• The Journal of Korean Philosophical History
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• no.25
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• pp.137-166
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• 2009

Prior studies on Nam-myoung characteristics used to focus on practical confucianism of "Kyeong Eui (Respect and righteousness)" ideology. However, in the strict sense, what are the elements that can define Nam-myoung as a historical figure and as he has been in his time and after his death? Is it his philosophy established and derived from respect and righteousness? For this, I have a quite different view. All of literatures about Nam-myoung from his and his posterity time consistently most highly valued the idea of "Entering the government service and live in seclusion" advocated by Nam-myoung who consistently refused to be assigned any post from the government. This study aims to look into his idea by examining his personality and to find out the basis of his idea implied through the examination. He discussed the practices of "Entering the government service and live in seclusion" of other historical and present figures of his time through critical examination on them. For setting the reference for determining the reasonability for their practice of such idea, Nam-myoung pointed out "foresight" for understanding "Gimi (shade)" of which "Gi" is the diverging point of good and evil. He understood if one puts aside self-interest and observes the law of nature, one would be a good and lucky man but if one includes self-interest in the law of nature one would be a wicked man. His view on anyone entering government service when the time is against the person to obtain the post or when the person is unable to fill the post satisfactorily, was that they are 'people with self-interest' and therefore their practice of entering the government service and living in seclusion is wrong.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.72-83
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• 2013

This study suggests the necessity of landscaping alternatives for the succession of Takjok(濯足) culture by considering the background and meaning of Takjok's cultural phenomenon shown in old literatures and paintings and its result is as follows. An old idiom, 'Takyoung Takjok(濯纓濯足)' implying a disinterested living attitude from the mundane world and an attitude complying with nature, has been sublimated to 'Takjokjiyu(濯足之遊)' which means living in comfortable retirement through life in seclusion(隱逸). Classical scholars immerse their feet in soft-flowing(柔軟) water for 'Mulailche(物我一體; synchronized with nature)' which is a unified condition with 'Do(道; truth)' and connected to the stage of 'Yu(遊)', a free mental state, and its nature. The cultural phenomenon of Takjok appeared in the inherited landscape paintings in the Joseon dynasty period after the late stage of Koryo. Takjok shown in 'Pal Kyung Shi'(八景詩; poetry singing for the eight scenary) was described as not a transcendent scene, but as a scenery of daily life. Dense forest and water, such as a stream with clean water, rocks, and pine trees shown in Takjok paintings have been symbolized as a seclusion space for classical scholars with higher thinking and their mental states have been more emerged. Mental pleasures called as seclusion and Takjokjiyu have been relatively emphasized in the Takjok paintings of the Joseon Dynasty period contrary to the Chinese Takjok paintings emphasizing Chung Gye(淸溪; clean stream) and Chang Rang(滄浪; high and clean wave) and strongly representing the image of 'Chung Ryu'(淸流; clean flowing water) and the veneration for antiquity. The view of nature described in the Takjok paintings represents the provision of nature as a situation and attitudes of classical scholars and implies a Taoism perspective which describes the 'do' of nature. This view of nature itself remained intact(無爲自然) with the love of mountains and water, showing a side of the zeitgeist and aesthetic consciousness of China and Joseon. The 'Takjokjiyu' of both countries has be interpreted as a symbol of personality development, behavior, life in seclusion, or transcending the mundane world and has also been accepted as a method of summer vacation in the real world. It should be considered that Takjok includes ordinary people's wisdom to resist the hot weather, as well as the classical scholar's ideal and the veneration of antiquity. From this perspective, water space, Takjok rocks, and the use of water based on the environmental supportability should be newly focused as a recreational space and it reminds us that the spirit of Takjok is a classical mental healing method.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.4
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• pp.82-94
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• 1999

According to Korean's geographical features of Taek Li Ji, the best location for human settlements is on the vicinity of a stream among a stream, an river and a sea, and not far from a ridge. The researcher chose one of best village which is called Yougokmaeul in Bonghwa-Gun, Kyungsang-Do. This village was created a gathering village with the same surname, can be translated as a hen and the front mountain can be seen as a rooster in the view of the shape of geographical features. As it were, the shape of this village and the cultivated land seems to be an egg inside a nest of a parent's chicken in the respect of the analogy of the theory of P'ungsuchiri which is known as Feng Shui in China and geomancy in the western world, and to effect the defensive psychology of the living environment in the terrain inland. This village is the studying place, Suckchunjungsa as the lecturing and studying place for their following students within the Chunghadonchun, the studying Yougok village, and even the ritual place performing ancestral sacrifices and the first incoming ancestor's graves in the same geographical system. The house site of the first incoming resident is surrounded the countian and is located in the front of Backsulryount which is the main mountain through Moonsu-san in the branch mountain of Korean's mountain system. Backsulryoung which is to be seen as the white peak, is symbolized the head of a hen which is to relate to a mysterious turtle in the view of P'ungsuchiri. And the pavilion which is called Chungamjung is sited on the rock of a shape of turtle which is symbolized to live longer. In the section of the mountain and water, Lee Jung Hwan mentioned a living place near the mountain stream is the best residential area and a landscape which is composed by a stream between mountains make a pleasure spirit and a bright feeling and make a refined person. If one can reach in the graceful mountain make a pleasure split and a bright feeling and make a refined person. If one can reach in the graceful mountain half day away, this kind of place must be a best living residential area to live. But this village was structured all in one place. And one of the ideas tangibly reflected in traditional Korean society's view of life and nature is the seclusion based on the Taoism. This kind of a dreamy thoughts make a dream to keep the paradise in our ancestors' mind. This kind of utopia is Chunghadonchun which is structured 5 aspects from the utopian gate near the Samgaesuewon to the village. These 5aspects is expressed by some Confucian thoughts as a small cosmos individually. On the third aspects which is the center among these aspects, the Suckchunjungsa which was made a seclusion place to devoting himself to his studies with refined tastes. The word of Jiju-am, Gangpung-dae, Jaewol-dae and Biryoung-pock are all expressed to cultivate one's moral character and to seek the truth by the Confucius'theory through the nature.

• Korean Journal of Social Welfare
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• v.62 no.2
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• pp.109-134
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• 2010

This study is about the experience of committing suicide's family and the purpose of study is to understand the essential structure of their life experience and to erect the grounded data for the restoration of committing suicide's families. The research was conducted by phenomenological case their family by suicide participated to study data were collected by in-depth interview. The authors interpreted the data in terms of Van-Menen's analysis framework. The result as follows: The essential themes of participant 1 were "digging seclusion site", "whirling around cryptograph" and participant 2 were "resuscitational catastrophe", "sowing seed on destroyed land", and participant 3 were "living Anonymous", "pumping priming water", and participant 4 was "taking on the burden of tragedy", and participant 5 was "stopen life time". The typical theme was "living person's life is died person's remaining category".

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.42-59
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• 2020

The purpose of this study is to examine the actual cases of crane breeding at private homes in the Joseon Dynasty period, thereby identifying the universal meaning and characteristics of this act reflected in these cases. This study is likely to help understand the true nature of garden culture during the period. The study' temporal and spatial scope was limited to the Joseon Dynasty and private homes. As references for the study, translated versions of classical literature were selected from the Database of Korean Classics(http://db.itkc.or.kr). To complement for the data, related researchers' translated materials were also used in part. The study's results are summed up as follows: First, Individuals from various social classes including royal families, noblemen, noble families in countryside, and commoners kept cranes at their homes. These crane breeders included those who left a significant mark in the Joseon Dynasty politically and academically as well as 'cheosa(處士)' that refers to scholars living in seclusion without entering the government throughout their lifetime. Second, Crane breeders were spread all over the country. Notably, various cases of crane breeding were found within the Hanyang Wall and its vicinity. Third, The act of crane breeding was highly associated with blood ties and academic lineages such as friendships and teacher-student relations. In this regard, crane breeding was not just a simple taste or appreciation for the arts, but rather reflective of a person's life attitude and orientation. Forth, The consciousness of Confucian origins based on an ancient story of Limpo (林逋) appears to have a large impact on the act of crane breeding. In addition, some cases exhibited the reflection of Taoistic tastes. Fifth, Some individuals tamed cranes for a living. This proves the presence of steady demand for cranes in this period. The present study's limitation is its reliance on translated materials, which hindered research into various cases. Therefore, the future discovery of additional data and the accumulation of their translations will enable the investigation of a wealth of cases.

• Journal of Korean Philosophical Society
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• no.118
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• pp.25-51
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• 2017

The purpose of this article is to elucidate Plotinus' concept of freedom. Particular attention is paid to two terms, 'what is self-determined' (to autexousion) and 'what is up to us' (to $eph^{\prime}h{\hat{e}}min$), which Plotinus employs in order to articulate the meaning of freedom. It is shown that freedom in Plotinus consists in the power of doing whatever one wills while willing the good. We first situate Plotinus' concept of freedom in the Socratic tradition. Next we investigate how Plotinus and Alexander of Aphrodisias conceptualize freedom in terms of self-determination in the context of criticizing determinism. It is shown that Alexander tries to secure the psychological grounds for human moral responsibility by introducing a causally undetermined power of choice between alternatives. In contrast, Plotinus is interested in psychological conditions that allow humans to do the right thing. For this purpose, he establishes the concept of will ($boul{\hat{e}}sis$) as the power of wanting and choosing the best. We then try to clarify his claim that free will cannot choose otherwise by appealing to his concept of divine freedom, which idealizes the power of doing one's best and being oneself at one's best. Finally, we discuss Plotinus' view of the limitations and possibilities of human freedom and indicate its practical implications. In conclusion we claim that Plotinus pleads for an active way of living which spreads inner freedom out into the world, rather than living in seclusion so as to protect an inner freedom which is pure.

• The Journal of Korean Philosophical History
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• no.25
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• pp.355-379
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• 2009

According to the estimations in historical books and research achievements which have been produced, Ji-kang was a prominent Taoist in the Wei-Jin dynasty. But some philosophers, on their opinions, regard Ji-kang as a scholar who withdrawal from ordinary life in the real society. In this sense, this article investigates the Ji-kang's perspective of the life in seclusion, in particular, by analysing the letter to Shan Ju-yuan in breaking off relations與山居源絶交書. The purpose of this thesis is to clarify Ji-kang's the ideal of life, by discussing the reaction to the realistic society, the reflection on the confused society and the change into the new ideal of life of Ji-kang. Ji-kang's the ideal of life in the letter to Shan Ju-yuan in breaking off relations與山居源絶交書 have the following characteristics: First, he has pursued to participate in the real society by passive and immediate way, but he realized how difficult his ideal comes true. Thus, he seek the new ideal of life, hermit. Second, according to the view of hermit in the ancient Chinese tradition, his view of hermit implicates the change in his ideological tendency from the hermit of Confucianism and Taoism to the hermit of Taoism. Third, he tried whatever methods that were passive and seclusive to participate in the real society, but he isn't a common idealist. In this way, Ji-kang applied these thought of the social life and the ideal of life to the philosophy of living.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.3
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• pp.85-92
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• 2018

The purposes of this study are to analyze the spatial composition of the outer garden of Soswaewon that appears in Gyeong-Ji Yang's "30 Poems of Soswaewon" and examine its significance and symbols. These poems by Gyeong-Ji Yang are important historical records that portray the appearance of Soswaewon and the space outside it at the end of the 17th century. Unlike "48 Poems of Soswaewon" or "Soswaewondo," these poems arenot limited to Soswaewon and its surroundings; theyalso include areas from the village entrance upwardto the peak of the mountain behind the village. These poems can be divided into three main parts. Jiseok-ri and Changam-dong in poems 1 and 2 provide first impressions of the village in which the main Soswaewon garden is located, whereas poems 3 to 8 and poems 10 to 12 describe the space inside Soswaewon. Poems 13 to 30 depict the beautiful scenery around the outer garden of Soswaewon. In general, about 30% of the compilation in "30 Poems of Soswaewon" celebrates the inner Soswaewon, and the remaining 70% depicts the scenery around Soswaewon (i.e., views of the outer garden). It is presumed that Gyeong-Ji Yang employed this structure to achieve some type of order. Between the "48 Poems of Soswaewon" - also describing Soswaewon - and "Soswaewondo," which is a woodprint drawing of Soswaewon, "30 Poems of Soswaewon" offers the widest coverage of Soswaewon. Compared to "48 Poems of Soswaewon," which addresses the scene inside Soswaewon, new buildings such as the Jaeweoldang, Buhweondang, and Hancheonsa appear in "30 Poems of Soswaewon." Thus, the latter covers a much wider range. Chimgye Munbang - Gwangpunggak, Yangdandongo - Aeyangdang, Byeongseogjuggeun - Jajukchong, etc. are mentioned in both compilations. The use of a wide range of natural objects in these 30 poems, including mountains, birds, and the sky (instead of trees and flowers), shows that the author perceived Soswaewon as an area with a much higher and wider view than that of a typical living space. Moreover, natural regression ideologies, or seclusion ideologies, are evident.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.139-153
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• 2014

This study contemplates the utopian landscape recognized by the scholars with twenty three pieces of 'travel record'. Consequently, five key words - Mureungdowon(武陵桃源), Byeolcheonji(別天地), Dongcheon(洞天), Chonghakdong, Eungeoji(hermitage) - are chosen for comprehending the utopia and their landscape characteristics are organised as follows. Mureungdowon in Jirisan Mountain which the scholars dreamed of is a flatland with the full energy for local vegetation and domestic animals in the mysterious and deep gorge. This utopia eventually reflects the rural landscape. Byeolcheonji is a utopia combining the concept of a fairyland and beautiful scenery. The scholars also used the term 'Dongcheon' for naming the enclosed landform which is suitable for seclusion and defining the some areas of beautiful scenery. Cheonghakdong, which is set only in Jirisan Mountain, has been formed by the stone scenery of gorges and Buril waterfalls around the whole area of Burilam Hermitage, the vegetation scenery of pine trees and bamboos with the legend of Choi Chiwon and his engraved inscription on a rock. Adding to the utopia passed down, the scholars perceived the village with geographical features with back to the mountain and facing the water, the river practising the trade, the flatland enclosed by bamboo forests, the vegetation mainly consisting of fruit trees and beautiful scenery as the utopia realized on earth. It is equivalent to the world of human beings laboring appropriately and living in Mother Nature. As mentioned above, this study has significance for apprehending the relevance between the culture of strolling in the mountains by the scholars of Joseon Dynasty and the fairyland and explaining the various traditional utopias from the inherited concepts from China to the naturalized realistic utopia.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.1
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• pp.97-106
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• 2016

This study is to suggest the necessity of landscaping alternatives for succession of Takjok(濯足) culture by considering the background and meaning of Takjok's cultural phenomenon shown in old literatures, paintings and ruins of landscape architecture as a front morphemes. Its result is as follows. 1. An old idiom, 'Takyung Takjok(濯纓濯足)' implying a disinterested living attitude from the mundane world and an attitude complying with the nature, has been sublimated to 'Takjokjiyu(濯足之遊)' which means living in comfortable retirement through life in seclusion(隱逸). 2. The meaning of Takjok did not expand into, not only Takyung Takjok, but also into Takcheong(濯淸), Tako(濯吾), and Taksa(濯斯) with continued expansion in its meaning. The spaces the meaning of Takyung Takjok is implied on have also newly expanded into the artificial spaces, including Jeong(亭-pavilion) Jae(齋-house) Heon(軒-eaves), and Ji(池-pond), as well as the natural spaces, including Am(巖-rock) Dae(臺-flat foundation) Dam(潭-deep pond) Ban(盤-dish rock) Seok(石-stone) So(沼-shallow pond) San(山-mountain) Bong(峰-peak), and Cheon(泉-water hole). 3. As seen here, the cultural phenomenon of Takyung Takjok, which have derived from the Dangho(堂號) of buildings, the names of natural objects in Palgyung and Gugok(eight sceneries and nine curves), facilities of Byeolseo garden and Seowon, and the Amgakseo in nature, is worth noting. 4. It should be considered that Takjok includes ordinary people's wisdom to resist the hot weather as well as classical scholar's ideal and the veneration of antiquity. From this perspective, water space, Takjok rocks, and use of water based on the environmental supportability should be newly focused as a recreational space and it reminds us that the spirit of Takjok is a classical mental healing method.