明代 前七子의 法古와 創新의 문제

權津鈺(Kwon Jin-ok) 중국어문학연구회 2011 중국어문학논집 Vol.0 No.68

This paper aims to consider argument of the following old thing(法古) and the making new thing(創新) that happened in the Ming(明) dynasty’s the former seven masters(前七子). Writer to study is Lee, mong-yang(李夢陽, 1472~1529) and Ha, kyung-myung(何景明, 148 3~1521) that is typical person. The problem of the following old thing(法古) that Lee, mong-yang(李夢陽) and Ha, kyung-myung(何景明) think is intelligible. The target of the following old thing(法古) that Lee, mong-yang(李夢陽) thinks is underlying rule like ruler, is not following old mean(古意), old form(古形), old word(古辭). The ruler is rule of composition method such as heupbyeok (翕闢), donjwa(頓挫), cheokchon(尺寸), somil(疏密), hwalse(闊細), silheo(實虛). Moreover, is seeking an ideal style such as yudam(柔澹), hamchuk(含蓄), jeonhu(典厚), gogo(高古), wanliang(宛亮), chimchak(沈著). The target of the following old thing(法古) that Ha, kyung-myung(何景明) thinks is not immanent rule like ruler that Lee, mong-yang(李夢陽) suggests, external rule such as writing force and novel expression. The making new thing(創新)’s argument is different according to viewpoint which evaluate the value. If the making new thing(創新) that Ha, kyung-myung(何景明) insists is thing which creates a style of his own through the following old thing(法古), Lee, mong-yang(李夢陽) emphasizes the making new thing(創新) that complete naturally through the following old thing(法古)’s observance. Ha, kyung-myung(何景明) clears the making new thing(創新)’s method as philosophy of evacuation, and Lee, mong-yang(李夢陽) premises that do not obess over the making new thing(創新). Through method to keep the rule without being caved, Lee, mong-yang(李夢陽) emphasizes the making new thing(創新) that the expression changes in a person naturally even if do not search conspicuousness. Moreover, when writer creates poetry and prose, Lee, mong-yang(李夢陽) asserts the making new thing(創新) that describes the present matter by own emotion, he presents the following old thing(法古) that do not steal the expression with old rule.

구암(久菴) 한백겸(韓百謙)의 산문 세계 일고

권진옥(Jin-ok Kwon) 운곡학회 2024 운곡논총 Vol.16 No.-

중등 한자·한문 교육 방법론에 대한 모색 -학습자 활동 중심 교수· 학습 방법-

권진옥(權津鈺) ( Kwon Jin-ok ) 한국어문교육연구회 2021 어문연구 Vol.49 No.2

This article focuses on teaching and learning techniques regarding learners’ activities to improve the teaching methodology for Chinese characters in secondary school. Secondary Chinese character and Chinese character education should first refer to the goals of Chinese character and Chinese character education suggested by the Ministry of Education, and teaching and learning methods. The goal of secondary Chinese and Chinese education is to learn Chinese and Chinese vocabulary and utilize them in modern language life, and to cultivate the values and personality of modern people through reading Chinese materials containing the lives and wisdom of their predecessors. At the same time, it is to inherit and develop traditional culture. Thus, students acquire basic knowledge about the culture of the Chinese character culture area and have an attitude to contribute to the promotion of mutual understanding and exchange within the culture area. The content system of the Chinese characters in middle and high schools is divided into the “Comprehension of Chinese characters” and the “Use of Chinese characters.” Either topicis divided into “Chinese characters”, “Chinese reading comprehension”, and “Chinese vocabulary and language life.” These include the core concepts of “Chinese and humanity” and “Chinese culture”, among others. Additionally, since the core learning elements are complex and multi-layered, the instructor needs to utilize various methods of teaching and learning for learners to effectively achieve the learning elements.

보건교사 교육실습생이 인지하는 보건교사 역할기대와 역할수행

권진옥(Kwon, Jin Ok),오진아(Oh, Jina) 한국간호교육학회 2011 한국간호교육학회지 Vol.17 No.1

Purpose: The purpose of this study was to identify the level of role expectation and role performance in school health teachers recognized by nursing students experiencing health teacher practice and to compare role expectation and performance according to their characteristics. Method: The subjects in this study were 530 nursing students from 42 universities in Korea. The data was collected by a structured self-administered questionnaire and analyzed using descriptive statistics, t-test, and ANOVA by SPSS 17.0 program. Results: The student recognition in role expectation for school health teachers showed a high level and its level in the role performance was moderate. The students recognized the role expectation was greater than the role performance in school health teachers. The students points of view for role expectation and performance were statistically different according to their practicing locations, practicing school sizes, and their expressions of health teacher’s images. Conclusion: To improve health teacher training and to provide a high quality education, practice manuals, educational support, cooperation between the university and practice school, and support of human resources as school health teachers are necessary.

한문 산문에서의 문예적 양기

권진옥 ( Kwon Jin-ok ) 한성대학교 한성어문학회 2018 한성어문학 Vol.39 No.-

This paper examines literary yanggi(養氣) in the category of classical chinese prose. Yanggi(養氣) depends on situation and context, it is largely divided into ‘moralistic yanggi(養氣)’ in Confucianism and ‘yangsang(養生)'s yanggi(養氣)’ in Taoism. Apart from this, ‘literary yanggi(養氣)’ crosses the boundaries of moralistic yanggi(養氣) and yangsang(養生)'s yanggi(養氣). The notion of yanggi(養氣), which was discussed in the moral category, changed into a literary category. The momentum was a Chinese literary man such as Sa, macheon(司馬遷) and So, cheol(蘇轍). Korea has accepted these discussions in China, and related materials are included in various documents from the Koryo period to the Chosun dynasty. However, the aspect and the meaning are varied according to the situation of the times and the style of the literature. This paper does not concentrate on these aspects and meanings, but suggests various development ways of literary yanggi(養氣) in the category of classical chinese prose. It also examines the aesthetic style terms that are evaluated as the result of literary There are three development ways for the literary yanggi(養氣): The first is an outward experience that includes far travels and contact various opinions. The second is an internal introspection that develops the writer's emotion and vigord. The third is a reading of related books that helps yanggi(養氣). At the end, the aesthetic style terms were compared and analyzed. For example, there are the following style terms. There are sotang(疏蕩), gigi (奇氣), goengbag(宏博), hongbyeon(弘辯), honho(渾浩), sunbang(淳厖), etc.

삽교(삽橋) 안석경(安錫儆)의 산문 비평과 산문 창작의 실제

권진옥 ( Jin Ok Kwon ) 한성대학교 한성어문학회 2010 한성어문학 Vol.29 No.-

This treatise wishes to investigate how in literature production lit-crit acts. Person to examine is Sapgyo(삽橋) An Seok-gyeong(安錫儆, 1718~1774), and target text is Sapgyoyehakrok(삽橋藝學錄), Sapgyojip(삽橋集). First, examined demeanor of his prose criticism. By next time, investigate prose criticism by genre, and attempted comparison with prose genre that he writes. Finally, analyzed how in his work production prose criticism method applied. Examined composition method about key points(宗旨) and essential points (綱領), rhetoric method of host-guest(主客). Also, examined component relation and expressions(字句) operation. Analyze relation establishment and correspondence(照應) between paragraph, and investigated expressions methods(字句法) in work-chapter-expressions(篇章字句). For front, in big appreciative eye countenance of An Seok-gyeong(安錫儆) approaching by more wide and objective sight, Chinese writing prose rhetoric and Gomun(古文) production, expect methodology that is effective and do so that graft together these rationally.

망자를 위한 글쓰기의 장르 간 특성 연구 -겸재(謙齋) 조태억(趙泰億)을 중심으로-

권진옥 ( Kwon Jin-ok ) 한국어문학국제학술포럼 2021 Journal of Korean Culture Vol.55 No.-

This thesis examines the characteristics of each genre through examining various writings written for the dead by Gyeomjae(謙齋) Cho, taeeok(趙泰億, 1675-1728). Writers of the traditional era created literary works of various genres to mourn and remember the dead. It should be noted here that an author who writes for one dead does not mourn or remember the dead by limiting to one genre, but creates literary works of various genres. So, as part of a literary study on Cho, taeeok(趙泰億), this study examined the genre of writing for the dead, but limited it to two or more genres created for the same person. The works that Cho, taeeok(趙泰億) wrote for the same person forms a bundle, mansi(挽詩)-jemun(祭文), mansi(挽詩)-sijang(諡狀), mansi(挽詩)-myogalmyeong (墓碣銘), jemun(祭文)-chijemun(致祭文), and myojimyeong(墓誌銘)-myopyo(墓表). And most of the examples are in the form of mansi(挽詩)-jemun(祭文). In particular, in the case of mansi(挽詩)-jemun(祭文) form, more than half of mansi(挽詩) were created as a series of poems. In Chapters 3 and 4 of this thesis, I searched the aspect of emotion and expression and the aspect of formalizing characters by contrasting mansi(挽詩) and jemun(祭文), mansi(挽詩) and myodomunja(墓道文字). In Chapter 3, mansi(挽詩) and jemun(祭文) were compared with Kang, junbu(姜浚溥, 1668-1697) in aspect of emotion and expression. In mansi(挽詩), the emotion of mourning was expressed in a simple description or by using implicit expressions, and in jemun(祭文), the emotion of mourning was expressed directly and concretely throughout the entire volume. In Chapter 4, mansi(挽詩) and myogalmyeong(墓碣銘) were examined for Cho, juseok(趙錫周, 1641-1716) in the aspect of formalizing characters. In mansi(挽詩), the emotions and meanings are condensed and revealed in an indirect and abstract way, and in myogalmyeong(墓碣銘), the characters are portrayed objectively and concretely so that the real worth of the dead can be effectively imprinted.

택당 이식의 서발류ㆍ증서류 산문 일고

권진옥(Jin-ok Kwon) 고려대학교 한자한문연구소 2009 동아한학연구 Vol.- No.5

본고는 澤堂 李植(1548~1647)의 산문 중에서 序跋類[序跋文]와 贈序類[贈序文] 작품을 대상으로 주요한 작품 양상과 특징을 살펴보고자 한다. 왜냐하면 이 시기의 문학이라는 것은 관각문을 제외하면 증시ㆍ화답시, 서발류, 증서류 산문이 중요한 위치를 차지하기 때문이다. 즉 교유를 중심으로 한 문학 활동이 더욱 의미가 있던 시기였던 것이다. 서발류는 때에 따라 타자에 대한 술회나 작자의 문학론을 함께 펼치는 경우도 있으며, 증서류도 의론, 서정, 서사를 뒤섞어 쓰기도 한다. 한마디로 서발류나 증서류 모두 의론, 서사, 서정을 넘나드는 자유로운 장르라고 할 수 있다. 이식은 서발문을 지을 때, 앞 단락과 이어지는 단락 혹은 단락이 건너뛰면서 연결되는 交織이 매우 精選되고 嚴密하였다. 이는 한 저자의 시문집에 대한 소개라는 서발문의 성격에 가장 적합한 편장을 구성한 작자의 세심함이 보이는 부분이기도 한다. 이식의 증서류는 다양한 주제의 의론을 다루고 있다. 그것은 바로 증서인과 피증서인의 관계, 피증서인의 전별 성격과 밀접한 관련 속에서 증서문을 짓기 때문이다. 이식은 증서문을 지을 때, 자신의 의론을 개진하여 길 떠나는 사람의 마음을 위로해 주기도 하는데, 이는 議論를 통해 抒情을 부각시키는 방법으로 증서문과 같이 교유를 중심으로 하는 글에 매우 효과적인 글쓰기라 할 수 있다. 또한 이처럼 증서문이 의론을 자주 끌어와 서정을 술회하지만 그 서정의 강도는 상황에 따라 달라지게 마련이다. 이식의 증서문 중에서 비교적 서정성이 짙은 작품들은 대체로 전송하는 대상이 좌천되는 인물이거나 인척 관계의 인물인데, 이러한 인물들에게 써 준 증서문은 떠나는 이에 대한 위로와 당부, 그리고 이식 자신의 입장과 소망하는 바를 잘 드러내고 있어 교유의 장으로서 가지는 증서류의 성격이 잘 드러난 글이라 하겠다. In this paper, the head and front of Taekdang(澤堂) Lee, sik(李植)'s works is viewed; especially on given Seo-bal[Prefaces, 序跋] and Jeung-seo[Farewells, 贈序] among his masterworks. Prefaces, in some cases, include author's reminiscences on the other or his theoretics about literature. And arguments, lirycs, or description sometimes are melted into farewells. To sum up, prefaces and farewells are very liberal styles that cover argumentation, poetry, and description. Prefaces attached in front of an anthology are preferentially to make a record of how the work had been written and published. But its form and substance varies with respective writers; sometimes there is great argumentation, sometimes publishing process is mainly subjected, in some cases author's passion to his work is heavily expressed. For Lee, sik(李植), in his prefaces the connections between paragraphs are very strict and accurate. It shows his prudence by choosing best fitting sentences for property of a preface which introduces a writer and his work. A preface of an anthology is relatively non-lyrical; most of it are composed of descriptions of writing and publishing, arguments, criticism, and articles. But Lee, sik(李植) as a genius wrote lyrical prefaces of retrospection and grief on the anthology of a writer who died young. Farewells by Lee, sik(李植) cover many arguments on various topics. His feelings on those topics sometimes intimated, sometimes expressed passionately. It's because he considered the relation between him and sendee, sendee's position and propensity when he was writing. Most of his farewells are either encouraging ones for those who were leaving in purpose of private trip or public duties, or comforting ones for those who were exiled or retired due to political situation. In farewells, writer often pinned down his opinion to solace leaving people, so that he can bring into his intimacy with them by argumentation. That is very effective writing for farewells to perform such social purposes. Though those writings expressed writer's personal feelings by argumentation, the intensity of those feelings were depend on contemporary circumstance. Among Lee, sik(李植)'s farewells, highly passionate ones are mainly for the exiled or relatives. Those ones show his consolations, cares, opinions and hopes very well, so it can be told that his works are properly written farewells for its social purpose.

도암(陶菴) 이재(李縡) 비지류(碑誌類) 문장의 일고찰 ― 신도비를 중심으로 ―

권진옥 ( Kwon Jin-ok ) 온지학회 2018 溫知論叢 Vol.0 No.54

본고는 도암(陶菴) 이재(李縡, 1680-1746) 문학 연구의 일환으로, 그가 남긴 비지류(碑誌類) 문장에 주목하되 신도비(神道碑)를 중심으로 살펴보고자 한다. 『도암집(陶菴集)』에는 4권에 그치는 한시에 비해 46권이 모두 산문으로 이루어져 있다. 산문 가운데서도 편지글과 비지류 문장이 상당 부분을 차지하는 것은 이재의 당파적 입지나 학자적 위상의 방증이라 할 수 있다. 한편 이재가 비지류 문장을 많이 남긴 것은 17세기 이후 비지류 문장에 대한 변화된 인식을 반영하기도 한다. 이재가 살던 당시에는 그의 비지류 문장이 매우 각광을 받았으며, 또한 그 문학적 성취는 전장류와 비지류 문장에서 전범이 되는 사마천(司馬遷)과 구양수(歐陽修)에 비견될 정도였음을 확인할 수 있다. 이재는 총 32명에 대한 신도비를 남겼는데, 친족과 외척, 당파적 동류, 스승 등에 이르기까지 직간접적으로 관계된 인물들이 신도비의 주인공이다. 2장에서는 이재의 신도비를 분석하기에 앞서 그가 지향한 문학론, 문학론 가운데 한문 산문을 위시한 문장론을 살펴보았다. 우선 그의 문학론은 작자의 덕성, 인품을 강조하는 자질론, 도를 전하고 의리에 근본해야 하는 당위를 주장한 도본문말론(道本文末論), 세교(世敎)와 교인(敎人)으로서의 문학의 기능을 일정정도 인정하는 효용론으로 정리할 수 있다. 또한 그의 문장론은 문장 학습의 전범 측면에서 확인하였고, 그 전범의 대상은 사마천, 한유(韓愈) 그리고 주희(朱熹)였다. 3장에서는 이재의 신도비 가운데 그가 문장의 전범으로 삼았던 한유와의 연결점을 확인케 하면서 동시에 규격화된 신도비 문체를 벗어나 문학성을 추구한 작품을 선별하여 분석하였는데, 이상을 고려하여 분석대상으로 삼은 작품은 오중주를 위해 쓴 「좌윤오공신도비(左尹吳公神道碑)」이다. 이 작품은 구성적인 측면에서 한유의 비지류 문장을 계승한 점이 확인되고, 이러한 특징으로 인해 신도비의 문학적 성취를 이루어내었다. 특히 이 작품을 분석하는 잣대로 김창협 비지론의 핵심이라 할 수 있는 간엄(簡嚴)에 주목하였는데, 편장 구성에서의 간엄은 곧 묘주의 진면목을 간단하고 요령 있게 드러내는 구성 원리라고 정의하였다. 「좌윤오공신도비」는 간엄을 성공적으로 구사하여 문학적 성취를 획득했으며, 또한 비지류 문장의 고정된 형식을 벗어나기 위해 서술 전개방식을 의도적으로 변화시키고, 시간적 착종이나 서사·의론의 착종을 사용하며, 대화나 일화를 통해 생동감을 자아내는 등 작자가 문학성을 추구하기 위해 노력한 흔적이 보인다. 비지류 문장의 작자는 유묘(諛墓)의 유혹과 공기(公器)의 엄정함에서 고민하기 마련이다. 은악양선(隱惡揚善)이 비지류 문장의 미덕이라고 하지만, 진실이 결여된 묘주의 형상화는 결코 문학성을 보증할 수 없다. 이면백(李勉伯)은 「비지설(碑誌說)」에서 비지류 문장을 짓는 작자의 올바른 자세를 언급하였는데, 그것은 묘주 그 사람만이 가진 실상을 찾아내어 사실대로 기록하는 것이었다. 이런 본질적인 의미에서 이재의 「좌윤오공신도비」는 성공적인 비지류 문장이라 할 수 있다. This paper examines the literary accomplishments of memorial stone’s epitaph among the epitaph contained in collection of Leejae(李縡)’s works, Doamjip(陶菴集). He left epitaph works a total of about 32 people, including paternal relatives, maternal relatives, factionists, teachers, and so on. In Chapter 2, before analyzing his epitaph works, examined the literary theory. In addition, examined the theory of Chinese prose in literary theory. His literary theory is the traits theory that emphasizes the virtue and personality of the author, the Dobonmunmal(道本文末) theory that passes on the truth(道) and asserts the justify(義理), the utility theory that educates the world and the people. His Chinese prose’s theory were confirmed by the canon, and the canon were Sama, cheon(司馬遷), Han, yu(韓愈) and Ju, hei(朱熹). In chapter 3, we searched for the works which pursued the literature beyond the standardized memorial stone’s epitaph style, at the same time, which is identified the connection points with the Han, yu(韓愈). In consideration of these factors, the work is jwayunogongsindobi(左尹吳公神道碑) for (吳重周). This work inherited Han, yu(韓愈)’s epitaph works from a constructive point of view and achieved literary achievement due to this feature. In particular, this paper focused on the ganeom(簡嚴) theory that is core of Kim, changhyup(金昌協)’s epitaph theory. The ganeom(簡嚴) of composition is a constitutional principle that simply reveals the truth of memorial stone’s main character. This work succeeded in achieving literary achievement by successfully using the ganeom(簡嚴), and intentionally changed the narrative in order to escape the fixed form of the epitaph works, used the time complexity and narrationargument complexity, made a vividness through dialogue and anecdotes. These are the writer’s efforts to pursue literature.

만정당(晩靜堂) 서종태(徐宗泰)의 기행문학 일고

권진옥(Kwon, jin-ok) 숭실대학교 한국문학과예술연구소 2020 한국문학과 예술 Vol.36 No.-

본 논문은 만정당(晩靜堂) 서종태(徐宗泰, 1652-1719)가 창작한 기행문학을 고찰한 글이다. 다만 여기서는 서종태 기행문학 연구의 첫 단계로서 우선 기행문학에 대한 그의 인식을 고찰하고 이 인식이 구체적으로 드러난 실제 기행문학 작품을 선정하여 연구하고자 한다. 서종태는 1674년(현종15)에 안변(安邊), 1684년(숙종10)에 금강산(金剛山), 1703년(숙종29)에 중국 연경(燕京)을 유람하였는데, 그때마다 운문과 산문으로 기록해 놓았다. 「잡고자서(雜稿自敍)」라는 글을 통해 ‘가전(可傳)’을 위한 그의 기록 의식을 확인할 수 있는데, 이는 단지 『잡고(雜稿)』와 같은 시문에만 그치는 것이 아니었다. 『북행일기(北行日記)』나 『숙야록(夙夜錄)』 같은 다른 성격의 책에서도 이러한 의식을 포착할 수 있다. 이처럼 『잡고』를 비롯한 여러 저술들을 참고했을 때, 기행문학 창작 또한 그 저변에는 그의 기록 의식이 밑바탕이 되었다. 한편 서종태는 기행문학의 본질에 대해 자신의 주장을 피력하는데, 「적곡(赤谷)」의 『풍악록(楓嶽錄)』 뒤에 붙이는 발문[跋赤谷楓嶽錄後]」을 통해 살펴볼 수 있다. 이 글을 통해서 서종태는 기행문학의 본질은 형상의 핍진한 묘사[摸狀]이고 그 효용성은 와유(臥遊)에 있다는 것을 분명하게 드러내었다. 생애 첫 번째로 안변 일대를 유람하면서 서종태는 다수의 시 작품들과 「북행부(北行賦)」를 창작하였는데, 여기에서도 남다른 그의 기록 의식과 산수에 대한 애호를 확인할 수 있다. 안변 유람 이후 두 번째 유람은 10년이 지난 33세의 나이에 경험한 금강산 유람이었다. 금성 현령(金城縣令)으로 부임했을 적에 우연한 기회를 얻어 금강산을 유람하고 이를 기록으로 남겼다. 그 기록한 체재를 보면 특이한데, 기행시(紀行詩) 형식으로 작성하되 각 시들의 제목은 여정에 따라 산문의 유기(遊記) 형식으로 기록한 다음, 그 아래에 절구나 율시로 지은 한시를 부기하는 방식이다. 그리고 마지막에는 소주(小註) 형식으로 금강산 유람의 의미를 학문에 대한 자세와 방법으로써 비유하였다. 오랫동안 단계를 밟아 정밀한 이치에 도달하는 공부야말로 진정한 학문 방법인 것처럼, 자신의 유람이 내외의 금강산 전체를 섭렵한 장대한 유람은 아니었지만 짧은 여정의 단계마다 승경들을 샅샅이 탐방하고 관조하며 되새기는 것이야말로 진정한 유람이라고 해명하고, 이를 스스로의 학문 방법을 반성하는 계기로 삼았다. 또한 금강산 유람 도중 창작한 각종 시문들은 그가 강조한 기행문학의 본질인 형상의 핍진한 묘사에 충실하였다. 상세한 이동 경로의 서술은 물론이고 경물 묘사 방식이 지극히 구체적이고 사실적이다. 직접 가보지 못한 많은 승경들을 굳이 일일이 거론하기도 하고, 시각과 청각의 묘사를 핍진하게 하여 현장성과 생동감을 한층 높였다. This paper is a review of the travel literature created by Manjeongdang(晩靜堂) Seo, jongtae(徐宗泰, 1652-1719). Seo, jongtae(徐宗泰) toured Anbyeon(安邊) in 1674, Mt. Geumgang in 1684, and Yanqing in China in 1703, on all such occasions he created the travel literature. Through his work called Jabgojaseo(雜稿自敍), we can confirm his recording consciousness for gajeon(可傳). We can also capture this consciousness in books of other characters, such as Bughaengilgi(北行日記) and Sukyarok(夙夜錄). Seo, jongtae(徐宗泰)’s travel literature was based on his recording consciousness. On the other hand, he made his argument on the essence of travel literature, which can be examined through the Baljeokgokpungakrokhu(跋赤谷楓嶽錄後). Through this writing, he clearly revealed that the essence of travel literature is a realistic description of the shape and its utility is wayu(臥遊). While exploring the Anbyeon(安邊) area, Seo, jongtae(徐宗泰) created many poems and Bukhaengbu(北行賦), we can confirm his recording consciousness and his love for landscape. The second excursion after the Anbyeon(安邊) was the Mt. Geumgang excursion that he experienced at the age of 33 after 10 years. He took an accidental opportunity to tour Mt. Geumgang and recorded it. Through the looking at recorded format, it is written in the form of travel poetry, but the title is recorded in the form of prose according to the itinerary, and then a poem is added under it. And at the end, the meaning of the excursion of Mt. Geumgang was compared to the attitude and method of learning in the form of annotation. As if studying through long steps to reach the point is a true academic method, he explained that his excursion was not an excursion that encompassed the entire Mt. Geumgang, but it was a true excursion to explore, to contemplate, and to review the treasures at every stage of the short journey. He reflected on his own method of learning with this. In addition, the various works he created during the excursion of Mt. Geumgang were faithful to the realistic description of the shape, which is the essence of his travel literature. In addition to the detailed description of the movement, the method of describing the objects is extremely specific and realistic.