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金貞淑(Kim Ch?ng-suk) 한국학중앙연구원 2002 장서각 Vol.- No.7
Yi Ha-?ng, sobriquet S?kp'a, was the father of King Kojong(r. 1863-1907), the 26th ruler of the Chos?n dynasty, and was titled the H?ngs?n Taew?n'gun(興宣大院君) generally called Taew?n'gun. Yi was a radical politician who attempted to reform the national system with the "Chos?n style" manner in the late Chos?n period. On the other side, he was an artist developing his individual orchid paintings based on Kim Ch?ng-h?i's(金正喜, 1786-1856) painting style. Because of his political aspiration, he went back and forth between dominance and relinquishment of power. However, he greatly concentrated on creating substantial and lofty orchid paintings as a means to express his complicated emotion whenever he was in hard times. As a result, he achieved the dignified literati painting accompanying with poems and calligraphy(shis?hwa ilch'i, 詩書畵一致) as well as his individual manner in depicting ink orchids. When he was expelled from the throne and was dwelling at Chikgok sanbang(直谷山房, Studio of Chikgok), he created three types of ink orchid paintings: the grouping of uprooted orchids with long leaves(群蘭圖), the coupling of orchid and rock(石蘭圖) with a setting, and the densely grouping of orchids(叢蘭圖) generally mounted as a hanging scroll. This asserts that his such individual modes were formed on the basis of Kim Ch?ng- h?i's ink brush method that later became the typical style of "S?kp'aran(石坡蘭)". Among his individual modes he had developed, the painting of coupling orchids and rocks to the main and constant theme until his late years. The most tough hours in his life were the three years when Army's Uprising was broken out in 1882 named Yimo gunran(壬午軍亂). He was arrested by the Ch'ing army because of his relationship with the rebel forces and moved to Poj?ng-pu(保定府) in Tian Jin(天津), China. Despite his mental instability and illness he continued painting orchids. Moreover, in his early sojourn in Poj?ng-pu, he covered various brushworks in several panels of a screen that he had tried at Studio of Chikgok. But hereafter, he painted only orchid and rock paintings. Yi portrayed such orchids and rocks even after he came back from China, and finally they became the outstanding subject matters when he was old. They are characterized by long and stretching leaves, and vivid description of orchid flowers. All appeals idealized orchid paintings in expression of spirituality and beauty.
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金貞淑(Kim Ch?ng-suk) 한국미술사학회 2002 美術史學硏究 Vol.- No.233·234
Yi Ha-?ng, sobriquet S?kp' a, was the father of King Kojong(r. 1867-1907), the 26th ruler of the Chosen dynasty, and was titled the H?ngs?n Taew?n' gun 興宣大院君 generally called Taew?n' gun. Yi was a radical politician who attempted to reform the national system with the “Chosen style" manner when he reigned during the turmoil: in law's of the royal family of the Andong Kim clan of the late Chos?n period held sway and the Western empires aimed at conquering Korea. Nevertheless, he sought his own direction for the government developments. On the other side, he was an artist developing his individual orchid paintings based on Kim Ch?ng-h?i' s 金正喜 painting style. He went back and forth between the dominance of the authority and relinquishment of power. Because of his political aspiration, however, he greatly concentrated on creating substantial and lofty orchid paintings as means to express his complicated emotion whenever he was in hard times. As a result, he achieved the dignified literati painting accompanying with poems and calligraphy (shis?hwa ilch'i, 詩書畵一致) as well as his individual manner in depicting ink orchids. The most distinguished feature in Yi Ha-?ng' s artistic ambience is that he persisted to paint monochrome orchids throughout his whole life. It is assumed that this came from his admiration toward orchids for their refined beauty and elegant fragrance. Moreover, he is supposed to have strenuously disciplined his mentality by portraying orchids because it has served as the embodiment of gentlemens' virtue in literati tradition. As much as being called "S?kparan 石坡蘭." his well-known orchid paintings established one of the modes of 'Korean indigenous ink orchid paintings" , distinguished from Chinese ones by accomplishing his representative painting style in its composition and brushwork, One of the characteristics in formative stages of ink orchid paintings by Yi is that he pursued individual painting styles by studying an eminent literati calligrapher and painter, Kim Chong-hui' s idioms and by adopting fashionable elements from Chinese ink orchid paintings. Since his early thirties. he studied calligraphy and orchid paintings under Kim. and was praised by his teacher. Kim emphasized on samj?n-p?b 三轉法, a technique to twist the tip of the brush three times in portraying leaves of orchids, that Yi practiced over again, After the death of Kim. he succeeded his teacher and accepted new composition and depiction in manuals of ink orchid paintings of Ming and Ch'ing China. In particular, when he was expelled from the throne and was dwelling at Chikgok sanbang (直谷山房, Studio of Chikgok). he created three types of ink orchid paintings: the grouping of uprooted orchids with long leaves 群蘭畵. the coupling of orchids and rocks 石蘭畵 with the setting, and the densely grouping of orchids 叢蘭畵. generally mounted as a hanging scroll. nus asserts that such individual modes of his were formed on the basis of Kim Ch?ng-h?i' s ink brush method, and later became the typical type of 50kp 'aran, Among his above mentioned individual modes, the painting of coupling orchid and rocks had developed to the main and constant theme until his late years. Even after Yi Ha-?ng, a number of orchid painters copied his S?kparan style and his great influence has survived untill today.
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The Private Academies (Sŏwŏn) and Neo-Confucianism in Late Chosŏn Korea
( Ch’oe Yŏng-ho ) 서울대학교 규장각한국학연구원 2008 Seoul journal of Korean studies Vol.21 No.2
As an important educational institution, the sŏwŏn played a key role in disseminating Neo-Confucian teachings in Chosŏn Korea. Initiated by the sarim (Neo-Confucian literati), scholars determined to recreat the sociey envisioned by Neo-Confucian sages and worthies, the private academies overshadowed the state schools (hyanggyo) as centers for education and moral cultivation in all provinces in Korea. In the early phase of their growth, the private academies were very elitist, admitting only highly motivated serious scholars, who enjoyed a great degree of privilege and prestige. Their success as educational centers led to a proliferation of private academies in all parts of the country, causing serious problems for the state, such as a decline in academic standards and abuse of power. Often private academies became havens for those who tried to dodge military tax and became involved in partisan politics. Neverthless, the sŏwŏn were very successful in their objective to transform Chosŏn Korea into a Neo- Confucian state, so much so that the force that resisted the Western powers in the nineteenth century came largely from those trained at these academies.
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