• (The)Study of the Eastern Classic
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• no.50
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• pp.55-88
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• 2013

Gwonwu Hong Chan-yu is one of the modern and contemporary Korean scholars of Sino-Korean literature and one of the literati of his era, so is respected as a guiding light by academic descendants. Gwonwu was a teacher of his era, who experienced all the turbulence of Korean society, such as the Japanese occupation by force, the Korean War, the military dictatorship, and the struggle for democracy, and who educated and led young scholars of his time. However, academia has not payed attention to his life and achievements since his death. This paper is to examine the poetry of Gwonwu Hong Chan-yu, one of the representative modern and contemporary scholar of Sini-Korean literature, which has not yet been discussed by academia. The minimal meaning of this paper is that it is a first work based on his anthology, which has not been discussed by academia, and a first full-scale study on Gwonwu Hongchan-yu. For the reason, this paper aims at the detailed inspection of his poetic pieces recorded in his anthology. Nonetheless, despite such intentions, some limits cannot be avoided here and there in this paper for the insufficient knowledge and academic capability of this paper's writer and for the lack of academic sources. Gwonwu's poetry examined through his anthology shows the characteristic which is that his poems focus on exposing his own internal emotions. Such a characteristic says that his idea of poetic literature payed attention more to individuality, that is exposition of private emotions, than to social utility of poems. Gwonwu's such an idea of poetic literature can be generally affirmed throughout his poetry. Accordingly, Gwonwu preferred classical Chinese poems to archaistic poems, and single poems to serial poems; and avoided writing poems within social relations such as farewell-poems, bestowal-poems, and mourning-poems. When the characteristics of Gwonwu's poetic literature get summarized as such, however, some questions remain. The preferential question is whether the poems in his anthology are the whole poetry of him. Although Gwonwu's poetic pieces that the writer of this paper have checked out till now are all in his anthology, it is very much questionable whether Gwonwu's poetry can be summed up only with these poems. The next question is what is the writing method for taking joy(spice), sentiment, and full-heart into his poems if Gwonwu's poems focus on exposing his internal emotions, and if poems exposing joy and poems exposing sentiment and full-heart appear coherently in various different spaces and circumstances of writing. The final question is what are the meanings of Gwonwu's poems if his poetry checked out through his anthology directly shows either the reality carried in his poems or the reality of a time in his life. The questions listed above are thought to be resolved by the synchronizing process of stereoscopic searches both for Gwonwu as an individual and for the era of his life. Especially, spurring deeper researches toward a new direction regarding Gwonwu's poetry has an important meaning for construction of a complete modern and contemporary history of Sino-Korean literature and for procurement of continuous research on Sino-Korean literature and its history. For the reason, it is thought that more efforts of researchers are required.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.24-36
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• 2014

The result of the research conducted for the purpose of investigating the semantic value and the layout of the Cheongryu Gugok of Dorimsa Valley, which exhibits a high level of completeness and scenic preservation value among the three gugoks distributed in the area around Mt. Dongak of Gogseong is as follows.4) The area around Cheongryu Gugok shows a case where the gugok culture, which has been enjoyed as a model of the Neo-Confucianism culture and bedrock scenery, such as waterfall, riverside, pond, and flatland, following the beautiful valley, has been actually substituted, and is an outstanding scenery site as stated in a local map of Gokseong-hyeon in 1872 as "Samnam Jeil Amban Gyeryu Cheongryu-dong(三南第一巖盤溪流 淸流洞: Cheongryu-dong, the best rock mooring in the Samnam area)." Cheongryu Gugok, which is differentiated through the seasonal scenery and epigrams established on both land route and waterway, was probably established by the lead of Sun-tae Jeong(丁舜泰, ?~1916) and Byeong-sun Cho(曺秉順, 1876~1921) before 1916 during the Japanese colonization period. However, based on the fact that a number of Janggugiso of ancient sages, such as political activists, Buddhist leaders, and Neo-Confucian scholars, have been established, it is presumed to have been utilized as a hermit site and scenery site visited by masters from long ago. Cheongryu Gugok, which is formed on the rock floor of the bed rock of Dorimsa Valley, is formed in a total length of 1.2km and average gok(曲) length of 149m on a mountain type stream, which appears to be shorter compared to other gugoks in Korea. The rock writings of the three gugoks in Mt. Dongak, such as Cheongryu Gugok, which was the only one verified in the Jeonnam area, total 165 in number, which is determined to be the assembly place for the highest number of rock writings in the nation. In particular, a result of analyzing the rock writings in Cheongryu Gugok totaling 112 places showed 49pieces(43.8%) with the meaning of 'moral training' in epigram, 21pieces (18.8%) of human life, 16pieces(14.2%) of seasonal scenery, and 12pieces(10.6%) of Janggugiso such as Jangguchur, and the ratio occupied by poem verses appeared to be six cases(3.6%). Sweyeonmun(鎖烟門), which was the first gok of land route, and Jesiinganbyeolyucheon(除是人間別有天) which was the ninth gok of the waterway, corresponds to the Hongdanyeonse(虹斷烟鎖) of the first gok and Jesiinganbyeolyucheon of the ninth gok established in Jaecheon, Chungbuk by Se-hwa Park(朴世和, 1834~1910), which is inferred to be the name of Gugok having the same origin. In addition, the Daeeunbyeong(大隱屛) of the sixth gok. of land route corresponds to the Chu Hsi's Wuyi-Gugok of the seventh gok, which is acknowledged as the basis for Gugok Wollim, and the rock writings and stonework of 'Amseojae(巖棲齋)' and 'Pogyeongjae(抱經齋)' between the seventh gok and eighth gok is a trace comparable with Wuyi Jeongsa(武夷精舍) placed below Wuyi Gugok Eunbyeon-bong, which is understood to be the activity base of Cheongryu-dong of the Giho Sarim(畿湖士林). The rock writings in the Mt. Dongak area, including famous sayings by masters such as Sunsaeuhje(鮮史御帝, Emperor Gojong), Bogahyowoo(保家孝友, Emperor Gojong), Manchunmungywol(萬川明月, King Joengjo), Biryeobudong(非禮不動, Chongzhen Emperor of the Ming Dynasty)', Samusa(思無邪, Euijong of the Ming Dynasty), Baksechungpwoong(百世淸風, Chu Hsi), and Chungryususuk-Dongakpungkyung(淸流水石 動樂風景, Heungseon Daewongun) can be said to be a repository of semantic symbolic cultural scenery, instead of only expressing Confucian aesthetics. In addition, Cheongryu Gugok is noticeable with its feature as a cluster of cultural scenery of the three religions of Confucian-Buddhism-Taoism, where the Confucianism value system, Buddhist concept, and Taoist concept co-exists for mind training and cultivation. Cheongryu Gugok has a semantic feature and spatial character as a basis for history and cultural struggle for the Anti-Japan spirit that has been conceived during the process of establishing and utilizing the spirit of the learning, loyalty for the Emperor and expulsion of barbarians, and inspiration of Anti-Japan force, by inheriting the sense of Dotong(道統) of Neo-Confucianism by the Confucian scholar class at the end of the Joseon era that is represented by Ik-hyun Choi(崔益鉉, 1833~1906), Woo Jeon(田愚, 1841~1922), Woo-man Gi(奇宇萬, 1846~1916), Byung-sun Song(宋秉璿, 1836~1905), and Hyeon Hwang(黃玹, 1855~1910).