last, it turns out that there is the passive fixed pattern in the way of abridgment instead of the unique characteristic of Jeongjo's abridgment which was compiled before. This research has an academic significance because it figure out the reason why King Jeongjo compiled the Samryesugwon and what his perspective on the Three Classics of Li by textual analyzing as abridgment book.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.14-25
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• 2016

This study aims to investigate what flowering plant Jeongjo loved, the attitudes and the reasons, and their implications. The study method was to investigate the contents and meaning in the historical records and to describe their interpretation. Jeongjo's life was consistent with very abstinent life style. His food, clothing and shelter were simple, and he did not show the interests in music, various arts and craft, women, and so on. He did not even show his interest in the flowers and plants of fairyland, beautiful flowers and plants. Jeongjo knew various kinds of flowers, and he was proficient in artistic expressions such as literature or painting with flower material. Due to this kind of attitude, there were few cases to demonstrate his taste on the specific flowering plant. The only one that Jeongjo revealed as his favorite flower was the pomegranate. However, the pomegranate was not the simple flowering plant as the subject of enjoying to Jeongjo. The pomegranate has the meaning of indicator plant to indicate the season of rice farming. Therefore, he made it to be the intermediary to indicate the farming season, which counted a few. Besides, Jeongjo who was threatened by the trials of assassination to him in his early throne period utilized 5,600 pomegranate flowerpots as the barricade of his shelter by arraying them with the type of stone piles in $B{\bar{a}}zh{\grave{e}}nt{\acute{u}}$(八陣圖). The use of Jeongjo's pomegranate flowerpots was not related to the visual utilization like ornament at all, which was very unique case. From multiple records, it was found that the pomegranate was the flower to be with Jeongjo in his period of reign. It is remarkable that the reason why Jeongjo kept pomegranate for a long time like this had the difference from enjoying practice on the ordinary flowering plant. This study has the limitation to be conducted depending on the Korean translated data. Further studies are required according to the translation performance of new historical records.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.1
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• pp.40-52
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• 2016

Buyongjeong, a pavilion in the Rear Garden of Changdeok Palace, was appointed as Treasure No. 1763 on March 2, 2012, by the South Korea government since it shows significant symmetry and proportion on its unique planar shape, spatial configuration, building decoration, and so forth. However, the designation of Treasure selection was mainly evaluated by concrete science, in that the selection has not clearly articulated how and why Buoungjeong was constructed as a present unique form. Therefore, this study aims to clarify the identity of Buyongjeong at the time of construction by considering its historical, ideological, philosophical background and building intention. Summary are as follows: First, Construction backgrounds and characters of Buyongjeong: Right after the enthronement, King Jeongjo had founded Kyujanggak(奎章閣), and sponsored civil ministers who were elected by the national examination, as a part of political reform. In addition, he established his own political system by respecting "Kaksin(閣臣)", Kyujanggak's officials as much as "Kain(家人)", internal family members. King Jeongjo's aggressive political reform finally enabled King's lieges to visit King's Rear Garden. In the reign of King Jeongjo's 16th year(1792), Naekaksangjohoe(內閣賞釣會) based on "Kaksin" was officially launched and the Rear Garden visitation became a regular meeting. The Rear Garden visitation consisted of "Sanghwajoeoyeon(賞花釣魚宴)" - enjoying flowers and fishing, and activities of "Nanjeongsugye". Afterward, it eventually became a huge national event since high rank government officials participated the event. King Jeongjo shared the cultural activities with government officials together to Buyongjeong as a place to fulfill his royal politics. Second, The geographical location and spatial characteristics of Buyongjeong: On the enthronement of King Jeongjo(1776), he renovated Taeksujae. Above all, aligning and linking Gaeyuwa - Taeksujae - a cicular island - Eosumun - Kyujangkak along with the construction axis is an evidence for King Jeongjo to determine how the current Kyujangkak zone was prepared and designed to fulfill King Jeonjo's political ideals. In 17th year(1793) of the reign of King Jeongjo, Taeksujae, originally a square shaped pavilion, was modified and expanded with ranks to provide a place to get along with the King and officials. The northern part of Buyongjeong, placed on pond, was designed for the King's place and constructed one rank higher than others. Discernment on windows and doors were made with "Ajasal" - a special pattern for the King. The western and eastern parts were for government officials. The center part was prepared for a place where government officials were granted an audience with the King, who was located in the nortern part of Buyongjeong. Government officials from the western and eastern parts of Buyongjeong, could enter the central part of the Buyongjeong from the southern part by detouring the corner of Buyongjeong. After all, Buyongjeong is a specially designed garden building, which was constructed to be a royal palace utilizing its minimal space. Third, Cultural Values of Buyongjeong: The Buyongjeong area exhibits a trait that it had been continuously developed and it had reflected complex King's private garden cultures from King Sejo, Injo, Hyunjong, Sukjong, Jeongjo and so forth. In particular, King Jeongjo had succeded physical, social and imaginary environments established by former kings and invited their government officials for his royal politics. As a central place for his royal politics, King Jeongjo completed Buyongjeong. Therefore, the value of Buyongjeong, as a garden building reflecting permanency of the Joseon Dynasty, can be highly evaluated. In addition, as it reflects Confucianism in the pavilion - represented by distinguishing hierarchical ranks, it is a unique example to exhibit its distinctiveness in a royal garden.

• Korean Journal of Human Ecology
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• v.18 no.1
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• pp.189-200
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• 2009

In the Edo period speaking of hair culture, common women wore decorative pigtail ribbons on the right, and twisted from side to side their tressed hair in such a manner as ungeunmeori and traemeori. Instead of gachae, common women used gogae made of their own hair, ungeunmeori on forehead, or jjokjinmeori at the back of head. During the Edo period, people women naturally exposed their necklines as a way of exposing their faces in the aesthetically ceremonial act of wearing make-up. As for lipsticks, they rouged extracts from red petals of safflowers mainly on their lips, and sometimes on their cheeks by blending this with white powder. Samurai families disliked women who wore thick lip makeup. In the latter period, women painted their necklines or foreheads black, applied a small amount of rouge on their cheeks thinly or thickly, and colored a reddish color into their fingernails by using petals and leaves of balsam flowers. Despite the chronological and spatial proximity of the King Jeongjo period and the Edo period, it was found that there were no similarities between two countries' cosmetic cultures. Moreover, it was discovered that current TV dramas were being produced, even not based on historical evidence in the Jeongjo period.