• 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 Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.1-11
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• 2015

This study sheds light on a pond design process which is a core facility of Hwaseol-dang in Muan, the Jeonnam. The plasticity of the pond was analyzed and interpreted for the design process using methods such as "literature search, interview, site visits, aerial pictures, aerial photographing, drawing figures of configuration plane via measurements, internet search, etc.", to trace the developing process of the design and the implications therein. The study results being centered on the developing process of the pond design are summarized herein below. The position of the Hwaseol-dang, being formed on a low hill having low competence as a place for a pavilion, draws more attention regarding its implications from the aspect of inner design. The pond Hwaseol-dang is in a rectangular shape of 1 : 1.2 ratio, in which the depth is a bit higher on the pond edge of the Hwaseol-dang thus being slanted, and Crape Myrtle, which is not known whether introduced during the formation of the pond, is cultivated on the island in the center widespread toward the southeast region. The planar design of the pond is interpreted as "rectangular pond" but it has a smooth half-moon shape where a part is excluded to remove edge. In particular, the three islands in rectangular pond, due to the narrow area, put one island and two half-moon-shaped islands in juxtaposition, and thus, although only being one island, resultantly exhibits the existence effect of proliferated three islands. This is allegedly due to the intentional formation aiming at the effect of hybrid while minimizing the overlap due to merging and adding from the aspect of constituting a design. Furthermore, the pond Hwaseol-dang is extended northwest along with Hwaseol-dang, and also the island in the center is thought to additionally have one or two, but the widespread phenomenon of the island in the center appears to consider the effect of "sit view on the floor of the pavilion of Hwaseol-dang". Considering that even a few examples of ponds having the three islands among the private house gardens in the nation are all curved ponds, the characteristics of the rectangular Hwaseol-dang pond establishing the garden effect of the three islands by modifying the one island in rectangular pond is highly notable. Considering that the three islands of "Yeongju, Bangjang, and Bongrae" is the original shape of the pond garden gestating Taoist ideology, as a symbolic design of a pond, it is regarded as the characteristics of the pond shape in Jeonnam area, and the so-called three treasures "Hwaseol-dang, Camellia, and oddly shaped stones, etc." are concentrated as the symbolism of Hwaseol-dang pond.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.1
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• pp.98-106
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• 2010

Bangseonmun(訪仙門) is the attractive spots where Shinseon(神仙: Taoist hermit) ideas that makes Mt. Younju(瀛洲山) or the current Mt. Halla mystique has still remained and situated at Hancheon(漢川) Valley. Bangseonmun, which is known as 'Landscape Setting Here($L_{SH}$)' of Youngguchunhwa(瀛丘春花), which is one of ten famous spots in Youngjusipkyung(瀛洲十景), and Deulreonggui refer to 'the gate to the place where Shinseon is living.' It is described as the path to Mt. Youngju for Shinseon and the boundary between the mundane world and the world beyond the mundane. The old scholars at Mt. Halla entered the gate and met Shinseon, carving the word or picture of Bangseonmun, Whanseonmun, Wuseondae or Deungyounggu so as to structure the enchanting image on Bangseonmun. It is the poetic expression of the taste for the arts, breaking from the troublesome mundane world and riding the white deer to become the Shinseon, the desire for the ideal world in Taoism, and the identity of four famous scenic spots of Bangseonmun. Besides its enchanting meaning and the locational value of Bangseonmun, geological features of the valley and river and ecological value prove its unique value as a natural scenic beauty. Not to mention the locational identity and enchanting meaning of the poets carved in Meeaegak of Bangseonmun and the scenic view of 'Youngguchunhwa' as the subject of 10 famous scenes of Youngju, it is the place for communing with nature with the natural beauty of Bangseonmun Valley. As the cultural place for being together with Jeju people, it simultaneously shows the typical model as a scenic spot in our living. Viewing the scenic value and standard from the aspect of the Cultural Properties Protection Law, Bangseonmun Valley in Jeju must be the typical place and space that meet the requirements to become scenic sites.

• Journal of the Korean housing association
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• v.16 no.6
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• pp.101-109
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• 2005

As a circumstantial-existance character (the human character who takes action after grasping circumstances and fears things with reason) the Japanese were more interested in the active doctrines of Wang Yang-ming than other speculative studies. All of people were inhumanely incorporated into the rigorous class system under pressure in the samurai society. In the atmosphere of the society a natural phenomenon was understood as the ksana of change, and instead of the whole, the part was mainly described with emphasis on the reality. Therefore nature came near to the man after being reduced and then was symbolized in the Interior space. Also the classification of spaces, that is to say, the settlement of borders by the social position was shown in the great interior space like a labyrinth. As a self-existance character(the human style who carves out for and does not have a regard other's feeling), however, the Korean were much influenced by the Taoist Idea as they tried to be similar to nature in nature itself. Therefore the idea of Asaniskrota was in their origin. There was a tendency for space to be extended toward the outdoor in Korea, since the Korean people who are speculative and like to be natural tried to be close to nature. Therefore the division of spaces according to class and sexuality and the settlement of borders were already shown in outside by Che-Na-Num(Divided-Mass:Koren's own style). These are closely related with that houses were built after a village settle down in Korea while built before a village settle down in Japan. Architectural space consists of the interior and the exterior. The layout and (on of architectural space has a great variety of characters by region and culture. In other words, it can be understood which has a priority between the interior and the exterior in developing the layout and the form of architectural space. Belonging to the culture area of Chinese characters with Korea, Japan has maintained its own Identity. It has an identity in the layout and form of architectural space as well. Therefore, the architecture and architectural theories of the two countries were compared and analyzed with priority given to the traditional architecture, also the backgrounds of architecture and architectural theories of two countries were examined in this study. This study shows that each country has different characters in how to introduce nature, how to expand space and how to compose windows, including the view of nature and the cult of space. As a result, the space in Korean architecture has relatively the exterior-oriented character but in Japan architecture spatial character is interior-oriented. The interior-oriented character can be relevant to the word 'reduction' and the exterior-oriented character to 'extension' after all. Also it can be thought that each character has a great relation with climate and idea of people in power.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.123-128
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• 2013

This study was performed with an aim to examine the inner thoughts of Muso Soseki through his works. In this study, we reviewed currently existing Mus$\bar{o}$ Soseki. Works in which his idea or intention behind his works are to be understood in terms of landscaping science or religious perspective. Targeting his best representative works of temple gardens such as Jochou-ji, Eiho-ji, Zuisen-ji, Tenryu-ji, it was sought his view of gardening and technique of garden making. Those temples, selected as target of this study, have significance as a places to have started his learning till matured of his thought into his gardening works. What we need to concentrate and think about regarding the works of Muso is the fact that we are to be impressed upon just looking at his works. The study result indicates that Muso not only symbolized his various mastered ideas & philosophies into spatial configuration into the garden based on Zen Buddhism idea, but also accomplished the Sabi-gardening beauty. Through his writing "Mongjoongmundap(夢中問答)" that is created using his core thoughts, his works can be understood better. This study has significance in that the idea. It could be understood that Muso's work is rooted in the basic idea of three ideas. The first of it is Zen philosophy being indicated in his configuration of gardening such as Zen meditation Stone, cave, chamdo etc. The second of it is shown as the merciful heart of Sangguboje(上求普提), Hahwajoongsaeng(下化衆生), being indicated in his configuration of gardening such as the pond And finally, there appears the Tao idea. Taoist thought has become of where the background space.

• The Journal of Korean Philosophical History
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• no.27
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• pp.119-143
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• 2009

This thesis examined interest and elucidation of Confucian scholars during the Chosun dynasty on the theory of self-cultivation. Taiji is the ultimate notion that surveys existence and value, however, the concern on the Taiji during the Chosun period lies more on the cultivation of mind. Confucian scholars understand the human world as a place for moral completion. Therefore, the self-cultivation theory of Confucianism rises against the disciplines of Taoism and Buddhism which are away from daily lives. And it also makes theoretical basis on the elucidation of Taiji distinguished from Taoist and Buddhist disciplines. The Confucian scholars in the Chosun dynasty saw Taiji as actual truth [實理] penetrating inside and outside and at the same time sincerity. On the discussion on "mind becomes Taiji[心爲太極]", they recognize taiji as a center supervising everything, human ultimate[人極], mind of the Way[道心]. The Confucian theory intending to comprehend tai-chi as a center of silent and stable mind, accepts methods of being calm, sitting in meditation, and breathing exercise at the time of before issuance[未發] This is reinterpreting the discipline methods of Taoism and Buddhism reasonably and including them as the parts of Confucian jing[敬] study.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.82-94
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• 2014

This study aims to comprehend that Gwanghalluwon for aspects of landscape change in terms of construction garden(樓園). Transformation focused on the spatial structure is divided into four periods based on literature. And reflect of landscape elements in defunct or unattributable records from tale and novel. The results were as follows. First, The beginning of Gwanghanllu pavilion(廣寒樓) was the composition of the Gwangtongnu Pavilion(廣通樓). The pavilion is located amid beautiful scenery such as the close-range view of a small stream, and distant view Jiri Mountain. Analysis of literature shows that Gwanghallu pavilion was in succession to Gwangtongnu Pavilion's landscape. Secondly, Gwanghallu(廣寒樓) pavilion represents the characteristic of the garden since 1582. Built the Samsinsan(三神山), Construct Lake and bridge that represents the galaxy for realization of utopia reflect in Taoist ideology. Thirdly, Gwanghalluwon garden was recovered when from Jeong-yu-jae-ran(丁酉再亂) to the Japanese Ruling Era. It took Gwanghalluwon garden a long while to recover from original form. According to records, Gwanghalluwon garden is still being likened to the landscape of fairyland by inheriting landscape in the previous of Jeong-yu-jae-ran(丁酉再亂). Fourth, By the modern times, Gwanghalluwon Garden has personality of tourist attractions. Until now, the area of the Gwanghalluwon garden has been expended during the processes of three times. Fifth, Aspect of landscape change of Gwanghalluwon is wide-spreading mainly Gwanghallu pavilion. But elements of external expansion in garden by introduced into the facility irrelevant to the authenticity of the garden. Sixth, Comprehension the cultural landscape of the garden are limited by deficient records. But, the main elements in the Gwanghalluwon garden are commonly appeared on imaginary environment within a tale and a novel. In addition, culture of garden at the time was depicted in tale and novel. In this sense, cultural landscape in garden was able to estimate through imaginary environment within novel.

• KOMUNHWA
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• no.69
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• pp.41-62
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• 2007

This thesis is focused on the bat symbol, especially prevalent crafts’ pattern in late Joseon period on museum collections. For the use and reperception of them, I am aimed for appropriate analysis of bat symbol by co connotation which reflects the characteristics on number.plastic.color symbol. This point of view, bat idea and bat paintings in Joseon period will be the source of meanings to the denotation of bat patterns. In the museum collections, bat paintings and patterns are calculated 324 objects. By functional classification, the bat patterns on dwelling-crafts for the royal and for the people will be discussed. In result, the bat paintings were only a few, however, usually connoted Taoist hermit with super-natural powers.longevity.protector of Lightning-God.praying for long life, which were based on Taoism. Meanwhile the bat symbol of dwelling-crafts for the royal projected the longevity and prosperity of king and queen. By he Five Blessings and good auspices in Ching dynasty, number of '5.4' implied 'Five Blessings', Through the correct recognition of homo-phone, "a bat(蝠, fu)=happiness(福, fu)$\rArr$five bats(五蝠)$\rArr$Five Blessings(五福 )." In the case of bat symbol on the dwelling-crafts for the people, especially its for women, it expressed on the metal-decoration of furniture and paper-crafts. In the metal-decoration, the signified of bat symbol were expellant-evil('guard') that of characteristic signifier, white-silver color, number '1' and 'flying-type'. The bat symbol on paper-crafts for the people signified 'double happiness'.harmony.sons with number of '2', 'Five Colors' and the transformation of 'flying-type'. Accordingly, the bat symbol on the dwelling-crafts for the people marked 'happiness and guard', because the people had concrete cognition the bat symbol as a denotation of 'happiness and 'guard' by itself