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This article is a basic study to understand the cultural and historical traditions of Cheongju, the provincial capital of Chungbuk province, and examined the current status and contents of Jeyeong poetry written here along with the history of Gongbukru, the Northern Gate Pavilion of the Cheongju government seat fortress. Gongbukru in Cheongju was founded by Yun Gye‐jong in 1320 in the Goryeo, and after Shim Eon‐gwang wrote Cha‐un poems here in 1524, it seems to have been degraded, as no poems were written. After that, Gongbukru was restored in 1667 by Lee Seom, governor of Cheongju, and it is believed that the poems were written here by Lee Ha‐gon et al., and remained until the early 18th century. The first work of Jeyeong poetry of Gongbukru in Cheongju was written in 1321 by Gwon Han‐gong, in 1362 at the order of King Gongmin, 26 works of Eungje‐shi (poetry written by order of King) were written by Lee Saek and other 26 civil ministers, and afterwards there are 37 poems written by Jeong Chu, and Seong Seok‐rin in the late Goryeo, Han Sang‐jil, and Shim Eon‐gwang in the early Joseon, and Lee Hyeon‐jo et al. in the early 18th century. Among the contents of the poems, the poetry written by order of King praised the king for reviving the country by defeating the invasion of the Red Turban Bandits, or revealing the personal glory of participating in Eungje, and other poems were about a traveler from political defeat, uncomfortable personal impressions of taking office as a local official, and superb views of Cheongju. As Jeyeong poetry of Gongbukru Pavilion in Cheongju is valuable as a precious resource for understanding Gongbukru Pavilion history and late Goryeo and the meaning of the historical events that took place in Cheongju, it is hoped that the follow‐up research on this will continue to make efforts to more deeply understand the culture of Cheongju region and find its value.

This presentation is the gist of the presentation on the status of Buddhist literature in Cheongju. Various regional studies have been conducted, but few studies of local Buddhist literature have been conducted on Cheongju, North Chungcheong Province. Cheongju has an inland characteristic and has been recognized as a Seonbi Pass, meaning Cheongpung Myeongwol. The distinctive features of these geographical conditions include 牛巖山, known as Jinsan of Cheongju, and which flows through downtown Cheongju. In this presentation, it was intended to approach the status of Buddhist literature in Cheongju, where Buddhist culture blossomed. First, the process of accepting Buddhist ideas and Buddhist literature in Cheongju was considered until Buddhist culture such as "Jikji" was established. Based on this, the "Jikji" main body of the "Jikji" was to find out how it had been breathing in the Cheongju area and to examine the historical records of the temple's spatial awareness left behind through the reasons of nothing in Cheongju, thereby establish its status.

Baekgok Kim Deuk-shin was a poet of the 17th century. He left many poems while traveling all over the country. The "Baekgokjip" contains 1594 poems left while traveling. The number of poems related to Cheongju is relatively high, with dozens of poems related to Cheongju. He fully displayed the lyric and sentiment enjoyed in Cheongju. Jatbat Village, Neungchon Village, and Yulchi were all located near or near Cheongju-mok, which was the base of his life. As a result, it was natural to visit Cheongju and record the poem. There were many familiar officials and poets in Cheongju-mok. Hong Seok-ki, a renowned poet in Cheongjumok, was one of his closest friends. From the perspective of Baekgok, it was not only geographically easy to find Cheongju, but also there were many people who could communicate with each other through human interaction. Based on this, his poems were classified. The following was described in relation to the lyricism in Cheongju, the meeting and parting, and the friendship with Manju Hongseok. First, in "Reading in Cheongju," Baekgok looked at the emotional implications of accepting the lyric of nature. In 「Bok Cha Seon Gun Chim Ryu Gyeong Si Un」 and 「Mill Am Dong」, it is assimilated into nature and depicts the excitement in a picture, and the harmony of heaven and earth and the spirit of assimilation with nature are well illustrated. In addition, if "Jak Gang" is a realistic portrayal of one's feelings in a static way, "Cha Bak Jung Gu Un Seo Won" is a dynamic portrayal of one's surroundings, which is in contrast to its content. Second, 'The Brightness of Meeting and Parting' examines the author's feelings in meeting and parting with acquaintances. "Byeol Cheong Mok Chim Mun Baek Hwang" and "Gi Chung Cheong Bang Baek" are poems about the repentance of parting. Although 「Gi Chung Cheong Bang Baek」 refers to 'Byeol Mong Wol Cheon Bong' in the four districts and the sentiment toward it as 'Won Pa Ju Yeong Jong' in the eight districts, 「Byeol Cheong Mok Chim Mun Baek Hwang」 ended with 'Jeok Eung Hon Mong Kong Yu Yu'. Eight sections of 「Gi Chung Cheong Bang Baek」 replace the feelings felt in 「Byeol Cheong Mok Chim Mun Baek Hwang」. The second chapter of the 「Jeung A Sa Sin Deok Bu Hu Jae Gyu Jeong」 sings of the joy of meeting in the first and the second in the second, repentance of parting in the second part of the term. It makes to us realize the laws of 'People you meet always break up. A broken-up man will surely return someday.' here. Another thing to note is the "stare vacantly at (悵望)’" at the end of the second chapter. Because “to think hard(懇念)” and “stare vacantly at (悵望)” are relative meanings, but here they include “to think hard(懇念)”'s meaning, which makes it a poetic word to gauge his psychological situation. Third, 'Friendship with Man Ju Hong Won-Gu' compared and examined the relationship between the two people and their poetry. First of all, the relationship between "Zeung Hong Won Gu" of Baekgok and "Hui Kim Ja Gong Ji" of Man Ju shows that friendship as a friend and a poet is very close. However, 「Gi Hong Won-Gu」 says that 「Syeo Gon Che」 is different from his own style of poetry, which seeks genius and realistic portrayals in writing. As such, Baekgok enjoyed sightseeing and communing in and out of Cheongju, leaving the feelings of the city. The lingering imagery is deeply felt here by singing it without filtration, sometimes admiring, sometimes happy, and sometimes sad.