• Journal of Ethics
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• no.88
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• pp.103-122
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• 2013

This paper aims to study on conceptual suitability or unfitness of Silhak(實學). It is general that by criticizing Chujahak(朱子學) or beyond the limitation of Seonglihak(性理學), Silhak has developed practical tendency to reforming the society in the middle and end of Chosen Dynasty, related to the context of Korean national reflection in modern times. However, it is unfortunate to be understood. As presented in Chosenwangjosillok(『朝鮮王朝實錄』), there has been a few usages in the term 'Silhak'. In short, it was different from its contemporary meaning. At that time, it was usually used to have the meaning of Gyunghak(經學), compared to Sajanghak(詞章學), or rarely, of 'the true study' or 'the practical study'. Therefore, it is to claim that its conception has been manipulated or exaggerated very seriously. Since 1930s, in particular, its conception has been misused in interpreting works of Jung Yak-Yong by some scholars, such as Jung In-Bo, Moon Il-Pyung and An Jae-Hong, who tried to apply the term to overcome the Japanese colonial era symbolised as modernity based on the future life of Korea. Even though their attempt has led to have crucial discussions on the conceptions of Silhak, it has an unnecessary result that there has been a new and totally different understanding of Silhak in South Korea, North Korea, China, Japan, etc., which means that the unsustainable conception of Silhak has been one of major problems in studying of Silhak. To give an practical solution, I would try to make sense of 'time spirit' whose scholars studied Silhak in the middle and end of Chosen Dynasty. A problem, however, is that a scholar group in the name of Bukhakpa(北學派) had certain links and bonds. This is because many scholars studying of Silhak were usually features out of the main stream, which made them it difficult to form any various groups. That is to say, it seems to be natural that they have dreamed of utopian imaginations less than of overlapping points in reality. To sum up, it would be concluded at least that any approach to human lives and thoughts in the given conceptions of Silhak, e.g. ethical thoughts of Silhak, enables us to be indifferentiated to take its true meaning and time spirit of Chosen Dynasty. To be disenchanted of its social roles in Chosen Dynasty, fundamentally, it should be escaped from the wrong net of illusions and sings in understanding Silhak in certain eclectic steps.

• 중국학논총
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• no.68
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• pp.115-139
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• 2020

颐斋自10岁开始一直到63岁去世, 坚持进行记录, 留下了《颐斋乱稿》这一庞大的著书。根据该书, 我们可以把握他对《诗经》的众多观点。他的《诗经》诸说主要引用了陆机的《毛诗草木鸟兽虫鱼疏》, 朱熹的《诗传》, 星湖李瀷的《星湖僿说》, 根据自己的观点进行了整理与批评, 简单明了地进行了说明。从研究结果来看, 颐斋黄胤锡的《诗经》诸说具有以下特征:第一, 提出了毛诗的圣贤传授说, 毛诗通过孔子-子夏-孟仲子这样的传授过程, 一直保留至当时。第二, 关于《诗经》大序和小序的作者, 颐斋支持衛宏說, 坚持比较合理的观点。第三, 对于"郑风"淫乱说, 颐斋认为淫乱是因为音乐的演奏方式与所奏之乐导致的, 与诗的内容无关。第四, 颐斋在日常中对《诗经》进行了灵活引用。这是继承了《诗经》断章取义的遗风, 颐斋在日常生活中教授《诗经》, 并对其进行活用和意思疏通, 他对《诗经》有着深入了解。第五, 颐斋对《诗经》的演唱具有很大的关心, 对其进行了说明, 特别是对弹奏玄鹤琴演奏《诗经》的情况进行了阐明。

• Industry Promotion Research
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• v.5 no.1
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• pp.157-164
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• 2020

After the Qing Dynasty overthrow of the Ming dynasty, this is far-reaching influenced on the Ming Dynasty's Sovereign state of the Joseon dynasty. Not only did regulations prohibit the entry into various books published by the Qing Dynasty, In addition, the "Northern Expedition" of Song Siyeo put forward the mainstream political proposal of the Northern Expedition and Qing Dynasty.Even in this context, Representatives of scholars such as Hong Daeyong, Bak Jega, Kim Jeonghui on the Joseon dynasty peninsula at the time, put forward the idea of "Learning from Central Plains" through several visits to Shuntian Prefecture (now Beijing), And gradually formed the well-known Silhak (Practical Learning) ideological of "Bukhak, (Northern Learning)" in the Joseon dynasty history. the Joseon dynasty Silhak ideological scholar of Kim Jeonghui also was under the influence of the Weng Fanggang and Ruan yuan other famous Qing Dynasty Textual scholar, Fruitful achievements in Chinese Classical Studies Epigraphy, Calligraphy.He founded the "Chusa-che" style of calligraphy Chusa, the "Chusa-che" styled is although born out of the clerical script, but more composition and See also asymmetrical in harmony, Strong and vigorous brush strokes, Every word vibrant, Make it a master of gold stone calligraphy in the Joseon Dynasty.This study based on some records of Kim Jeonghui's visited to Shuntian Prefecture(now Beijing), this article examines the academic activities of seeking truth to facts in Korea and the Qing Dynasty at the time, and the impact on these activities on calligraphy and painting in the Joseon Dynasty.

• The Bulletin of The Korean Astronomical Society
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• v.43 no.2
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• pp.48.4-49
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• 2018

We studyed an Korean astrolabe made by Ryu Geum (1741~1788), the late Joseon Confucian scholar. It has a diameter of 17 cm and a thickness of 6 mm and is now owned by Museum of Silhak. In the 1267 of the reign of Kublai Khan of Mogol Empire, Jamal al Din, an Ilkhanate astronomer, present an astrolabe to his emperor together with 6 astronomical instruments. In 1525, an astrolabe was first made in Korea by Lee, Sun (李純, ?~?), a Korean astronomer and royal official of Joseon Dynasty. He was referred to Gexiang xinshu, a Mongloian-Chinese book by Zhao, Youqin (1280-1345), an astronomer of Mongolian Empire. This astrolabe has not been left. In the mid-17th century, an astrolabe was introduced to Joseon again through Hungai tongxian tushuo (渾蓋 通憲圖設) edited by Chinese Mathematician Li Zhi-zao (李之藻, 1565~1630), that originated from Astrolabium (1593) of Christoph Clavius (1538-1612). It seems that Ryu refered to Hungai tongxian tushuo which affect to Hongae-tongheon-ui (渾蓋通憲儀) edited by Nam, Byeong-Cheol (南秉哲, 1817~1863). We analysis lots of circles on the mother and a set of index from the rete of of Ryu's astrolabe. We find that the accuracy of circles has about 0.2~0.4 mm in average if the latitude of this astrolabe is 38 degrees. 11 indices of the rete point bright stars of the northern and southern celestial hemisphere. Their tip's accuracies are about $2^{\circ}.9{\pm}3^{\circ}.2$ and $2^{\circ}.3{\pm}2^{\circ}.8$ on right ascension and declination of stars respectively.

• Journal for History of Mathematics
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• v.28 no.6
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• pp.301-310
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• 2015

Since Jiuzhang Suanshu, the main tools in the theory of right triangles, known as Gougushu in East Asia were algebraic identities about three sides of a right triangle derived from the Pythagorean theorem. Using tianyuanshu up to siyuanshu, Song-Yuan mathematicians could skip over those identities in the theory. Chinese Mathematics in the 17-18th centuries were mainly concerned with the identities along with the western geometrical proofs. Jeong Yag-yong (1762-1836), a well known Joseon scholar and writer of the school of Silhak, noticed that those identities can be derived through algebra and then wrote Gugo Wonlyu (勾股源流) in the early 19th century. We show that Jeong reveals the algebraic structure of polynomials with the three indeterminates in the book along with their order structure. Although the title refers to right triangles, it is the first pure algebra book in Joseon mathematics, if not in East Asia.

• Journal of architectural history
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• v.32 no.5
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• pp.107-117
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• 2023

There are records and claims that tung oil was applied to Korean traditional buildings and furniture as finishing paint. Records of the use of tung oil(桐油) exist in the Annals of the Joseon Dynasty(朝鮮王朝實錄) and The Royal Protocols of the Joseon Dynasty(朝鮮王朝儀軌). However, there is also a claim that tung oil was not produced in Korea on its own, and that tung oil was not applied to important buildings such as palaces. Silhak scholar(實學者) Seo Yu-gu says that in Korea, people do not know how to grow tung trees, and boiled perilla oil is called tung oil. If tung oil was used in the Joseon Dynasty, it would be necessary to use tung oil for waterproof coating to preserve current architectural heritage, otherwise, tung oil coating would not be desirable. Analyzing the Yeonggeon Uigwe(營建儀軌) among the Joseon Dynasty's Uigwes shows that tung oil is neither mentioned nor used. In addition, as a result of analyzing the Uigwes mentioned in tung oil, it was found that perilla oil or Myeongyu(明油), not tung oil, was recorded in the actual material used. Therefore, the records of the use of tung oil during the Joseon Dynasty can be seen as records using Myeongyu(明油) or Beopryeon perilla oil(法煉荏油).

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.117-133
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• 2021

The art of the Confucian literati' was mainly centered on literati' painting. Literary paintings combined with poem-writing-painting are based on the literary characters and studies. This is usually based on the technique of Shensi(神似) caused by a hobby accomplishment, enjoying the chinese painting and cherishing with chinese painting. The Confucian literati' cultivated their own character and sublimated humanism to art based on studying. They sought the life of supremacy and supreme gentleness, and enjoyed life on the boundary of pleasure through art. The aim of the Confucian literati' arts lies in the pursuit of expressing the artist's inner world, spirit, and the combination of the Confucian and the Taoism, Because of literati's spirit based on learning, the Confucian literati' arts still exist. The aesthetic of Sunbi Spirit is mainly in the customs of Sunbi, the loyalty of Sunbi, the Silhak(實學) of Sunbi, and loving of the people of Sunbi. We can find honor and loyalty in the Sunbi spirit of the Confucian literati' of the Joseon Dynasty. In addition, it is also possible to observe the loyal troops, the hard work for the country, and the Pung-ryu with nature. In other words, the Sunbi honor, loyalty, loyal troops, pursuit of study and the Pung-ryu show the spirit of the Confucian literati' of Joseon Dynasty. The aesthetic of the Sunbi spirit is in Pung-ryu, loyalty, Silhak, loving of the people etc. The aesthetic of experience of art is mainly based on the aesthetic experience by emotional intelligence and the aesthetic experience according to the individual's inclination. The aesthetic sense actually shows Pung-ryu, loyalty, Silhak and love etc. We can see it in many of our literary paintings. Therefore, the Confucian literati' painting in Chosun Dynasty were the intentionality of the mind and the intentionality of the spare. Furthermore, it has directivity of expressing the artist's inner world, directivity of substance, so it is possible to see that the characteristics of the Sunbi spirit are diverse.

• Journal of the Korean Society of Costume
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• v.51 no.3
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• pp.75-85
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• 2001

The system of washing and shrouding a dead body is a series of procedures for encoffining in funeral rites, which are taken after death indentification by using CHOKWANG and praying for the resurrection of a dead body by calling a soul departed from the body. The washing and shrouding a dead body (hereinafter reffered to as "YEOMSEUP") is the broad concept which contains the procedures of washing, clothing and shrouding the body. The clothing includes washing, putting rices into the mouth. and then dressing while the shrouding includes first wrapping, second-wrapping and encoffining. The clothes for YEOMSEUP (all clothes and articles for funeral rites are designated) will be put in the coffin along with a dead body according to the YEOMSEUP procedures. Dasan, a SILHAK scholar in the late Yi Dynasty, pointed out some problems of the funeral rites observed in those days. At the same time, he found that the problems had arisen from the misinterpretation of the original descriptions in Chinese characters. and had tried to correct them. The books written by Dasan basically emphasized his ideology reshaping the whole procedures by trimming and removing meaningless formalities which are too much luxurious and wasteful and making them as a part of the original principles of the funeral rites. His Intents are clearly shown in his wrings on practical ettiquttes, such as SANGRYESAJON and SANGUIJEOLYO. In its attempt, this study aims at reformulating the DASAN\\`s SANGRYESAJON in terms of YEOMSEUP methods. A lot of virtues of the Dasan, like WOOSU, SIMUI, DAEDAE, MO, SORYUMHYO and DAERYUMHYO could also be found accordingly. The merits and characteristic in funeral rites are an obedience in filial duty, the pursuit of frugality. and the efficiency of practical functions. It could be said that the resurvey of DASAN′s theory on YEOMSEUP procedures is a meaningful work today when the original meaning of funeral rites fades out. Furthermore, discussions of refined burial service and encouraging cremation designed to improve land use, which are widely spread among people, could weaken the basic philosophy of YEOMSEUP and more likely propagate the atmosphere of despising the dignity of human beings.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.175-183
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• 2021

Gongjae Yoon DuSeo(1668~1715), from Haenam in the late Joseon Dynasty, is a scholar-born painter who was active during King Sukjong. He is the person who created the foundation as a pioneer of realist paintings in the late Joseon period during the transition from the middle to the latter period. He was born in Namin's prestigious family, but he ended his career as part of a partisan fight and immersed himself in painting and learning. 18C, the beginning of the late Joseon Dynasty, was a period when Silhak emerged and the Jinkyung era opened with awareness of nationalism. At this time, by incorporating the Silhak thought into the art world, the real reformed aesthetic consciousness was demonstrated to pioneer common people's customs, the application of Western painting methods, the pursuit of realist techniques, and the introduction of Namjongmuninhwa. His view of painting, who thoroughly learned the old things and pursued change, must have both the form and spirit that he can achieve 'HwaDo' only when it has the science of 'learning and knowledge' and the technical elements of 'practice and quality' emphasized. He has worked in a variety of reconciliations. In particular, portrait paintings are characterized by ihyeongsasin's realistic expressions of aesthetics. His masterpiece, 「Self-portrait」, excels in extreme-realistic depiction and innovation in composition, and stands out with an unconventional experimentation spirit that expresses his mind and thoughts in a painting with a sense of resentment. His landscape paintings combine to express the form as it is and mental notions, and beautifully embodied Do as a form, thus achieving ihyeongmido, which reached the level of'joyfulness forgotten even the heart of joy'. On the other hand, the generalization of the common people using various common people's lives as the subject of an open-mindedness aimed at gaining the facts of ihyeongsajin, a passive protest against corrupt power and an expression of a spirit of love. Since then, his painting style has been passed down from generation to generation to his eldest son Yoon Deok-hee and his grandson Yoon Yong, leading the change and revival of calligraphy art in the late Joseon Dynasty.