(1년차) The purpose of this study was to examine the changes and meanings of the image of the cow in Hanshi written during the Koryo and Early Joseon Dynasties. The cow appears in various records about the period of the Three Korean Kingdoms before Si ...
(1년차) The purpose of this study was to examine the changes and meanings of the image of the cow in Hanshi written during the Koryo and Early Joseon Dynasties. The cow appears in various records about the period of the Three Korean Kingdoms before Sino‐Korean poems were created actively. Such records can be obtained mainly from Samguksagi and Samgukyusa, and they are related to a large variety of areas including people’s lives, national policies, military, transportation, religion, and language life. This is the consequence of the fact that the cow was used in agriculture and incorporated into people’s daily living and, as a result, it was treated as an important source of workforce and property. Particularly with the import of Buddhism, the cow appears in Buddhist stories in the context of explaining Buddhist doctrines and practices such as transmigration. This suggests that the cow was advancing gradually from the domain of daily living to the domains of spirit, idea, and culture. The cow emerges with a characteristic image in the liberal ideological atmosphere in the early Koryo Dynasty. In the record about Yoon Eon‐yi (尹彦頤) and in Gwak Yeo’s (郭輿) works, we can see that the cow melted naturally as an element into the expressions of the Buddhist view of life and Taoist spiritual orientation. The image of the cow is associated with meanings such as naturalness, far‐sighted view, non‐restraint, and mental freedom (達觀, 無拘束, 不羈). Through the mid period of the Koryo Dynasty, there were some changes in the view of the cow, but such changes did not bring forth a change in people’s perception of the cow. The cow was again incorporated into the frame of pastoral scene, and with the acceptance of Neo‐Confucianism, it represented a rural life in opposition to rising to a government position. To those who refused to cooperate with the emerging dynasty or chose retirement at the end of the Koryo Dynasty, on the other hand, the cow emerges in association with their life attitude pursuing self‐sufficiency or mental freedom. With the foundation of the Joseon Dynasty, there was a clear distinction between those who entered the government service and those retired from the service, and this was represented by spatial division. To those in the government service, the country is described as a place ‘far away,’ ‘yearned after,’ and ‘home to return in the future’ The development of poetic image to the plot of entering into/retiring from the government service or yearning for a rural life also shows the tendency of institutionalization. In some works, however, such a tendency is overcome as the poet’s awareness of problems or circumstances is involved. As social contradictions accumulate and political strives grew harsher, the cow appears as a means of political communication. This is related to Do Hong‐gyeong’s ancient story of two cows. To them, the presentation of the cow was an implicit expression of distancing from and rejecting the world. This suggests that the image of the cow continuously became an object of interest in connection to the political realities. (2년차) This article attempts to explain the shape and meaning of 'cattle' appearing in Hanshi in the late Joseon Dynasty. This is a follow‐up to the examination of the changes in cattle shape and its meaning appearing in Hanshi from the previous Goryeo to Joseon period. In the late Joseon period, the environment surrounding the cattle shows a distinct difference. The cattle was still at the center of all the 'places to go back' as a source of labor power. However, some incidents prevented the cattle from staying as part of a stable‐mild rural landscape. Especially, the war of catastrophes such as the invasion of Imperial Japan, the development of the commercial economy, the differentiation of the Sadaebu rank and the cattle plague rampant in the 17th century, and the slaughter of the farming cattle came to change the notion of 'cattle'. The shape of 'cattle' appearing in Hanshi in the late Joseon can be approached from three major aspects. First is the attraction of the riding cattle and the shade of the age. The riding cattle in the late Joseon period were associated with the experience of warlords, and they played a role of evoking the preciousness of everyday life based on serenity. They also appeared as a symbol of will and taste (志趣) in the life of the Joseon hermits along with the intensification of the struggle. On the other hand, during the period of replacing Ming with Qing, the symbol 'cattle' was used in the context of serving the Ming Dynasty and denouncing the Qing Dynasty (崇明排淸). Second, it is a matter of possession of cattle and a form of Sadaebu diversion. During the Imjin Invasion period, poems showing the emotional response to the lack of cattle in the poems of Sadaebu were seen, but this seems to be related to the unstable life such as evacuation or migration in war. In the late Joseon period, it can be seen that there were the fallen Yangban in various works suffering from farming difficulties due to the inability to actually own farming cattle. The third is 'exploitation‐cattle plague‐slaughter' and a multi‐layered gaze looking at the cattle'. Many works emphasize the heartlessness and selfishness of human beings, along with the cattle drowning in farming, the labor of government offices, and commercial desires. Also, looking at the slaughter of cattle, they also expressed deep concern that the lack of farming cattle due to slaughter could lead to the disintegration of the root of agriculture. On the other hand, poems depicting the cattle plague emphasize that the proliferation of the cattle plague can act as a whole rural crisis, which is the abolition of farming. If the cattle in the early Joseon represent an idiosyncratic utopia and are used as a symbol of retirement, then the cattle in the late Joseon may be related to the multifaceted context of a changing society while maintaining some of those characteristics. In other words, beyond the scope of farming, the instrumental role is increased and becomes the object of desire, and it can be seen that it conveys the attitude of concern and reflection in proportion to it. In this process, the 'cattle' are becoming more realistic and concrete.