• Title/Summary/Keyword: gewu zhizhi

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A Study on the Zhu Xi's theory of "gewu zhizhi" - focusing on critical understandings of Zhu Xi in the Daxue huowen chapter V and Daxue huowen yulei (주희의 격물치지설(格物致知說)에 대한 고찰 - 『대학혹문(大學或問)』 전오장(傳五章)과 '대학혹문어류(大學或問語類)'의 비판적 이해를 중심으로 -)

  • Sung, Kwang-dong
    • (The)Study of the Eastern Classic
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    • no.63
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    • pp.141-168
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    • 2016
  • This paper studies Zhu Xi's critical comprehension about the theories of gewu zhizhi of senior Confucian scholars, focusing on the Daxue Zhangju, Daxue huowen, and Daxue huowen yulei of Zhuzi yulei. Zhu Xi described in depth the theory of gewu zhizhi of Sima Guang, disciples of the Cheng Yi(Lu Dalin, Xie Liangzuo, Yin Ch'un, Yang Shi), scholars of Hu-Xing province(Hu An-guo, Hu hong), Li Dong in the Daxue huowen and Daxue huowen yulei, by his understanding through a criticism of the theory of gewu zhizh, thereby formulating a theory of gewu zhizhi on the basis of Cheng Yi's theory. Through this criticism of senior Confucian scholars, Zhu Xi explained that the theory of gewu zhizhi was departed from a positive affirmation of things. Zhu Xi claimed that the crux of gewu zhizhi was a thorough understanding like a sudden release achieved by accumulating Li of things. This plan of Zhu Xi with respect to "Supplementary Chapter on the Gewu Zhizhi" showed that the theory of gewu zhizhi which was set up by himself corresponded to the theory of Cheng Yi's, and it was based on the Confucian tradition firmly.

The study in Wangshouren's viewpoint of 「Daxue」- with 「Daxuewen」 as the focus (왕수인(王守仁)의 『대학(大學)』관(觀) 연구(硏究) - 「대학문(大學問)」을 중심으로 -)

  • Lim, Hong-Tae
    • (The)Study of the Eastern Classic
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    • no.35
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    • pp.329-358
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    • 2009
  • A general idea and the structure of Wangshouren's philosophy is intimately associated with "Daxue". Systemicity of Wangshouren's Xinxue stand on the basis of a mind, intention, innate knowledge and things. "Daxuewen" is a series of a process of gongfu. It stand on the basis of a mind, intention, innate knowledge and things, same as Four-Sentence Teaching. Wangshouren's gongfu theory of "Daxue" changes from gewu to chengyi, from chengyi to zhizhi again. It is deepening of Wangshouren's philosophy and is the change of education. It is also that Wangshouren's gongfu theory internalize anything. He spent his younger life in pursuit of Zhuxi's gewu. Through a lecture of LongChang, Wangshouren's gongfu theory of "Daxue" changes from extroversion to introversion. According to Wangshouren' opinion, "Daxuewen" is the tenet of the XinXue, same as Four-Sentence Teaching. This papers mainly emphases two points: one, to analyze the thinking system of Wangshouren's "Daxuewen", make a comparative study of befour "Daxuewen" and after "Daxuewen". another, through this work we can understand thoroughly Wangshouren's viewpoint of "Daxue".

The Study of Zhuzi's Gewuzhizhi Theory (『대학(大學)』해석(解釋)을 통해 본 주자(朱子)의 격물치지론(格物致知論))

  • Seo, Geun Sik
    • (The)Study of the Eastern Classic
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    • no.33
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    • pp.359-384
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    • 2008
  • Making Daxue("大學") which was originally the 43rd chapter of Liji("禮記") independent, Zhuzi(朱子) had reedited it into Daxuezhangju("大學章句") and in this process, he had added 134 letters thereto. Those 134 letters that added were concerned with gewuzhizhi(格物致知) and Zhuzi(朱子)'s such interpretation had made a great deal of contribution to the later interpretations of Daxue("大學") conducted by those scholars who followed him in a later age. Zhuzi(朱子) had interpreted gewu(格物) as to make a exhaustive study on principles of things or noumena that exist between heaven and earth. If gewu(格物) taking it for granted, denotes thorough investigation of the principles of things, it is considered that qiongli(窮理) is a more appropriate expression. Meanwhile, however, Zhuzi(朱子) argues that the reason for dubbing it gewu(格物), not calling it qiongli(窮理), is to see a thing as it is in itself. This is to emphasize that investigation of things and extension of knowledge gewuzhizhi(格物致知) is shixue(實學), not a xuxue(虛學). Zhizhi(致知) is a step through which my knowledge is being culminating in the most comprehensive and profound fashion. Specifically, Zhizhi(致知) is the phase to seek zhenzhi(眞知) having put together all knowledge gained through gewu(格物). In this true understanding, there is no room for one's own free will to intervene; zhenzhi(眞知) becomes the same as universal knowledge. The things accumulated in quantity through gewuzhizhi(格物致知) are to be changed by means of huoranguantong(豁然貫通). If we put gewuzhizhi(格物致知) as the quests of basic and general subjects, meanwhile, huoranguantong(豁然貫通) corresponds to more profound and sophisticated learning. Huoranguantong(豁然貫通) is a phase in which my principle and the universal principle become unified, and so, this is the phase where the standards in my mind will attain universality. That is to say, this means that the standards in my mind and the universal standards grow into one. Then, what is the ultimate purpose of gewuzhizhi(格物致知)? The ultimate purpose of gewuzhizhi(格物致知) is to reach zhishan(至善). If gewuzhizhi(格物致知) seeks zhishan(至善), those universal standards in my mind that attained through huoranguantong(豁然貫通) shall also be the criteria of that zhishan(至善). Viewing it from this perspective, it can be said that Zhuzi(朱子)'s gewuzhizhi(格物致知) contains both epistemological and logical aspect.

Reimagining "A Picturesque Landscape" - The Borrowed Scenery of the Byungsan Neo-Confucian Academy, Korea, and its Heuristic Instrumentality - ("그림 같은 풍경"의 재해석 - 병산서원 차경 설계의 수양론(修養論)적 해석 -)

  • Lee, Kyung-Kuhn
    • Journal of the Korean Institute of Landscape Architecture
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    • v.50 no.6
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    • pp.15-29
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    • 2022
  • The Byungsan Neo-Confucian Academy, a 17th-century World Heritage Site in Korea, is being praised as a manifestation of naturalness or non-artificiality of the traditional Korean borrowed scenery technique (借景, chagyeong). This study, however, aims to reinterpret the chagyeong of the Byungsan Academy (hereafter the Academy) as a device of illusion evoking an idealized vision of nature. In the process of interpretation, 'picture and frame'-a widely accepted expression that represents the chagyeong of the Academy-will be foregrounded as the pivotal concept mediating the change of perspectives from naturalistic to ideological. This study consists of the following three parts. First, it shows that 'picture and frame' represent a modern way of seeing the Academy as an architectural heritage in harmony with nature; it denotes pristine nature and the empty architectural frame that safely circumscribes the innate beauty of the natural landscape. Second, departing from the naturalistic perspective, this study argues that the architectural framework of the Academy composes scenography enticing the viewer to imagine the idealized, Confucian image of nature that compares to the landscape imagery found in the landscape poetry and paintings that were produced and appreciated by the 17th-century Confucian literati. Lastly, based on the above interpretation, this study stresses that the 'picture' one encountered at the Academy in the 17th century was not the framed scene of a natural landscape but the illusion it caused; the architectural 'frame' worked not as a symbol of naturalness but as an institutional apparatus of vision manipulating the way one sees-and therefore imagines-the landscape.