While some have dismissed the legend as an indication of the totemism of the Korean people, others have noted the significance of a belief in which a deity had, of his own volition, desired to become a human being. They held that the Korean people did not consider the earth a place of exile for heavenly beings, not a place the erring were sent to live in penance.
This view was that the land and country comprised a dream, so good that even the deities and animals wanted to live there, and that the Korean people felt gratified to have chosen such a place
for their home.
Even the neighboring Chinese were said to have expressed wonder at the beauty of Korea, summing it up in one of their ancient verses: "Would rather live in Korea and see Mt. Kumgangsan
(Diamond Mountains)."
Once known as the "Eastern Land of Courtesy," Korea, in its long history, seldom cultivated overseas interests, never invaded its neighbors, nor sought development outside given boundaries.
Ancient Chinese records say it was the custom of the Korean people, being so courteous to each other, to avoid walking on the road, fearing it would hamper the movement of another. Foreigners
commonly were called barbarians.
This excessive adulation of their homeland, while being averse to the coveting of the territories of others, eventually invited aggression from outside, bringing the subjugation of the Korean people and a period of colonial suffering.
Among the many Korean proverbs is one declaring preference for "an earthly field of dung to the wonders of the afterworld." This demonstrates the choice of the life of the present, no matter how
sordid it may be, to that of an imaginative, unknown heaven. Korean literature contains many tales reflecting such a psychological trend in thinking.
In traditional literature, a beautiful lady, called Sonnyo, would descend from heaven in search of a fuller life on earth, marry an earthling, become a mother and eventually fulfill the chores expected of every married woman. She would then go back to her former abode in heaven, but there is usually no reference to what became of her after her return to heaven.
The art of Korea is different in its lines and colors, clearly distinguished from the strong, bold strokes of the Asian continent, or from dazzling colorations and excessive refinement that mark the art of island nations. On the surface the pale colors reflect nothing strong or positive; often they are taken to have a negative meaning. Images of willows or clouds are painted not in bold, firm lines, but in pale, thin brush strokes. But these elements should not lead to a hasty interpretation that
Korea ancestors were life-weary. The magical effect of these strokes and lines seem, at a close look, to reflect the ardent yearning for the life of the sonin, the hermit. The heavens, rivers, and other objects of nature are rarely painted in strong colors; the pale grayish colors have an attraction of their own.
Foreigners who have lived in Korea and acquired some knowledge of the Korean language may wonder at the frequent use of the phrase, "aigo chukketta," which literally means "I could just die."
They may also wonder at so many passages in popular ballads or lyrics in which people vent their sadness against the transience of life. One hearing a rendition of ch'ang, a style of folk singing, for instance, might even feel it is a voice crying in agony. Hearing and reading Korean songs and writings, foreigners may raise the question whether this is not the true characteristic of the people. This negative outlook on life was caused by the decline in the power of the state in succeeding
chapters of history, and made all the more bitter by subsequent foreign invasions of Korea.
These views have now given way to the newly resurging vitality of youthful Koreans who want no more of this nihilistic attitude. No matter how much they "want to die," they ardently desire a good
life on this earth. One proof of this way of thinking might be found in the way children are named in Korea. Many names take the meaning of stone and iron, such as Ch'adori or Soedori. Stone and
iron are ageless, hard and able to withstand the test of time. These names are given in the hope of bestowing long life on the bearers.
Koreans have a flair for decorating things with Chinese ideographs, the most common being su, meaning long life, and pok, bliss. Of these two characters, preference is for the former. First is long life, and then well-being. The two letters are always read su-pok and not pok-su. Wealth, a good career, health, and many children are considered factors of bliss.
In building a house or choosing a place for burial, Koreans have always considered the natural surroundings, such as the course of a river or shape of a mountain, important. There were criteria
for choosing the most ideal place, which went by the name myongdang. Large amounts of money were often spent for the purpose of selecting a myongdang by means of geomancy. Without
exception, powerful families concentrated their attention on securing such places for residences and burial grounds, not to speak of royal palaces and royal tombs. This observance of geomancy is evident in numerous graves that dot the Korean countryside. This practice flourished during the Koryo and Choson periods.
Heaven has always been considered the source of both mercy and wrath. Periodic rituals with offerings to heaven were conducted for the benefit of farmers and fishermen. Believing in the power
of heaven over the destiny of mankind, they prayed for bumper crops or safe voyages. Among the many exclamations in Korea are two which concern the subject of heaven: "Heaven" is shouted
when some extraordinary emergency arises, and "learn to fear heaven" is uttered when someone does something unacceptable. Heaven was respected because of its vastness and light; it was
neither a religious worship, nor a traditional folk custom. It was for this reason that human dignity was often associated with heaven. For example, a king was a "son of heaven." This creed eventually produced the Tonghak philosophy or Eastern Learning in the late 19th century, the essential concept of which equated the power of heaven with that of man.
There seems to be no single concept as far as the philosophy of Korea is concerned. Just as the life of a Korean could hardly be divorced from the currents of the world, so with philosophic tenets. Korean philosophy has progressed and became enriched through meetings, conflicts, and combinations with alien thoughts. At certain stages in history, Koreans learned to combine their own inherent philosophies with those of other countries. This process often produced a brilliant synthesis,
disclosing the imaginative power and creative sense of Koreans. Thus, foreign philosophy as well benefited from Korean influence.
Koreans rarely indulged in discussing abstract matters, for their interest was focused on the present. Some, of course, did theorize and brought forth solid philosophic theses, but always these were accompanied by calls for actual practice. Apparently the ancient sage did not stroll amid beautiful scenery, lost in meditation over abstract escapist thought. To many of them, it was important that their thoughts help cultivate their personality. The principles which guided members of the Hwarang
corps during the Shilla kingdom included matching body with mind, and matching word with action. It was a demonstration of true Korean philosophy.
Through the expounding of Buddhism, theorizing upon Confucianism, and showing reverence for heaven and all the spirits that inhabit nature's creatures, Koreans shaped their philosophy.
Cool Korea Web Sites
If you would like to write please send e-mail to: jparktkd@gci.net 
|
You can e-mail Dj at: tygerzz3@yahoo.com
