"E2024-G034"의 두 판 사이의 차이
(새 문서: __NOTOC__ =Poetry and Art at Mudeungsan Mountain: Song Tae-hoe and the Ten Scenic Views of Jeungsimsa Temple= == Narrative == In August 1921, Song Tae-hoe (1872-1941),...) |
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== Narrative == | == Narrative == | ||
| − | In August 1921, [[송태회|Song Tae-hoe (1872-1941)]], a calligrapher and educator, stayed for several days at [[증심사|Jeungsimsa Temple]] on [[무등산|Mudeungsan Mountain]] along with a group of fellow artists, including painter [[허백련|Heo Baek-ryeon (1891-1977)]] and calligrapher [[정운면|Jeong Un-myeon (1906-1948)]]. During their stay, they collaborated on calligraphy and painting, and composed poetry. Inspired by the scenic beauty of [[증심사 취백루|Chwibaengnu Pavilion of Jeungsimsa Temple]], [[약사암|Yaksaam Hermitage]], [[용추계곡|Yongchugyegok Valley]], [[무등산 새인봉|Saeinbong Peak]] and [[무등산 서석대|Seoseokdae Rock]] of Mudeungsan Mountain, and the [[무등산 천제단|Cheonjedan Altar]], Song Tae-hoe composed a series of seven-character quatrains titled [[증심사 십경| | + | In August 1921, [[송태회|Song Tae-hoe (1872-1941)]], a calligrapher and educator, stayed for several days at [[증심사|Jeungsimsa Temple]] on [[무등산|Mudeungsan Mountain]] along with a group of fellow artists, including painter [[허백련|Heo Baek-ryeon (1891-1977)]] and calligrapher [[정운면|Jeong Un-myeon (1906-1948)]]. During their stay, they collaborated on calligraphy and painting, and composed poetry. Inspired by the scenic beauty of [[증심사 취백루|Chwibaengnu Pavilion of Jeungsimsa Temple]], [[약사암|Yaksaam Hermitage]], [[용추계곡|Yongchugyegok Valley]], [[무등산 새인봉|Saeinbong Peak]] and [[무등산 서석대|Seoseokdae Rock]] of Mudeungsan Mountain, and the [[무등산 천제단|Cheonjedan Altar]], Song Tae-hoe composed a series of seven-character quatrains titled [[증심사 십경|<i>Ten Scenic Views of Jeungsimsa Temple</i>]]. These poems were later included in his posthumous collection, the [[염재유고|<i>Yeomjae yugo</i> (Collected Works of Song Tae-hoe)]]. Born from such artistic exchanges, <i>Ten Scenic Views of Jeungsimsa Temple</i> captures not only the early 20th-century landscapes of Jeungsimsa and Mudeungsan, but also the traces of the individuals who traversed them. |
==Network Graph== | ==Network Graph== | ||
| 9번째 줄: | 9번째 줄: | ||
==Story Map== | ==Story Map== | ||
| + | * [[S2024-G006|Jeungsimsa Temple and the Sacred Landscape of Mudeungsan Mountain]] | ||
| + | ** [[E2024-G033|Jeungsimsa Temple: A Repository of Buddhist Heritage]] | ||
| + | ** [[E2024-G034|Poetry and Art at Mudeungsan Mountain: Song Tae-hoe and the Ten Scenic Views of Jeungsimsa Temple]] | ||
| + | ** [[E2024-G035|Stone Monuments for the Mountain Deity: Invoking the Sacred Spirit of Mudeungsan Mountain]] | ||
2025년 10월 6일 (월) 17:17 기준 최신판
Poetry and Art at Mudeungsan Mountain: Song Tae-hoe and the Ten Scenic Views of Jeungsimsa Temple
Narrative
In August 1921, Song Tae-hoe (1872-1941), a calligrapher and educator, stayed for several days at Jeungsimsa Temple on Mudeungsan Mountain along with a group of fellow artists, including painter Heo Baek-ryeon (1891-1977) and calligrapher Jeong Un-myeon (1906-1948). During their stay, they collaborated on calligraphy and painting, and composed poetry. Inspired by the scenic beauty of Chwibaengnu Pavilion of Jeungsimsa Temple, Yaksaam Hermitage, Yongchugyegok Valley, Saeinbong Peak and Seoseokdae Rock of Mudeungsan Mountain, and the Cheonjedan Altar, Song Tae-hoe composed a series of seven-character quatrains titled Ten Scenic Views of Jeungsimsa Temple. These poems were later included in his posthumous collection, the Yeomjae yugo (Collected Works of Song Tae-hoe). Born from such artistic exchanges, Ten Scenic Views of Jeungsimsa Temple captures not only the early 20th-century landscapes of Jeungsimsa and Mudeungsan, but also the traces of the individuals who traversed them.
Network Graph
