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This study aims to examine the patterns of selecting Lee Gyu-bo's Chinese poems in Dongmunseon. When selecting Lee's Chinese poems to be included in Dongmunseon, the compilers accepted the case of Donginjimunochil and added 22 Jes and 26 Sus. As for the patterns of selecting his poems, they first selected the ones that showed the diverse aspects of his daily life. These poems depict how he became friends with Oh Se-jae despite an age gap, enjoyed friendship with local Confucian scholars and the literary people at the royal court, and lived as an elder after retiring from a government post due to old age. Next, the compilers had an interest in the materials and expressions in his poems. In terms of materials, they selected Lee's poems based on paintings on small folding screens and picture scrolls and the ones that described objects such as potted plants and apricot flowers. In terms of expressions, they selected his poems that exhibited a wonderful spirit and a new mind. Finally, the compilers selected Lee's Baeyul poems whose goal was to seek a government position. For Dongmunseon, they selected his poems in the five-word Baeyul form to seek a government position. This shows the practice of recruiting government officials based on the recommendation system during the military regime and serves as an indicator to reveal the nature of the five-word Baeyul.

This study explores the scenic site travels and literary representations of Kim Taek-sul, aiming to shed light on the travels of Confucian scholars in modern and contemporary Korea. Chapter 2 explores the records and literary works related to Kim Taek-sul’s journeys. He traveled to Hwayang-dong in 1922, Mt. Geumgang in 1930, and Mt. Jiri in 1934, leaving behind travelogues titled Travel Record of Hwayang-dong(Hwayangdong Yurok), Travel Record of Mt. Geumgang(Geumgangsan Yurok), and Travel Record of Mt. Jiri(Duryusan Yurok), along with a total of 58 classical Chinese poems(han-si) inspired by these trips. The number of poems per destination was 6 for Hwayang-dong, 20 for Mt. Geumgang, and 32 for Mt. Jiri. In Chapter 3, the study examines the characteristics of literary representation for each scenic site. Hwayang-dong, known as a place associated with Song Si-yeol, a renowned Confucian scholar of the late Joseon dynasty, is depicted in Travel Record of Hwayang-dong(Hwayangdong Yurok) and the accompanying Chinese poems with a strong focus on the author's reverence for Song Si-yeol. Mt. Geumgang, regarded as the foremost scenic site on the Korean Peninsula, drew Kim Taek-sul’s active engagement at each location during his journey. As a result, the Travel Record of Mt. Geumgang(Geumgangsan Yurok) contains the most extensive content among the three travelogues, encompassing a wide range of themes. Mt. Jiri, situated across the Honam(Jeolla) and Yeongnam(Gyeongsang) regions, is portrayed with a broadened spatial and experiential scope. On his way to Mt. Jiri, Kim Taek-sul visited nearby areas such as Hunmongjae in Sunchang, met relatives, and performed ancestral rites. This expansion of experience is reflected in the Travel Record of Mt. Jiri(Duryusan Yurok). Moreover, in his Chinese poetry, Kim expressed a desire to perceive the Confucian virtues of wisdom(智) and benevolence(仁) through his journey. The significance of Kim Taek-sul’s travel literature on scenic sites can be summarized in three aspects. First, his writings demonstrate how the tradition of scenic site travel from the Joseon dynasty continued into the modern era, particularly during the Japanese colonial period. Second, they contribute to the discovery and reassessment of various travel literature works from modern and contemporary Korea. Third, because both travel diaries and classical Chinese poems are preserved, his works allow for a more multidimensional interpretation of travel literature.

This paper presents a comprehensive analysis of the philosophical background, aesthetic consciousness, and stylistic features of the nature poetry of Gobong Gi Dae-seung (1527–1572), a prominent Neo-Confucian scholar and poet of the mid-Joseon period. As a leading proponent of juriron (the theory of the primacy of principle), influenced deeply by Toegye Yi Hwang, Gobong viewed poetry not merely as a medium of emotional expression, but as an extension of moral practice and self-cultivation. His nature poems go beyond simple descriptions of sensory beauty, aiming instead to facilitate an encounter with dao (道) and to foster introspection into the human condition. The study first examines Gobong's conception of nature, revealing that he regarded it not merely as an external landscape but as a philosophical mirror for moral awakening and self-perfection. Grounded in the Neo-Confucian worldview that posits the universal presence of li (理, principle) in all things, Gobong interpreted nature as a vital site for ethical reflection. Natural elements such as plum blossoms, bamboo, and lofty mountains are recurrent symbols in his poetry, embodying Neo-Confucian virtues like integrity, humility, and purity. These motifs reflect Gobong’s continuity with Toegye’s poetic tradition and offer insight into the philosophical depth of his poetic world. The paper then analyzes Gobong’s aesthetic sensibility as manifested in his poetic language. His works balance emotional delicacy with Confucian restraint, achieving a poetic embodiment of the Confucian ideals of moderation (jungyong) and purity (cheongjeong). Gobong’s nature in Gobong’s poetry functions not merely as an object of depiction but as a medium through which the poet’s inner emotions and moral contemplation are expressed. His poems evoke a serene and refined atmosphere, conveying both ethical resonance and emotional tranquility to the reader. Finally, the paper explores the stylistic characteristics of Gobong’s nature poetry through close readings of representative lines and poems. Eschewing ornate rhetoric, Gobong employed concise and measured language to capture the essence of nature. His poetic imagery is intimately connected to his inner landscape, illustrating the integration of nature, humanity, and literature into a cohesive, organic whole. Through this synthesis, Gobong created a poetic world that transcends the boundary between philosophy and poetics. Nature poetry, thus, stands as the most distinctive and revealing genre of his literary and intellectual identity.