• Sijohaknonchong
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• v.44
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• pp.139-164
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• 2016

This paper was written with the object of determining place of Lee, Jeong-bo (李鼎輔)'s Pungryu(風流) & its meaning. Place of Lee, Jeong-bo's Pungryu(風流) is Hodong(壺洞) & Haktan(鶴灘). Hodong(壺洞) is located toward east at Jongmyo(宗廟). That place was Hwanggyo(黃橋) & Yeonji(蓮池). At that time, Haktan(鶴灘) was in Eonju-myeon(彦州面) of Gwangju-bu(廣州府). That place is Hangnyeoul flowing together Tancheon(炭川) & Yangjaecheon(良才川). Jeojado(楮子島) & Mudongdo(舞童島) was neighborhood. Lee, Jeong-bo's Pungryu-life(風流生活) was already beginning since serve in a government. Therefore HaktanPungryu(鶴灘風流) is also beginning a long time ago.

• Journal of the Daesoon Academy of Sciences
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• v.50
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• pp.33-68
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• 2024

Byun Chan-rin (1934-1985) intertextually reconciled important world religions such as Christianity, Buddhism, Taoism, and Confucianism from the perspective of Pungryu (風流), also known as Seon (僊), which he considered to be the foundation of the Korean spirit. Naturally, his category of Pungryu also encompassed modern Korean national religions. He emphasized the necessity of a neo-religion in order to overcome the exclusive limitations of various world religions as each was bound by their own tradition, and hence deviated from the mainstream of the Great Way of Pungryu. He also appreciated various indigenous new religions in modern Korea, including concept of epoch-making and the practices of Kang Il-sun (姜一淳), as "neo-religion" that could overcome the limitations of world religions by elevating the magical activities of shamanism to the Great Way. His appraisal was positive, and he refrained from dismissing this growing movement as "superstitions" or "new emerging religions" embraced by the common people. From his viewpoint, the important indigenous new religions in modern Korea were not the ruling religions of the empire but alternative religions of the colonial people, and the concept of "Great Opening of the Later World (後天開闢)" in modern indigenous Korean religions and Kang's idea of the Resolution of Grievances for Mutual Beneficence (解冤相生) were creative evolutions of religion that overcame the contradictions and limitations of the world's religions. He presented the insight of a spiritual seeker who heralded the era of "SBNR" (spiritual but not religious), which seeks new possibilities for spirituality by escaping limitations of religiosity.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.94-107
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• 2008

This study examines the diversity of garden culture in the Joseon Dynasty focusing on genre painting. Genre painting gives us insight into the various ways of enjoying the garden. The intimate activities portrayed in the painting show us about the vivid scenes of Korean garden at that time. Among the various meanings of gardens, sensual pleasure is focused on here. The garden has always been a place of pleasure for seeing, smelling, touching, meeting people and erotic flirting. Here, the oriental aesthetic idea of Pungryu is adopted to reformulate pleasure based on the traditional way of thought. Most Korean gardens in the Joseon Dynasty were understood as the place for Pungryu. Sensuality in the Korean garden associated with a high level of spiritual pleasure. In order to look closely into garden activities, genre paintings were selected and analyzed. Several characteristics were elicited. First, the garden was understood as the medium of communication through reconciling man with nature. Mediating man with nature often calls for uplifting the sense of community within groups of people. Second, the garden was featured as the place of cultural creation. Many scholars utilized the garden as a place for poetic imagination. Therefore, the garden was the locus of intellectual discourse. Third, personal retreat was one of important functions in the Korean garden. the humble attitude toward landscape such as solitude and mediation might be understood as one way of enjoying the nature. Fourth, taste, power and social relations were embedded in garden culture. Therefore, the garden was regarded as a space of distinction. Garden making was understood as one of the high class leisure activity. It was quite natural that the garden was used as a place of showing up their taste and culture. Finally, we need to reinvigorate the rich meanings of garden in contemporary practices. In-depth analysis of garden culture through the lens of genre painting gives us quite useful information in Korean garden culture.

• Journal of Family Resource Management and Policy Review
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• v.8 no.2
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• pp.61-84
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• 2004

This thesis attempted to generate ideal tea culture space that connects environment and culture. Therefore, this examines: First, history of tea and the characteristics of tea culture space from Gochosun to modern times was reviewed Second, psychological factors (spirit of tea) of Korea tea culture space were reviewed. Third, the connection between the concept of tea culture space and Human Ecosystem Model by was analyzed. Also, this thesis examined how the culture of ecosystem and why tea culture space is needed. because tea includes varieties of ingredients for protecting environmental pollution. Finally, tea culture spaces were reviewed each region during Chosun dynasty, and tea culture space of recent tea users. In order to study tea culture space, complex residential area and single residential areas were compared. The useful of tea culture space as a ecological space was also examined. To achieve the purpose of this study, related literatures were reviewed, and investigations of museums and a survey on modern living space were also conducted. The results show that the space of our tea culture were affected by nature worshipping of Gochosun, Buddhism of Koryo, and Confusianism of Chosun with 'Pungryu', the idea that enjoys nature, thereby applying environment-friendly ecological beauty to their living space and life. The cultyral space in Korea is composed of natural environment such as mountain, sea, rock, or trees and artificial environment such as pond or pavilion. In the future, oriental culture with metaphysical value will lead the world culture, and especially, tea culture would play an important role regardless of nationality, race, religion, and ideology. Therefore, establishing a tea culture space in a living space would be the fundamental methods that would be able to settle down such tea life into our daily life. Our attempts to create ecological tea culture space as a integrated cultural space of natural, artificial, and human behavioral environment will contribute to enhance our quality of life.

• (The) Research of the performance art and culture
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• no.39
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• pp.775-800
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• 2019

Jeongeup Pungnyu, which can be regarded as a foundation of Hyangje Julpungryu(;string ensemble in Honam Area) best reflects social-spatial characteristics of local Pungryu culture. The close relationship between Daepungryu(wind ensemble) and Julpungryu can be inferred from three points of view. First, Jeongeumun who participated as a musician in the beginning of Hyangje Julpungryu was good at not only performing musical instrument but also dancing. Jeongeumun did not stay in specific musical field. He performed Hyangje Julpungryu, made Daepungryu and used it as dancing music with musicians that participated in Julpungryu. That is why Julpungryu and Daepungryu are not completely separated music. Secondly, according to , Jung Hyungin, who followed the dance of Jeong Jae-Sun with Kim So-Ran, was the first Piri player who learned from Jeongeumun and played Yeongsanhoesang and Samhyeon-yukkak(;wind ensemble). That is, Jeongeup Julpungryu was formed by Jeongeumun and dancer Jung Hyung-in followed Julpungryu and Daepungryu. Based on these findings, it can be inferred that Jeongeup's Daepungryu is fundamentally closely related to Jungeup Julpungryu.

• Issues in Feminism
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• v.19 no.2
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• pp.81-120
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• 2019

This study looks into the history of Silla in terms of the theory of goddess culture recently rising in the Western academia. Goddess culture was introduced in the 1980s by Marija Gimbutas, a pioneering archaeomythologist. She showed us the lives of goddess-worshipping prehistoric Europeans which was peaceful, matrifocal, egalitarian and sedentary. It has been recognized that Silla society reveals it's own unique aspects in comparison with other kingdoms of the time. And those aspects seem to be in consonance with goddess culture, such as goddess-worship, the presence of 3 queens, respect for the motherline, the Hwabaek(council of nobles) and the Wonhwa(priestesses) etc. The study concludes that there was a culture in Silla that could be named as goddess culture. The culture shows the following 5 characteristics. The first one is the life-centered thought. Most of indigenous deities of Silla were goddesses and there was a celebration of the birth of life at the center of the goddess worship. The second one is egalitarianism. Silla society was not only prominent in gender equality but also seems to have maintained economic and social equality in relatively good level until the 5th century, based on communitarianism. The third one is political consensus. The politics of Silla rooted in a tradition of governance and consensus, as the Hwabaek tells which was run by the rule of unanimity. The fourth one is non-patriarchal masculinity. The masculinity of Silla society can be partly understood through the Hwarang, a group of men whose activities were based on aesthetic and life-centered spirituality. The fifth one is relatively weak belligerence. Silla was not a hostile, militant country, and kings were meant to be the guardians of a peaceful life rather than a conqueror.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.3
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• pp.11-24
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• 2020

The purpose of this study was to re-examine the neglected and forgotten Cheongdo Geoyeonjeong, to correct the wrong contents, examine the changes and conditions of the garden, and to establish basic data on the components of the forest in the future. In addition, it was extended to the Gongampungbyeog Cliff, the influence area of the Geoyeonjeongwonlim, and the results of the study were as follows; First, Based on the recitation of "Seonyu pungryu(仙遊風流)" in the "Cheongsuheon-yugo(聽水軒遺稿),", Dongchangcheon Stream and Gongampungbyeog(孔巖楓壁) were influenced by the outer gardens of the Georyeonjeongwonrim. Second, Small pavilion was built and arranged under the rock of Byeongam(Byeongpungbawi) in the management history of Geoyeonjeong Pavilion. The records show that Cheongsuheon used the Geoyeonjeong Pavilion as the original forest and even recognized Oewon, which is a scenic influence, as the Gongampungbyeog Cliff. Third, Many of the poems related to Gongam were recognized as Seunggyeong, which represents the Unmun area, and the eight scenery of Cheongdo and Unmungugok were established here as proof that Gongampungbyeog Cliff was very faithful to the traditional Seunggyeong aspect of Gongampungbyeog Cliff, and the crystalline structure of the location was implied as an external source of Geoyeonjeongwonlim. Fourth, The lower part of Dongchangcheon Stream, which stretches from Geoyeonjeongwonrim to Gongam, is filled with attractions consisting of cancerous areas such as Punghodae, Moseongam, Buangdae, Gokcheondae, Saganjeong, Hakgadae, and Hyeongjeam, which provide a clearer picture of the space and landscape of the Geyeonjeongwonrim Outer Garden. Fifth, The expression "dragging water, spilling it into the courtyard, and sending it back to the downtown of the field" of the Cheongsuheon-yugo suggests that the site of Geoyeonjeong Pavilion was originally a prevention. It is also inferred that Cheng Shu-heon also wanted to respect runners and pursue natural views like runners. Sixth, The record of planting a description of spring water and willow trees in "Geoyeonjeong Manyeong(居然亭晩影)」" and "Sanggukseol(霜菊說)」" suggests that the chrysanthemum was planted and planted, and that the chrysanthemum was used to describe the Osanggojeol(傲霜孤節), which means that he would not yield and keep his incision alone despite severe frost. Seventh, It is believed that the writing was written by Cheongsuheon in 1844 during the period of the creation of the Wonrim. The rock letters on the floor of Geoyeonjeong suggest the names of the receiving and the winning prizes. Most of the passages are based on nuclear power plants, including Muidogyo of the Zhuzi, and most of them incorporate the virtues of the Gunja and the natural views of the Eunja. In addition, the rock writing 'Gyeong(敬)' or 'Uidang(義堂)' is a substitute for special worship objects or introspection, adding to the significance and scenic properties of the Georyeon Garden Forest.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.46-56
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• 2012

The research results of tracing the Landscape Philosophy of Hageowon garden(何去園) in Musu-dong, Daejon of Youhwadang, Kwon, Iijin(權以鎭, 1668-1734) is as below. The ideological background of the protagonist reflected in Hageowon is the Hyoje Ideology(filial piety and brotherly love, 孝弟) of Sinjongchuwon(painstakingly caring for one's ancestors), Musil ideology(pursuing ethical diligence and truthful mind, 務實) based on sadistic tradition and ethical rationalism, Confucionist Eunil Ideology(ideology on seclusion, 隱逸) of Cheonghanjiyeon(quiet relaxation, 淸閒之燕), and the Pungryu ideology(appreciation for the arts, 風流) of Taoism in the Taoist style. Thus, by substituting these ideological values into a space called Hageowon, the Byulup gardens(別業) such as the Symbolic garden(象徵園), meaning gaeden(意園), and miniascape garden(縮景園) were able to be constructed. 2) The space organization system of Hageowon is generally classified into three phases considering the hierarchy. The first territory is the transitional space having residential features, which is an area to reach peach tree - road(Taoist world 桃經) from Youhwadang(有懷堂). The second territory is a monumental memorial space where the Yocheondae(繞千臺), Jangwoodam(丈藕潭), Hwagae(花階), and the ancestral graves take place, centering on the yards of Sumanheon(收漫軒), and the third territory is the secluded space in the eastern outer garden where the mountain stream flows from the north to south and which is the vein of the left-hand blue dragon(靑龍) of the guardian mountain of Hageowon. 3) Symbolically, the first phase has symbolized the space as a meaningful scenery by overlapping the Confucionist place of Youhwadang - Gosudae(孤秀臺) - Odeokdae(五德臺), and the mystic world of Jukcheondang(竹遷堂) - peach tree - road(桃徑). The second phase, which is the space of Sumanheon(收漫軒), Yocheondae, and Jangwoodam, the symbolical value of Sinjongchuwon(愼終追遠) and the remembrance and longing for one's parents are reflected. The third phase, which is the eastern outer garden of Hageowon and where the mountain stream flows from the north to south, is composed of the east valley(東溪) - Hwalsudam(活水潭) - Sumi Waterfall(修眉瀑布). More specifically, (1) Mongjeong symbolizes the life of gaining knowledge through studying to realize one's foolishness, (2) Hwalsudam symbolizes a transcending attitude in life refusing to pursue wealth and fame, and (3) Jangwoodam symbolizes the gateway to the fairyland to enter the world of mystic gods. 4) The rationale behind Hageowon is that the two algorithms of Confucionism and Taoist Theory appear repeatedly and in an overlapping way. The Napoji(納汚池) and Hwalsudam, which pertains to the prelude of space development, has symbolized Susimyangseong(修心養成, meditating one's mind and improving one's nature), which is based on ethical rationalism. Moreover, if the Monjeong sphere pertaining to the eastern outer garden of Hageowon takes the Confucionist value system as its theme, including moral training, studying, and researching, Jangwudam, Sumi Waterfalls, and Unwa can be understood as a taste of Cheokbyeon(滌煩, eliminating troubles) for the arts where the mystic world is substituted as a meaningful scenery. 5) The miniascape technique called artificial mountain was substituted to Hageowon to construct a mystic world like the 12 peaks of Mt. Mu(巫山). By borrowing the symbolic meaning expressed in old poems, it has been named 'Habang(1/何放), Hwabong(2, 3/和峯), Chulgun(4, 5, 6/出群), Sinwan(7/神浣), Chwhigyu(8, 9, 10/聚糾), Cheomyo(11/處杳), Giyung(12/氣融).' The representative poet reciting artificial mountain were Wangeui(汪醫), Nosamgang(魯三江), Dubo(杜甫), Hanyou(韓愈), Jeonheaseong(錢希聖), and Beomseokho(范石湖). They related themselves with literature by transcending time and space and attempted to sing about the richness of the mental world by putting the mystic world and culture of appreciating the arts they pursued in the vacation home called Hageowon.