외국어초록(Foreign language abstracts) 371
A Study on Analyses of Sangchon Sin Hŭm’s Sijo in
Choi, Mi-jeong (Keimyung University)
Key words : Yi-jing(주역), 64 Hexagrams, Sin Hŭm(신흠), Bangong-siyŏ(<방옹시여>), Yi-jing poetry, sijo
This study tries to analyze the sijo written by Sangchon Sin Hŭm (1566-1628), because I want to know what motivated him to write these 30 poems when he was exiled to a remote place. Due to the fact that he was more proficient in Yi-jing than any other Confucian scholar, I have linked his sijo to some of 64 Hexagrams of Yi-jing. The reason why I analyze them with reference to Yi-jing is that the meaning of his other name and the number 30, which makes up thirty pieces of his Bangong-siyŏ, are related to Yi-jing. According to my analysis of 30 pieces of his poems, including 15 poems particularly deeply analyzed in this study, I think the implicit meaning of the poems begins with ‘closing the door’ and ends with ‘confirming that the incision is like a stone’. A series of poems is like a record of a person traveling along a rough road. In his poetry, the poet revealed the existence of a human being who mastered in the laws 372 한국학논집(제65집) of nature and who lived the time to prepare for the next step. I think his poetry is based on the belief that good and bad things are circulating, which is the spirit of Yi-jing. As a result of analyzing his poems with reference to this theory, I argue that Sin Hŭm saw the future more positively, which is not the same as the other scholars have evaluated him in other studies so far. I evaluate my study as a meaningful example of research that puts the traditional knowledge formed in our culture into practice. I also think it is another significance of this study that it clearly shows the coexistence of the negative and the positive in Oriental culture and Korean classical literature. 외국어초록(Foreign language abstracts) 373
Study on the character of Baekhwadang-Yayeon(百花堂 夜宴) and the formation process of Baekhwadangas(“百花堂歌”)
Shin, Hyun Woong (Seoul National University)
Key words : Jeong Dongjun, Late Joseon Dynasty, Seoul, Gasa, Private Party, Evening Party
This paper examined how Yayeon(夜宴, an evening party) in Baekhwadang(百花堂) was held and how Baekhwadangas(“百花堂歌”), which belongs to Gasa(歌辭), was composed, recited, and transcribed. First, the character of Baekhwadang-Yayeon was examined. Baekhwadang was Jeongja(亭子) in Jeong Dongjun(鄭東浚, 1753~1795)’s house in Hoehyeon-dong(會賢洞) in Seoul. Around 1790 some of the nobles living in Seoul used to have an evening party in Baekhwadang. Baekhwadangas is the group of the poems about Baekhwadang-Yayeon. Baekhwadangas falls into two classes, which are Baekhwadanga(百花堂 歌) and Sokbaekhwadanga(續百花堂歌), depending on the composition and content. The former focuses on the scenes of Baekhwadang-Yayeon and the latter focuses on the guests to the party. Examining Baekhwadangas, it was found that Baekhwadang-Yayeon was not elegant but inelegant. Second, the formation process of Baekhwadangas was examined. About 1790 Jeong Dongjun stood high in King Jeongjo(正祖)’s favor 374 한국학논집(제65집) and Baekhwadang-Yayeon was held. The news about Jeong Dongjun and Baekhwadang-Yayeon became a gossip for people in Seoul, and then Baekhwadangas was composed. It was the response to the gossip. Further, the composing time of Baekhwadangas, the relationship between Baekhwadanga and Sokbaekhwadanga and the process from composing to transcribing were inferred from examining the contents, the character of manuscripts and the historical facts in detail. As a result, Gasa in Seoul in the late 18th century responded rapidly to the gossip and revealed the event related to the gossip. Baekhwadangas has: (1) political values. Because there almost never the records about Jeong Dongjun and Baekhwadang-Yayeon except Baekhwadangas. (2) cultural values. Because Baekhwadang-Yayeon is inelegant, on the other hand, almost the whole Yayeon held by the nobles living in Seoul were elegant. (3) historical values in Korean Classical Poetry. Because Baekhwadangas was composed and recited at certain times-about 1790- in certain place- in Seoul, so it will be a marker. 외국어초록(Foreign language abstracts) 375
The nobility’s hobby of Playing and Listening to the Geomungo Music in the 16th century - Survey based on Mukjeilgi(the dairy written by Mukjae) -
Ryu, Sok-young (Pusan National University)
Key words : Geomungo, Mukjaeilgi, Lee, Mun-geon, Listening to the Geomungo music, Playing the Geomungo music, Pungryubi
This dissertation aims to survey and identify the aspects that the nobles of Seongju, Gyeongbuk in the 16th century enjoyed playing the Geomungo and listening to Geomungo instrumental as their hobby, which is based on Mukjaeilgi written by Lee, Mun-geon. Major issues are divided into two. One is to survey how and in what style playing the Geomungo instrumental as his personal hobby was done and what meaning it gave to him. The other is which level the nobility of Seongju reached up to and how they enjoyed Geomungo. The summary of this discussion is presented below. It is true that Lee, Mun-geon was absorbed in playing the Geomungo to soothe his grief and tedium as the status exiled to the area of Seongju. But His main aim of playing the Geomungo was a little different from this view. To materialize the statue of grace can be said to be his idea. In other words, his playing the this music instrument was not the way to cast off his tedium but the symbol to realize the freedom and to transcend the mundane world. To do this, some kinds 376 한국학논집(제65집) of formality and constraint were needed under either his intention or the requirement of others. It was these elements that differentiated the music activities of the noble man from those of the slaves for pleasing others. According to the record of Mukjaeilgi Lee, Gong-jeon was the only man from the high class in Seongju that shared the hobby of playing the Geomungo with him. That was because the local nobles were not placed in the situation to have playing this music instrument as their hobby. Such situation was due to the shortage of supplying Geomungo and the rare opportunity to contact with the mentor and sheet music. In addition, even though someone had these conditions, he should have the inborn talents and go through the process to reach the standard over long time. Therefore it is considered difficult for the nobles to take playing the Geomungo as the hobby. Despite, the nobles showed the preference for Geomungo to anything else. Their musical desire could be satisfied by listening to the performance of Geomungo. So the slave for the music were hired to do this. These slaves are classified into two groups. one is the public slave such as gisaeng and a court musician , the other is the private slave of the nobles who are trained to rally the various music events by their owner and are called ‘Pungryubi’. This study takes the special concern for them and their roles and their aspects in social reality. It can be considered that this process helps understand the music life of the nobles in the 16th century. 외국어초록(Foreign language abstracts) 377
About new kasa
Joo Hyerin (Korea University)․GU Sawjae (SunMoon University)
Key words : Sancho'nnaksa, Nonggawŏllyŏngga, Nongbuga, Ubuga, entertainment, humane, instruction, satisfaction, management
Gil Jae(吉再)’s Two Representations : the Practice of Jeolui(節義; Integrity) and the Succession to the Way
Kim, Yong-hun (Hanyang University)
Key words : Gil Jae, jeolui(節義; integrity), dohak(道學; learning of thy way), the way, Elementary Learning(小學), sarimpa (士林派)
This paper is to intended to examine two representations that Gil Jae(pseudonym: Yaeun, 1353~1419) obtained in the period of Joseon Dynasty. In fact, he was recognized continuously as a symbol of jeolui (節義; integrity) and an hair to the way in that time. How were the images of Gil Jae formed? He was a low-ranking government official of Goryeo Dynasty that was replaced through revolution by Joseon Dynasty. He resigned his office and went home on account of knowing that his country would perish soon. In addition, he declined a public office that King Jeong-jong, the second lord of the new dynasty, gave him, under the pretext that a faithful subject would not serve two lords. So, Gil Jae could be honored as a model of loyal subject who practiced integrity. After going home, Gil Jae spent much time teaching his students. The point that Gil Jae emphasized in his education courses is to practice the ethical codes in Elementary Learing(小學), which instructs 380 한국학논집(제65집) children on the standards of routine behavior at home and social life. Eventually, early sarimpa(士林派) scholars were willing to study Elementary Learning earnestly and make much effort to practice moral lessons suggested in it. Consequently, They accepted Gil Jae as a scholar who inherited the way of dohak(道學; learning of thy way) from Jeong Mong-ju(鄭夢周) and transmitted it to the next generation. 외국어초록(Foreign language abstracts) 381
Neo-Confucianism Established and Developed by Sindang Jeong Bung - Focused on ‘An Sang Do’ and ‘Great Learning’ -
Kwon, Sangwoo (Keimyung university)
Key words : Sindang Jeong Bung, AnSangDo, ‘Daxue, Neo-Confucianism
This study is to address how Jeong Bung, a Confucian in Seonsan (around present day Gumi, North Gyeongsang Province, South Korea), developed neo-Confucianism then. The first consideration is about the succession system of neo-Confucianism. Confucians in Seonsan did not accept that neo-Confucianism in Joseon (an ancient dynasty in the Korean Peninsula) was inherited by Jeong Mong-Ju, Gi Jae, Kim Suk-Ja, Kim Jong-Jik, Kim Goeng-Pil and Jo Gwang-Jo in the order named. Instead, they propounded that it was inherited by Jeong Bung and then Bak Yeong after Kim Goeng-Pil inherited it. Most of Confucians in Joseon did not accept their contention. At any rate, the plain fact is that Gil Jae, Kim Suk-Ja, Kim Jong-Jik and Kim Goeng-Pil included in the inheritors were all based on the Seonsan region. Besides them, many venerable Confucians were in that area. Viewed in this light, there is a need to positively address the succession system propounded by Confucians in Seonsan. Jeong Bung is a significant figure in the succession system 382 한국학논집(제65집) propounded by Confucians in Seonsan. He sat at the feet of Kim Goeng-Pil and then passed on what he learned to Bak Yeong. To understand neo-Confucianism that Jeong Bung learned from Kim Goeng-Pil, a comparative analysis was conducted on ‘Han Bing Gye’ written by Kim Goeng-Pil and ‘An Sang Do’ by Jeong Bung. Jeong pictorialized the factors of self-discipline, based on ‘Han Bing Gye’ by Kim Goeng-Pil, which is ‘An Sang Do.’ Kim made so much of practice and self-discipline that he was hailed as an icon of ‘Sohak (a Confucian textbook for children)’, and Jeong tried to carry neo- Confucianism into the practice of life by using ‘An Sang Do.’ Jeong passed on the essence of ‘Great Learning (one of the ‘Four Books’ in Confucianism)’ to Bak Yeong, which shows a good possibility that neo-Confucianism was inherited by Bak in the Seonsan region. 외국어초록(Foreign language abstracts) 383
Juk-Jung Jang Jam’s life and doctrine of thought
Choo Jehyeop (Kyungpook National University)
Key words : Jang Jam, Jo Gwang-jo, self-righteousness, Gyeomje, doctrine of thought
This article is about Juk-Jung Jang Jam’s life and doctrine. In the philosophy from Jeong Mong-ju to Jo Gwang-jo I think I need to study Jo Gwang-jo’s descendants since there are unclear parts within the philosophical history of Jo Gwang-jo. A study on Jang Jam is important in this sense. His life can be explained by self-righteousness and Gyeomje. When he studied under Jo Gwang-jo, Jang jam wanted Gyeomje’s life. But An unexpected death of his master led his in a bad way and he stayed in the life of self–righteousness. In this life what he pursued is practical life continuing his master’s doctrine of thought and practicing self-control. And he want to be not in any way complacent. 384 한국학논집(제65집)
The Meaning and Aspect of Deleting in Jobhwewonjip
Lee, Sang-Dong (Youngnam University)
Key words : Lee Joong-Kyoung(이중경), Jobhwewonjip(잡훼원집), soohunseonsengmoonjip(수헌선생문집), contains the harmony(조화를 품음), deleted or modified(刪定)
Jobhwewonjip which was written by Soohun Lee Joong-Kyoung who was one of the representatives of the chinese literature in Cheong-do in the late of Chosun period, was published under the name of soohunseonsengmoonjip by his descendants in 1959. In Jobhwewonjip, there are not only the love for country and people but also affection for nature such as mountains, rivers and even one clump of grass. He tried to take the world as it comes without the idea of moral philosophy and ideality. He wanted people to accept him for who he is as well. So, most of Lee Joong-Kyoung’s poems which emphasis the images of subjects are a little rough but natural and it contains the harmony between the calm and activity in pleasure of everyday life. Unfortunately, two thirds of the whole contents of Jobhwewonjip were deleted or modified in soohunseonsengmoonjip by his descendants. So, it is difficult to understand what Lee Joong-Kyoung want to say. The ostensible reason for that was question of expense. On the other side of the coin, the desire to make their ancestor as a confucian 외국어초록(Foreign language abstracts) 385 scholar was a real reason. It is understandable that descendants would like to enhance the reputation of their ancestor. However, soohunseonsengmoonjip is an undesirable example that is published by descendants who can not see through ancestor’s intention. 386 한국학논집(제65집)
A Review of Yeongnam Literati Painting - Focused on the formation and aesthetic characteristics of Gimhae literati painting -
Lee Na-na (Dongguk University)
Key words : Yeongnam literati painting, Gimhae literati painting, Daegu literati painting, Bae Jeon, Kim Jong-dae, Ahn Byeong-mok, Seo Byeong-oh, Kim Jin-man, Seo Dong-gyun.
This paper aims to review the previous studies of Yeongnam literati painting and, based on the results of this review, the formation and aesthetic characteristics of Gimhae literati painting. Getting out of a biased view that Yeongnam literati painting is just a painting style centered on Seokjae Seo Byeong-oh of Daegu, this paper identified that, as Yeongnam area has a large area with a variety of features, a wide network of painters has been formed in Gyeongnam province centered in Gimhae, Busan and Jinju along with Gyeongbuk province centered in Daegu. To gain a deeper understanding of the formation and aesthetic characteristics of Gimhae literati painting, this study reviewed the characteristics of literati paintings by Seo Byeong-oh, Kim Jin-man and Seo Dong-gyun, as the leaders of a painter network for Daegu literati painting. Daegu literati painting style is largely characterized by 외국어초록(Foreign language abstracts) 387 calligraphic brush line with strong brushstroke and mood and by strong ink activation attributed to thick ink. These are the characteristics of the Shanghai School that Seo Byeong-oh acquired through China tour, and they were spread to junior painters through《Gyonam Poetry, Calligraphy and Painting Study Society》. Meanwhile, Gimhae literati painting had a clear master artist and apprentice relationship in the sequence of Bae Jeon, Kim Jong-dae, Bae Byeong-min, Ahn Byeong-mok, Ryu Pil-hyeon and Han San-dang. Gimhae literati painting style is one of Korean literati painting styles which Southern school-style literati introduced through picture books in the mid-Joseon Dynasty was indigenized into, and it is a literati painting style characterized by elegant brushstroke and clean and simple ink. This paper expanded the breadth of understanding about the diversity of local literati painting by getting out of the existing viewpoint of limiting Yeongnam literati painting to Daegu literati painting and by identifying the formation and aesthetic characteristics of Gimhae literati painting. This helped to lay the foundation not only to conduct a study on Gimhae literati painting but also to expand the study to Jinju and Andong literati paintings.