Maema Kyowonku focused on two tasks: the academicity of sijo research and the revival of sijo creation. Considering the beginning of the sijo as oral literature, works that did not know the artist were first published, and more than half of them were ...
Maema Kyowonku focused on two tasks: the academicity of sijo research and the revival of sijo creation. Considering the beginning of the sijo as oral literature, works that did not know the artist were first published, and more than half of them were placed on weight. Important writers in the history of the sijo were put forward. He had knowledge of Korean language studies and had the ability to decipher Hyangga. However, first, the history of the sijo was organized, the original and original copies were distinguished, and the basis for understanding and creation of the sijo was laid through detailed annotations. Son Jin-tae and Choi Nam-seon, who exchanged with him, did not accept sijo that were different from their expectations. Instead, they changed the order of the materials or created a new trend of sijo. Attempts to imagine images that were not in actual data were the basis of early research. However, unlike them, Maema provided another basis for the way the material spoke itself.