Earticle

겸산 유숙기는 낙론계 대표 학자인 삼연 김창흡의 제자로서, 호론과 낙론 사이에서 쟁점화된 미발심과 차별적 기질의 관계를 둘러싸 심여기질부동설을 제기하였다. 이 설은 기본 입장의 제시, 세부적 보완, 후속적 조정을 거치며 전개되었다. 먼저 기의 정미·근본과 거침·말단의 구분에 근거하여 미발심체와 기질의 구별을 제시하고, 이어 ‘본체지심-혈기지심’ 및 ‘심의 본·말’ 구조를 통해 기질에 의해 가려질 수 있는 이발심을 마음의 두 가지 양상 가운데 하나로 위치시켰다. 나아가 기질을 혈기와 동일시하였던 기존 이해를 수정하여, 이를 기기(氣機)와 혈기를 함께 포괄하는 개념으로 재규정함으로써 이 설을 완성하였다. 이후 이 설은 지암 김양행 등에게 전달되었다. 심여기질부동설은 낙론계 심론의 공통 입장이 이른 시기에 비교적 분명한 형태로 제시된 중요한 사례 가운데 하나로 이해된다. 이러한 점에서 이 설은 낙론계 심론의 전개 과정에서 하나의 이론적 참조점으로 기능하였음을 보여준다.

Gyeomsan Yu Suk-gi, a disciple of Samyeon Kim Chang-heup, a leading scholar of the Nak school, advanced the theory of the Distinction between the Heart-Mind and Constitutional Dispositions(sim yeo gijil buldong seol) in debates between the Ho and Nak schools over the relationship between the unaroused heart-mind and differentiated constitutional dispositions. His theory developed through three stages: initial formulation, elaboration, and later revision. He first distinguished the substance of the unaroused heart-mind from constitutional dispositions based on internal distinctions within gi, particularly those between refinement and fundamentality, and coarseness and terminality. He then clarified this position by introducing two structural distinctions: between the ontological heart-mind and the blood-gi heart-mind, and between the root and terminal aspects of the heart-mind. These distinctions allowed him to explain the aroused heart-mind, which may be obscured by constitutional dispositions, as one of the two aspects of the heart-mind. He further revised the earlier view that equated constitutional dispositions with blood-gi, redefining them instead as encompassing both gi-dynamics(gigi) and blood-gi, thereby completing the theory. This theory was later transmitted to scholars such as Jiam Kim Yang-haeng. It represents an early example in which a shared position of Nak school heart-mind theory was presented in a relatively clear form. In this way, it functioned as a reference point in the development of Nak school heart-mind thought.

This study examines how Han Yu's “Five Originals” series embodies and applies the pre-Qin Confucian concept of “rectification of names.” As a central figure in the Mid-Tang Classical Prose Movement, Han Yu sought to reconstruct Confucian moral order by tracing the philosophical “origins” of ethical and political categories, while countering Buddhist and Daoist influences. The essence of “original-style prose” lies in its pursuit of fundamental principles through conceptual clarification. Han Yu employed logical methods of classification and differentiation - as seen in his “Three Grades of Human Nature” in Yuan Xing and his definition of the Confucian Way through “benevolence” and “righteousness” in Yuan Dao - to establish conceptual clarity and normative unity, realizing the Confucian ideal of “rectifying names to rectify governance.” His style synthesized the precision of pre-Qin philosophical discourse with the elegance of classical prose, transforming linguistic rectification into an act of moral reconstruction. The influence of this genre proved enduring. Northern Song scholars like Shi Jie and Ouyang Xiu revered his works, while Southern Song Neo-Confucians like Zhu Xi incorporated them into the orthodox “transmission of the Way.” Through the imperial examination system, the argumentative mode of original-style prose became a model for literati rhetorical training, shaping subsequent academic writing. In conclusion, Han Yu's original-style prose provided both linguistic methodology and moral philosophical framework for the Confucian revival, bridging literature and philosophy while anticipating the development of Song-Ming Neo-Confucianism, thus establishing itself as a milestone in the history of Chinese prose and intellectual thought.

This study aims to demonstrate that the concept of ‘You-Wu’ (有無, existence and non-existence) from Laozi’s ‘Daodejing’ functions as a core philosophical foundation for Dasuk Yu Young-mo’s philosophical system, particularly his view of humanity. Based on pure Korean language and his unique thought, Dasuk developed a ‘consilient’ philosophy that integrated Christianity with Confucianism, Buddhism, and Daoism. In this process, Dasuk notably transformed Laozi’s ‘You-Wu’ proposition into a framework for redefining the Absolute and presenting the path humanity must follow. Yu defined the finite, false self trapped in the ‘Three Poisons’ (三毒) as the ‘momna’ (몸나, physical self), and the original, true self that unites with the source of existence as the ‘eolna’ (얼나, spiritual self), thereby presenting the path of human completion. To this end, Chapter 2 first analyzes Laozi’s philosophy of ‘You’ (有) and ‘Wu’(無) to explore the philosophical origins of Dasuk’s thought. Chapter 3 then traces Dasuk’s process of creative transformation, examining how he reinterpreted Laozi’s metaphysical ‘Wu’ into the concept of ultimate reality as ‘God who exists as non-existence’, and ‘You’(有) into the existential problem of the ‘momna’ (physical self) that must be overcome. Furthermore, it investigates the process by which this thought culminates in the ideal human image: ‘union with the One’ (一, hana). By elucidating the process through which Laozi’s ontology is ‘recreated’ within Dasuk’s system, this study seeks to highlight the originality and contemporary relevance of Dasuk Yu Young-mo’s philosophy.

우연객의 소장품들은 그 귀중함이 해내외 수집가들의 부러움 대상으로 만들기에 충분하다. 그가 고서에 남긴 서발을 통해 그의 학문적 정통성과 함께 감정이 섬세하게빛나는 면모를 엿볼 수 있다. 사람들은 그를 “글씨로 세상에 이름을 날리었다”고 하지만, ‘만주국’의 역대 서화 전시회에서는 그의 글씨를 보지 못하고, 오히려 그의 그림에서 뛰어난 업적을 볼 수 있었다. 바로 그 때문에 ≪기린≫ 창간 2주년 기념호잡지에서 이렇게 평가했다. “다재다능한 연객 군, 문단의 베테랑, 화단의 대가, 극단의 유명한 평론가, 문단, 화단, 극단을 관심 깊게 관찰하는 사람이라면, 연객 선생님을 모르는 이가 어디 있겠는가!” 그는 사진 촬영 분야에서도 뛰어난 재능을 보였다. 그가 ‘만주국 자신의 사진팀’을 제안한 것과 1928년에 지방지에 발표한 사진들을 보면, 그의 사진술은 1920년대에 이미 숙련된 경지에 이르렀음을 알 수 있다. 그의 수집 및 감정 활동을 통해, 연객은 독보적인 안목을 가지고 있었다는 것을 알 수 있다. 특히 항일전쟁이 끝난 후에 그의 식별과 도움으로 대량의 국보급 서화 및 고서가 동북 박물관으로 돌아올 수 있었다. 신중국의 문화유산 유실을 막는 데 큰 기여를 했다. 그의 그림은 만주국 ‘국전’에 참여하고 심사하는 활동을 통해, 중국 동북 회화사에 중요한 한 페이지를 장식했고, 나중에 동북 미술사 연구에 귀중한 사료를 제공했다. 문학 분야를 보면, 그의 소설, 연극 평론, 시, 번역 등 대량의 창작물에서 그는 대학자로 꼽힐 수 있다.

The value of Yu Lianke's collection is so great that it would make collectors from all over the world envious.His inscriptions on ancient books and fine editions reveal not only his profound scholarship but also his delicate and sensitive emotional side. It is often said that he "made his name through his calligraphy," but in the successive calligraphy and painting exhibitions of the "Manchukuo," he rarely showed his calligraphy, instead achieving remarkable success in painting. Precisely for this reason,the second-anniversary commemorative issue of the magazine "Qilin" commented as follows: "The multi-talented Mr.Yu Lianke,a veteran of the literary world, a master of the painting world, and a famous player in the chrysanthemum world?those who pay attention to the literary, painting, and chrysanthemum circles would surely know Mr. Yu Lianke!" In the field of photography, he also demonstrated extraordinary talent.From his advocacy for the establishment of a "photography team of Manchukuo" and the photos he published in local chronicles in 1928, it can be seen that his photography had already reached a proficient level in the 1920s. Judging from his activities in collection and appraisal, Yu Lianke had a unique ability to discern treasures. Especially after the end of the War of Resistance Against Japan, with his identification and assistance, a large number of national treasure-level calligraphy, paintings, and ancient books were able to return to the Northeast Museum, making a significant contribution to preventing the loss of cultural treasures in New China. His participation in and review activities at the "National Exhibition" have become an important part of the history of painting in Northeast China and have provided valuable historical materials for future research on the history of Northeastern fine arts.In terms of literature,his extensive creations in novels, drama reviews, poetry, and translation prove that he is truly a man of letters.

이 글의 목적은 동인지 󰡔시와 시론󰡕을 중심으로 하여 1950년대 초기 유치환의 시 세계의 변모 양상을 고찰하는 데 있다. 그간 유치환이 1930년대부터 1960년대에 이르는 한국 문단에서 활발한 시작 활동을 전개할 수 있었던 동력 중 하나로서 동인 활동에 주목한 바 있으나, 아직 그가 발행인으로서 주도적인 역할을 감행했던 󰡔시와 시론󰡕에 관해서는 제대로 논의되지 못했다. 실제로 이 동인지는 외적인 측면에서 긴밀한 인적 네트워크를 바탕으로 실천적인 시 정신을 표방하고 있었으며, 내적인 측면에서 1950년대 초기 유치환의 시적 전환에 있어 일종의 가교역할을 하고 있었다는 점에서 중요하게 살펴볼 필요가 있다. 이를 고려하여 이 글에서는 󰡔시와 시론󰡕에 수록된 유치환의 텍스트를 이전의 시집 󰡔보병과 더부러󰡕(1951)와 이후의 시집 󰡔예루살렘의 닭󰡕(1953)의 경계에 놓인 변증법적 산물로 바라보고자 했다. 보다 구체적으로, 유치환은 󰡔보병과 더부러󰡕에서 이전의 시에 농후한 원시적 생명력을 반공 이데올로기의 기제로서 합리화하고자 했다면, 󰡔시와 시론󰡕 소재의 텍스트에서는 현대 문명 전반에 관한 비판적인 정신을 가지고 인간 본연의 자세를 회복하기 위한 의욕을 내비치고 있다. 그리고 그는 󰡔시와 시론󰡕 소재의 텍스트에서 개체의 존재 방식과 신의 존재 원리에 관한 인식의 맹아를 보여주고 있는데, 이러한 인식은 󰡔예루살렘의 닭󰡕에서 독특한 신관을 바탕으로 우주 자연의 운행 방식을 모색하는 것으로 구체화 된다. 따라서 󰡔시와 시론󰡕은 1950년대 유치환의 동인 활동 공백을 메울 뿐만 아니라 그의 시적 전환을 예고하는 과도기에 놓여 있다는 점에서 중요한 위상을 지닌다고 할 수 있다.

The purpose of this article is to examine the changing aspects of the world of poetry of Yu Chi-hwan in the early 1950s, focusing on the magazine Poetry and Poetics. Although attention has been paid to the literary circle activities of Yu Chi-hwan as one of the driving forces that enabled him to undertake active literary activities in the Korean literary world from the 1930s to the 1960s, there has been no proper discussion on the literary circle magazine Poetry and Poetics, in which he played a leading role as publisher. In fact, this magazine deserves careful consideration in that it advocates a practical poetic spirit based on a close personal network on the external side, and serves as a kind of bridge for Yu Chi-hwan’s poetic transformation in the early 1950s on the internal side. Taking this into account, this article attempts to view Yu Chi-hwan’s text included in the Poetry and Poetics as a dialectical product located on the border between his previous poetry collection, With the Infantry(1951), and his later poetry collection, The Chicken of Jerusalem(1953). More specifically, while Yu Chi-hwan attempted to rationalize the primitive vitality that was abundant in his previous poems in With the Infantry as a mechanism for anti-communist ideology, in the texts of Poetry and Poetics, he displayed a critical spirit toward modern civilization in general and displayed a desire to recover the original human attitude. And in the text of his Poetry and Poetics, he showed the beginnings of an awareness of the way objects exist and the principles of God’s existence, and this awareness was concretized in The Chicken of Jerusalem, in which he sought the way nature operates in the universe based on a unique view of God. Therefore, it can be said that Poetry and Poetics holds an important position in that it not only filled the gap in Yu Chi-hwan’s literary activities in the 1950s, but also marked a transitional period that heralded his poetic transformation.

≪秋懷詩十一首≫作為韓愈五言古詩組詩的代表作, 不僅在中國歷代被詩家所關注、唱和, 其東傳日本後, 也受到了不同時期日本漢詩人的關注, 產生了多組次韻唱和的詩作｡ 在這些唱和詩作中, 尤以江戶早期的林春德、江戶後期的安積艮齋、幕末明治時期的大沼枕山所作最具代表性, 通過對這些作品與韓愈原詩的對讀分析, 及與同時代其他相關作品的比照, 可以瞭解到≪秋懷詩十一首≫在日本漢詩中的傳播與影響｡ 對≪秋懷詩十一首≫的唱和, 除了反映出日本在不同時期對韓愈詩歌與人格的接受情況外, 也折射出日本不同時期的朱子學發展狀況｡

As a representative work of Han Yu’s five-character ancient poetry, “Eleven Poems of Qiuhuai” has not only been noticed and sung by Chinese poets throughout history but has also received attention from Japanese Han poets at different times after its spread to Japan, where it spawned multiple sets of rhymed poems. Among these songs and poetry works, the works of Lin Chunli of the early Edo period, Azumi Gyoji of the late Edo period, and Onuma Pillow of the Meiji period at the end of the Edo period are the most representative. Analyzing these works comparatively alongside Han Yu’s original poetry and comparing them with other related works created in the same period can yield an understanding of the dissemination of “Eleven Poems of Qiuhuai” and its influence on Japanese Han poetry Chinese poetry. The practice of replying rhyming of “Eleven Poems of Qiuhuai” not only reflects Japan's acceptance of Han Yu's poetry and personality in different periods but also reveals the development of Zhu Xi studies in Japan at different times.

The literary contributions of Sŏ Yu-yŏng (徐有英, 1801–1876?) hold an undisputedly prominent position in the history of 19th-century Korean literature, demonstrating remarkable breadth and sophistication. Furthermore, his life and social interactions provide valuable insights into the intellectual networks of his time. However, compared to studies on his novel Yukmidanggi (六美堂記) and his vernacular Kŭmkye P’ilt’am (錦溪筆談), research focusing on his poetic works remains notably underdeveloped. This paper investigates one aspect of Sŏ’s poetic work by analyzing his journey poems, particularly those found in Unko Sicho (雲皐詩抄). These poems exhibit three key characteristics. First, many belong to the Akpu (樂府) poetic tradition, including subcategories such as Haedong Akpu (海東樂府), Chukji sa (竹枝詞), and Chap’yŏng (雜詠). Second, from the perspective of travel literature, they can be categorized into observational travel accounts (kwanyu kihaeng, 觀遊紀行) and exile journeys (yup’ae kihaeng, 流配紀行). Third, these poems were often composed during poetry gatherings and involve fellow members of literary societies. The analysis examines a series of journey poems depicting Sŏ’s experiences visiting Imhanjŏng (臨漢亭), Mount Kŭmgang (金剛山), and Songdo (松都), representing his engagement with literary societies, observational travel, and exile journey. The Imhanjŏng poems reflect Sŏ’s participation in the Nam-Sa (南社) and his desire for “one who truly understands him” (chiaja, 知我者), both conveyed through specific locales. The poems from Mount Kŭmgang, composed during three journeys, reveal a literary worldview deeply influenced by Taoist influences from Silla (新羅) and Buddhist ideologies. Meanwhile, the poems from Songdo, written during his exile, emphasize regional identity and historical narratives over the scenic beauty of the landmarks, drawing a connection to Yu Tŭk-kong’s (柳得恭) Isib’il-to Hoegosi (二十一都懷古詩). This study fills a critical gap in scholarship by bringing attention to Sŏ Yu-yŏng’s poetic works, which have been largely overlooked. Furthermore, it contributes to reconstructing the literary and cultural activities of 19th-century Kyŏnghwa sejok (京華世族), particularly their participation in poetic societies such as the Nam-Sa. For the first time, Sŏ’s travel poetry is examined in detail, offering fresh insights into the places imbued with his profound thought and emotional depth. This paper also seeks to support further research on Sŏ’s attachment to and reflections on specific locations, enriching the broader understanding of 19th-century Korean literary culture.

This study examines the life and poetic world of Cheon-yu Park Mun-gyu (朴文逵, 1805–1888) through the classical Chinese poems (漢詩) contained in his anthology, Cheon-yu Si-jip. Born in Gaeseong and originally engaged in the ginseng trade, Park Mun-gyu abandoned his business and left his hometown around the age of 40 to pursue a life as a poet, eventually earning widespread recognition for his literary talents. Renowned for his poetry among the aristocracy of Seoul, Park Mun-gyu’s fame extended as far as Qing China, solidifying his reputation as one of the representative poets of the 19th century. Approximately 50 years after his death, his anthology was published by a younger literary figure from Gaeseong, Gong Seong-hak(孔聖學). Park Mun-gyu's poetic world can be divided into three stages. First, during his time in Icheon, Gangwon Province, he engaged directly in farming, composing socially critical poems that expressed his sympathy for the hardships of peasants. Next, while traveling across the scenic landmarks all around the Korea, he enriched his poetry by capturing the diverse experiences, joys, and sorrows of life on the road through his poetry. Finally, as a literary guest (門客) in Seoul and Busan, he attended diverse poetry gatherings (詩會) of high-ranking officials and other literary guests, earning recognition as a professional poet for his literary talent and expanding his social network within the poetic circles. After gaining nationwide and international recognition for his poetry, Park Mun-gyu returned to his hometown of Gaeseong, where he was warmly welcomed by the local literary community. In 1887, he passed the special civil service examinationin(別試) in Gaeseong. Respected by younger Gaeseong literary figures such as Kim Taek-young(金澤 榮), Park Mun-gyu was celebrated as a leading poet of the region. The literary community of Gaeseong utilized their solidarity and economic resources to elevate Park Mun-gyu as a central figure in local literature, enhancing Gaeseong’s cultural prestige.

본 글에서는 관우 신앙이 조선시대 임진전쟁 시기 명군의 참전과 함께 유입된 것으로 보고 관왕묘 조성과 국가 제사 시스템 수용과정 그리고 더 나아가 민속종교에서의 관제 신앙 수용 배경을 규명해 보았다. 그 시기는 16세기에서 18세기까지를 집중하기에, 민간에서 관우 신앙이 민속종교로 보편화되기 전 단계의 과정을 주로 논의하였다. 중국에서 관우는 공자와 함께 문무이성(文武二聖)으로 회자되고 있다. 관우는 전쟁ㆍ재복신이며, 여러 가지 법력을 갖추고 있는 존재로 신격화되었다. 관왕묘는 명의 요청으로 선조 연간에만 총 6곳에 관왕묘(關王廟)가 조영되었다. 선조는 임진전쟁 이전 󰡔삼국지연의(三國志演義)󰡕 를 읽어 관우의 영웅담을 익히 알고 있었고, 관우의 상무적인 면에 관심을 가졌던 것으로 보인다. 선조는 인간의 길흉화복이나 운명에 관심이 많았던 탓에 관우 신앙을 완전히 부정적인 시선으로만 보지 않았을 가능성도 있다. 무엇보다도 선조는 임진전쟁이라는 위기의 시기에 대민 정책의 하나로 관우 신앙을 정치적으로 활용하였을 것으로 짐작된다. 관왕묘 조영 이전부터 이미 조선에서는 󰡔삼국지연의󰡕 의 유행으로 관우의 충의는 널리 알려져 있었다. 관우 신병(神兵) 음조(陰助)에 의한 승리 소식과 같은 사회적 배경에 관왕묘가 건립되면서 민간에서는 관우의 신격화가 이루어졌다. 전쟁 중 영웅으로서 관우 관련 설화가 민간에 퍼지면서, 소설 속의 인물에서 민속종교의 신으로 추존되는 양상으로 변모되었을 것으로 분석하였다. 선조 이후 숙종부터 영ㆍ정조에 이르기까지 관왕묘 제사는 소사(小祀)에서 중사(中祀)로 격상된다. 이는 관우의 충절을 곧 왕권 강화와 연결하게 하려는 의도였다. 숙종이 충의를 높여 국왕 중심의 정치 질서를 재편하려는 노력에 이어 영조와 정조가 즉위 초기 정치적 안정을 위해 국왕 중심의 정치 질서를 모색하던 흐름과 무관하지 않다. 관우 신앙이 민간에 더욱 깊숙이 파고든 것은 숙종 이후일 것으로 규명하였다. 국가가 관왕묘를 신성한 곳으로 설정할수록 민속종교 주재자와 신앙자들은 관왕을 알현하거나 그곳에서 종교의례를 행하는 것을 신성하게 여겼을 가능성을 제기해볼 만하다. 이 연구가 갖는 의의는 기존에 관우를 민속종교로만 인식되었던 경향과 달리, 임진전쟁이라는 사회적 이슈와 관왕묘 조성 이후 국가 제사로 추존되면서 민속종교에 자연스럽게 수용된 배경을 주목한 점에 있다.

In this article, it is believed that the belief in Guan Yu was introduced with the participation of the Ming troops during the Imjin War in the Joseon Dynasty, and the background, the process of accepting the national ritual system, and furthermore, the process of maintaining control beliefs in the private sector are to be identified. Since the period focuses on the mid-to-late 16th century and the 18th century before and after the Imjin War, the process of the pre-generalization of the Guan Yu's faith as a folk religion in the private sector is mainly discussed. In China, Guan Yu is talked about as a representative sacred being along with Confucius. Guan Yu has been deified as a person with various legal powers, such as overseeing fate and restoration and taking charge of the list as well as being a god of war. During the Imjin War, a total of four places were established in the Ming Dynasty alone due to demands for the construction of a Guanwangmyo. At that time, it seems that King Seonjo was well aware of Guan Yu's heroic story and interested in the military aspect of Guan Yu in that he read ??Romance of the Three Kingdoms?? before the Imjin War. In addition, it cannot be ruled out that King Seonjo did not view the Guan Yu's faith only with a completely negative view because he was interested in human good fortune or fate at the time. Above all, it is presumed that King Seonjo used the Guan Yu's faith as a policy as part of his public policy during the crisis of the Imjin War. Even before the establishment of the Guanwangmyo, Guan Yu's loyalty was widely known in Joseon due to the popularity of ??Romance of the Three Kingdoms??. With the establishment of a royal tomb in a social background, such as the news of Guan Yu's victory with the help of a spiritual soldier, Guan Yu's deification took place in the private sector. It is presumed that Guan Yu-related tales as heroes spread to the private sector during the war, transforming from a character in the novel into a god of folk religion. After King Seonjo's reign, from King Sukjong to Yeongjo to Jeongjo, the Guanwangmyo‘s rites are elevated from a small-scale national ritual to a medium-scale national ritual. This was intended to link Guan Yu's loyalty to the strengthening of royal authority. Following King Sukjong's efforts to reorganize the king-centered political order by increasing loyalty, it is understood that it was not irrelevant to the trend of King Yeongjo and Jeongjo seeking a king-centered political order for political stability in the early days of his accession. In that context, it seems that it was after King Sukjong that the Guan Yu faith penetrated deeper into the private sector. The more sacred the state established the Guanwangmyo as a sacred place, the more sacred folk religion presidents and believers would have considered it to be to preach the king or perform religious rituals there. The significance of this study is that, unlike the previous tendency to recognize Guan Yu only as a folk religion, it focuses on the social issue of the Imjin War and the background of being naturally accepted by folk religions as it was revered as a national ritual after the construction of the sacred religious space called the Guanwangmyo.

This paper explores the intersection of Yu Hua's novel “Brothers” with existential philosophy, focusing on the novel's satirical elements and Yu Hua's engagement with existentialism. It outlines Yu Hua's significance in Chinese literature and the impact of “Brothers,” then delves into the existential concepts of freedom and choice as portrayed through the characters Li Guangtou and Song Gang. The paper argues that “Brothers” reflects existential themes of individual struggle and resistance in the face of societal change. It also discusses Yu Hua's contribution to the existential dialogue, particularly in the context of modern Chinese society. The paper concludes by highlighting the importance of Yu Hua's work in understanding individual existence and social values, suggesting future research on existential philosophy in diverse cultural contexts.

유형원은 양란 직후 사회를 개혁하고 바로 세우기 위한 계획의 일환으로 『반계수록』을 저술하였다. 그의 화폐론은 바로 이러한 사회적 배경을 갖고 개혁론의 일환으로 등장하였다. 상평통보가 유통되기 이전 그가 제작하고자 한 동전량은 전체 세금의 10% 내외를 제작하여 최소한으로 운영할 계획을 세우는 등 구체 적인 수치까지 제안하고 있다. 이는 동전을 교환수단으로 공급할 의도보다는 제한된 역할을 수행하도록 계획한 것으로 이해할 수 있다. 그 역할은 현물 위주의 재정물자를 10% 내외의 동전을 통해 보완하고 특히 유통의 어려움을 해결하고자 고안한 것으로 이해할 수 있다. 당시 화폐는 지역 간 유통에 어려움이 있었고 유형원은 화폐유통을 위해 상설점포를 신설하고 여러 혜택을 주어 점포가 항상적으로 기능할 수 있는 제도적 지원도 제시하였다. 유형원은 해당 시기 동전이 자연스럽게 유통되지 않았던 사실을 명확하게 간파하고 이를 극복할 수 있는 유통책까지 고안한 것이라 할 수 있다. 또한 유형원은 전란 이후 公田을 확보하고 이를 기반으로 국가재정을 확충하는 동시에 동전을 통해 재정의 탄력적인 활용을 계획하고 있었다.

Yu Hyeong-won authored “Bangyesurok” as a part of his efforts to reform and stabilize society following the disturbances caused by the wars. His monetary theory emerged from this social backdrop as part of his reform proposals. Before the circulation of Sangpyeong Tongbo, he proposed the minting of coins, suggesting specific figures like producing around 10% of the total tax as coins, to operate minimally. This plan was intended not to supply coins as a medium of exchange but to fulfill a limited role. The role of these coins was to complement fiscal resources, which were primarily in kind, with about 10% in coins, particularly to solve distribution difficulties. At that time, currency faced regional distribution challenges, and Yu Hyeong-won proposed establishing permanent stores and providing various benefits to ensure these stores could function continuously, offering institutional support for currency circulation. He clearly understood the fact that coins were not naturally circulated during that period and devised distribution strategies to overcome this. After the wars, Yu Hyeong-won sought to secure public funds and expand national finances on this basis, planning to use coins for more flexible fiscal management.

Performing arts is not merely physical gestures; it encapsulates the human spirit. Given that performing arts is a field that deals with the human spirit, it is crucial for artists, above all else, to reflect on their own spirits, which should precede everything else. Additionally, proficient artistic skills and techniques are also required. These two elements are essential in the realm of performing arts. Interestingly, the philosopher in ancient China who made such claims was Confucius, and the concept is known as Confucius's Yu-Eo-Ye (游於藝) concept. This type of engagement is achievable through the parallel development of character and artistic mastery. In the context of performing arts, the concurrent development of character and artistic mastery in Yuye is conceptually and methodologically similar. Therefore, the intention is to attempt research on Yu-Eo-Ye and performing arts, seeking a philosophical reflection on the shortcomings of modern performing arts through Yu-Eo-Ye.

Han Yu(韓愈) is a writer who caused the ancient writing movement as one of the eight writer of Tangsong. He tried to revive Confucianism by giving a presentation the way on the sentence in the days when Buddhism and Taoism were prevalent. So he was evaluated as a person who revived Neo-Confucianism and suggested the direction in which study abroad should proceed. In his time, Buddhism and Taoism had a golden age, but social problems also appeared. In particular, economic problems have affected national finances, temples have become more splendid than palaces, and the state has been unable to secure labor and finances. Han Yu explains the importance of Confucianism in the form of a sentence and explains the legitimacy of Confucianism. In fact, there was also a situation of the times that Buddhism's damage should be eliminated at the national level. The Tang Dynasty was already experiencing turbulence both inside and outside the country. However, there is a limit to his theory of Buddhism, and his criticism of Buddhism is an extension of the problem raised by the introduction of Buddhism. His criticism of Buddhism has been refuted in politics, economy, society, culture, ethics, and history, but his criticism of Buddhism and revival of Confucianism have a strong declarative meaning and show limitations in approaching social problems. The Tang Dynasty was already experiencing turbulence both inside and outside the country. Han Yu was a person who lived between An Lushan’s Rebellion and Huangchao’s rebellion, and the problems that appeared at that time cannot be limited to Buddhism.

To examine the unique value of Yu Shaoan Pidian Wenxuan Xinjue in relation to historical literary anthologies, this study compares and analyzes its editions compiled and annotated with critical remarks by Yu Ji(1272?1348) during the Yuan dynasty. Books featuring commentary and critical remarks on poetry and literature emerged during the Southern Song Dynasty when those analyzing reading and writing methods, targeted at scholars engaged in academic pursuits to pass the imperial examinations, were compiled and published. Yu Shaoan Pidian Wenxuan Xinjue, compiled by Yu Ji, was published by adding commentary to works such as Lu Zuqian’s Guwen Guanjian, Xie Fangde’s Wenzhang Guifan, and Zhen Dexiu’s Wenzhang Zhengzong, along with the works of Song dynasty literati, including Han Yu, Liu Zongyuan, Ouyang Xiu, and Su Shi. This study organizes the series of editions of Yu Shaoan Pidian Wenxuan Xinjue compiled in China and Japan. Furthermore, the author discovered an edition that was circulated from Joseon to Japan and conducted a philological investigation to reveal its origins. Yu Shaoan Pidian Wenxuan Xinjue was circulated and reproduced in East Asia’s Chinese character cultural sphere; thus, as a valuable source, the text provides insight into one facet of the exchange of books and literature in premodern East Asia. In particular, since it is an example of a text that circulated from China to Joseon, and again from Joseon to Japan while retaining its original form when reprinted, this work can shed new light on Joseon and the value of Joseon books. Follow-up research should thoroughly examine different editions and provide a comprehensive analysis of thecritical remarks encompassing the entire Yu Shaoan Pidian Wenxuan Xinjue.

복건성 장주시 동산에 위치한 銅陵關帝廟는 중국 4대 관제묘 중 하나로 꼽힌다. 동산은 중원으로부터 한참 떨어진 곳이며, 관우 생전 그 어떤 접점도 없었다. 하지만 이곳은 중원문화, 민남문화, 해양문화가 서로 융합하여 다채롭고 독특한 새로운 관우문화를 자랑한다. 본고는 福建省 漳州 東山에 관우문화가 유입되고 정착되는 과정 및 그 특징 등을 살펴보고자 한다. 이는 관우문화의 다양성을 도출하고 중국 동남 연해지역의 문화를 이해하는 단초를 제공할 수 있을 것이다.

Dongshan is a locale where Central Plains culture, Minnan culture, and maritime culture converge, giving rise to a distinctive and diverse Guan Yu culture. In his lifetime, Guan Yu had no association with Dongshan or the Minnan region, and no maritime-related stories are attributed to him. Nevertheless, in Dongshan, situated on the southeast coast, a Guan Yu worship culture akin to that in other regions prevails. Despite potential differences in scale, every household features an altar dedicated to a Guan Yu statue. During significant occasions such as the Spring Festival, Guan Yu's birthday, or his day of ascension, Dongshan residents frequent temples to conduct memorial services, seeking peace and prosperity for their families. Guan Yu has historically been a revered figure for Dongshan residents, with a well-established cultural history. Despite the absence of personal connections between Guan Yu and Dongshan during his lifetime, the establishment of the Guan Yu faith in this region prompts questions about its origin. Additionally, how has the Dongshan Guan Yu worship culture persevered to the present day? This study seeks to scrutinize the history and distinctive features of the Dongshan Guan Yu culture and analyze its implications. By doing so, it aims to serve as a foundational exploration into the diverse facets of Guan Yu culture and contribute to the comprehension of the cultural landscape of the southeastern coastal region of China.

조선시대는 儒學을 ‘正學’이라고 하고, 이외의 학문을 ‘邪學’이라고 했다. 정조 8년에 李承薰이 중국에서 세례를 받고 많은 양의 西學 서적과 물품을 들여왔다. 그리고 정조 15년 ‘尹持忠ㆍ權尙然 사건’이 일어나자, 국가에서는 ‘邪學’을 경계하며 禁令을 내렸다. 이 사건 이후, 이가환ㆍ정약용ㆍ이승훈 등은 마음을 바꾸었다고 한다[革心]. 그런데 정조 19년 주문모 신부가 국내에 들어와 선교를 했다. 포도청에서 검거에 실패하는 사건이 일어났다(‘乙卯失捕事件’). 이 사건으로 남인 채제공 계열의 이가환 등은 攻西派에게 信西派라는 정치적 논척을 당했다. 正祖 사후, 1801년(순조 1) ‘辛酉獄事’ 중 이가환 등의 추국은 사헌부의 臺啓로 인해 시작되었다. ‘邪學’ 관련 추국은 妖書와 妖言을 전하여 많은 사람들을 현혹시킨 죄에 대해서 자백[=遲晩]을 받고, 판결문[=結案]에 따라 형이 집행되었다[=正法]. 1801년(순조 1) ‘신유옥사’ 중 이가환 등의 추국 시작은 ‘邪學’과 관련해서 남인 내 채제공 계열과 신서파 세력, 신진세력에 대한 심문으로부터 외척 洪樂任과의 연합 여부에 대한 심문으로 변화했고, 주문모 신부 자수로 宗親 세력과 노ㆍ소론, 소북인 내 ‘時派’ 세력에 대한 추국으로 변화하는 양상을 확인할 수 있다.

티베트 문학사에서 롭상 린첸 캄양 갸쵸는 티베트 불교의 종교적 지도자인 제6대 달라이 라마로서 뿐만 아니라 티베트의 가정 시인으로서도 종교적 지도자와 같은 위상을 지니고 있으며, 그의 사랑 시는 예술적 가치가 뛰어나 300년 동안 수백만 가정에 전파되어 사람들의 존경을 한 몸에 받았던 인물입니다. 수행자로서 그는 티베트 불교의 모든 달라이 라마 중에서도 단연 돋보이는데, 그 자신이 살아있는 부처였기 때문이기도 하지만 사랑과 자유에 대한 열망이 대단했기 때문입니다. 그의 시 작품에는 계율에 대한 불만과 속박에 대한 반항, 자유와 사랑에 대한 열망이 반영되어 있습니다. 그의 반항적인 정신은 동료 티베트인들에게 큰 영향을 미쳤습니다. 그의 시 작품은 다른 티베트 시와는 다르며 그의 시는 오랜 역사 속에서 항상 빛을 발했습니다. 동시에 창양갸소는 사회 문제를 날카롭게 제기하고 많은 사회적 갈등을 시에 반영했습니다. 그의 시 작품은 또한 당시의 사회 문제를 표현한 것으로, 사람들의 열망과 요구, 즉 자유롭고 행복한 삶에 대한 열망을 반영했습니다. 전국적으로 거의 가명에 가까운 불후의 고전 작품이 되었습니다. 1930년대에 위다오취안 교수는 구양계소 작품을 중국어와 영어로 번역했고, 동시에 구양계소 시 작품의 중영 완전 번역의 모범을 만들었습니다. 이것은 마치 큰 강이 두 개의 지류로 나뉘어 서로 다른 경치를 만들어내는 동시에 다른 풍경을 만들어내는 것과 같습니다.

In the history of Tibetan literature, Lobsang Rinchen Tsang Yang Gyatso has the same status as his religious leader, that is, the religious leader of Tibet - the sixth Dalai Lama, and is also a well-known poet in Tibet. His love poems have extremely high artistic value. , spread to thousands of households in a three-hundred-year period, and was respected by people. As a practitioner, Tsangyang Gyatso is very different among all the Dalai Lamas in Tibetan Buddhism, because he is a living Buddha himself, but he also advocates love and freedom very much. His poems reflect his dissatisfaction with the rules and regulations, his resistance to and yearning for bondage, and at the same time he hopes to gain freedom and love. His spirit of resistance has a great influence on the Tibetan compatriots. Tsangyang Gyatso's poetry is different from other Tibetan poetry, and his poetry has always been brilliant in the long river of history. At the same time, Tsangyang Gyatso also pointedly raised some social issues and reflected many social contradictions in his poems. His poetic works were also expressions of social problems at that time, reflecting the aspirations and demands of the people, that is, their desire to live a free and happy life. It has almost become a household classic and immortal throughout the country. In the 1930s, Professor Yu Daoquan translated Tsangyang Gyatso's works into Chinese and English, and at the same time created an example of full Chinese-English translation of Tsangyang Gyatso's poems. This is like the splitting of a big river into two tributaries, resulting in different landscape characteristics and at the same time making different landscapes appear. For Tsangyang Gyatso's research, the more representative ones are: Li Ming "Recent Research Review of Tsangyang Gyatso and Its Love Songs-Also on Tsangyang Gyatso's Works and Others" Tan Shijie "Translation of Tsangyang Gyatso's Love Songs" Review of Publishing and Research Overview The research on Tsangyang Gyatso has never stopped since the founding of New China. Although there were research results of the times during this period, most of these results were based on life stories, gender relations, ethnicity, and translation. In the research on translation, few studies have been done on the style of his poetry.

유득공이 지은 󰡔사군지(四郡志)󰡕는 고대 한사군(漢四郡)의 역사지리를 서술한 것으로, 서문(序文)과 사군도(四郡圖), 사군표(四郡表)에 이어 본문에 해당하는 지(志)는 건치연혁(建置沿革), 산천(山川), 사실(事實), 명환(名宦), 인물(人物), 봉작(封爵), 방언(方言), 토산(土産), 고적(古蹟), 제영(題詠)으로 구성되었다. 󰡔사군지󰡕 ｢토산｣은 조선 후기 지리지에서 ｢물산｣이라는 항목으로 기재된 것과는 다르며, 분량도 아주 적다. 직물 1항목, 곤충 1항목, 무기 2항목, 곡물 1항목, 짐승 1항목, 물고기 1항목에 불과하다. 유득공이 󰡔발해고󰡕에서 사용했던 ｢물산｣ 대신에 ｢토산｣을 표제로 삼은 이유는 시간적 한계가 가장 큰 이유였을 것이다. 옛 한사군 지역에서 생산되는 물산을 알 수 없었기 때문이다. 하지만 여러 제약에도 불구하고 옛 한사군 지역, 특히 평안도로 비정되는 낙랑과 함경도로 비정된 현도의 ｢토산｣을 최대한 정밀하게 수록한 것은 이 지역은 예부터 조선 국토의 일부이며, 그곳에서 유득공 당시까지도 세금을 걷는 것에 대한 역사적 정당성을 확보하고자 했기 때문일 것이다.

본 연구의 목적은 김유신이 치렀던 주요 전투와 국면에서 승리의 원인이 무엇인지를군인정신의 6대 요소와 육군 리더십의 10대 원칙을 가지고 분석하여 도출하고, 그것을갖추기 위해 평소 준비하고 강화해야 할 것이 무엇인지 그 발전방안을 제시하여 궁극적으로는 군의 전투력을 향상하는 데 있다. 그의 생애 있었던 주요 전투 11개와 중요 국면 2개 등 총 13개를 삼국사기 위주의 문헌 연구를 통해 분석해 본 결과, 군인정신에서는 충성과 용기, 리더십에서는 솔선수범과 군사 전문가의 자질이 탁월했음을 알 수 있었다. 위 4가지 사항을 갖추려는 발전방안으로 첫째, 충성을 위해서는 본보기 인물을선정하고 모범사례를 토의하며 현장을 체험하고 실천결과를 분석하는 방법이 있다. 둘째, 용기를 갖기 위해서는 실패를 긍정적으로 인식하고, 자신의 행동이 타인을 돕는다고 생각하며, 신앙을 갖고 극기훈련을 체험해보는 것이 좋다. 셋째, 솔선수범을 위해서는 스스로 본보기 되고, 언행일치를 실천하며, 자기관리를 철저히 하고, 희생정신을 발휘하며, 본연의 역할에 충실히 해야 한다. 마지막으로 군사 전문가가 되기 위해서는 군사 서적과교범을 탐독하고, 전술토의를 활성화하며, 전사를 연구하고, 전투지휘능력과 전투기술을배양하며, 강인한 체력을 가져야만 한다. 삼국통일의 대업과 당나라를 물리친 그의 군인정신과 리더십을 토대로 강군 육성을 통해 남북통일의 과업을 반드시 달성해야 하겠다.

The purpose of this study is to analyze and derive the cause of victory in the major battles and phases that Kim Yu-shin fought with the six elements of the soldier's spirit and the ten principles of army leadership, and what should be prepared and strengthened on a daily basis to equip it. It is ultimately about improving combat power by proposing the development plan for what it is. As a result of analyzing 13 major battles, including 11 major battles and 2 important phases during his life, it was found that loyalty and courage in the soldier's spirit, and excellence as an example and a military expert were outstanding in leadership. As a development plan to achieve the above four points, first, for loyalty, there is a method of selecting a model person, discussing best practices, experiencing the field, and analyzing the results of practice. Second, in order to have courage, it is good to recognize failure positively, to think that one's actions help others, and to experience self-denial training with faith. Third, in order to lead by example, one must set an example for oneself, practice unity of words and actions, practice self-management thoroughly, demonstrate a spirit of sacrifice, and faithfully fulfill one's original role. Lastly, to become a military expert, one must read military books and manuals, activate tactical discussions, study warriors, develop combat command and combat skills, and have strong physical strength. Based on the great cause of the unification of the three kingdoms and his military spirit and leadership who defeated the Tang dynasty, we must achieve the task of reunification of the South and the North through fostering a strong army.