• (The)Study of the Eastern Classic
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• no.37
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• pp.509-546
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• 2009

Joseon was a Confucian dynasty. It was ruled by Kings of the Royal family that had secured the orthodoxy of clan rules under Confucian ideas. Royal family was the main prop of Confucian culture and Kings were leaders who leaded society and culture from the top. Therefore, Kings should complete more strict and intense education than noblemen. The Royal family and the government should have to establish prime educational environments and systems to foster successors qualified for the throne. This study focused on educational institutes and educational ceremonies. Study on educational institutes could clarify the purposes of educational institutes that were installed along the growth of throne successors and the educational courses that successors completed by each period. On the other hand, study on educational ceremonies could make it clear how were throne successors given with authority and did they internalize the duty of sense as the leader to lead next generation. In addition, by tracing the form with which politics and education had combined each other through ceremonies, it could be learned that the ceremonies of Joseon Dynasty had have a unique 'educational function'.

• Journal of Korean Philosophical Society
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• v.139
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• pp.213-238
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• 2016

This paper examines how Dasan Jeong Yak-yong developed self-healing and his perspective of happiness during the hardest point of his political and social career. Just after the death of King Jeongjo (正祖, reign. 1766-1800) the arrest and persecution of those who accepted Christian knowledge from the West began. Among them were Jeong's family members and friends. Jeong, who had learned but had not accepted Christianity as a religious belief, was exiled to Ganggin 康津 in southern Jeolla Province where he was to spend the next 18 years. The two things that helped Jeong through his exile were the Book of Changes 易經 and his commitment to the study of Confucian thought, political, and social reforms. His life-long commitment to writing and his progressive understanding of the principle of changes of the universe in the Book of Changes, represented processes of self-healing and cultivation, depriving Jeong of self-pity and enabling him to attain the highest level in self-realization. According to Jeong, there are two kinds of happiness; "secular happiness" (yeolbok 熱福) related to power and wealth, and "pure happiness" (cheongbok 淸福), a free and idyllic life. For Jeong, the latter was more valuable than the former. Jeong believed that life pursing ethical virtues only could bring authentic joy to people. Furthermore, his devotion to the issues of systematic, social reforms was out of his desire to bring the public happiness by "practical learning", silhak 實學.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.1
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• pp.33-40
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• 2019

The purpose of this study is to analyze historical records of what the trees had been planted like by establishment and management of the Royal Tombs of the Joseon Dynasty so that it could be utilized for historical records to manage the trees in the Royal Tombs. The research method was to analyze the related keywords for 40 trees out of 42 trees in the Royal Tombs of the Joseon Dynasty reffering to "The Annals of the Joseon Dynasty(朝鮮王朝實錄)," and "Neungji(陵誌)". There are two types of planting called Jeongsik(定植) Bosik(補植) in the Royal Tombs. Jeongsik(定植) is a planting method by Salleungdogam(山陵都監), the office in charge of construction of the royal tomb when they were building the royal tomb. Every tree additionally planted after building up the royal tomb was called Bosik(補植). The types of tree planting the composition and management of the royal tombs of Joseon are as follows. First, the first planting for landscaping was carried out during the process of building the province. Second, after the formation of Shanung, all the plants were planted by Wangmyung as additional plants. Third, due to the deforestation in the late Joseon period, additional plants were planted in the fertile plains. Fourth, trees were damaged due to natural disasters, and trees were planted together with the construction of the botanical gardens. Fifth, in the 22nd year of King Jeongjo, all the royal families' graves were regularly planted. This study aims to investigate the history of forest landscape management for the restoration of the royal tombs of Joseon.

• Korea Science and Art Forum
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• v.20
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• pp.227-241
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• 2015

As time is rapidly changing, the culture to represent an era is getting more subdivided and complex. Due to cultural diversity, the influence, cause, characteristics which could be understood in individual field centered by space in the past cannot be understood now only by the viewpoint of one field, and it has become difficult to predict and correspond to the change of the future. With the development of information and knowledge delivery system, various cultural contents to form a space are being created and lapsed, but there are a lot of parts which cannot be explained or understood by only one point of view. To inspect these situation, this study is aimed to draw the cultural and technical causes that became the influence with Suwon Hwaseong, a traditional space with historical superiority, analyze the key factors that became the main factor to form the space, and consider the importance of the related factors. Suwon Hwaseong is a new town formed by the order of King Jeongjo. Suwon Hwaseong at that time was a space with the will and effort of many people who dreamed a new era, and it has a meaning of varoius time ans space as historical facts and cultural values as well as the progress and development of scientific technology. The unstructured data technique which is applied as the method of analysis in this study can be said to be a new value judgement and viewpoint in interpreting the space. Therefore, this study is a new trial to provide a frame for multilaterally interpreting the various traditional space and culture of Korea from the past to the present.

• The Journal of Korean Medical History
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• v.35 no.1
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• pp.45-57
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• 2022

This paper examines the positions and personnel of the Naeui system in the late Joseon Dynasty. First, the regulations of the Naeui system were investigated through the literature related to Naeuiwon. Next, the operation of the regulations, changes in the system, and causes were analyzed through the Seungjeongwon Diary (承政院日記). We discovered: 1) Naeuiwon's medical bureaucracy originally did not have a fixed number of positions, but gradually came into being with a quota regulation. Uiyagdongcham-ui (議藥同參醫) and Naechim-ui (內鍼醫) did not have a quota, but was initially set at 10 people, then expanded to 12 people. Originally, the royal physician had no fixed number, and in 1864 the first quota was 7 people. 2) 'Gyeom-eoui' and 'gachanaeui' served to expand Naeui's quota. After the mid-17th century, 'Gyeom-eoui' expanded the quota of royal physicians to secure a position for the medical bureaucracy of Naeuiwon. 'Gachanae' after King Jeongjo serves to add to the quota while obeying the provisions of the law. 3) The customary promotion of Naeuiwon's medical bureaucracy expanded and became stricter after the mid-19th century, during which special promotions became more frequent than in previous periods. As for the provision of appointment to the 6th class after 30 months, Uiyagdongcham-ui was established in 1686 and Naechim-ui was established in 1718, increasing the chance for customary promotion. In the case of Naeui, the regulation for the Secretary General to raise the degree of official rank has been strengthened since the Cheoljong era. However, special promotions were frequent in the mid-19th century because the number of high-ranking officers increased compared to the previous period. In conclusion, the Naeui system in the late Joseon Dynasty changed in the direction of strengthening their own privileges. The Naeuiwon's quota was increased and promotion was guaranteed through the system and customs. Since the mid-18th century, there have been some regulatory restrictions, but the framework has not changed. This is confirmed not only in the regulations of the documents related to the Naeuiwon, but also in the Seungjeongwon Diary. Naeuiwon's medical bureaucracy enjoyed superiority in promotion and status compared to other forms of technical bureaucracy.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.

• (The) Research of the performance art and culture
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• no.23
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• pp.105-158
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• 2011

Due to the system of sending selected hyanggi(local entertaining woman) to the government office in Seoul after the abolition of the system of gyeonggi(entertaining woman in capital area) during the reign of King Injo(1595~1649), the kyobang-jeongjae(local dance performed for the provincial government office) had gotten into the court to be performed at the royal banquet as gungjung-jeongjae(court dance), one of which was seonyurak(dance of boating). It used to be performed for finale of the royal banquet in the late Joseon Dynasty and appeared in several uigwes(record for royal banquet) since its first appearance in the wonhaeng-eulmyo-jeongri-uigwe, documented in 1795, the 19th year of the reign of King Jeongjo. Considering that the yeoggi(female entertainer) responsible for the court dance, seonyurrak was the seonsanggi(selected entertaining woman from provinces) from the northwestern provincial villages such as Euiju, Ahnju, and Seongcheon etc., we can assume that the baettaragi, one of kyobang-jeongjaes whould have been getting into the court to become the seonyurrak as court dance. The baettaragi, kyobang-jeongjae of northwestern province that affected the development of the court dance, seonyurak was created as performance executed by entertaining women of kyobang(local supervisory office for entertaining women) on the basis of the fact that the envoy of Joseon dynasty to the Ming dynasty could not help but taking a sea route when Amaga Aisin Gurun had a grip on the northeastern area of China during the shift of power from Ming to Qing. There had been a lot of banquets for envoys in the northwestern province because of its geographical feature as gateway to trip to China and the baettaragi used to be performed by entertaining women belonged to local provincial office to consolate the sadness of separation with those who destined to depart to China and to hope for their safe return. The kyobang-jeongjae, baettaragi of northwestern province is recorded as performance with sorrowful song to put the pain of parting into work, according to many related documents. It puts together painted boats as props, the march of a couple of dancer dressed up as soldier with marching music called gochiak, the song and musical accompaniment before getting on boat, the dramatic expression of sailing, and the farewell song praying for safe return etc. It turns the situation of dispatching envoys for China by sea into performance with combination of music, song and dance. Created in this way, the kyobang-jeongjae, baettaragi had been performed at the various banquets for envoys departing for China and it affected the formation of court dance or gungjung-jeongjae called seonyurak through the activities of selected local entertaining women. It also exerted influence on other similar performance in provincial area because of the returning home of the selected local entertainers who finished their performance in Seoul and it had been performed with different variation at local banquet including locality in it.

• (The)Study of the Eastern Classic
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• no.69
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• pp.451-479
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• 2017

The objective of this study is to examine the tasks for listing martial arts of "Muyedobotongji" on the UNESCO Representative List of Intangible Cultural Heritage of Humanity. The conclusions are like below. First, "Muyedobotongji" was published in 1790(14th year of King Jeongjo). The 24 martial arts of "Muyedobotongji" were basically divided into three types like stabbing, chopping & cutting, and hitting. Second, the value of martial arts of "Muyedobotongji" is highly evaluated because it has systematically put together the martial arts of three countries like Korea, China, and Japan of the 18th century, suitable for the actual status of Joseon Dynasty, in the new perspective. The value of "Muyedobotongji" as a Memory of the World is the martial arts book emphasizing the practicality, so that everyone including officers and soldiers could easily learn. Third, the procedure of registering martial arts of "Muyedobotongji" in the UNESCO Representative List of Intangible Cultural Heritage of Humanity has three stages including preparation/submission, screening, and decision, which takes two years. Especially, the screening assistance organization, as an organization under the Intangible Cultural Heritage Convention Intergovernmental Committee is composed of total six countries(one for each area) out of 24 member countries. Fourth, the tasks for listing martial arts of "Muyedobotongji" in the UNESCO Representative List of Intangible Cultural Heritage of Humanity are like following. (1) It would be necessary to conduct a total inspection of the collection of "Muyedobotongji". (2) It would be necessary to designate the martial arts of "Muyedobotongji" as the municipal/provincial/national intangible cultural heritage. (3) It would be needed to standardize the practical martial arts technique/movement of "Muyedobotongji". (4) The historical evidence of martial arts costumes/weapons of "Muyedobotongji" should be studied. (5) A committee for the registration of martial arts of "Muyedobotongji" in the UNESCO Representative List of Intangible Cultural Heritage of Humanity should be organized. (6) There should be a close cooperation system between relevant departments like the World Heritage Team of Cultural Heritage Administration and the Ministry of Foreign Affairs. (7) Domestic/foreign data related to martial arts of "Muyedobotongji" should be comprehensively collected to meet the registration standard of UNESCO. (8) The registration type of Intangible Cultural Heritage of Humanity should be prepared.

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

• Journal of Ginseng Culture
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• v.4
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• pp.13-37
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• 2022

Even before recorded history, the Korean people took ginseng. Later, poetry passed down from China developed into a literary style in which intellectuals from the Silla, Goryeo, and Joseon Dynasties expressed their thoughts concisely. The aim of this paper is to find Korean poems related to ginseng and to look for their semantic network. To this end, "Korea Classical DB ", produced by the Institute for the Translation of Korean Classics, was searched to find ginseng poems. As the result of a search in November 2021, two poems from the Three Kingdoms Period, two poems from the Goryeo Dynasty, and 23 poems from the Joseon Dynasty were searched. An examination of these poems found that the first ginseng poem was "Goryeoinsamchan," which was sung by people in Goguryeo around the 6th century. Ginseng poetry during the Goryeo Dynasty is represented by Anchuk's poem. Anchuk sang about the harmful effects of ginseng tributes from a realistic point of view. Ginseng poetry in the Joseon Dynasty is represented by Seo Geo-jeong in the early period and Jeong Yakyong in the late period. Seo Geo-jeong's ginseng poem is a romantic poem that praises the mysterious pharmacological effects of ginseng. A poem called "Ginseng" by Yongjae Seonghyeon is also a romantic poem that praises the mysterious medicinal benefits of ginseng. As a scholar of Realist Confucianism, Dasan Jeong Yak-yong wrote very practical ginseng poems. Dasan left five ginseng poems, the largest number written by one poet. Dasan tried ginseng farming himself and emerged from the experience as a poet. The story of the failure and success of his ginseng farming was described in his poems. At that time, ginseng farming was widespread throughout the country due to the depletion of natural ginseng and the development of ginseng farming techniques after the reign of King Jeongjo. Since the early 19th century, ginseng farming had been prevalent on a large scale in the Gaeseong region, and small-scale farming had also been carried out in other regions. What is unusual is Kim Jin-soo's poem. At that time, in Tong Ren Tang, Beijing (the capital of the Qing Dynasty), ginseng from Joseon sold well under the "Songak Sansam" brand. Kim Jin-Soo wrote about this brand of ginseng in his poem. In 1900, Maecheon Hwanghyeon also created a ginseng poem, written in Chinese characters. Thus, the semantic network of Korean ginseng poems is identified as follows: 1) Ginseng poetry in the spirit of the people - Emerging gentry in the Goryeo Dynasty (Anchuk). 2) Romantic ginseng poetry - Government School in the early Joseon Dynasty (Seo Geo-jeong, Seonghyeon, etc.). 3) Practical ginseng poetry - Realist School in the late Joseon Dynasty (Jeong Yak-yong, Kim Jin-soo, Hwang Hyun, etc.). This semantic network was extracted while examining the development of Korean ginseng poems.